OUGD405 - End of Module Self Evaluation

OUGD405 - End of Module Self Evaluation

On the whole, I think my performance has been good during this module, I feel like the quality of my work has improved and my enthusiasm for the course has grown even more. This is mostly down to the studio briefs in this module being the most enjoyable for me personally however I think it's also because my skills have improved and I have enjoyed pushing the limits of what I can do even more. On the whole I have found the content of the module very relevant; short day long workshops have been valuable in gaging the direction to take my work, even though I do sometimes struggle to produce successful work in only a day. Resources such as research links on E-studio have been incredibly useful in furthering the conception and development of initial ideas when inspiration is needed. 

I believe my skills have noticeably improved since the start of the module. My attention to grid systems and layouts has become more dexterous while my ability to choose and edit suitable typography has become more developed. The design process is almost second nature to me now; researching and critically analysing relevant designers and contextually appropriate research points, developing a multitude of ideas using a range of approaches and refining those ideas to a final design. One thing which I feel I have improved on greatly is my attention to production and to the consideration of paper stocks and techniques such as bookbinding to make finished products look more professional overall. I’d also say my skills with adobe software have improved a lot more as well, especially InDesign which has been particularly relevant to studio brief 2. My improved skills on things like InDesign and Bookbinding have been down to inductions and tutorials which have proved very useful. 

Ultimately I think I’ve worked very hard during this module, which I hope would be reflected in my attendance and enthusiasm during studio time. There’s always room for improvement and upon reviewing my self evaluation from OUGD403, in which I indicated blogging and using a greater range of materials and processes as the points I’d like to improve, I think I have done this. In general, my goals for the next module would be to be more ambitious in every respect; improve my range and quantity off research and really immerse myself in graphic design, not just relevant to the project but in general. I want be more daring in regards to the approach to my work; do things on a bigger scale with materials and processes I'm less familiar with such as screen-printing. One of my biggest weaknesses can be that I always get caught up in thinking of a great idea and ultimately leave less time to carry out that idea to the quality it should be. Therefore I intend to focus more on image making and developing simpler ideas with greater effect. 

OUGD405 - Publication Critique

OUGD405 - Publication Critique

The state of the zine at the time off this critique was not ideal as it wasn’t fully finished; using the photocopier to produce it took a lot of time as when printing on both sides of a page, sometimes with multiple layers, the orientation was almost impossible to regulate. So while this group critique indicated points for improvement that were already fairly evident, there were some ideas to take into account when entering the latter stages off production. 

More content? - While the rationale behind the zine being short and containing few pages links to the idea of it replicating a short anti-war handout or newspaper, it would have been interesting to produce more pages and see if the impact of its message was diminished or was augmented. 

Propaganda Type - The relevance of the phrases from the comic book propaganda was unclear for some and while the zine doesn’t acknowledge the reasoning behind the type except for the source, in unison with a rationale, this should be clear. The reason the type is so impactful in some regards is that the source doesn’t matter because the shocking contrast between it and the images speaks for itself.

Screen printing - Screen-printing the publication would have been very effective and was originally the intended production method, however due to time restraints this wasn’t possible. It would have been interesting to see how the zine would have fit with the newspaper aesthetic it holds if it had been screen printed. 

OUGD405 - Cell Phone Symphony - Rationale

OUGD405 - Cell Phone Symphony - Rationale

This poster visually links the themes of cellular communication and auditory/musical experiences through the use of musical notation in both imagery and typography; it utilises a visual comparison between phone lines and sheet music while also deriving letterforms from a treble clef. The teal green spot background colour is reminiscent of the classic screens on earlier phones from the early 2000’s which were used when Golan Levin performed Cell Phone Symphony in 2001. The warped grid background serves to make the composition more dynamic. 

The heading text of the poster appears in DIN Condensed Bold ranging between black and white and outlined or block colour, this represents a range of different simultaneous signals. Its arrangement fits into a rational modular grid however follows an irrational pattern, echoing the sentiments of designers such as Wolfgang Weingart and David Carson. The body text in Franklin Gothic Condensed Bold follows the lines and forms put in place by the main typography, imbuing a visualisation of the harmonious relationships between different notes.  

OUGD405 - Cell Phone Symphony - Evaluation

OUGD405 - Cell Phone Symphony - Evaluation

The outlines of this brief required the poster to suggest auditory experience and ideas of social and technological interaction; this poster adheres effectively to both of these parameters.

