https://www.pentagram.com/work/la-lettura
ABOUT: Award-winning data visualizations tell complex stories to readers of the largest Italian newspaper’s weekly cultural supplement.
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| 1A |
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| 1C |
ANALYSIS:
- Layout: the grid layout for the infographics are really interesting, they break the conventional way of developing a visual by having the text sit on an angle.
- This may work well in this context as all the information is presented on one page (as the infographics appear as a page spread in the newspaper.
- The layout creates a novelty effect, potentially making it more memorable from the rest of the newspaper.
- If the whole newspaper was set out in this way it could become confusing to the reader.
- The unusual layout may work along the principle of 'desirable difficulty' mentioned in the development of Sans Forgetica. The theory that as the information is slightly more challenging the read the audience will spend more time investigating it and therefore will remember the content better. - Colour use: the use of colour allows the different categories to be differentiated between easily, the different shapes also support this.
- The reader instantly sees a separation between information due to the different colours used.
- The visuals demonstrate a difference from one another, what the difference is is unclear until the reader investigates the page further. - Consistent left column: there is a consistency with the information on the left explaining the different elements of the infographic.
- The way this is likely to be consistent with the rest of the newspaper (use of columns, title and text separated by an obvious hierarchy of size and weight) allows a natural progression of reading, this way the audience is likely to follow a traditional path, read and understand the text and then take the time to look at the infographic without it being seen as distracting.
- It has a natural progression despite the unconventional layout of the infographic. - Visual interest: the aesthetics of the infographic have been considered immensely and have developed a visually appealing and enticing data set to look at.
- This visual interest may draw the reader in more, if they're more likely to engage with something that is visually interesting then they may be more likely to remember the content.
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SORTED RESORTED (OK-RM):
http://www.ok-rm.co.uk/project/sorted-resorted
ABOUT: Sorted Resorted is a book designed to accompany the exhibition of the same name presented at Wiels, Brussels. The exhibition adopts material as its organising principle. It underlines the importance of sorting as a recurring thread in Kuri’s practice and then resorts his works into four categories: paper, plastic, metal, and construction materials. The book design extends the concept of the exhibition, acting as both an ultra functional catalogue and an interpretive conceptual tool.
'Gabriel Kuri creates sculptures that embody the question of value, freezing generally intangible information flows in alluring forms. His practice is strictly material and his exhibition at WIELS adopts the material as an organizing principle, classifying his works into four categories: paper, plastic, metal and building materials. This is a surprisingly simplistic approach for works that are complex, conceptual, and rarely made up of a single element.' - Quote from Exhibition
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| 2A |
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| 2C |
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| 2E |
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| 2G |
- Grid system: combination of grid systems.
- The book incorporates a number of different grid systems to allow the most appropriate layout ot be used for that specific page function.
- A 4 column layout for smaller breakdowns of text, such a page credits (left page on 2E). This is a suitable method as the line length can be much shorter as the sentences are also a shorter length.
- Columns are also used to breakdown descriptions of the work and make the information more palatable for the reader as columns correspond to one another, this is most relevant on the chapter title pages.
- Larger 2 or 1 columned pages are reserved for larger amounts of text, where sentences are longer so a longer line length is appropriate for effective reading. This allows images to be included within the structure at a good, clear size. - Chapter pages: they are in a different paper stock, but the layout is consistent across the pages.
- The chapter pages are in a corresponding paperstock, the section that is about plastic has a plastic looking page, same with metal and paper.
- This creates a tactile separation between these pages and the rest of the text. This could contribute to a more in depth mental map of the publication.
- The layout of these pages is the same across all the chapters, this allows the audience to visually recognise the pages as they have continuity. - Book Design: physical alterations to the book have been made to develop a structure.
- There are page cut outs to divide the chapters, similar to ones you may add to a ring binder, along the sides of the pages. This helps the reader navigate the document, as there is again a tactile element added to this (thinking of kinaesthetics).
- This assistance to navigation will be vital for the situation it the book is interacted with (an exhibition). The audience will need to be able to find the appropriate information for the works they are looking at quickly to get the most out of the experience.
- There are also semi circle cut outs along the bottom of the pages, the reason for this isn't very clear, however they change throughout the book. I'm left wondering what the purpose for this is.
