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Inspiration for final project: w+k tour // coraline integrated campaign //

Here is an amazingly tiered promotional campaign for Laika's film Coraline. 

w+k's "challenge: How can we get a broader audience to be excited about a movie that looks like a typical children's film but is much more? How could we use the equities we had to market this film in a way that reflects its unique nature and gets people excited to see it?" Here are some of their answers:

Coraline boxes for the "influencers" check out the campaign and notcot links below.

Wild postings for Coraline.

To get an overview of the whole campaign click here. Among the work that was shared with us: mini-documentaries about the making of Coraline, campaign strategy, dunks, wild postings, street art installations, interactive storefronts, movie posters, web sites and 50 hand crafted boxes that were sent  to "influencers" (like notcot.org) to help promote the film. To see more handmade boxes go to notcot—they are tracking who received the boxes. Much of these images were found here on Mike Giepert‘s site: 

Coraline dunks.

Interactive Storefronts.

Interactive / Online

Interactive / Online

Interactive / Online

Magazines Move Me.

As each of you develop the project you are excited about and help you meet your academic and creative goals, here are some examples of editorial design and page layout that I find expresive, beautiful and interesting. I have tried to present a range of styles to inspire your process and thinking. Hope it helps you!

 

Vince Frost; Big Magazine  

 

Vince Frost; Big Magazine  

::   Guest/cross posting by Lis C.  ::  Hola! We in Type 2 are also working on an editorial type project so here's some things to guide your thinking about making great editorial! I have a flickr editorial collection with lots of examples! 

o p e n i n g  s p r e a d  ::  Some "rules" for the opening spread: 1) keep it simple (unless it NEEDS to be complex! 2) include only(!): title and author and deck (optional?) 3) make is strong! make pop! make it rock! 4) think communicate big idea of the article 5) think: get reader excited about article: IDEAS!!! 6) Use white space, try asymmetry (asymmetric balance) and the rule of thirds to layout the page.

Vince Frost; Big Magazine  

Vince Frost; Big Magazine   

Big Magazine    

found on ffffound

found on graphic-exchange: 214 Magazine by Shaz Madani

 

found on graphic-exchange: 214 Magazine by Shaz Madani

 

found on graphic-exchange: Insider Magazine by Shaz Madani

 

found on graphic-exchange: Insider Magazine by Shaz Madani

 

 found on ffffound

 

     

found on http://www.graphic-exchange.com/

  found on http://www.graphic-exchange.com/
 

Martino & Jana

Non-Trad? Guerilla Marketing? Ambient Media? Astroturfing? Out-Of-Home?

The assignment sheet for Monday asks for digital sketches and to explore "non-traditional" ideas for our in-context experiments. Huh? Ok consider this, a general decline in the power of traditional media (print, tv and web advertising) has led art directors, artists, designers and marketing folks to look for new ways to interest people in their messages. At the end of this post I link to definitions for the buzzwords in the title (and some). For more inspiration check out wired.com's Underwire: PSAs Keep Getting More Creative

 

The following information is excerpted from an article "Masterpieces of Disaster" posted on wired.com's site by Sonia Zjawinski. "On March 6th, a month shy of the 1906 earthquake anniversary, the Bay Area Chapter of the American Red Cross partnered with ad agency Publicis & Hal Riney for The Prepare Bay Area project which attempts to raise awareness on the importance of disaster preparedness. According to the Red Cross, only 6-percent of people are prepared for a natural disaster in the Bay Area, which led to an aggressive push by the non-profit to literally show people what to expect."

 

 

 

"The first was a two-sided mobile billboard parked on Market Street, in front of the Ferry Building. From one side you see the Ferry Building in shambles and from the other you see Market Street torn up by the fictitious quake. The copy reads, 'What do we have to do to get your attention? Be prepared.'" 

