Accompanying my presentation

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Colleen Sedgwick
(E0498336)
Diploma of Graphic Design
CUVGRD501A Research visual communication history and theory
Assessment 2: 30531/02
Case Study – Swiss-Style
Short Report

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Instructions
Once you feel confident that you have covered the learning materials for this
unit, you are ready to attempt this assessment.
To help Open Colleges manage your assessment, please use the following
file naming convention: [student number]_[assessment]_[assessment
number].doc for example 12345678_21850a_01.doc.
Assessment Submission
When you are ready to submit your assessment, upload the file in Open
Space using the Assessment Upload links in the relevant Study Period of your
course.
The Student Lounge provides a ‘Quick Guide to Uploading Assessments’ if
you need further assistance. Uploading assessments in Open Space will
enable Open Colleges to provide you with the fastest feedback and grade on
your assessment.
It is important that you keep a copy of all assessment materials submitted to
Open Colleges.
Assessment overview
In completing this assessment you will provide evidence that you are
competent to perform
the following:
• Present ideas about visual communication history and theory
• Engage in the student forums
• Develop own practice from research
You must satisfactorily complete the activity identified in the table below.
Activity Submission
Presentation 10-15 slide presentation with accompanying 200 word report
Grading information
Your trainer will use your assessment submissions to judge whether you have
satisfied the assessment requirements for the unit of competency
CUVGRD501A Research visual communication history and theory. In
addition, you may choose to be awarded a graded result for this unit of
competency. You should refer to Appendix A for details about grading for this
unit.
Activity: Presentation
Follow these instructions to develop and deliver your presentation and report.

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1. (a) Use your research and analysis from the case study you wrote in
Assessment 1 to create a simple A4 advertisement for a product in a
magazine.
2. (a) Develop substantiated opinions about the period of artistic development
you researched for the case study and the way it relates to past or current
design.
(b) Post your research notes on the student forum and store a screenshot of
the discussion in your final submission.
(c) The advertisement should then demonstrate these influences.
(d) The advertisement should be created in Microsoft Word, Microsoft
PowerPoint or Adobe In design with the final output being delivered to Open
Space as a .PDF file.
3. (a) Create a presentation using software such as Microsoft Word, Microsoft
PowerPoint or Adobe In Design that shows the evolution of your design.
(b) You may want to include works that show certain aspects of style, function
or form commonly associated with theories you have learnt.
(c) Detail anything you had to consider about your business such as
marketing or production, both now and in the future.
(d) For instructions on how to properly reference images and text, look at the
Academic Referencing Guide found in the Student Lounge on Open Space.
(e) The presentation should be 10 – 15 slides long and uploaded to Open
Space for marking as a .PDF document.
(f) Consider intellectual property issues and legislation and how they relate to
the research process.
4. (a) Create a 200 word written report where you discuss how your previous
research informed the process of creating the advertisement.
(b) Include connections and associations between history, theory and
contemporary practice.
(c) Ideally this will have been created in Microsoft Office, Microsoft Word or
Adobe In design.
(d) Create a separate .PDF file and upload it to Open Space.
Appendix A
Grading information
Your trainer will use your assessment submissions to judge whether you have
satisfied the assessment requirements for the unit of competency
CUVGRD501A Research visual communication history and theory. In
addition, you may choose to be awarded a graded result for this unit of
competency.
In order to demonstrate competence in this unit you must have used your
knowledge and skills to perform the following:

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• Present ideas about visual communication history and theory
• Develop own practice for research
In addition, you may choose to be awarded a graded result for this unit of
competency. To achieve a Credit grade, you must firstly satisfy the criteria for
competency. You will need to extend yourself in achieving all aspects of the
evidence. Performance indicators that provide evidence might include the
following:
• Evidence of development of a range of ideas relating to research findings.
• Evidence of organisation of ideas and concepts into clear creative form.
• Evidence of selection of ideas based on relevance.
• Creative care in integrating findings into own work.
• Evidence of consideration of a range of business practice techniques.
To achieve a Distinction grade you will need to extend yourself beyond the
credit requirements and the achievement of all aspects of the evidence.
Performance indicators that provide evidence might include the following:
• Evidence of high engagement from research findings through to design
execution.
• Evidence of research and conceptualisation beyond the requirements of the
project.
• Written excellence in clarifying and articulating ideas

