RE: First! A Note on Authenticity.

I originally posted this in the comment section, but after re-reading the syllabus, I think Amy wanted us to respond to the blog posts with separate blog posts, (that's what we did in the last class I had, so I'm going for it)


Echoing Jen Roche’s point, about the collaboration of design, I also think looking to other designers and their work for inspiration doesn’t mean your work isn’t unique – unless, of course, you completely copy it, kind of like the weird cereal brands in the grocery store on the bottom shelf.

But Jill’s point about not being swayed by trends is spot on (ask Amy about the use of distressed typefaces). You want to design something that people will like and relate to, but something that stands out from competition.

When you incorporate too many super trendy elements into your design, you are limiting its shelf life and also possibly changing the entire meaning of the message you are trying to convey, perhaps even in a subtle way that people can’t really put their fingers on.

For example, take a look at President Obama’s campaign this year and the typefaces and color palette selected. Hand-drawn typefaces (even ones that aren’t actually hand-drawn but are meant to look like it) seem to be the super trend du jour, coupled with retro color palettes reminiscent of the early days of advertising. When I first saw it, I remember liking the typefaces but also kind of frowning at the same time and thinking that something was just … off.

And then I came across an article by Alexandra Lange of The Design Observer Group that hit the nail on the head:

http://observatory.designobserver.com/alexandralange/feature/obamas-new-fonts/35148/

“Rolled out during the president's recent Midwest bus tour, the fonts were chosen to present the Obama 2012 campaign's new slogan, "Betting On America." This only counted as political news because "America" was set in what looks like Revolution Gothic Extra Bold, from MyFonts, described as follows:

The original font is inspired by retro propaganda posters and wallpainting in Cuba from the 60s to 80s. And the original PAG Revolucion is the most popular font from Prop-A-Ganda. In other words: a Communist typeface conspiracy theory in the making.”

Lange asserts that President Obama is trying to create an image of reliability with the middle class and portraying his opponent as an “out of touch rich guy.” He also wants to portray a modern look and feel to attract those millions of young voters who voted in the first election.

“The curved square corners, the low-riding bar, the slanted ends of the arms all suggest a pre-digital, possibly hand-drawn typeface, not 1980s but 1940s [or maybe 1920s]. When paired with the script [identified in the comments as MVB Mascot, designed by Mark van Bronckhorst in 2012], the combination suggests to me early advertising, printed but "personalized" with a script message. My first thought was fruit crate labels, which often combine block letters, script, and images of fruit orchards and fields. What could be a better association for a trip to the heartland in summer, when strawberries, if not apples, might be consumed? […] And yet, something is missing here. I see the possible references, but the result is mechanical, cold.”

I understand Lange’s point—about the somewhat forced “down home” feel, especially with the stark color palette and absence of context. I could definitely imagine this typeface on a crate of peaches. It almost feels a bit like pandering with that nostalgic look. But I suppose that’s what politics are – a never-ending game of pandering, so in that respect it’s appropriate.

There's nothing wrong with the design per se, -- I think the pairing of the typefaces is great --  I just don't get any of the emotional feelings that the designers were so clearly trying to elicit. It kind of has the opposite effect, because I am aware that they're trying to manipulate my emotions.