 

 

"The Red Cross passed out empty water bottles that read, 'Try living on this for three days.'" — Zjawinski

 

"Faux Earthquake Early Warning System alarms (a riff on the Tsunami early warning systems that have been implemented in the Pacific) were installed as well." — Zjawinski

  

The National Gallery takes to the streets! The Guardian's post on their site "The National Gallery's Grand Tour"  "It's not often that you come across a Caravaggio or Van Gogh while walking around London's Soho, but for the next 12 weeks, the National Gallery is taking its masterpieces to the streets. In a bid to give the public a taste of the collection, the gallery has hung life-sized reproductions around the capital. Each painting is framed and accompanied by an information plaque, and passersby can phone a number for an audio guide of the works. Here's how Londoners reacted to the famous works on their doorstep ..."

 

 

 

worldwidewaterday.org campaign

 

Publicis and Hewlett Packard team up with Manchester graffiti artist Moose—creating "clean graffiti"—he sprayed cleaning fluid onto dirty London walls and pavements to promote Hewlett's The Hype campaign aimed at designers and artists. The Hype campaign included a gallery exhibition and commissioned work by 20 emerging artists.

"The World Wildlife Federation launched a new street campaign in China in January that shows just how much pollution one car produces. The 23-foot balloon not only puts a spotlight on individual pollution, but also drives traffic to WWF’s new site that gives 20 tips on how each person can cut their own pollution by 20 percent." —wired.com

 

K2r stain remover finds a witty way of endorsing its brand on the dirty streets of Paris.

More images and a short buzzword definitions / links for you after the jump!

Guerilla Marketing / Non-Traditional Advertising / Packaging Ideas follow up post...

Here are some of the images I shared with you a few weeks ago…  Stain remover

K2r stain remover finds a witty way of endorsing its brand on the dirty streets of Paris.

worldwidewaterday.org campaign

Sci-Fi / Godzilla Film Fest, the red carpet for Godzilla

 Inflatable Church

The following is not non-traditional design… here are some lovely stamps fun packaging!

Monster supplies (826)

Monster supplies (826)

Monster supplies (826)

The Fun Theory // Volkswagen // Non-traditional Advertising

Watch these! Videos and competition can be found at thefuntheory.com.

 Thanks to our wonderful student  Andrea B. for bringing these to our attention!

Wordstock Videos : Type in motion-y : inspiration for our final project

w+k studio's blog post on wk12's videos for Wordstock called "BE A LITERARY OMNIVORE" is inspiration for the main project in our class... from the folks at w+k: "What’s Wordstock without some charming videos? Nothing. That’s what. Here’s WK12’s take on how delicious words are."

“Why I’m Interested in Communicating With You” | Bree Goodrow, visiting artist for calendar critique Monday May 6th

On Monday, May 6th, please welcome art director / designer 
Breanna Goodrow, of Timberpress.

Bree wrote our class a love letter: "Why I’m Interested in 
Communicating With You" 

1) I LOVE a reason to talk about design. I've had so 
many inspiring mentors and teachers that I feel compelled 
to try and 'pay it forward'... but without the tragedy and
drama of the movie (I've seen a million times on cable tv) 
by the same name.

2) A primitive desire to communicate.
I'm a believer in Noam Chomsky's opinions on language. 
"One of the fundamental aspects of human language is its 
creative nature." He argues "we possess an abstract
system of unconscious knowledge about our language." 
Our brain's ability to develop/ pick up new language is too 
complex to be entirely learned, therefore a part, or a system
must be innate. This is supported by two human case studies.

3) DIY grad school — my attempts to continue 
my education.
A master's degree is not always an accessible thing to get; 
however I can teach myself. This means focusing on specific 
problems to study and reading articles during commutes
or downtime at home. Moving slowly and consistently 
can be hard for me - in general, I'm more comfortable with 
sprints. Part of 'grad study' includes lecturing, inciting
discussion, sharing experiences and writing... I'm 
excited by any opportunity that allows me to do this, 
thank you for having me!

4) Openness & honesty with a new creative community.
When put into a new environment my first instinct is to observe, 
take note, soak in and attempt to emerge. I'm inherently introspective 
and very adaptive, and this combination allows me to consciously 
and comfortably evolve my state-of-mind wherever I go.
Although some traits are more omnipresent... sometimes 
my boyfriend names his female video game characters after those 
traits: Bree the Bold / Blunt Object / Sweetness.

5) You are the future of our industry, and I’d like to 
get to know you. There's two questions that I feel are fundamental 
to getting to know someone: How do you play? and What do you shape? 
(...next level Q's: how and why?). Some examples below. 