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I chose the Swiss (or International Typographic) Style - it began in Europe in
the 1920's1
, was popular in the 1950's and 60's; and coincided with the
German Bauhaus style, De Stijl (The Netherlands) and Constructivism and
Suprematism (Russia) (Smeared Black Ink, 2008; Wikipedia, 2016;
International Poster Gallery, 2016).
Its characteristics include sans-serif type2
, simple shapes, grid-style layouts,
'white' space and bright colours (Burghart, 2016; Terror, 2009; McCoy, 1994;
Tech Samurais, 2013). There are few embellishments and information is
organised and structured so it is readable and concise – characteristics vital
to web design and user-friendly interfaces as they are to other formats
(Terror, 2009) and present in the Flat Style.
The USA and Australia later adopted this style (McCoy, 1994; Barnum et al,
2012); it is now so common among corporations (McCoy, 1994), even my
employer, Australia Post, uses it.
Dutch post-war graphic artist, Pieter Huveneers designed Australia Post's
logo in 1975. He was previously employed by the British Postal Service. The
logo's elements include a 'P' (for Post), a Postal Horn on the right hand side, a
'fire-engine' red, a circle, the symbol on the left side of the text and the Zurich
type family (Miekle and Pigot, 2012), designed by Swiss typographer, Adrian
Frutiger (Linotype, 2016) for the lettering (op cit).
1
the namesake due to the Swiss making it famous;
2
like the Helvetica font or typeface, invented in 1957 by Massimo Vignelli [McCoy, 1994], and
named after the Latin word for 'resident of Helvetia' [Tech Samurais, 2013])

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Notes (Commentary)
Slide 1
Greetings all,
Welcome to CUVGRD501 – Research Visual Communication history.
My name is Colleen Sedgwick and I am here to talk about the Swiss Style
in Graphic design history. On this title page, I was inspired by the poster
by Joseph Muller Brockmann, advertising Symphony Orchestra plying
Beethoven’s music.
Slide 2
A brief overview: the Swiss were the ones making it famous – hence, the
reason for its name;
Slide 3
This example here is the Akzidenz-Grotesk typeface;
Another example is the Helvetica font or typeface, invented in 1957 by
Massimo Vignelli [McCoy, 1994], and named after the Latin word for
'resident of Helvetia' [Tech Samurais, 2013])
These styles make it suitable for web design and other forms of digital
design.
Slide 4
There is not a real lot in the way of illustration, but this one by Ernst Keller
(of the eagle and snake fighting with each other), is a fine example;
I like this piece because I can also see the Native American or Pre-
Columbian influence in this composition;
the other by Joseph Muller Brockman uses photography and typography.
Slide 5
I work for Australia Post so this is a reason I chose this style.
Slide 6
Pictured here are the logos for various postal organisations around the
world – you can see the postal horn in Deutsche Post (Germany’s postal
system) and Correos (Spain’s Postal system)
The next slide features the variations on the logo.
Slide 7
Some of the features of the Australia Post logo include a San-serif font,
rule of thirds, solid colours – these are also seen in Swiss design.
The one exception is the ‘We ♥ delivering’ slogan, which uses the more
recent flat design and a hand-written font.