It suggests auditory experience by; using relevant imagery of musical notation and even utilises modified treble clef symbols as letter forms, demonstrating an unconventional yet harmonious layout and relationship of typography that imbues one with the sense of a multitude of signals and sounds interacting and finally the underlying dynamism of the poster, complemented by the warped grid background  suggests a certain level of auditory experience by deconstructing what would be a fairly flat composition and hinting at a multi sensory experience. 

This poster suggests social and technological interaction and communication by using fairly predictable imagery; a phone line pylon. However this imagery is made more exciting by the substitution of  phone cables for the lines on sheet music, making the composition more original and engaging. Another factor that suggests technological communication is the green colour palette, intended to mimic the colour of phone screens from the early 2000’s.

Ultimately this poster design is successful and effective, with some of the highlights being the choice of typography and its layout. Group critiques were a particularly effective way of assessing the state of the poster; informing the design process and streamlining its development and refinement with comments such as to change the colour scheme to one which contributed to the themes of the poster, and to change the background from being one spot colour in order to make the design more exciting. 

If this poster could be developed even further, there would be a couple of things worth exploring; one of the aims of the poster was to create a composition which pushes how dynamic a flat 2d typographical poster can be, and while this is achieved to a certain extent, this idea could be explored more extremely, perhaps by using physical process like collage or photography which utilise perspective and would genuinely make the poster look 3D. Another idea which would be interesting to develop more would be to try and create a whole typeface out of the treble clef symbol; while this could result in an abstract and unrefined typeface which would not add much more to the poster that simply using three letterforms doesn’t already achieve, it could could result in some unusual and contemporary typography which would make the poster more unique.  

OUGD405 - Cell Phone Symphony - Final Outcome/Production

OUGD405 - Cell Phone Symphony - Final Outcome/Production

This poster design advertising Golan Levin’s ‘Cell Phone Symphony’ was designed to challenge the levels of movement and dynamism achievable in a 2d typographical composition, provide an exciting and impactful design and visually suggest auditory experience.

Though the composition adheres to a modular grid, the large heading typography adopts an irregular and distinct arrangement, comparable to the work of David Carson or Wolfgang Weingart. This in unison with its mix of colour and outlines, letterforms with extended stems and use of capitalised DIN Condensed Bold, visually evoke the idea of multiple sounds or signals being simultaneously played. This visual hint at auditory experience is complemented by the smaller Franklin Gothic Condensed Bold body text harmoniously aligning with the type and grid system.

The imagery of the composition effectively links the ideas of cellular communication and music through the substitution of phone lines for the lines on sheet music. It also imbues a level of movement to the composition through the curved lines wrapping around the page. Sound and music are again communicated, this time with the musical notes and onomatopoeic ‘rings’ sitting on the lines.

The background colour palette was chosen to echo the colour of the screens of phones from the early 2000’s which would have been used in Cell Phone Symphony. The warped background grid, which adds another level of dynamism to the composition, was a suggestion from a group critique, it occupies a slightly darker hue then the background in order to not distract from the foreground imagery which it would do with a brighter colour.

OUGD405 - Cell Phone Symphony - Design Development

OUGD405 - Cell Phone Symphony - Design Development

This poster demonstrated well thought out design decisions and resolved imagery and type which made it the clear choice to develop further. However these design decisions needed to be refined even more to make it an effective and impactful poster.

The most fundamental factor which had to be developed was the colour and background; as an initial idea, the orange and purple colour palette attempted to create a bold composition with its combination of tertiary colours however it ended up convoluting the already intricate design, a notion repeated in a group critique. Therefore it was replaced by a green/teal hue in reference to the screens of phones from the early 2000’s. The warped grid pattern was added in later, subject to another group critique, in order to make the composition less flat and more dynamic.

Small details were also refined in the imagery of the poster; the lines which hung from the phone tower as they would normally were straightened out to only have a very subtle bend, more lines were added into the top left corner and a cluster of musical notes were added to the bottom right corner where the lines end. All of these changes were made firstly as small technical adjustments to increase the aesthetic value of the composition but also to increase the movement and dynamism of the poster.