”I'm Bree. I play with ideas and shape my own philosophy 
(...with introspection, because I want to think for myself.) 
I play with materials and shape visuals 
(...by experimenting with new types of craft, 
because I don't enjoy making the same thing twice.)
maybe these people would answer like this…
Matt Groening: I play with cartoons and shape comedy.
Perez Hilton: I play with gossip and shape tabloids.
4chan user: I play with catz and shape the internetz.

Feel free to answer these questions in the comments!

Here is some of Bree's student work.

Cover Inspiration! Book Covers! Ideas!

 

AIGA Design Archives 50 Books/50 Covers

 

AIGA Design Archives 50 Books/50 Covers
 

AIGA Design Archives 50 Books/50 Covers
 

AIGA Design Archives 50 Books/50 Covers

 

AIGA Design Archives 50 Books/50 Covers
 
 

AIGA Design Archives 50 Books/50 Covers
 

AIGA Design Archives 50 Books/50 Covers
 

AIGA Design Archives 50 Books/50 Covers

AIGA Design Archives 50 Books/50 Covers

 

AIGA Design Archives 50 Books/50 Covers
  

AIGA Design Archives 50 Books/50 Covers

 AIGA Design Archives 50 Books/50 Covers

 http://www.smashingmagazine.com/2008/04/14/excellent-book-covers-and-paperbacks/ 

   

http://faceoutbooks.com/
 

http://faceoutbooks.com/

 
 

http://faceoutbooks.com/#149660/Alvin-Lustig-Covers
    

http://bookcoverarchive.com/
 

http://bookcoverarchive.com/

 

http://bookcoverarchive.com/

 

http://faceoutbooks.com/
 
  

http://faceoutbooks.com/
 

http://faceoutbooks.com/

 

Organizing information {beautifully} using grids, hierarchy, contrast, form and rhythm.

Our exercise for today picks up on the exercise we completed in week one. Our week one practical typography exercise focused on some of the basic concerns of line, paragraph, typographic detail (e.g. small caps, acronyms and numbers) and analphabetic characters. We will apply the knowledge from week one and our quiz to today’s work. Our focus will be on developing these skills further and develop a more comprehensive grasp of how to manage information gracefully, employing our typography skills to ease of reading and enhancing comprehension of (sometimes multi-leveled) information. 

Let’s review line length “measure”, according to Brinhurst “45 to 75 characters us widely regarded as a satisfactory length for a single column page set in serif text face in a text size. The 66-character line (counting both letters and spaces) is widely regarded as ideal. For multiple-column work, a better average is 40 to 50 characters.”

Suggested process. Take inventory an inventory to the copy you will be designing with today. You may begin to design your page today by doing a series of type studies that should be printed as you progress. You may wish to begin by typesetting your body copy in the typeface, size and leading you prefer. Using a scale (Bringhurst Harmony and Counterpoint) create a header and subhead as needed. Use the leading to dictate the baseline grid, then build your horizontal fields based on multiples of this measurement. Determine your column width by evaluating the optimum characters per line and how many columns you need. You gutter should not be smaller than 1 em of your body copy size. Determine the margins. Test this grid and print it. Revise it as needed until you have achieved the optimal grid for your information.

My expectation of today’s in class work is that you will demonstrate your ability in organizing a beautiful page with hierarchy and ease of access to the information.

Here are some examples of event titles, dates and descriptions.

The following pages are layouts of larger amounts of body copy organized with a strong grid and hierarchy.

Typographic Branding & Promotion. Bound, Folded, Stitched, & Stacked.

The following projects all use typography to brand and promote a cultural event... Typography is an important element in developing the texture, tone and voice of the visual communication. The typeface you select and design with influences the way the text is read. Typography can create give a text autheticity, a voice and enhance meaning. The beginning of this post shares a range of typographic form and visual approaches, later I present formatting ideas for print editorial, books, posters, invitations, calendars, etc.

