Herman Miller Poster - Balance

I learned about Armin Hofmann, a famous graphic designer in the Swiss Style, when I took Graphic Design History last fall.  I fell in love with Swiss Style and was especially attracted to this poster because of the asymmetrical balance of the design, the abstraction of the images of the chairs, and the desire for a Herman Miller Aeron Chair in true black (sigh).  I looked up the designs of Armin Hofmann on the MoMA website: http://www.moma.org/collection/artist.php?artist_id=2697.  I think this poster was commissioned by The Herman Miller Company and was used to promote a Herman Miller Chair Collection in Switzerland in 1962.  The audience was probably the community interested in art installations, Herman Miller chairs, and followers of Armin Hofmann (his posters are still available online through many retail sites). 

This composition represents the Swiss/International style in so many ways.  Some typical attributes of the style that are represented here include: asymmetrical design, color scheme of red, white, & black, tilted axis, clear presentation of visual information, san-serif style typography, and geometric abstraction of shapes.

The typography deserves special treatment – it is no doubt Helvetica or one of it predecessors.  The Swiss designers used this san-serif style font exclusively for their designs, typically flush left with a ragged right margin.

The artwork is also very prominent in the design.  The flow of the geometric abstraction of the chairs leads the eye from the bottom left to the upper right of the poster.  Although the shapes are simple, the idea of the “chair” is never lost.

Herman Miller’s red logo is still used today on their website: http://www.hermanmiller.com/global.  The dimensions and colors may have changed (not sure about either of these suppositions) but the idea is still the same.  I love how its shape represents the “M” in Miller in a sleek style.

I think this composition is an amazing work which represents balance in graphic design. The visual weight of the piece is influenced by the size, color, and shapes of the text boxes, typeface (addressed previously), and shapes of the chairs.  The red text (top and bottom) and the Herman Miller logo balance the strong black representations of the chairs.  The vertical lines of the text boxes highlight the dates and location of the installation – the date is further left to emphasis the closing date as well as balance the poster. The vertical orientation of the piece and the weight of the black chair shapes make the piece stable yet it appears that the chairs are floating off the page at the top. The overall balance of the composition is asymmetric with a tilted axis from the lower left to the upper right through the chairs.  A balance line is created through this axis.  There is lots of energy in the poster with the chair shapes changing and generally lightening in size and visual weight – just enough variation to this rule to keep it interesting. 

BHTC Logo - Emphasis

I found this composition on The Broward Human Trafficking Coalition (BHTC) website http://www.bhtc.us/.  BHTC is a nonprofit, grassroots organization whose mission is to raise awareness about human trafficking through information, education, and networking resources.  This artwork is essentially the logo for the organization.  I think the simplicity, focus, and object familiarity of the piece should have broad appeal for all demographics.  Hopefully, it inspires questions about the topic. The organization is partnered with many others such as The FBI, The Missing Children’s Foundation, The Polaris Project (End World Slavery), Crime Stoppers, Shared Hope International, and many more. 

I was initially attracted to the composition because of the effectiveness of the message.  The use of the bar code attaches BHTC’s message with something highly recognizable.  We all see bar codes every day.  We touch them; we bring them into our homes; they are within our reach at all times. The treatment of the barcode as the bars of a jail cell is greatly effective – the figure, the human, must break free of the prison.  The message is clear.  People must work to free victims of human trafficking.  Breaking out from behind the bars – a very dynamic image – the human is actually, physically, breaking free from the bars that imprison him/her. Very successful imagery!  Also, the universal bar code is something that is placed on a product for purchase - interestingly human trafficking treats people like products - selling them into slavery.

I also feel that the colors of the composition were carefully chosen – red, white, and blue.  Many flags from around the world use this color scheme and these colors have come to represent freedom and protection (especially in the U.S.).  Also, the color red attracts attention, so the human figure is red – to draw our attention to the victims of trafficking and the work that must be done to liberate and defend against further abuses of human trafficking.  The red figure is the focal point of the composition – the color red is used for emphasis (more later). 

I also was attracted to the general structure of the composition.  The figure 2/3 – 1/3 proportion that is so attractive to the human eye is used well here.  The figure breaks free about 2/3’s of the way across the bar code.  The work is very well balance.  The location and color of the text balances the strong blue bars and red figure.

