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Introduction Handout to give to students at the beginning of the unit's topic.

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To be given to students as a reference throughout the Unit.

Source: School Curriculum and Standards Authority of Western Australia.

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Use these resources to teach and scaffold the concept and idea of Consumerism as well as help sequence lessons and develop lesson plans.

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Use these resources to teach and scaffold the concept and idea of Consumerism as well as help sequence lessons and develop lesson plans.

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Use this as an intro into the topic.

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This resource is used to give a lesson on Psychology of Colours. Colours play a huge role in Consumerism.

Source: Help Scout Blog

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The psychology of color as it relates to persuasion is one of the most interesting - and most controversial - aspects of marketing.

At Help Scout we believe the problem has always been depth of analysis. Color theory is a topic of complexity and nuance, but splashy infographics rarely go beyond See 'n Say levels of coverage.

Green Lantern can't turn lemons into lemonade and I'm left equally unequipped to make smart decisions about the spectrum which shades our world. But why is such a potentially colorful conversation so unwaveringly shallow?

Misconceptions around the psychology of color

As research shows, it's likely because personal preference, experiences, upbringing, cultural differences, and context often muddy the effect individual colors have on us. So the idea that colors such as yellow or purple are able to evoke some sort of hyper-specific emotion is about as accurate as your standard palm reading.

But there's still plenty to learn and consider if we humbly accept that concrete answers aren't a guarantee. The key is to look for practical ways to make decisions about color.

The importance of colors in branding

First let's address branding, which is one of the more important issues relating to color perception and the area where many articles on this subject run into problems.

As mentioned, there have been myriad attempts to classify consumer responses to different individual colors:

But the truth is that color is too dependent on personal experiences to be universally translated to specific feelings. There are, however, broader messaging patterns to be found in color perceptions.

In a study titled " Impact of color on marketing," researchers found that up to 90% of snap judgments made about products can be based on color alone, depending on the product. Regarding the role that color plays in branding, results from another study show that the relationship between brands and color hinges on the perceived appropriateness of the color being used for the particular brand (does the color "fit" what is being sold?).

A study titled " Exciting red and competent blue " also confirms that purchasing intent is greatly affected by colors due to their effect on how a brand is perceived; colors influence how customers view the "personality" of the brand in question. Who, for example, would want to buy a Harley Davidson motorcycle if they didn't get the feeling that Harleys were rugged and cool?

Additional studies have revealed our brains prefer immediately recognizable brands, which makes color an important element when creating a brand identity. One journal article even suggests it's important for new brands to pick colors that ensure differentiation from entrenched competitors - personally, I think we're getting into minutiae without additional context, such as how and why you're positioning against a direct competitor, and how you're using color to achieve that goal.

When it comes to picking the "right" color, research has found that predicting consumer reaction to color appropriateness is far more important than the individual color itself. If Harley owners buy the product in order to feel rugged, colors that work best will play to that emotion.

Psychologist and Stanford professor Jennifer Aaker has conducted studies on this very topic, and her paper titled " Dimensions of Brand Personality " points out five core dimensions that play a role in a brand's personality.

Brands can sometimes cross between two traits, but they are mostly dominated by one. While certain colors do broadly align with specific traits (e.g., brown with ruggedness, purple with sophistication, and red with excitement), nearly every academic study on colors and branding will tell you that it's far more important for colors to support the personality you want to portray instead of trying to align with stereotypical color associations.

Consider the inaccuracy of making broad statements such as "green means calm." The context is absent: sometimes green is used to brand environmental issues, like Seventh Generation, but other times it's meant to brand financial spaces, such as Mint.

And while brown may be useful for a rugged appeal - see how it's used by Saddleback Leather - when positioned in another context, brown can be used to create a warm, inviting feeling (Thanksgiving) or to stir your appetite (every chocolate commercial you've ever seen).

Bottom line: There are no clear-cut guidelines for choosing your brand's colors. "It depends" is a frustrating answer, but it's the truth. However, the context you're working within is an essential consideration. It's the feeling, mood, and image that your brand or product creates that matters.

Color trends for men and women

One of the more interesting examinations of this topic is Joe Hallock's work on " Colour Assignment." Hallock's data showcases some clear preferences in certain colors across gender (most of his respondents were from Western societies). The most notable points in his images are the supremacy of blue across both genders and the disparity between groups on purple.

It's important to note that one's environment-and especially cultural perception-plays a strong role in dictating color appropriateness for gender, which in turn can influence individual choices. Consider, for instance, this coverage by Smithsonian magazine, detailing how blue and pink became associated with boys and girls respectively, and how it used to be the reverse.

