Don't mistake legibility for communication

This is a piece from David Carson.  Since we just studied digital design in class, I was interested in seeing more of David Carson’s work.  Just looking at images on Google, this one jumped out at me as representing his ideas on design.  He uses type to evoke emotions.  He makes the viewer work for the message.  In this composition, he overlaps various typefaces in a black mass.  Looking at the less dense areas, one can determine that he is stating his message (Don’t mistake legibility for communication) over and over again.  On top of the mass of text, he obviously states his message using positive and negative text images.  In the composition, the use of white space and the placement of his name in red at the upper left-hand corner is very appealing to me.  His use of text as image is very much in the digital style.  The typeface for his name, Don’t mistake, and for communication is a serif font reminiscent of an old-time typewriter perhaps Courier.  The typeface for legibility is a simpler font but still a serif (I am assuming this from the letter “g”).  The idea that communication and legibility are not mutually exclusive is one that I am just beginning to realize - the lines between text, art, and communication are blurred in this digital age.

Freedom of Religion

This poster was designed for Amnesty International (a human rights organization which fights to free prisoners of conscience).  The poster is a tool used by the organization to educate the public on the topic of Freedom of Religion from their Universal Declaration of Human Rights. As I was looking through Woody Pirtle’s website, I noticed several layouts that he did for Amnesty and this one caught my eye.  This piece is highly influenced by the Swiss International Style.  The layout is on an obvious grid and the font is a san-serif style - probably Helvetica.  The use of various weights and sizes of types, the ninety-degree rotation of the title “Freedom of Religion” and “Article 18”, and the enlargement of object photographs were all commonly used by Swiss practitioners.  The filtered image of the candle and flame is a universal representation of religion, hope, and freedom.

The candle is also part of Amnesty International’s logo.  In the logo, however, the candle is surrounded by barbed wire which represents the suppression of human rights.

I think this poster is a highly effective, persuasive piece of graphic art.

Clockers

This is the movie poster from the 1995 Spike Lee film Clockers.  The poster was used to advertise the movie when it came out but now the artwork serves as the cover of the DVD.  Although his films can be violent and disturbing, Spike Lee is one of my favorite directors because of his poignant social commentary.  I was looking for a movie on Netflix and this caught my eye for two reasons.  First, I haven’t seen this particular Spike Lee movie (and this I must remedy).  Second, I am studying Saul Bass for my influential designer presentation – it reminds me of his movie poster for Anatomy of a Murder - more on this later…

The typography is reminiscent of an old-time typewriter. The letters are blotchy and smudged and of different thicknesses which add to the typewriter-ish feel of the title. I like the staggered lettering style and the lower case “e” used.  The artwork is a body constructed of simple shapes in flat black color straddling color-blocked background (white & red).  I have always been attracted to simple, uncluttered designs.  I like white space.  I like a piece to breath.  This piece breaths in a late modern, Saul Bass kind of way.

Now for Saul Bass' poster for Anatomy of a Murder.

Very similar, don’t you think? The body, the color blocking, the odd angle of the head...  An obvious nod to Saul Bass.