Changes in kerning were made individually to the heading type and the stems of some letters were extended. The reason for these changes was to further develop the idea of simultaneous signals taking place like in Cell Phone Symphony. The colours and outlines of some of these letterforms also changed in order to create a more harmonious hierarchy in relation to where the emphasis is on the words as you say them, which also correlated to the visual hierarchy effectively.

The last development to the poster was the body text; the Andale Mono body text in the bottom left corner was substituted for Franklin Gothic Condensed Bold and individual lines were separated and aligned with the grid system and heading typography, this was to further communicate the idea of multiple signals being relayed at once but also to give the impression of random harmonious relationships within the composition.

OUGD405 - If it Bleeds it Leads - Categories

OUGD405 - If it Bleeds it Leads - Categories

Ordering various uncomfortable images that people found in a group in a range of categories was a useful way of determining how the imagery we chose can be used most effectively, and the contexts it could be relevant to in a publication. 

Uncomfortable - Easy

1. Vulture preying on young African child. This image was chosen as the most uncomfortable due to the fact the photographer chose tom capture the image instead of intervene.
2. Christian youth group celebrating the death of a young Palestinian girl
3. Man about to get hit by a train - Similarly to the first image, the photographers lack of intervention was brought up, however the singing joyful faces next to a young girls dead body in picture 2 was thought to be altogether worse.
4. Suffragette Emily Davidson being struck by a horse during a protest for women rights.
5. Hitler with a young child - Although Hitler carried out atrocious acts of violence and hatred, there is no imminent threat in this picture which made it less uncomfortable.
6. Massive high rise complex in Hong Kong showing thousands of rooms habitant the giant structure.

Unethical - Ethical

1. Vulture Image
2. Train image - this time in second place due to the lack of intervention by there photographer making it less ethical.
3. Christian youth group celebrating the death of a young Palestinian girl
4. Hitler with a young child
5. High rise in Hong Kong - Unethical due to the massive health and safety concerns and the potential disaster and loss of life which could occur in the event off heavy damage to the building.
6. Suffragette Emily Davidson being struck by a horse during a protest for women rights. - Voted the least unethical because not only was the death an accident, the person who take the photo could not have stopped it.

Important - Trivial

1. Image of sign informing inhabitants of Hawaii that the warnings of nuclear threat were accidental - Deemed the most important because of the validity of its current relevance. 
2. Image of a prison guard in ‘Abu Ghraib’ prison smiling as he taunts and assaults a prisoner
3. Vietnamese civilian about to be executed during the Vietnam war.
4. Image of Nazi’s during World War Two - Though incredibly important in history, is not of great relevance now.
5. Hitler with Child
6. Image of devastating train crash - Although many lives may have been lost - this was a one off accident.

Vulgar - Cathartic

1. Vietnamese civilian about to be executed during the Vietnam war. - The imminent death and extreme emotion on the civilians face makes this image incredibly unpleasant to look at.
2. Image of a prison guard in ‘Abu Ghraib’ prison smiling as he taunts and assaults a prisoner
3. Shadow of a Hiroshima victim on the ground. - Evocative of the catastrophic loss of life by the Hiroshima bomb.
4. Suffragette Emily Davidson being struck by a horse during a protest for women rights
5. Hitler with child
6. Bottles fused together by the Hiroshima Bomb - In context, this is also evocative of the horrible event, however as an individual image, it is not particularly vulgar.

OUGD405 - ‘Regarding the Pain of Others’ by Susan Sontag

OUGD405 - ‘Regarding the Pain of Others’ by Susan Sontag

The purpose of this book by Susan Sontag, is to question the morality of war photography and generally gruesome imagery that as a society we are exposed to. Sontag delves into this idea by exploring humans reactions to this sort of imagery, how it effects us and how we should respond to it. 

In chapters 6 and 7, Sontag attempts to explain our morbid curiosity to violent images and why we are attracted to them in a sense. She sums this up with 3 different reasons:

1. To steal oneself against weakness
2. To make oneself more numb
3. To acknowledge the existence of the incorrigible (behaviour unable to be changed or reformed)

Sontag puts forward the question - How should we respond tom these images?’ With sympathy or suspicion? As a viewer there is a certain level of detachment from these images; we are privileged because we are not effected by it, we cant do anything about it and we are not to blame for it. For these reasons we cannot respond with sympathy. 

