This is a typographic poster created in the year 2007 and was for an opening reception for AIGA. In the top right corner is a phrase; "a display of work celebrating the unconventional use of typography" I think the image relates with that phrase because the design looks unconventional. I like that color choices in this piece because they really catch the eye. The use of screens and values of grays creates a sense of depth in the image design. Having the design bleed off opposite corners of the poster carries the eye through out the poster. Vertical, horizontal and diagonal lines are all used and repeated creating a rhythm.i like this piece especially for the overlapping effect created in the design. Its a very modern design and fun design.
This composition is titled "elektronisches konzert". It was designed by Florian Pfeffer. The main element used in this composition is vertical line. A series of white vertical lines run across the poster which creates balance throughout. Black, white and grays are the colors used in this piece. The use of scale and the various sizes used creates a sense of depth. The designer created a foreground mid ground and background. I like this piece because of the sense of depth created. Adding color in certain parts of this composition could make it stronger.
I found this image in the 1983 periodical of Graphis. It was made by Stephan Geissbuhler. The hierarchy of this piece is the phrase, "Taking things apart and putting things together what chemistry is what chemists do and what the results have been." It was a poster made for a chemist exhibition for the American Chemical Society for their 100th anniversary. The letters in the text are element symbols and the typography also symbolizes the idea of taking apart and putting back together. Although the picture is shown in black and white, the text says that the poster was originally white green and blue. I think this those colors the piece would look stronger and more appealing. The piece is very clean and to the point. The use of line and spacing are emphasized through out this piece. Vertical and diagonal lines are used.
Template gothic was designed by typographer and graphic designer, Barry Deck in 1990. Barry Deck was a successful designer who created twenty typeface families. His work is featured in major art magazines. He also worked with well known companies such as Reebok, Nickelodeon, and Vox. Other typefaces he designed are Canicopulus Script, Barry Sans Serif, and Mutant Industry Roman. Deck got his inspiration for this new post modern typeface from a laundry matt sign he saw at a local laundromat. The sign was a simple, makeshift sign that was made from a stencil. Deck was given the sign after the owner of the laundromat received a proper sign. This served as Decks inspiration for his famous work. He liked this because it reflected his interest in type that is not perfect. The design style during this time was modern, everything was clean cut and smooth edged. Template gothic was one of the most successful typefaces of the 90's. Similar typefaces that are within the template gothic family include Felth Gothic, Pink, Stemplate and Two for Two. While discussing his inspiration for Template Gothic, Deck says this new font represents "imperfect language of the imperfect world inhabited by imperfect beings."
I found this piece in periodical, Graphis. This image was shown with other images on a page therefore there was no artist or description about this image. The company is called IBM and they produces products for businesses and schools. the main elements shown in this image are shapes and lines. The graphics in the background imitate the images shown on computers which relates because IBM's sells computer related products. The use of horizontal and diagonal lines are strongly influenced. The image being black and white, I think, makes the overall image stronger because the viewer's eye is drawn to the IBM. The artist used direction, line, size and shape all in this composition. The use of line and shape makes this piece interesting.
This image was found in Communication Arts magazine in the year 1969. It is a title page for a collection for a charity in the U.S. The collection's quote is "Buddy, can you spare thirteen and half billion dollars?" The illustration is by Bernard Simpson. I found this piece in the CA, 1969, periodical, volume 11:1, 1969, page 27. This piece is plain and simple. The extended hand coming from the right of the page seems as if it is waiting to recieve a donation. The text "Charity in America" looks as if its hovering over the hand, like the hand is holding the text. This piece is visually interesting because of its simplicity, the message easily portrayed. The font of the text adds character and visual interest to the piece. The font makes the piece have more of a vintage feel. The image and the text is centered and in alignment with one another. The hand is more plain compared to the text font. Having a more decorative text font brings more focus to the text.