Here were Hallock's findings:

Men's and women's favorite colors

Men's and women's least favorite colors

Additional research in studies on color perception and color preferences show that when it comes to shades, tints, and hues, men generally prefer bold colors while women prefer softer colors. Also, men were more likely to select shades of colors as their favorites (colors with black added), whereas women are more receptive to tints of colors (colors with white added).

Although this is a hotly debated issue in color theory, I've never understood why. Brands can easily work outside of gender stereotypes - in fact, I'd argue many have been rewarded for doing because they break expectations. "Perceived appropriateness" shouldn't be so rigid as to assume a brand or product can't succeed because the colors don't match surveyed tastes.

Color coordination and conversions

The psychological principle known as the Isolation Effect states that an item that "stands out like a sore thumb" is more likely to be remembered. Research clearly shows that participants are able to recognize and recall an item far better - be it text or an image - when it blatantly sticks out from its surroundings.

Two studies on color combinations, one measuring aesthetic response and the other looking at consumer preferences, also find that while a large majority of consumers prefer color patterns with similar hues, they favor palettes with a highly contrasting accent color.

In terms of color coordination, this means creating a visual structure consisting of base analogous colors and contrasting them with accent complementary (or tertiary) colors:

Another way to think of this is to utilize background, base, and accent colors, as designer Josh Byers showcases below, to create a hierarchy on your site that "coaches" customers on which color encourages action.

Why does this matter? Although you may start to feel like an interior decorator after reading this section, understanding these principles will help keep you from drinking the conversion rate optimization Kool-Aid that misleads so many people.

Consider, for instance, this oft-cited example of a boost in conversions due to a change in button color.

The button change to red boosted conversions by 21 percent. However, we can't make hasty assumptions about "the power of red" in isolation. It's obvious that the rest of the page is geared toward a green palette, which means a green call to action simply blends in with the surroundings. Red, meanwhile, provides a stark visual contrast, and is a complementary color to green.

We find additional evidence of the isolation effect in multivariate tests, including one conducted by Paras Chopra published in Smashing Magazine. Chopra was testing to see how he could get more downloads for his PDFProducer program, and included the following variations in his test:

Can you guess which combination performed the best? Here were the results:

Example #10 outperformed the others by a large margin. It's probably not a coincidence that it creates the most contrast out of all of the examples. You'll notice that the PDFProducer text is small and light gray in color, but the action text ("Download for Free") is large and red, creating the contrast needed for high conversions.

A final but critical consideration is how we define "success" for such tests. More sign-ups or more clicks is just a single measurement; often a misleading one that marketers try to game simply because it can be so easily measured.

Why we prefer "sky blue" over "light blue"

Although different colors can be perceived in different ways, the descriptive names of those colors matters as well.

According to a study titled " A rose by any other name..., " when subjects were asked to evaluate products with different color names, such as makeup, fancy names were preferred far more often. For example, "mocha" was found to be significantly more likeable than "brown," despite the fact that the subjects were shown the same color.

Additional research finds the same effect applies to a wide variety of products; consumers rated elaborately named paint colors as more pleasing to the eye than their simply named counterparts. It has also been shown that more unusual and unique color names are preferable for everything from jelly beans to sweatshirts. For instance, crayon colors with names such as "razzmatazz" were more likely to be chosen than names such as "lemon yellow."

Finding your own palette

We're at the end of this post and there's still no cheat sheet for choosing the perfect color in sight. In fact, we may have raised more questions than answers. What a ripoff.

Truth is, the kaleidoscopic nature of color theory means we may never have definitive answers.

However, just because a topic is peppered with plenty of "maybes" and "sort ofs" doesn't mean we should stop thinking critically about it. Use the research available to challenge preconceived notions and to raise better questions; it's the one consistent way to reach better answers.

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The Psychology of Color in Marketing and Branding

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The psychology of color as it relates to persuasion is one of the most interesting - and most controversial - aspects of marketing. At Help Scout we believe the problem has always been depth of analysis. Color theory is a topic of complexity and nuance, but splashy infographics rarely go beyond See 'n Say levels of coverage.

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Literature on Consumer Culture and Design

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Literature on Consumer Culture and Design

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Use this as a source for theory lessons.

Source: International Journal of Environmental and Science Education.

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Scaffolding resource that help puts a visual explanation to Consumerism.

Source: Wide Walls

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The browsing, selection and purchase of goods and commodities have become one of the defining activities of modern urban life. In this consumer culture, shopping has become a crucial ritual for shaping and transforming our identities. Artists have always been fascinated and intrigued by the consumer culture and the way it shapes our society. Yet, this relationship between art and the distribution and consumption of commodities has always been a complicated one .