The most important decision you are making over this weekend is selecting a theme that will give you creative freedom to express yourselves beautifully through typographic form. Keep in mind your voice in the process, the story you will tell about your events. Seclecting a theme I am interested in, with a conceptual idea that has legs and will yeild more creative results. Our goal is to yeild creative results!

www.letman.com

www.letman.com

www.letman.com (student thesis project)

www.letman.com

www.letman.com (check out the map)

www.letman.com

www.letman.com

www.letman.com

www.letman.com (student thesis project)

www.letman.com

www.letman.com (check out the map)

www.letman.com

promotion for french grocery by www.letman.com

One of my favorite firms that uses typography to express a brand is Atelier Martino & Jaño. Here is some of their print work. I present more of their work below. Consider how they use typography to create a strong visual voice or style for each of the following event series. Think about the typographic voice… what does it say to you?

 

Next I share some work that is print-based and typographic in focus, please take note of the variety of formats as well as the expressive form of the typography.

 

 

By Andrew Townsend // Fashion Week. All of the following work is reposted from www.graphic-exchange.com 

 

 

 

more from Atelier Martino & Jaño:

more from Atelier Martino & Jaño:






more from  Atelier Martino & Jaño:

  
 
 
 
 

Choosing & Combining Typefaces

In class (and over email) some of you expressed interest in thinking more about choosing and combining typefaces. In class we talked about making decisions based on the demands the text (or copy) and media (or format) makes on the typeface. For instance, an annual report with excessive acronyms will benefit from selecting a typeface with “true” small caps. We also talked a little bit about considering where the typeface will ultimately live for instance, is is a wedding invitation printed letterpress, digital or litho offset printing?or will it live online, on an ipad, as part of an app, video, kindle? The designer might consider the scale: billboard? business card? Are the letterforms to be “knocked out” or “reversed out” of a color?

Chapter Six entitled, “Choosing & Combining Type”  in Bringhurst’s wonderful book (also our textbook) The Elements of Typographic Style is an excellent overview and presents a range of typefaces to consider. In addition if you have not seen Frank Chimero’s blacklist and whitelist, you should refer to them also.

Another reference used in this post is from Hoefler & Frere-Jones and it gives great tips on which fonts may work well together, Hoefler & Frere-Jones share, “building a palatte is an intuitive process, but expanding a typographic duet to three, four, or even five voices can be daunting.” They offer four tips which are “H&FJ’s Highly Scientific First Principle of Combining Fonts: keep one thing consistent, and let one thing vary.”

Part One: Choosing A Typeface. 

1. Bringhurst recommends choosing “typefaces that suit the paper, task (short or long amount of text) or medium you are designing for first.”

 

 

2. Bringhurst shares that when choosing a typeface ask yourself: are there historical associations that will harmonize with the text. Is the content of the text or providence of the text specific to a period and place in time?

Jessica Hische

Jessica Hische

Jessica Hische

Jessica Hische

Jessica Hische

Jessica Hische

 

3. When choosing a typeface ask yourself: do I need smallcaps? are numerals important? non-lining numerals, tabular numbers, or three-quater-height lining numerals? or do I need a matching sans-serif?

Hoefler & Frere-Jones, Four Ways to Mix & Combine Typefaces

Part Two: Combining Typefaces

Another great Bringhurst “tip” regarding combining typefaces: “Just don’t do it.”

Choose a typeface with a large family and stick with it — many a text can be set beautifully in only one typeface! The safest, (smartest?) bet in creating continuity in visual form is to rely on a single large type family. Choose a typeface with various weights and proportions within the family provide a range of versatility.

 

According to Bringhurst its best to pair serifed and unserifed faces based on their inner structure. (6.5.5) For instance if you choose Futura, a geometric typeface consider perhaps Bodoni whose forms are based on geometry also.

 

So, you want to combine typefaces such as serifed faces? Choose vividly contrasting typefaces perhaps like these:

Eric Kass

  

Hoefler & Frere-Jones, Four Ways to Mix & Combine Typefaces

When combining typefaces select typefaces that share similar proportions. When setting a typeface side-by-side consider their x-height and extension.

From the online article “Four Rules For Combining Typefaces” by Allan Haley.  
from: http://assets.dynamicgraphics.com/dgmfigures/14846.gif 

When combining typefaces limit combinations of typefaces. Keep it simple.

Hoefler & Frere-Jones, Four Ways to Mix & Combine Typefaces