Semiotics: Sign, symbol, signifier.
Work the metaphor: Work on what it stands for.
For example: An image of an apple, the Statue of Liberty, and a yellow taxi would instantly remind the vast majority of people of New York, without seeing it. These are signs and symbols which people associate New York city with. Signifiers being relatable and associable.
When a part is used to represent the whole, or vice versa. The main subject is substituted for something else that is inherently linked to it.
Used to transfer the meaning from one image to another. Images may have no close relationship, a metaphor conveys an impression about something relatively unfamiliar by drawing a comparison between it and something familiar.
A visual metonym is a symbolic image that is used to make reference to something with a more literal meaning. For example, a cross signifies a church. The viewer makes a connection to the image and the intended subject.
"In trying to separate words from pictures we have to accept that words are 'pictures of letters'" - David Crow.
For example, "life was much easier when apple and blackberry were just fruits". The language choices and metaphors of fruits for mobile phones is very clever, but is instantly associable and understandable, meeting it's intended purpose.
Characters and Letters:
Colour also effects the visual dynamics. Particular colours such as red, appear to be eye catching and simulating. Many newspapers such as The Sun have red tops on the front page to catch the audiences attention and the same can be done here, to capture the viewer, and portray a particular message.
The Anatomy of Type - Part 5:
- Readability, Legibility and Hierarchy.
Legibility is the degree in which individual glyphs are read. Readability is the level of readability based on size and kerning, etc.
Scale, size and weight relate to hierarchies:
Hierarchy - Prioritising information
Newspaper - Delivery, execution, hierarchy, red tops (red stands out and is a widely used colour for this purpose) then the title stands out, followed by he headline. The type is laid out in such hierarchy it leads your eye across the page.
Editorial: Type is set out in a structured way using a hierarchy. It is recognisable, with distinguishable sections, and guides reader.
When hierarchies are too close together they become hard to read and distinguish.
"If you can't make it big, make it red"
Studio Workshop Task:
Using the words we had brought in, we were asked to form sentences initially with words of the same point size, but we could mix different weights to create emphasis and intonation at specific parts.
We then read them out loud to show how each different phrase would sound verbally. This was quite difficult initially as I couldn't verbalise how I was constructing the sentence. This is due to being able to articulate things better in your mind, than doing so first hand. However, if read in a book, magazine or newspaper for example, for specific features such as statements or quotes, then emphasis is applied, as well as volume, pace and pitch.
These were the key main points to consider:
Volume - Shown through point size of each individual word
Pace - Spacing of font, and sudden change in emphasis/pitch/volume.
Emphasis - Shown in weight of the font
Kinetic typography is really good for showing the verbal and written relationship between type. These are really good examples of a more developed version of the task we carried out in class today.
After this we then put together phrases which kinetically work when verbalised, being inspired by the videos seen above. Trying to make written word into an emotion was quite fun, when you thought of more scenarios and feelings to base them on - Anger, questioning, sarcasm, shouting, etc.