Lasso Tyres, based in Turkey, chose a novel way to urge customers to be prepared for winter weather by linking their treads with threads. Designed by Happy People Projects creative agency in Istanbul, these print and outdoor advertisements invite the viewer to make the connection between deeply grooved tires that will hug the road even in the worst weather and very pronounced knit sweater stitches. Very clever and memorable.
A great book cover should be striking, memorable, profound, and, most of all, eye-catching. It should pull a reader across a bookstore with a flash of color or a slick effect. But today, designers must think beyond the physical bookstore and consider the digital one as well. The parameters of each differ in nearly every respect. So, how have designers adjusted? With the huge growth in online sales, has the digital bookstore begun to drive the design process?
Here are some tips offered by Penguin Random House experts on cover design and selling online.
The Sizing Challenge.
The most noticeable difference between a cover’s presentation online and in person is its size. On the shelf, a cover might be 10″x6″, but online it shrinks to about an inch on a computer screen—and even smaller on a mobile device. Given this discrepancy, you might think that the solution to this conundrum would be creating two different covers—one that works on a larger scale and one that pops at a fraction of that size. But designers warn against this. The cover is the most obvious consumer-facing branding of a book, and designers want to ensure that a reader can recognize that brand across all formats and platforms. Whether a reader sees the cover in a promotional email recommending the book, in the window as she passes her local bookstore, or online when she goes to buy it, she should see the same image every time. The consistency bolsters her relationship with the book and increases the likelihood of purchase.
More than four decades have gone by since acclaimed designers Massimo Vignelli and Bob Noorda of Unimark International were hired by the New York Transit Authority (now the MTA) to modernize and unify the look of the subway signage, which by Noorda’s own account “was a mess.” Cluttered with varied typefaces of different sizes and rendered on different materials from mosaic tile to a paper sign stuck to the wall, the old signage system confused more than aided travelers. In its place, Vignelli and Noorda developed a cohesive subway wayfinding system designed to promote intuitive understanding — so much so that they promised: “The passenger will be given information or directions only at the point of decision. Never before. Never after.” It did all that and more. The New York Transit Authority’s wayfinding system is still considered a masterpiece of clarity, logic, consistency, and elegant modernist design.
The accompanying 174-page Graphic Standards Manual was as brilliantly written and produced by Vignelli and Noorda. One day in 2013, two young designers at Pentagram – Jesse Reed and Hamish Smyth – stumbled upon an original copy of the manual in the basement of Pentagram’s New York office. The pair found the manual so awesome that they wanted to share it with friends, so they created a dedicated website (thestandardsmanual.com) and posted scanned pages online. The site instantly went viral. Within 72 hours, more than a quarter million people visited the site. Although delighted, Reed and Smyth felt strongly that an on-screen viewing didn’t do justice to the beauty of the real Standards Manual. To truly appreciate it, they felt people should see it full size in print, and they set out to produce a book with an introduction by Vignelli protege and Pentagram partner Michael Bierut and an essay by New York Magazine’s Christopher Bonanos, author of “Instant: The Story of Polaroid”.
Take my word for it, my farming credentials are impeccable. I’ve grown up around commercial fruit and vegetable farmers my entire life, and I know that the tasty, tree/vine-ripened, organically safe stuff rarely make it onto the supermarket shelf because retailers want their produce uniform in size, unblemished and picked firm and barely ripe so they won’t spoil before sold. As a result, mega-tons of fruits and vegetables are rejected for purely cosmetic reasons. Millions of people are suffering from malnutrition and billions of dollars of food are tossed out because they don’t rise to the aesthetic standards of clueless urbanites who believe that beauty trumps taste. What’s equally sad is that many city-dwellers don’t know how a real tree-ripened apricot, peach or cherry should taste. Shame!
“Charity Ball” is one of the many innovative nonprofit programs supported in part by Ideas That Matter, a grants initiative developed by Sappi Fine Paper exclusively for those in the design business. Knowing that designers are frequently asked to donate their services to create promotional campaigns (print and digital) for nonprofit causes, Sappi came up with a grant program to help defray production expenses for public awareness and fund-raising materrials. Since it was founded in 1999, Ideas That Matter has funded more than 500 programs for a total of more than $12 million worldwide for nonprofit programs that benefit communities, the environment, the planet, quality of life and human health. Charity Ball is just one of those programs. July 11th is the deadline for applying for a 2014 Ideas That Matter grant. Read how to apply by clicking on the Sappi Ideas That Matter link in the sponsor’s column at left.