The typography is an all upper-case, san serif typeface similar to Helvetica – stretched horizontally.  The title “Human Trafficking” is red in color and is a larger point size than “Broward” and “Coalition” (smaller and blue in color).  So, the text “Human Trafficking” stands out more than the other words – both due to size, color, and location (at the base of the bar code.

How does this composition reflect the principles of emphasis?  I believe it does so through use of emphasis by isolation and emphasis by contrast.    Emphasis by isolation is when an element is set apart from other elements.  Emphasis through contrast is when an element is set apart by scale, shape, and/or color.

(1)  Emphasis by isolation is used here in that the human figure breaks the pattern of the bar code. The figure is an anomaly in the pattern and automatically attracts our attention.  The text “Human Trafficking” also creates an anomaly at the base of the bar code, drawing our attention to the title but to a much lesser degree. 

(2)  Emphasis by contrast is also used here – both color and shape.  Obviously, the red figure (and text) stand out from the blue bar code, thus contrast in color.  The shape of the entire piece is very rectilinear – the barcodes, the shape of the whole work, the text blocks.  The curves of the figure and the broken bars also create emphasis and make the figure the focal point of the composition.

Graphic design is such a big part of our lives.  It surrounds us and affects us daily in so many ways – products, road signs, billboards, books, magazines, TV, posters, labels, notepads, etc.  I like when graphic design is used to make an important statement in an effective way.  I believe this composition does just that.

The Black Swan - Unity

Poster design by La Boca

This is one of the film posters for the movie The Black Swan which was released December 2010.  The movie received excellent reviews, so I was looking at some websites and came across this film poster.  I was immediately attracted to the use of color in the piece, the portrayal of the ballerina within the swan, the title font (art deco style), and the overall grace of the poster.  The function is to advertise the movie and create revenue through sale of the posters.  The audience for this piece is movie-goers over the age of 17 (rated R).  To further narrow the audience, the film is a “psycho-sexual thriller.”

I believe that this represents all six Gestalt methods of creating unity in design.

Grouping is displayed in this work through the use of color, shape, location, and orientation.  Alternating black and red are used for the arms, hands, and head of the ballerina to represent the wings of the swan.  The use of white to outline the dancer’s face and swan’s eye also create unity through color.  The curves of arms, hands, and head are repeated to create unity by grouping the shapes together.  Location of the swan’s wings, neck, and head balance the heavy, black, all upper-case font of the title block.  Orientation plays a large part in creating unity in this work.  The angle of the wings and neck of the swan are angled such that the dancer seems to open up but the head of the swan is angled downward in opposition.  The vertical orientation of the artwork within the poster, the colors, and the head of the swan create a sinking feeling.

Containment is created using the outer edges of the poster.  The fact that the swan’s body isn’t “completed” on the left and bottom of the pages creates visual interest and unity.

This composition uses repetition to great effect.  The color choice of black, red, and white; the repetition of the arms and head of the ballerina; the repetition of the typeface throughout the entire work; and the use of the white outlines reflect the principle of repetition.

Proximity and fusion are used throughout the swan/ballerina to create unity.  This creates the tension found in the piece.  The title block is separated and reads as a separate object yet it is still unified via color and location.

Continuity, the fluid connection among compositional parts, is an essential element of unity in this poster.  Actual continuity is used for the ballerina/swan.  This artful use of continuity creates movement through the upward glance of the ballerina and the angle of the arms and hands.  The eye is led to the face of the swan which helps complete the visual image. The diagonal lines of the arms and tilt of the head create a focal point upward toward the head of the swan. It also appears that the ballerina and the swan are looking at each other which further promotes continuity.

Closure in this work is created though the use of the images of the ballerina as part of the swan.  The smaller images became part of the whole.  The arms and face become opening wings.  The swan itself helps unify and close the entire poster by leading the viewer to the text. 

I didn’t see this movie but I love the artwork that was produced for it.  All of the posters can are shown at: http://www.impawards.com/2010/alpha1.html.

think before you eat



© PETA



This is a leaflet distributed by PETA (People for the Ethical Treatment of Animals) which is entitled “think before you eat.”  My 15 year-old daughter is a vegetarian and is a strong believer in animal rights.  She often speaks powerfully (translate: lectures) about the treatment of animals, the environmental benefits of vegetarianism, and how there are other food options besides meat.  And I believe that she has a point – we eat very little meat.  I was looking around on the web and found this leaflet on the PETA site.  The pigs are so endearing that I just couldn’t resist them.  The function of the advertisement is to inform about the plight of animals in the U.S. and persuade viewers to stop eating the cute little pigs. The text beneath the pigs states, “Every year in the U.S., more than 17 billion animals are killed in the meat, egg, and dairy industries.” 

