Thursday, March 25, 2010

Week 10




Week 9




Wednesday, March 24, 2010

Stand Vigilant

I found this article this poster titled "Stand Vigilant America! A Radio Station is Trying to Steal Your Gun" in the May/June 2002 edition of Communication Arts. This poster was an example used in a section labeled "Great Ideas on Limited Budgets." This poster is an example of many that were done as an awareness campaign for a radio station. The radio station was considered a 24/7 beacon of free speech and the designers thought that doing a campaign that emphasized with the less-heard voices of environmental, social and political groups would be boring. Instead they came up with a guerrilla marketing campaign to tell people to turn off the radio station for completely absurd reasons. It was meant as an inside joke for listeners and they even designed bumper stickers that coincided with the posters which became very popular. The public response was positive and supportive and the posters have won many awards.

Thursday, March 4, 2010

Seybold San Francisco

I found this ad for Seybold San Francisco from the 1990s in "Communication Arts," Volume 32, 1992-93 on page 31. This ad was an example of seminars that were shown in "Communication Arts." Seybold San Francisco is a company that can inform you of the newest technologie, software, online publishing, and more. The imagery on the top of the ad is very interesting and they used the metaphor concept to demonstrate what they do. Instead of showing different typefaces in weight and orientations, they took a photo of a man and distorted it to resemble the typeface that they are trying to express.

Week 8




Week 7




Thursday, February 18, 2010

Week 6




Week 5




Tuesday, February 16, 2010

Graphic Composition

I found this ad for Graphic Composition in "Communication Arts," Volume 28, 1986 on page 35. This ad was for Graphic Composition typesetting company. This ad used humor to promote their services and they also included an example of how their services could help benefit the designer who would use their product. The funny picture that is placed at the top of the ad is very humorous and the caption helps tie the humor of the photo because the photo really had no relation to what their company does. The example on the side of bad typesetting was helpful to their ad as well to demonstrate how their services could be beneficial.

Wednesday, February 10, 2010

Univers Type Specimen Copy

Adrian Frutiger created Univers font in 1956.As a student in Zurich, Adrain Frutiger began work on Univers Typeface, which would eventually be released in 1957 by Deberny & Peignot Foundry in Paris. The font was to be promoted international so, Deberny & Peignot chose to name the typeface Univers, but the name originally was going to be Monde. The design is a neo-grotesque, similar to its contemporary, Helvetica, and was released in suspense to the same perceived need for a utilitarian, versatile sans serif workhorse. Univers Typeface was the first to use numbers rather than names to to designate variations of weight, width and slop. At the time the full Univers family consised of twenty-one typefaces, but today there are over twenty-seven different variations of Univers available. All twenty-one Univers faces were designed to work together so they can be mixed in a variety of ways. Univers is an extremely diverse typeface that has the ability to work well for a large variety of applications, from text and headlines to packaging and signage.

Adrain Frutiger planned and realized a font family as a connected conceptual system, the twenty-one Univers alphabets. The look of this new font was fresh and contemporary, a result of the calculations of thaw stroke width and the relationship between the stroke and th surrounding white space.

Currently, Univers type family consists of 4 faces, with 16 uniquely numbered weight, width, position combinations. Twenty fonts have oblique positions, eight fonts support Central European character set and eight support critic character set.
Due to some typeface manufacturers’ failure to understand and implement the system correctly, however, things have actually become more confusing (some Helvetica Neue fonts are numbered, for example, and some are not).
The system, as simply stated as possible, consists of a prefix (the first numeral) which defines weight, and a suffix (the second numeral) which defines width and orientation as to roman or italic. The prefix indicates the weight, beginning with "2", as in Univers 25 (ultra light), and progressing up to "9", as in Univers 95 (black). Very infrequently, the weight will go up to "10".
The suffix indicates the width and/or angle (even numbers are always italic, odd numbers are always upright; numerals less than 5 indicate extended, and numerals greater than 6 are always condensed) of the font.
1. Ultra Light
2. Thin
3. Light
4. Normal, Roman, or Regular
5. Medium
6. Bold
7. Heavy
8. Black
9. Ultra or Extra Black

1. Ultra Extended
2. Ultra Extended Oblique (Italic)
3. Extended
4. Extended Oblique (Italic)
5. Normal
6. Oblique (Italic)
7. Condensed
8. Condensed Oblique (Italic)
9. Ultra Condensed

Univers is a Sans-Serif Typeface. The letters are even and have a look of being squarish. The strokes are even in weight until you come across the lower case letter. The lower case letters: a, b, d, g, h, m, n,p, q, r, u have a light contrast in weight of the letters. The contrast is mostly were the bowl connects with the main line, descender, or ascender. When looking at the "o", the stress is vertical. The t, has a slant cut at the eery tip. The "i" and "j" of the lower case letters have square dots instead of circle dots. All edges of the lower case and upper case letters are squared off.

Wednesday, February 3, 2010

Week 4 Photos




Week 3 Photos




Tuesday, February 2, 2010


I found this Nike ad from the 1970s in "Communication Arts," Volume 20, 1978-79 on page 21. It was an ad that was part of an article on consumer magazine ads. The idea behind this ad was to promote running and how society had become much more reliant on vehicles and because of that they were becoming out-of-shape. The use of the photograph at the top is very strong and helps carry the idea and message of the ad. The header "Man vs. Machine" also reinforces the message of Nike. I understand what they were thinking with the body copy by indenting certain key phrases, I feel that it looks a little awkward and breaks up the flow.

Monday, January 18, 2010








I found this first piece in Communication Arts, Vol. 11, 1969 on pg. 73. This piece was example of a 1960's ad poster for IBM. At the time, IBM was trying to become more of a household name. They were moving away from just producing corporate products and introducing more household products. This poster's message is trying to represent IBM's new target market; the personal consumer. I think that the image is a good play on the caption at the top, "IBM is YOU, Incorporated." The use of the graphic type and the interaction and overlapping of the words "IBM" and "YOU" reinforce the caption as well. I think the choice of a display font is interesting and it becomes more graphic and artistic then just being words. The poster consisted of just black and white which I think was appropriate because I think if there was more color the poster may have become to busy. Overall, I think this poster illustrates the message of IBM's changing market.