manifesto pdf - Jeff Neumann
Transcription
manifesto pdf - Jeff Neumann
“The quality of newspaper design is declining nationwide.” P r i n t ’s R e g i o n a l D e s i g n A n n ua l 1 9 9 7 True. Most of today’s newspapers are devoid of inspiration. Creativity is stifled by the facts-only bias of current newspaper design philosophy. Vision is killed by dull headlines, insipid photos, the deadline designers have to meet and the deadlines no one meets for them. Too much, designers abdicate to orthodoxy, defer to the heavy harness and thick blinders of the newspaper stylebook and do their design-by-the-numbers. Micro-managing editors, immersed in word-centric Journalism 101 dictates, mesmerized by their visually crippled city-desk experience, and motivated by fear of the phone call from boss or reader, force pages into non-threatening creative wastelands, devoid of all but a dispassionate regurgitation of factual information displayed in pre-ordained structure and formatted solutions. Everywhere, the technician is celebrated over the artist. And designers are bored. Bored, they design boring pages. Design is more than creating throw-away textbooks of last-second history or impotent newsletters of hints, lists and briefs targeting the lowest common denominator. Design is so much more. In a world of textbooks, what of poetry? 2wo The challenge Get past words Newspapers can do far more than inform. They can excite, they can entertain, they can communicate with emotion as well as fact. That is the real challenge for features designers. Not to craft beautiful pages of information, but to approach the viewer at a level separate from mere words. To design poetry. Motivate Creativity is a fragile bloom. It is valued rarely. Rewarded less. Approached too timidly. But creating is what truly motivates me. Not to make things clear. Not to uncover the truth. But to create. To add something to the newspaper no one else can. For me (maybe for you), the creative designer breaks rules, takes risks, practices interpretive design, incorporates the visual language, speaks with their voice, looks to the world for inspiration and embraces change. Break the rules No innovation or improvement can come by following the rules. Ever. Motivation enough. Be skeptical Journalism plays in the arena of skepticism. We should be equally skeptical of newspaperdesign “facts.” Contemporary graphic design outside the newsprint forest is one of robust experimentation. Visual communication is a conversation of many accents, not a monotonal monologue. The stylebook of culture is variety. “Typography in the 1990s re-flects a deep skepticism about received wisdom and a questioning of established authorities, traditional practices and fixed cultural identities …” Rick Poyner “Typography Now Two: Implosion” 3hree the rules come from Newspapers make rules from tradition and opinion. The newspaper stylebook tries to uphold old traditions or to institutionalize “Under conditions that vary as new ones. Opinions fall from the top office much and as quickly as those in jockey down. which a newspaperman works, there are no ‘standard’ solutions. Question the stylebook Each problem varies from previous Rules can be truly arbitrary. ones and the ‘right’ answer can be A few years ago, The Seattle Times redesigned itself, not by casting an eye on its community, but be aping the Back-East sensibilities (senseless-abilities) of the Toronto Globe and one of many.” Edmund C. Arnold “Functional Newspaper Design,” 1956 Mail and the New York Times. The redesign team clothed the Helvetica-bound old Times in what they deemed “respectable.” The redesign did look “better,” but what part of Seattle did it represent? The stylebook could just as well have mimicked the Washington Post. Breaking the rules for the better Owl ’N Thistle 808 Post Ave.; 621-7777. Owl ’N Thistle Band, plays tomorrow through Sunday. $3 808 Post Ave.; 621-7777 Forecasters 145th St., Woodinville; 483-3232 •Lonnie Williams Band plays tomorrow. •High Rollers play Saturday. •Brian Kent Quartet plays Monday. All shows are free Redhook Ale The rule Stylebook-sanctioned listings style seemed almost unusable Owl ’N Thistle F-Sa Owl ’N Thistle Band, tomorrow-Sunday. $3 808 Post Ave.; 621-7777 Irish music Forecasters F, Sa, M Lonnie Williams Band, tomorrow. rock/blues High Rollers, Saturday. jazz Brian Kent Quartet, Monday. All free funk/blues Redhook Ale Brewery, 14300 N.E. 145th St., Woodinville; 483-3232 Better During the redesign of the entertainment tab, I adopted a multiple-scanning philosophy for listings. Now events can be scanned by reader preference (location, type of music, day or price). A bit longer, but a lot more usable. 