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Slide 8
This is a Mood Board I created showing the different design elements for
Australia Post’s products and services, including
postage stamps, mail boxes, logos, online/digital/user experience, a
certificate/plaque commemorating my 20 years of service (issued in
2009), a postal van, an aerogramme, a catalogue and the brand new
parcel lockers.
In addition to the Swiss style, we also see vintage designs, abstract art
and flat design.
Slide 9
These are some of the clippings I obtained when designing for my
advertisement;
they were taken from the Post Journal, the advertising catalogue, and
even the old embroidered patches from items of clothing that were part of
my uniform.
Slide 10
Here are three thumbnail sketches I did for designing my advertisement for
Australia Post ‘Return to Sender’ ad.
Slide 11
The first of these is a flow chart/info graphic demonstrating the mail
redirection process – it uses simple shapes, solid colours and sans-serif
type;
The 2nd of these uses black and white photography against a coloured
background – I have yet to add the text, though I have used the logos for
Australia Post and Star Track.
Slide 12
One is a fully justified version; the other is a right aligned version - Which
one is your favourite?
This classmate posted this comment on the Open Space forum. She felt
the colour scheme was too ‘subtle’ for Australia Post
Slide 13
Includes a new colour scheme fitting to Australia Post and ‘capsules’ to
give it more of a ‘Swiss’ or European look.
Slide 14
One forum member suggested I change the presentation to something a
bit more ‘clean’ or ‘simple’.

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Slide 15
And this brings me to the end of the presentation.
I have enjoyed giving you this talk and I hope you enjoyed it too.
You can find more information on the Swiss style in these references.

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References
Barnum, A, Haddock, S, Hicks, A and Oppen, F (2012): 'Typography' in Graphic Design: Australian Style
Manual; McGraw-Hill Australia, pages 115-121
Bllanka (2016): Muller Brockman, http://www.blanka.co.uk/Design/Muller-Brockmann
Burghardt, F (2015): Swiss Style Colour Picker, in Swiss Colours, http://swisscolours.net; see also
http://www.fabianburghardt.de/swisscolors.html; Retrieved 23/01/16 at 07:42:52 AM
Design is History (2016): Swiss Design in http://www.designishistory.com/home/swiss; retrieved
22/01/16 at 13:35:14
French, N (2014): Creating a Swiss-Style Poster, in Lynda.com, http://www.lynda.com/Illustrator-
tutorials/Type-Project-Swiss-Style-Ad/173878-2.html
International Poster Gallery (2016): International Typographic Style,
http://www.internationalposter.com/about-poster-art/international-typographic.aspx; retrieved 13:36:52
at 13:36:59
Linotype (2014): Zurich Font Family – Designed by Adrian Frutiger, Details and Background Information,
in Linotype.com, http://www.linotype.com/1086975/zurich-family.html?site=details; retrieved 23/01/16 at
08:06:08
McCoy, K (1994): ‘Rethinking Modernism, Revising Functionalism’, Looking Closer: Critical Writings on
Graphic Design, Bierut, Drenttel, Heller & Holland, eds., Allworth Press, New York, 1994, p. 49.
Miekle, L and Pigot, E (2012): 'Top Ten Australian Logos: 9th – Australia Post' in Desktop Mag:
http://desktopmag.com.au/features/top-10-australian-logos- 9th/#.VqKYmSp97cv; published September
20, 2012; retrieved 22/01/16 at 13:33:59
Smeared Black Ink (2008): International Typographic Style, in Smearedblackink.com,
http://smearedblackink.com/swiss_style_timeline/; retrieved 23/01/16 at 08:55:12
Tech Samurais (2013): A brief history on Flat Design by Rob, 31 s t July 2013 in
http://www.dojo.techsamurais.com/?p=1232; retrieved 12th January, 2016.
Terror, D (2009): 'Lessons from Swiss Style Graphic Design' in Smashing Magazine,
https://www.smashingmagazine.com/2009/07/lessons-from-Swiss-style-design; published July 17, 2009;
retrieved 22/01/16 at 13:45:21
Wikipedia (2016): International Typographic Style,
https://en.wikipedia.org/wiki/International_Typographic_Style; updated 7 January 2016, at 02:45;
retrieved 22/01/16 at 06:09:42
Wikipedia (2016): Joseph Muller Brockmanhttps://en.wikipedia.org/wiki/Josef_M%C3%BCller-
Brockmann