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FIGURES OF SPEECH (OK-RM)
https://www.mcachicagostore.org/shop/virgil-abloh-figures-of-speech-57636
ABOUT: Virgil Abloh: "Figures of Speech" is an unprecedented publication that delves into the genre-bending work of artist and designer Virgil Abloh (American, b. 1980).
The first section features essays and an interview that examine Abloh’s pioneering practice through the lenses of contemporary art history, architecture, streetwear, high fashion, and race to provide insight into a prolific and impactful career that cuts across media, connecting visual artists, musicians, graphic designers, fashion designers, major brands, and architects.
The book also contains a massive archive of images culled from Abloh’s personal files on major projects, revealing behind-the-scenes snapshots, prototypes, inspirations, and more—set to intimate commentary by the artist himself. A gorgeous, full-color, 101-page plate section offers a detailed view Abloh’s work across disciplines. The volume includes essays by curator Michael Darling, Michael Rock, Taiye Selasi, and Lou Stoppard; an in-depth conversation with the artist led by Rem Koolhaas; and creative contributions by Samir Bantal and Anja Aronowsky Cronberg.
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| 3A |
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| 3C |
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| 3E |
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| 3G |
ANALYSIS:
- Page layout: Some consistent others not so much
- There is a level of consistency on images 3D and 3C with the images being central on the page with small description text central underneath.
- Images 3F, 3G and 3H have the same layout in terms of where the text is placed (as well as text size). However, the images here have less consistency, they feel more sporadic in their layout. I think this is due to the different sized images on the pages and how they're positioned.
- On the images 3F, 3G and 3H it is difficult for the audience to follow the pages, however this may contribute to 'desired difficulty' theory mentions in San Forgetica. - Page difference in 3E: colour and layout
- On image 3E the page has a very different structure as it is categorising different objects, and displaying a wealth of information about them to the audience.
- The use of the table makes it easy to navigate and understand what the book wants you to learn.
- The colour difference of the page really makes it stand out, you can even see the page when the book is closed (image 3B). This may make the page more memorable and easier to find, which would help if it is a key part of the book. But it may distract when the reader isn't on that page (similar to what happened with Heather in my user journey observations).
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ABOUT: Designing the Surface is an exhibition which focuses on the surface – the final layer applied to base materials to turn them into working objects. The exhibition – the result of a dialogue between product designer Chris Kabel and Koehorst in ’t Veld – approaches the phenomenon of ‘finish’ by presenting a series of pavilions which focus on a set of key themes: Patina, Lustre, Faux, Agency, Teflon and Smart.
The spatial design presents the exhibition as a funfair in which each pavilion competes for attention with a paradoxically diverse uniformity. Our proposal was to imagine these pavilions as a stage for a play in 6 acts, which would engage the presented objects in a fictional narrative.
Borrowing from the vernacular of the theatre we developed a play formed of two layers – Scenario and Narrative – working closely with writers Jack Self and Kate O’Brien. The Scenario layer sets the scene for each pavilion, whilst the narrative layer presents an experimental synthesis of fact and fiction, science and poetry.
Visitors enter the exhibition through the backstage – a black room featuring large scale animations – equipped with a script in paperback book form. The script is made up of 6 acts, each relating to a pavilion which is signposted by way of a scenario text and an extract. Each object in the show is numbered and can be cross-referenced back to a specific page of the script or a more formal caption system.
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| 4A |
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| 4C |
ANALYSIS:
- Navigation of book: integral to the success of the exhibition.
- The book is a really important part of the exhibition as the audience uses the objects to direct themselves through the book. Here the pages numbers become the most important part of the navigation.
- Consistent layout and page numbering is vital here.
- The text in the book is rather large as the book itself is small. - The exhibition panels: layout
- The layout of the large panels of text outlining each act have an interesting layout, 4A is describing the exhibition, using dividers to separate information and italics to develop a hierarchy.
- 4C feels more like a person speaking due to the separation of the text for the last 4 paragraphs, it creates space and breathing room, feeling more personal.