However Sontag also states how we cannot respond with suspicion either. She firstly does this by quoting a passage from English poet Baudelaire’s journal, who’s discernible opinion on the matter can be summarised by certain quotes such as - “Every newspaper from the first line to the last is nothing but a tissue of horrors”. He describes the subsequent image of the world based off of these stories as a ‘universal orgy of atrocities’. Sontag brings up the point that exposure to these images is removing our capacity to react and that we live in a ‘society of spectacle’ - every situation must be turned into a spectacle to become real. 

Sontag summarises by saying the only way we can react to this sort of imagery is with emotional freshness and ethical pertinence. 

I found this section from Regarding the Pain of Others very informative, sobering and thought provoking.  As a designer and general visual thinker, it’s interesting to think about the power of imagery; while these images are used to first and foremost demonstrate the severity of violent events and to evoke empathy, one does not tend to consider the adverse effects.

OUGD405 - If it Bleeds it Leads - Gif

OUGD405 - If it Bleeds it Leads - Gif

This prerequisite to creating zines based on ‘uncomfortable’ images focused on pairing up and comparing one of these images, subsequently finding a word that broadly linked the 2 and then creating a 10 framed gif using collage materials as well as these images.

Based on the word conflict, this gif firstly features an image taken by photojournalist Don McCullin of a christian youth group celebrating the death of a young Palestinian girl during the Lebanese civil war in the 70’s. The second image is of a group of boys stood among the wreck of their destroyed Harlem home, also in the 70’s. The 2 images are similar in composition so visually they worked well together in a gif. The substitution of the backgrounds in both the images for brightly collaged materials represents the conflict between emotions in the 2 pictures. The yellow background represents the joy of the young Christian group, with red collaged shapes symbolising the violence and death of the picture. The blue background highlights the sadness of the young boys in the second picture, visualised figuratively with a rain cloud. 

This activity focused on creating effective imagery in a short space of time and I found it interesting trying to achieve a narrative/pattern between the 10 different frames of the gif, a skill which will be useful in creating the zine later on.

Steve Hockett Studio Visit

Steve Hockett Studio Visit

Steve Hockett’s creative practise ‘Wonder Room Studios’ produces a wide range of work from print to digital animations to creative art direction. Hockett’s rough and ready style is characterised by his use of processes such as risograph printing, scrawled illustrations and liberal use of of a monochrome colour palette. As a designer and creative thinker, he exemplifies the idea of embracing imperfections to achieve a more unique and cultivated visual identity. 

 

His workshop very much ran parallel to these principles, utilising quick image making techniques such as sketching a logo and passing it along to the next person, who would then copy the sketched logo and not the original. This produced funny results as well known brand identities slowly deteriorated as they were passed round a group and lining up these sketches consecutively further visualised this idea. These sketches were then used not create more refined pieces of design like zines or posters.

The whole experience was not only fun to do, but imparted a lot of wisdom about design process and image making. I learnt that simple ideas paired with quick processes can result in really interesting work which can be a lot more engaging and personal than sitting on the computer for hours designing something.

OUGD405 - Cell Phone Symphony - Research

OUGD405 - Cell Phone Symphony - Research

“What’s the use of being legible, when nothing inspires you to take notice of it?”

- Wolfgang Weingart

“Don’t mistake legibility for communication” 

- David Carson

Two designers with a masterful command over typography are Wolfgang Weingart and David Carson. Both of them defied standard approaches and applications of typography and instead thrived in illegibility and more abstract approaches. While Weingart was credited for the creation of 'New Wave’ or “Swiss Punk Typography”, Carson was hailed for his new ‘Grunge Typography” style. 

A great deal of inspiration can be taken from both of these masters of design when creating posters for Cell Phone Symphony; utilising techniques such as; non standard layouts/grids, the manipulation of letterforms and a generally more visual approach to typography, using the forms figuratively.

Cell Phone Symphony evokes a number of approaches which could be taken to effectively visually communicate it. Mostly by representing auditory experience; this could be done through appropriate imagery, but it could also be done by eliciting movement through more fundamental aspects of the design such as the typography or grid system. The basis of Cell Phone Symphony is the idea of a multitude of signals and sounds almost chaotically crossing paths and against all odds, interacting in a melodic way. This is very similar to David Carson’s use of typography; random and seemingly non compliant to a grid system, however resulting in a concise and stylised design. 

