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Sep 25 / Megan Seagram

Ex Bad Typography

This is an example of bad typography because there is an improper use of quotes but double primes, so from a typographer view, they are not even right. I question the choice of why “WE CARE” is in quotes… it comes off very sarcastic. Also the bold typeface on top of the same typeface bolded, only shrunk in size very minimally creates a lack of hierarchy; my eyes do not know where to look.

This is an example of bad typography because one, they used a hyphen which looks ridiculous since it cuts off button…into bu-  tton. Secondly the use of grammar is terrible, the whole design is a mess.

This advertisement has introduced hierarchy, however there is an excessive amount of type. There is way too much going on in this advertisement, especially in the upper half. I find the whole design very distracting, and although the type is legible the over use of type is making the design illegible, confusing, and cluttered. I would say this is far too obnoxious and in this case less is more would definitely be the better approach.


Sep 25 / Megan Seagram

Ex Good Typography

Mike Perry is a well known illustrator, especially for his hand drawn typography.

Herb Lubalin is a Graphic Designer know for the ‘Art Deco’ style to his Typography.

Alan Kitching is a designer who uses the same style or theme and carries it through all of his work.

The three examples above are just samplings of the typographic works of Mike Perry, Herb Lubalin, & Alan Kitching. I did not choose to show case their work because they are well known, in fact I did not know who the artists were until I did more research…I just happened to stumble upon their works which grabbed my attention.
In my opinion, these three works are example of good typography because they are legible, which doesn’t always have to be the case if typography is being used as an object and not type, it just depends on the designers intent. These works are definitely legible which is helpful to both designers and non designers to distinguish the purpose of the text. Mike Perry pushes the boundaries of legibility my bringing in a quirky hand written style, using a lot of color and shapes. All three artists have a great sense of positive and negative space. Their works also use different size typefaces, as well as introducing different families of typefaces, or choosing options such as ‘bold’, ‘condensed’, ‘regular’…etc.
I find that the placement of the designs, give enough balance between negative and positive space which allows the eye to flow easily. Unlike, examples of bad typography where the type becomes to confusing, complex, visually unappealing, and lacks good use of negative & positive space.

Sep 10 / Megan Seagram

Activity #1: The Three P’s

Since the file was so huge, I broke it up into sections. Below is all six pages of our first assignment for Graphic Design 2!






Sep 10 / Megan Seagram

Art’s little brother

After reading the article, Art’s little brother by Rick Poyner, I have picked out a few passages/quotes that stood out to me. I have listed them below:

  • What would happen, Collings and Arad wonder, if you were to take a Rietveld chair and a Judd chair to Covent Garden and show them to a passers-by? “If you tell them which is art and which is design,” says Arad, “they’ll think you’re having them on – they’ll think, why the distinction?”
  • Design, rather than art, is foremost now in embodying the visual spirit of the age. Millions get by without going anywhere near an art gallery, but everyone is touched in some way by design.
    – Rick Poyner
  • “Design art” is an awkward compound term and it may not catch on, but at least it suggests the continuity between design and art. Neither word on its own seems fully adequate any longer to explain how our visual culture is evolving. To move forward, we need a wider public understanding that design is a means of personal and cultural expression with the potential to equal and even exceed art’s reach. It’s high time the media stopped treating design as a nothing more than a pleasant diversion and woke up to this.
    -Rick Poyner

I couldn’t agree more with the thoughts of Collings & Arad, that if you took a Rietveld chair and a Judd chair, and showed to a passers-by that they would not be able to find the distinction between which is ‘design’ and which is ‘art’. The question of, “why the distinction?”, would be brought to mind.

Rick Poyner states in the article, “Millions get by without going anywhere near an art gallery, but everyone is touched in some way by design.” This is completely true and there is no way to disregard this statement. Design is growing, and can be found in every day life from, advertisements, clothing, internet, magazines, and so on. The list of every day life things that incorporate design is endless. Art can also be found, but I like how Pyner puts it that “Millions get by without going anywhere near and art gallery”…this is true. Other than the DIA, I have never been to an art gallery/exhibit…but I deal with design on a daily basis because it is more relevant to our times and my practice as a graphic designer.

The term “Design art”, I do find to be awkward, but it does express design and art’s continuity, or ‘connected whole’. The term is bringing to people’s attention that visual culture is evolving and developing further. I don’t think Poyner could have said it any better that, “we need a wider public understanding that design is a means of personal and cultural expression with the potential to equal and even exceed art’s reach.” It is time that the media realizes how relevant design is in our daily lives, and not to put it off as “pleasant diversion”.

I personally wouldn’t consider design to be art’s ‘little brother’…I feel that design has taken off and become a larger role. I still wouldn’t go as far as to say that one beats out the other, but rather they are equal in importance. I don’t feel that they need to be completely defined as two separate categories, which is why I support the term “Design art” as awkward as it may be.

Lastly,  my feelings can be concluded through Poyner’s remark, “Perhaps what we are seeing in the inexorable rise of design is the gradual reunification of art, in the pre-modernist, “decorative” sense, and everyday life. If art is so important to our social, mental and spiritual well-being, why should we keep them apart?”
His words, “why should we keep them apart?”…I find myself asking the same thing, why should we?