Assignment #6: Newsletters

Compare and contrast the examples of printed newsletters in Publication Design Workbook to the email/HTML newsletters at the links provided (www.davidwolske.blogspot.com):

• What similarities do the different formats share? What visual clues indicate the serial nature of the publications?

Each of the different formats aim to achieve the same means: they are meant to give information in a logical and ordered way about a subject. In sharing that, they are all very text based,  but they are laid out with space to allow the reader to breathe, and they are all very geometrically organized. There is an apparent grid, ordering information into a logical hierarchy that allows the reader to skim over the pages, find the information he or she desires, and focus on that information easily. 

All of the formats also share the idea of imagery that is directly applicable to the information presented. This further allows the reader to easily locate information he or she may be most interested in.

Another similarity unites all of the publications by means of their differences. Each publication has a very particular identity that they hold true to throughout the project. There are conventions that each of the publications follow to remain easily recognizable as different from other publications.

• What are the major differences? How does the format limit the presentation of the content?

The major differences come from the nature of where the publication actually exists. 

Most of the internet publications rely on skinny, long layouts, with more recent or more important information at the top and older or less important information closer to the bottom. This established hierarchy. The printed publications establish hierarchy with different sections and then again, within each section by means of captions and pullouts. 

Although white space on web pages is much cheaper than paper, the web publications all seem to squeeze information down into less space. This is likely because the computer screen is not as friendly a space to read information, so designers spread the information out less to ease confusion associated with website navigation.

• Of the printed newsletters shown in PDW, which layouts do you think would readily translate into an email newsletter? Why?

Without a doubt the newsletter that would most easily translate into and email newsletter is that ASKO Schonberg newsletter. The lack of complex hierarchy would make it very easy to translate into an email newsletter, and very easy for the reader to navigate, read, and comprehend. 

The Rund Herum newsletter comes in a close second, for the same reasons. Also, it is printed in subdued colors that would be easier on the eyes for reading on-screen.

• Fontshop and Emigre publish digital newsletters as well as more traditional printed newsletter style promotions? Why?

Fontshop and Emigre are both digital type foundries. Their typefaces are used on-screen as well as in print. Therefore, it is important to reach the greatest number of people in all disciplines of design, and it is important to display the typefaces in applicable settings. 

The digital newsletter reaches many people, and it does so for virtually free, with few limitations on colors or effects. The low cost and freedom of media that remains on-screen are good ways to grab attention.

The printed promotions show the typefaces in another context. The newsletters themselves can become objects that designers will keep for their design value. The printed newsletters also show what the typefaces Emigre and Fontshop promote actually look like on paper. 

Assignment #5: Influential Magazine Designer

Research a magazine designer or art director that was active between 1930-1960 and post a short bio. In addition, discuss what made their work groundbreaking and influential. Include images of magazine covers or designs. 

Think about what Pentagram designer Luke Hayman said in the short interview we watched in class on Wednesday. He said: "I'm a big fan of copying, but not copying directly from your peer." Hayman encourages researching the design archives. He specifically mentions the internet, but what other design archives are available to you? 

Otto Storch (1913-1999)

Otto graduated from Pratt institute and started working as a photo editor for Dell Publishing. He was not satisfied with his job, and took night classes with Alexy Brodovich, the art director for Harper's Bazaar. He was eventually offered a job as assistant director to Better Living, a magazine published by the McCall Corporation. He moved up in the ranks of the company until he was given full creative responsibilities for McCall's magazine. He was the art director for 14 years, starting in 1955.

Steven Heller of the of the New York Times wrote:

"In the late 1950's Mr. Storch was one of a handful of graphic designers who helped transform and modernize the visual content of American magazines. He belonged to what the graphic design historian Philip Meggs calls the New York School, a group of editorial and advertising designers who based layouts on unified visual ideas rather than merely embellishing the page with ornamentation."

Here are some examples of layouts by Otto Storch:

Design influences can be found all over. Archives are available at any book store or public library. Beyond that, taking a walk downtown can yield ideas and inspiration you might not obtain anywhere else.