Disciplines:
Typography.
Guidelines of Typography-
"Dress for the Occassion:
Many of my beginning students go about picking a font as though they were searching for new music to listen to: they assess the personality of each face and look for something unique and distinctive that expresses their particular aesthetic taste, perspective and personal
history. This approach is problematic, because it places too much importance on individuality."
"Know Your Families:
Typefaces can be divided and subdivided into dozens of categories (Scotch Modern, anybody?), but we only really need to keep track of five groups to establish a working understanding of the majority of type being used in the present-day landscape."
-Geometric Sans.
-Humanist Sans.
-Old Style
-Transitional And Modern
-Slab Serifs
"Correspondence and Contrast:
This is a general principle of design, and its official name is correspond
ence and contrast. The best way to view this rule in action is to take all the random coins you collected in your last trip through Europe and dump them out on a table together. If you put two identical coins next to each other, they look good together because they match (correspondence). On the other hand, if we put a dime next to one of those big copper coins we picked up somewhere in Central Europe, this also looks interesting because of the contrast between the two — they look sufficiently different."
"More Is Less:
Periodically, there’s a need for a font that oozes with personality, whether that personality is warehouse party, Pad Thai or Santa Claus. And this need brings us into the vast wilderness of Display typefaces, which includes everything from Comic Sans to our candy-cane and bunny fo
nts. ‘Display’ is just another way of saying ‘do not exceed recommended dosage‘: applied sparingly to headlines, a display font can add a well-needed dash of flavor to a design, but it can quickly wear out its welcome if used too widely."
Advertising.
Principles of Advertising:
1. Grab People.
2. Be Clever and Creative
3. Speak Loudly
4. Don't Make Them Think (Too Much)
5. Colours That Pop But Make Sense
6. Be Informative
7. Stand Out And Be Memorable
8. Give Off A Feeling
9. Show Not Tell
10. Use Humour: Use A Metaphor
-source
"1. Go to the essence of the product. State the product's essence in the simplest terms of its basic advantage. And state this both tangibly and memorably.
2. Where possible, make your product an actor in the scene; not just a prop. This makes for a tremendously effective method of getting your product remembered. Becau
se the provocative element in your advertisi
ng is also the element that sells your product. This is so simply stated, so difficult to execute.
3. Art and copy must be fully integrated. They must be conceived a
s a unit, developed as a unit.
4. Advertising must have vitality. This exuberance is sometimes called "personality". When advertising has a personality, it is persuasively different; and it is the one because of the other
. You must fight to get "bounce" in your advertising.
5. It is little less than useless to employ a so-called gimmick in adverti
sing ---- unless the gimmick itself tells the product story.
6. Tell the truth. First, it's a great gimmick. Second, you go to heaven. Third, it moves merchandise because people will trust you.
7. Be relevant. A wonderfully creative execution will get the big "So what" if it isn't meaningful to their life, family, business etc. And always opt for an ad that's relevant over one that's exciting and irrelevant.
8. Be simple. Not simpleminded, but single minded. Who has the time or the desire to listen to advertising?
9. Safe ideas can kill you. If it's been done before, your competition will be ready for it. Your only chance of beating the competition is with advertising they've never seen before. Which means you've never seen it before either! Be brave.
10. Stand out. If your advertising goes unnoticed, everything has been wasted." - Bill Bernbach
Aop's (Area of Practices):
Illustrated Typography.
Book Jacket design.
Billboard design. (laterally related)
Practitioners:
Peter Horridge.
Nicolas Girard.
Bill Bernbach.
John Baskerville.
Source articles-