4our Att a c k o p i n i o n s Directives from “on high,” unfortunately, can’t be ignored — although some of my favorite work has run in the lull of managerial vacations. But directives backed only by opinion without reason should be regarded with contempt; with diligence, they can be subjugated. “I like Times New Roman.” “We’ve always used “Under conditions that vary as Times New Roman.” “Times New Roman con- much and as quickly as those in notes authority.” These are unjustified opinions. which a newspaperman works, Attack the x-height, that it looks really small even at 10-point, that it was designed for English values at a specific time in history, that “authority” can be imparted on hundreds of more interesting typefaces. Force others to justify their decisions, support there are no ‘standard’ solutions. Each problem varies from previous ones and the ‘right’ answer can be one of many.” Edmund C. Arnold “Functional Newspaper Design,” 1956 yours with well-thought-out reason. No new answers Rules not only limit, but are limited. A stylebook provides guidelines only to the already solved, a static answer to whatever question has been asked. False. False. False. If lucky? False. True. False. But a true/false answer in a multiple-choice world is no answer at all. Disagree Dissent opens avenues for creativity. Remember, if you and an editor agree on “Unexpected solutions tend to have a much more effective impact everything all the time, then one of you is because they perturb or excite the unnecessary. public. It is much more risky to per- Nothing feels better than overturning a weak rule, providing a new — and better — solution. Oh, and that new “rule” you came up with, don’t let it last forever. form beyond the boundaries of what is expected. Actions beyond limits are creative, and creative ideas shape society.” Peter Bilak “Transparency” 5ive Take risks Sometimes failure is the best lesson. Att e n t i o n d e f i c i t The Society of News(paper) Design’s annual over the last few years, instead of recognizing the innovative and celebrating the distinctive, has become a promotional campaign of simplistic traditionalism. Look at the winners of the “Best Designed Newspapers.” Can you tell them apart? In the pursuit of “standards,” originality has been sacrificed to foist the newspaper “look.” Change those heads to Helvetica and its back to the ’70s. Make a switch to Bodoni — bingo!—it’s a European paper. Like a seemingly petty backlash against the visual ebb-and-flow of popular culture, SND increasingly provides a puritanical and incestuous model for newspaper designers. We Risky behavior pick ’em. You copy ’em. But copy of a copy of a copy eventually decays into a crude perversion of the original. Creativity comes from going beyond copying. Don’t get boxed in Something new adds, it does not subtract. “New” means you may have to push your skills past the comfortable. Go ahead and do work that may seem outlandish, niche-specific, hated by management, even illegible. If it fails, then fall back to the conservative. Even if it fails, it can provide a spark for the next solution. Untried, no spark. If you don’t get outside your design box, you will repeat an endless parade of sameness. A monkey repetitively punching the button for the feed pellet becomes fat and dull. Make mistakes. Learn. I’ve played plenty with partially out-offocus photos; they’ve always appealed to my aesthetics. But while art directing this pic, I thought going completely out of focus perfectly summed up my reaction to someone smoking a cigar in my face. I’m queasy. I’m passing out. 6ix Practice interpretive design Design is content. A package, not a product To increase creativity, disregard the newspaper as the product. I hear it all the time: “We don’t do that at the “Since form cannot be separated Newspaper.” “That’s not the way the Newspaper from content and since form itself looks.” “That doesn’t abide by the personality of carries meaning, then the idea is, the Newspaper.” in fact, structured and informed by That sounds more like corporate identity than content-driven design. Think of the newspaper as packaging, the content as product. As packaging, most newspaper design hasn’t its presentation. Just as the invisible typeface is an impossibility, neither can form be invisible.” Louis Sandhaus “Errant Bodies” risen above old-fashioned generic-brand design. Consistency is the prime concern for every can, every box, every article, every page: A blue bar, the contents (Peas, or Football) in 72-point Franklin Gothic, some “facts” in 9/10 Times Roman. That’s it. Try finding creamed corn by title alone. Try salivating over a simple 72-point “U.S. at war.” The can (or page) should be a window to what is contained, what is actually being bought. Crotch rock The cropping of the cover, the symbol-pics of hair and skull and the oily trash-bag background on the inside page, the medieval-feeling typography on the cover and the Nazi-esque type inside, the reversed text on thick black bars…all was a decision made to add visual content to an article on heavy metal. 