A good way of generating ideas is restricting yourself to certain rules or creating visual tasks with specific instructions, for example taking 10 phone numbers and producing imagery based on patterns within them or texting your ‘text door neighbour’. The most important thing is to try and defy the standards rules and approaches. The main restriction of a poster is that it’s 2d and static, so one approach could be to make it 3d or move somehow, or yo could simply challenge these ideas visually - How can movement and auditory experience be induced in a poster? How can the imagery and type be made dynamic and exciting to look at?

OUGD405 - Cell Phone Symphony - Silent Critique

OUGD405 - Cell Phone Symphony - Silent Critique

With some stark changes to this poster design, this subsequent group critique yielded some really positive feedback, as well as a few valuable ideas to be considered for final alterations in the designs refinement. 

“More colour or a more complex design in the background to make it less flat?” -  The background of the poster is one single block colour which does give it a fairly flat impression, however since the type and imagery is fairly complex, a more intricate background could convolute the entire design a bit too much. Perhaps a magenta hue, the inversion of the green background, could create some vibrating boundaries which might have a dynamic effect. 

“Make an entire typeface out of the treble clef?” - Although this would be a very interesting idea to develop and it does work for select letterforms in the type, to use it for the entirety of the heading typography may make the poster too illegible.

“More hand rendered and physical processes?” - A lot of the previous discarded designs in initial ideas used some effective hand rendered and physical processes, however despite that, this design was the strongest and was therefore the one which was developed more. So physical image making techniques have still been explored in this project, however the effectiveness of using them on this developed poster is uncertain, perhaps for the background imagery?

OUGD405 - Fanzine Factory - Group Initial Ideas

OUGD405 - Fanzine Factory - Group Initial Ideas

After completing the image making process of this task, as a group we reviewed all our zines and collated all the images and pages we liked best, ultimately we had 20 a5 pages. These pages had no underlying visual theme or process which has been applied to all of them, they were simply the most refined and successful designs. 

We brainstormed ideas for our zine, the most important factor worth discussing was the theme; while all the images don’t share a similar aesthetic or theme, a process could be applied to all of them which could dictate that theme. Another important factor is the narrative and purpose of the whole zine - is it informative or purely visual? How can we engage whoever is reading it? Could the function of the zine inform the combining theme of the images? 

Ultimately we decided on one idea to explore for developing our images; there are 5 people in our group so we each took 4 of the images and we will individually apply a process on them based on the number 5 - e.g. split each page into 5 and mix them up or take a 5cm by 5cm section of each image. I have mixed feelings about this idea because although it may be an interesting idea to explore visually, I feel it may result in a collection of images which will be concise and well designed, however may seem a bit random. Perhaps it would be clearer if the idea of 5 is stated explicitly with a title like “Rules of 5” and each set of images has a rationale explaining the process which has been applied to it.

OUGD405 - Fanzine Factory - Morning Session

OUGD405 - Fanzine Factory - Morning Session

The nature of the Fanzine Factory task demands a high level of collaboration at a very fundamental level; quickly collaging and image making on one page and then instantly passing them around again and repeating the process inhibits complex design decisions to be made and instead one must instantly interpret existing pages and complement their narrative or aesthetic. This encourages you to visually explore other peoples ideas and not just your own. For example, my instinct would be to collage slightly more; cut out images and type and explore their layout and relationship as a composition, however other people in my group would approach a page differently by creating abstract shapes and exploring pattern and mark making so subsequently I would attempt this method to retain the same aesthetic between pages. 

An interesting factor of the task was creating a page and then getting the page again once it had been round the whole group and had been edited and further developed. You always consider how you would develop elements of design that you have conceived however when it comes to developing other peoples ideas, you have less of an attachment to them and therefore possibly make more concise decisions. The fact that there was a time limit whenever you were working on a page forced you to be less picky about materials or processes and effectively just try to pick up where the last person left of, but with your own twist.

Working with Letraset was a very interesting; its a very fast simple way to apply concise type to a quick collage. One of the harder elements of using it was aligning all the letterforms and sustaining equal kerning however using it for quick irrationally organised words and patterns was simple and effective. It is definitely a process I would be eager to explore again. 

I like the amalgamation of image and type in this composition; its has a clear central striking image which creates a hierarchy on the page. The type is bold, convoluted and asymmetrical creating a complex and stylised composition. 