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HOME ECONOMICS (OK-RM)
ABOUT: Published on the occasion of Home Economics, the exhibition presented by the British Pavilion at the Venice Architecture Biennale 2016. The exhibition responds to curator Alejandro Aravena’s theme Reporting from the Front by tackling the frontline of British architecture: the home. Home Economics presents five new models for domestic life curated through five periods of time – Hours, Days, Months, Years and Decades. OK-RM collaborated closely with the curators Shumi Bose, Jack Self and Finn Williams, as well as the exhibition architects Hesselbrand, on the visual identity and design of the pavilion.
The book acts as both a documentation of the exhibition and also an extension of the five proposals and the curatorial theme. The book was edited by Jack Self with Shumi Bose and Finn Williams, commissioned by the British Council and co-published by The Spaces and REAL.
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| 5A |
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| 5C |
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| 5E |
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| 5G |
- Chapter pages: paper stock and layout
- The chapter title pages are on a different paper stock than the content pages, creating a sense of separation, but might distract the reader if they see this page when reading on a different page (again what happened in user journey with Heather). This could impact memory as the reader was interrupted.
- The layout is also different, title in central and it has an illustration on, developing a visual and memorable difference. - General layout: lots of differences
- There are a lot of different layouts for the book, 5A has large single column of text making the line length potentially too long and difficult to follow. This is the same on 5C.
- 5B breaks the text into columns and had corresponding infographics at the bottom of the pages, this is much easier to read as the eyes can attune to this type of navigation.
- 5D attempt a similar layout to 5B, however the use of portrait images creates a sense of rhythm across the pages. I'm unsure on how this would affect retention, if it even would.
- The left of 5F has an interesting layout as the images are in 5 columns but the text is in 4. If a more structured grid was used the text and images could correspond across the page making it easier to navigate.
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CONTINUUM (PENTAGRAM)
The AAN publishes a group of esteemed journals and magazines that keep its community up to date on the latest scientific research. Most prominent among these is Continuum, AAN’s bimonthly journal of continuing medical education. Pentagram developed a comprehensive redesign of the publication in print and online that makes it more educationally effective and visually engaging.
Continuum essentially functions like a coursebook and doctors keep the issues as a reference library.
Continuum is the most academic of the AAN publications, dense with information. The art direction uses color and white space to create a bright, vibrant look and feel, starting with a distinctive cover illustration.
The issue topics are brought to the fore in eye-catching covers that feature colorful images by the British artist Peter Grundy. Grundy created a series of simple, metaphorical drawings that combine ideas and iconography to capture the subject at hand in a medically informative way. The clarity of the illustrations is complemented by a simplified Continuum nameplate, set in the sans serif Fabriga.
The update makes the color a more modern and graphic gold-orange, used on the spine and incorporated into the cover illustrations. White dots on the spine indicate the issue number. Color is also part of the magazine’s organizational structure. The different sections are color-coded and indicated by semi-circular tabs that run along the fore edge of the journal to help readers navigate the issue.
To increase readability, the layout moves away from the densely packed pages typical of medical journals to incorporate more white space. Review articles are presented in a single column design with supplemental information like key points and figures moved to the margins.
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| 6A |
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| 6C |
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| 6D |
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| 6F |
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| 6H |
- Typeface: sans serif and serif
- The publication uses both serif and sans serif typefaces, the differentiation between the two is not very clear however I believe the majority of text is set in serif and the titles in sans serif.
- This develops a hierarchy and it is easy to see what text is what simply by the font choice. - Navigational points: alterations are made to the publication to assist navigation.
- There are semi-circle shapes on the pages so the audience can easily see the different sections of the book (images 6C). This could help the audience navigate the text by strengthening the mental map they develop when reading.
- There are also key points of information added to columns at the edges of the page to help the reader understand the content better. The layout for this will help the reader understand the separation between the texts and avoid confusion. - White space: different to most scientific journals
- There is a deliberate use of white space in the journals to increase readability, this isn't typical of a traditional scientific journal but it helps those less familiar with those types of text read the content.
- The clear presentation is also very visually attractive the pages are broken down into easily understandable sections in the side columns.
- Some of the text is in large paragraphs which may be overwhelming to some readers, and they go against 'chunking' theory. 6H demonstrates this clearly, however, the audience for this publication is that of scientists and medical professionals who may be used to reading this type of content and therefore not needing to "chunk" information.
- Found the cut outs to be tricky to use, made for a more fiddly way of getting through the book.
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