7even Let the content decide Make a sports story look like defeat. Let viewers know its “punk” rock without having them read a word. Make design about the content, not about the newspaper. Every story can be a creative launching pad. As many articles. As many designs. Use the visual language Newspapers aren’t sold to readers, but to viewers. T r a n s pa r e n t ly u n i n t e r e s t i n g Newspapers believe that to communicate, graphic design should be transparent (or rather, fit the familiar). Extreme value is placed on the words, supported by standard formats and “invisible” visuals. But what is the service provided? When designers ignore expressiveness and simply select the information, hierarchize it, underline it, and point out the key message in a ritualistic way, they take away the reader’s participation. The viewer becomes passive, his own creativity unused, and bored. A boring page unread communicates nothing. Besides, invisibility is impossible. Viewers will give every visual element meaning. And in a multicultural society, there can be no “Visual communication uses emotions. Hence, it is quite unlikely that an advertisement for a new car will say ‘a device for transporting men and goods.’—it will much transparency because meaning isn’t universal. more likely touch our emotions, From viewer to viewer, previous experiences experiences and lifestyle. The and values are far from constant. The color meaning of emotions is deeper white has connotations of purity and bloom to the Europe-descended, but to the AsianAmerican, it may symbolize death and mourning. Whoever said “good design is transparent” is an idiot. No matter how transparent you try to make design, it will visually communicate. It may communicate stability, clarity, impersonality, this is “news.” But it communicates. than that of facts.” Peter Bilak “Transparency” 8ight Graphic design is a language Just as Spanish or German are languages, graphic design is a language. Visuals can be used to increase understanding of a subject. Replacing the missed If you consider spoken language, psychologists have proved that in common conversation only “The Face had two narratives, the writing and the design.” Neville Brody “The Graphic Language of Neville Brody” 20% of the information we receive is from spoken words. Crucial information is derived from the tone of voice, facial expressions, gestures and the context of the conversation. So an interview in a newspaper can give the reader far less information than received by the reporter. Even with enriched description of place and mood and a few photos, the article may not be sufficiently expressive. A wordless language Design can provide some of this lost tone, gesture, emotion. For example, tone of typography can mirror the tone of voice. Without tone, the meaning of words can be ambiguous. Design shouldn’t just amplify the textual message through duplication. Design as subtitles is weak; design that adds necessary, additional information has greater value. But don’t think visual language is a single dialect, constrained to only a few “words.” It is unabridged. Curse of the average More and more, the industry concentrates on the ordinary and caters to the obvious. In an unwavering pursuit of a mythical “everyreader,” the industry tries to capture a larger audience by adapting to an “average” taste. Their stunted visual language is adopted in the mistaken belief that communication is merely passing along facts. I felt that an Old English letter with a red halo, a voyeuristic keyhole photo treatment, and the public hype was enough to present an article on “The Scarlet Letter.” 9ine C o mm u n i c a t i o n i s f a r m o r e We should engage, excite, at times offend. Not just inform. There are multiple levels of communication. “Most of the time the message isn’t worth saying. So when you get a chance to say something yourself, Design with your voice Design you really care about is your own. Indulge yourself you might as well say something you believe in …” Jonathan Barnbrook interviewed by Rick Poynor, “Eye” no. 15 vol. 4, 1994 Why not be an artist? Vibrancy in design comes from the individual voices of designers. I do better work when I buy into a project. “Yes, it can be deadly and boring if I’d rather say what I want, rather than what you don’t put yourself in it (design). the editor wants. The fact that many designers don’t is Yeah, it’s selfish. So what. This is not an everyday thing. But designing by your values, decisions and philosophy why there are a lot of bored designers and boring design out there. while presenting an otherwise weak, unsup- Somebody said everything I designed ported textual message, can produce a much was self-indulgent, meaning it as an more interesting page. insult, but I would say ‘I hope it is self-indulgent.’ That is when you are going to get the best work.” Self-vocalization David Carson interviewed by Lewis Blackwell, 1995 I added some of my own “voice” to this typical puff piece our writers reserve for the truly uninteresting. I picked a photo of Prince “crucified” because I find him much too self-righteous. I wrote a head—“You can call him Prince (we do)”—that is anti-idolizing. I chose Bodoni for the headline font, because it always reminds me of “Vogue” and fashion, and that’s all I think this little twerp is: Style, no substance. 10n S e r i o u s ly l a c k i n g A singular corporate voice heightens the already establishment nature of newspapers. What The Seattle Times calls a design of “authority, sophistication and understatement” I call “authoritarian, aloof, and condescending.” Let me describe the visual message my way. Look to the world We can no longer be just designers. We need to by psychologists, linguists, social scientists. “Simple black and white dualisms no longer work. Graphic design that tries to make things simple is not doing anybody any real No easy answers There are no black and whites in the world even if the newspaper wants to turn them into gray and lighter gray. See what visually communicates to the world at large. See what values are placed on typography, on color, on legibility. benefit. Society needs to understand how to deal with subtlety, complexity and contradiction in contemporary life…” Katherine McCoy interviewed by Rick Poynor, “Eye” no. 16 vol. 4, 1995 Ideas galore Beyond that, the world is conceptual fertilizer. Stop xeroxing other papers. Go to the source. Solutions from a few billion people are more eyeopening than those from a few hundred newspapers. Design withers when feeding only upon itself. The gifts of a horse’s mouth Look around you, the world has plenty of ideas. And we can read both of these with absolutely no trouble; we see them everyday. Why not on a page? 11even Embrace change “The medium, or process, of our The status quo is not a creative force. Change happens. So hang ten on the lip of a wave; don’t futilely backpedal into a raging wall of water. time—electric technology—is reshaping and restructuring patterns of social interdependence and every The unsupported message aspect of our personal life. It is forc- We present newspapers (by their typical ing us to reconsider and re-evaluate design) as bastions of unwavering authority when, most times, their content doesn’t even last to the doorstep. News is already “old” when delivered. practically every thought, every action and every institution taken for granted. Everything is changing— Our product is disposable. you, your family, your neighbor- Why not reflect the “fresh-now-but-thrown- hood, your education, your job, your away-tomorrow” nature of the content. government, your relation to others. Tie design style to current culture. And they’re changing dramatically.” Style is not false, shallow or meaningless. It is Marshall McLuhan 1967 surface. And surface is the first thing to communicate. Love Change Nothing has more built-in creativity than the force of change. Everything we do today will be obsolete. Count on it! Hold out for a while, or surrender “Like the arabesques of the 1880s now, but there is no way, we won’t have to come and the swashes of the 1970s, the up with something new in the future. contortions of the 1990s will fall out of favor.” Tobias Frer-Jones Why fight it? Some of the more than twodozen logos for the three-year run of “Wild Life” 12evle Mutterings of a madman? OK, there’s my manifesto (at least what I could think of in the last few weeks), cut and dried and delivered with arrogant tone. But if I believe something, I believe it strongly. Does it translate into daily design? Not always. The hurdles are substantial. The creative atmosphere is riddled with the cancers of repression, doubt, fatigue. High ideas take a back seat when I need a job to feed my family more than to feed my ego. Many times, I’m too frustrated to fight, too tired to care. The limitations of my talent and boundaries of skill always keep a design from reaching the heights attempted. And there is always the gap between intention and effect. Viewers complete a design their way, analyzing it through their values, changing the intended message with their interpretations. So every pursuit, no matter how carefully executed, will fail to some extent. But as a priest once said, “We will never be perfect, but we must always strive for perfection.” So what of poetry? Jeff Neumann