OUGD405 - Cell Phone Symphony - Initial Ideas

OUGD405 - Cell Phone Symphony - Initial Ideas

Poster 1

This poster aims to achieve a contemporary aesthetic while still retaining visual links to the year Levin performed Cell Phone Symphony - 2001. It utilises both physical and digital processes. The background image shows the numbers 0-9 which vary in size and colour. These 2 visual factors were determined by the frequency in which each number occurred within 10 different phones numbers; the largest number being the one which occurred the most frequently. This image was then printed and distorted in a scanner in order to visually communicate sound waves.

Two different fonts from the ‘Lo-Res’ typeface are used in this poster in an effort to reference the more basic technology used when Cell Phone Symphony was performed in 2001, which they do this fairly successfully with their pixelated letterforms. The typography is arranged non linearly; individual characters are varying sizes, some have been modified ( e.g. the descenders of the p’s have been extended) and all the type is arranged around the structure of the background image to achieve an unconventional and informal  layout which when paired with the visual references to the technology of the early 2000’s, gives the poster a visual style reminiscent of David Carson.

Poster 2

The background image of this poster was created using practical collage methods on an image of the numbers 0-9. Similarly to the first poster, each number has a visual factor changed in direct proportion to the frequency that it appeared in 10 random phone numbers, in this instance it was the vertical length of each number. This image was then cut up in a modular grid and the squares of the grid were then changed around in order to examine the relationship between the basic forms that remained.

The typography used on this poster is fairly unrefined and is definitely the weakest part of the composition. Typography in Helvetica, Source Code and Lo-Res is sporadically applied to blank areas left by the background image in various fluorescent colours in order to visually communicate the idea of various sounds from different phones coming from different places. Feedback from a group critique suggested the background image and the rationale behind the process used to create it was successful, however if this poster were to be developed, the typography would have to be changed. One challenge with designing this poster is the hierarchy between the type and such an intricate background.

Poster 3

Displaying a similar harmony as Poster 1 between contemporary design and referencing older technology, this poster design uses an image of an old Nokia phone which has been warped on a scanner. Square sections of this image are used on a modular grid in irrational arrangement. 

Each bright manipulated letterform of the Helvetica heading type has a drop shadow in an inverted colour, creating 3d characters with vibrating boundaries separated by white outlines, reminiscent of early word art on Microsoft Word, however retaining a modern style. The body text of the poster is presented in Lo-Res, again denoting to early technology. The most successful part of this design is the heading typography and if this poster were to be developed further, the body text and the structure of the background images could be elaborated in order to create a hierarchy which compliments the main typography of the poster.

Poster 4

This minimal poster design focuses purely on typography; The main type of the poster lies in a square modular grid towards the top of the composition where ‘Cell Phone Symphony’ is presented with each letter in a section of the 4 by 4 grid. The majority of the letterforms which are in DIN Alternative Bold are rearranged within their squares; rotated, overlapped or reflected. This echoes Wolfgang Weingart’s very own ‘Swiss Punk Typography’ style.

The body text of the poster is presented in Abolition and is centred logically going across the page. However what’s illogical about the arrangement of this type is that various letterforms have been off centred, subtly rotated or even reflected. Both the choice of typography and it’s arrangement attempt to replicate a vintage moveable type sign which one would see outside a shop, church or cinema. This design decision was made to depict the theatricality and gravitas of Golan Levin’s Cell Phone Symphony.

Poster 5

This poster successfully depicts musical and auditory experiences through classic music notation in both imagery and typography. The imagery of the poster shows a phone line tower with the cables turning into the lines on sheet music, which is emphasised by the use of musical notes and onomatopoeic ‘rings’. 

While the heading type appears in DIN Condensed Bold on this poster, the first initial of each word of the title is derived from the form of a treble clef. The type is arranged in capitals, different colours, some outlined and some not and with an element of spontaneity and disorder on the page. This is to firstly make it bold, secondly to represent contrasting and conflicting sounds much like those heard in Cell Phone Symphony and thirdly to echo the sentiments of designers such as Carson and Weingart. Feedback from a group critique dictated that some of the design ideas put forward in this poster are very strong, however to develop the design further, the colours could be changed and the general design could be simplified and stripped back; removing the orange banner from the centre and leaving the background as a block colour could achieve this. Also changing the typeface and arrangement of the body text could impart a higher aesthetic value on this design.