Corona Canada is going all out to celebrate the Day of the Dead (Dias de los Muertos), an annual Mexican holiday (November 1 and 2) commemorating the lives of loved ones who have passed away. It has just issued special limited edition designs for its tall-boy cans, further extending its “Live Mas Fina” (Live the good life) campaign launched in March. Toronto-based design agency, Zulu Alpha Kilo, created the concept and design for the marketing promotion, which features artwork inspired by Day of the Dead sugar skull candy treats. Illustrated by Jenny Luong, the decorative skull artwork integrates a line of text that urges people to live life to the fullest.
The Canadian Day of the Dead campaign encompasses more than special packaging. Zulu is promoting the Day of the Dead design in out-of-home and print ads, magazine inserts and on social media. In addition to giving out tear-away posters at select locations across Canada, Corona is staging a social media contest that offers fans the chance to win a numbered, limited edition silkscreened print of the sugar skull posters. The Day of the Dead Corona cans are available in stores across Canada for one month only.
New technologies go through a number of phases as they progress from “drawing board” idea to prototype to public awareness, assessment of possibilities, learning and experimentation, to practical applications. Augmented reality (AR) seems to be in the late experimentation phase, although some very practical commercial uses are being introduced. Here two Swiss AR experts Martin Kovacovsky and Marius Hugli demonstrate the possibilities of AR by bringing the pages of “The Strange Case of Dr. Jekyll and Mr. Hyde” to life. The images printed on the paper leap into action on the screen when a camera (in the lamp) is focused on a page. Suddenly, traditional print becomes a multimedia vehicle, and the boundaries between analog and digital content all but disappear.
IKEA is redefining retail catalogs by making theirs come alive. On July 31, the Swedish ready-to-assemble home furnishings giant will begin sending their 2013 edition, so keep your smartphone handy. Interspersed throughout the catalog are augmented reality codes that you can access by downloading a free IKEA catalog app onto your Android or iPhone. Look for the smartphone icons on the page and hold your phone about eight inches above the image to activate the digital layer.
Created by McCann agency with Metaio technology, the app-friendly catalog takes you beyond the printed page and launches interactive content – three-dimensional products, video stories about the product designers, an x-ray look behind a cabinet door, etc. It’s a digital magazine and shopping advisor that piggybacks on paper. For IKEA, the largest portion of their marketing budget goes toward the catalog, of which they print 211 million copies translated into some 20 languages. Enabling access to digital content is like expanding the number of pages without adding pages. Unlike websites where you have to find a way to make consumers visit your site first, the printed catalog puts the marketing piece in the consumers’ hands and then encourages them to linger longer, read deeper and return to the catalog repeatedly to discover what else is there.
When you are given an assignment to demonstrate the awesome special effects possible on paper, you need subject matter worthy of such dazzling printing feats. Superheroes. Pirates. Bigfoot. Weird larger-than-life creatures. Spies. It didn’t take long to figure out where to find all of them in one place – at 826 National, a nonprofit network of tutoring, writing and publishing centers for kids, ages 6 to 18. The 826 centers are “disguised” as retail stores, selling gear for “real” working pirates, superheroes, time travelers, bigfoot researchers, robots and so on.
This January type fonts earned long overdue recognition as “designed objects” when the renowned Museum of Modern Art in New York City acquired 23 digital typefaces for its Architecture and Design Collection. Except for its acquisition of Helvetica, this is the first time typefaces made it into MoMA’s permanent collection.
This quiz is to see if you can name the 23 faces inducted into the MoMA permanent collection — and three more classic faces we added just to round out the alphabet. To help you along, we included a clue alongside the font letter, and can tell you that the type designers chosen for the MoMA collection are Wim Crouwel, Matthew Carter, Erik Spiekermann, Zuzana Licko, Jeffery Keedy, Erik van Blokland, Just van Rossum, Barry Deck, P. Scott Makela, Jonathan Hoefler, Neville Brody, Jonathan Barnbrook, Tobias Frere-Jones, and Albert-Jan Pool. Good luck! (Answers on next page.)
Aside from the fact that these are charming images embroidered by New York-based illustrator Jillian Tamaki, the covers of Penguin Threads Classics signal yet another move to define non-electronic publishing as more than a vehicle for communications. Traditional publishers can no longer assume that readers will stay loyal to print because e-books are harder to read due to screen glare, not offered in full-color, crippled by short battery life, limited in availability of subjects and titles, etc. Over the past year, the iPad, Kindle, Nook and other e-readers have proved otherwise, and are getting better with each iteration.