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Iconography Research

Published by Melissa Dunn on October 27, 2020

Apple ‘Safari’ Icon

This icon has been creating using a design which represents the functionality of the application, a compass symbolises the function of a search engine as we would use a compass to guide us when lost or in order to locate the correct path. The style of the icon is relatively simple containing only three colours, however, there has been use of varying tones to introduce shading in order to portray a depth to the icon. I would present that the icon suggests emotions of excitement and opportunity through the association of a compass which alludes to adventure and discovery.

Zoom Icon (Mac)

This particular icon is incredibly straight forward and simple, the icon represents a video camera which summarises the function of the application – video chatting. The icon interprets only two basic shapes – a rectangle and a triangle, both have been modified ever so slightly using curving and cropping. I believe that this is a very affective and attractive icon, it is easily understood and recognised for the application it represents, it is sleek and the simplicity of both shape and colour portray a modern appeal.

 

Apple ‘Photos’ Icon

Unlike the two previous icons, this example differs slightly using a more abstract image opposed to strictly functional. the icon represents the spectrum of colour which makes up our photographs – as well as anything seen by the human eye. Each colour presented overlaps one another portraying the depth of possibility to colour. I would suggest that this icon portrays emotions of curiosity and fascination through the implication of possibility that the spectrum of colour represents.

 

Each of the icons I have presented are in the MacOS format, the structure on which is consistent across all of a circular format. This varies between devices, such as on the iPhone and iPad where all icons are made up of a square with rounded edges. However, despite the variation depend on device, each device itself has a consistent structure which makes its icons recognisable.

Rob Janoff & The Apple Logo

One of the most famous icons on earth is the Apple logo, this was designed by Rob Janoff in 1977. Since then the logo has incurred some small altercations but the basic structure has remained unchanged. The longevity of Janoff’s design is a testament to how affective simplicity really is, a truth that continually serves and remains in contemporary design today. In a 2013 interview Janoff simply stated “If you have a computer named after a piece of fruit, maybe the image should look like the fruit?”.

Brand Audit

Published by Melissa Dunn on October 26, 2020

Brand Audit: IKEA

IKEA in three words: friendly, affordable, simple.

IKEA presents itself as a friendly and welcoming brand, it is modern and simple which aims to appeal to everyone. Although IKEA mainly markets itself as an affordable brand, it should be recognised that they do appeal to a large range of budgets as their products range from affordable to considerably more up-market.

IKEA’s visual style is simple and modern, their use of language is accessible, and they communicate to their audience in a very friendly manner through their graphic style, with marketing usually consisting of messages such as ‘welcome’ and ‘Hej’. A hugely important part of IKEA’s brand personality is their Swedish origin, the brand’s graphic communication represents this in a variety of ways such as their very recognisable colour scheme of blue and yellow – the colours of the Swedish flag. As well as their frequent use of the Swedish message, ‘Hej’ to welcome customers to their stores and online locations and very recognisably all of their products are named in Swedish in all countries to emphasise their patriotic appeal.

IKEA’s Target Audience

IKEA’s target audience in three words: ambitious, busy, cost-conscious.

If I were to describe IKEA as a famous person, I would choose Tom Hanks because as a brand they are extremely friendly, at the top of their profession, incredibly humble and down-to-earth as well as possessing a relatability to the public.

IKEA’s target audience are millennials between the ages of 22 and 38. The company’s branding and graphic communication is most likely to appeal to working-class and lower-middle-class individuals who are economically sensible, self-sufficient and uninterested in the likes of high-end designers.

The brand’s target audience will live an independent lifestyle of working full-time supporting themselves and/or a young family, their occupation will usually consist of a career as a young professional or skilled worker which they have achieved through working hard throughout their education, coming from a working-class family.

Graphic Design in Music

Published by Melissa Dunn on October 26, 2020

In response to this brief I have chosen to examine the design of a collection of album covers by Imagine Dragons as while I was exploring a range of album cover artworks, I couldn’t seem to keep from circling back to these. As a fan of the band I find it fascinating how these covers manage to reflect the band’s music so effectively.

The typography used across all of the covers is a sans serif font, it is very sleek, modern and minimal, the simplicity of the type gives it an almost futuristic appeal, this is supported by the use of the colour white across all type. Imagine Dragons’ music has an extremely futuristic, fantasy-like sound which is emphasised by a prominent use of electronic sound.

Across all covers, the images used reinforce the band’s futuristic appeal by presenting scenes that could be described as apocalyptic, fantasy scenes. The use of glowing, neon colour throughout the images reinforces this notion by suggesting a sci-fi appeal to the artworks. The typography has a clear relationship with the images throughout all of the covers, the type is intentionally positioned in uncluttered areas of the images to boldly pronounce it into view.

One of Imagine Dragons’ most well-known singles, ‘Radioactive’ was prominently featured in the TV series, ‘The 100’ which is described as ‘a post-apocalyptic science fiction drama’ which is set in the year 2149. I would suggest that this only emphasises that Imagine Dragons’ music is widely interpreted this way.

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