PETA has many advertising campaigns that appeal to many distinct age groups, ethnicities, and both genders.  I believe that this one has universal appeal but may be a bit more focused on girls and women – just because the pigs are so darn cute.  Of course, it could offend many because of the message and the stance of the group on animal rights – people tend to have strong beliefs on these subjects.  Because PETA has gone to some extreme measures to make many political statements - against the fur industry, animal slaughter, animal experimentation, force-feeding of animals, animal cruelty, and many others - individuals could reject the advertisement just because of the messenger.

The overall composition is well-balanced in color and design.  The title is shown in a dark green color block and the typeface is san-serif, fun, soft, and almost childish.  The word “think” is in a large size which is further emphasized by the lighter shade of green.  The rest of the title “before you eat” is white, flush right, and the word “eat” is bold for emphasis.  The picture of the pigs cuddling in the grass on a bright, sunny day creates a tranquil image.  The text (probably Helvetica) in white superimposed at the base of the photo states, “Every year in the U.S., more than 17 billion animals are killed in the meat, egg, and dairy industries.”  Beneath the photo in a white footer block is the PETA logo and the text (both in the dark green color of the title block), “Call 1-800-VEG-FOOD or visit PETA.org for more information and delicious cruelty-free recipes.” 

The photo is of interest in that it is a bit manipulative.  It is taken at an angle looking up at the pigs making them seem angelic.  Why would anyone want to eat these adorable creatures? They cuddle. They nuzzle. Comfortable.  Lovable.  And they are the most adorable shade of pink!  The photo also shows a lovely day – green grass, trees waving in the background, blue sky.  Happy, happy, happy feelings…

© PETA

I really like the PETA logo.  The italicized all upper-case “P”, “T”, and “A” are probably Helvetica – the stuff of corporate logos.  The lower-case “e” in a script-style font, but the same height as the upper-case letters, is an out-of-the-ordinary twist to a traditional logo.

Introduction

Where were you born? What was your home town like?

I was born in a small, blue-collar community about 80 miles west of Chicago. It was a dreary, industrial, post-World War II community. My dreams were bigger and my parents, although they had no higher education, valued learning.


Tell us about your education. What is your preferred way of learning?

I have a Master’s in Civil Engineering. I worked as a practicing engineer for about nine-years and then went back to school to work on a Doctorate in Statistics. I finished about half my course work but decided not to complete the degree. I taught engineering courses and statistics at the college level. I have always loved taking classes and I am a visual learner. I learn through reading, research, and repetition.


Who is your favorite artist? musician? filmmaker?

Artist: Oh, so many … Georgia O’Keefe – I love her lush imagery, mystical quality, and sense of composition. Edgar Degas, his intimate scenes and beautiful interpretation of dance, have been a part of my life because my daughter is a dancer. For his infinite possibilities and mathematical connection, M.C. Escher has captivated me since I was in college and learned about his amazing body of work.
Musician: Again, hard to choose, but some of my current favorites on my playlist are Josh Radin, Imojean Heap, Missy Higgins, Barenaked Ladies, Nick Drake…
Filmmaker: Christopher Nolan – WOW – suspense, mind-boggling, intense - Insomnia, Memento, Inception.. Spike Lee, poignant social commentary, unbelievable portrayal of characters – Malcom X, Jungle Fever...


Tell us about your computer experience. Rate your comfort level with technology.

I have a good deal of computer experience but not much in the way of graphic design software. I know how to fumble my way around Photoshop… Nearly all of my experience is on a PC but I feel confident that I can learn the Mac format. I’d rate my comfort level as an 8 out of 10.

Attach an interesting photo of yourself and tell us about the picture.

This is a picture of me and my daughter taken this summer in San Francisco.  We went across the Golden Gate to view San Fran from the other side.  My daughter took about 10,000 pictures (a slight exaggeration), from every possible perspective along the ride there and back.  This is one of the few that has a human focal point!