It was the mid-1950s when the art world got a new movement which, oddly, both celebrated and criticized consumption choices and mass (re)production. The movement in question, better known as , saw familiar imagery and products around us as an inspiration - famous brands, paparazzi photos of celebrities, the visual language of advertising. As the post-war era was marked by the inevitable period of prosperity and the rise of neoliberal capitalism, a particular consumer lifestyle started to emerge in the United States. In the society that promoted the lifestyle of leisure and consumption, material objects and consumer goods crept into the art world as never before. Immersing themselves completely into the mundane living experience, Pop artists created something that they thought was nowhere to be found within museums and galleries: artworks talking about our everyday lives and experiences. It was all about capitalism, the unlimited market, sex, spending money, having it all, and always wanting more.

This presence of well-known corporate symbols and mass-produced goods in modern art reflected the commercialization of popular culture . Common objects of our wealthy society were taken out of context and scrutinized for their symbolic value. By celebrating commonplace objects and people of everyday life, pop art aimed to elevate popular culture to the level of fine art. Incorporating various aspects of the mass culture such as advertisements, comic books or industrial labeling, Pop artists created kitschy combinations of commercialized and recognizable elements. Pop Art represented the modern consumer landscape by portraying still lifes as visions of the good life. While American Pop Art was more interested in blurring the boundaries between 'high art' and 'low culture' by appropriating popular imagery, Pop Art in the UK was much more critical towards this consumer culture that was being exported across the continent.

Still, the subtle irony that followed Pop Art, as well as its indirect criticism of social circumstances, have resulted in the ambivalent assessment of their attitude towards consumer culture. While some artists wanted to call attention to mass banality and spiritual nakedness of consumer goods, others were simply appropriating this imagery because they were fond of it, not as referential symbols that scream with meaning. Thus, critics disagree whether Pop Art represented a critique or a celebration of consumer culture. Whether critical or celebratory, Pop Art certainly illuminated the materialism that dominates the capitalist society.

At first perceived as the American phenomenon, the consumerist lifestyle has soon spilled over to the rest of the world through globalization and the rise of the free market economy. Unlike Pop Art's playful and often ambivalent attitude towards the consumer culture, the generation of artists that came after took a more decisive and hostile stand towards it. Since advertising has always played a crucial role in perpetuating mechanisms and values of consumer culture, many of these artists have made it the center of their practice. For example, Ron English has introduced the concept of billboard hijacking where he appropriated the mass media messages and imagery to create subversive and political statements. Today, many contemporary artists explore and criticize the idea of consumerism in a variety of ways. Employing various visual and conceptual strategies to question consumerism, artists such as Gabriel Kuri , Josephine Meckseper , Irina Korina or Martin Basher explore various aspects of commerce and exchange such as models of trading with it as in selling and buying, the labor that generates these goods, global distribution networks, social and economic structures that support it, the notion of value or the role of goods consumption in construction of our identities. Rather than criticizing the consumption on a superficial level, they tend to deconstruct this phenomenon from the inside out.

As the consumer culture is shaping our society more than ever, we present you ten related contemporary artworks that tackle this matter in the variety of ways. Without further adieu, proceed to the article!

Andy Warhol - Campbell's Soup Cans, 1962

Richard Hamilton - Just what is it that makes today's homes so different, so appealing?, 1956

Roy Lichtenstein - Blonde Waiting, 1964

Barbara Kruger - Untitled (I Shop Therefore I Am), 1987

Banksy - Jesus Christ with Shopping Bags, 2005

Ron English - Super Supper, 2010

For many, when thinking about Ron English , the first thing that comes to mind is that Hulk-like baby, but for this particular selection, I chose one of his interpretations of famous paintings. Super Supper, created in 2010, draws inspiration, or pays homage if you will, to The Last Supper of course, only Jesus is the fat Ronald McDonald and his disciples are various cartoon characters we all love and grew up with, including Popeye and Homer Simpson. Ron English often describes his works as "mash-ups of high and low cultural touchstones", which is what characterises the entire POPaganda series of works. When it comes to other known paintings, the artist did his own version of The Starry Night, The Scream or The Son of Man.

Steve Cutts - Social Media Zombies

If you're bothered by the fact your friends always stare at their cellphones when you meet, you'd be happy to know that they'll be doing the same even after they become zombies. At least that's the bright future predicted by illustrator and animator Steve Cutts, in one of his illustrations. It is the end of the world, but everyone cares more about posting a status about it on Facebook via their iPhones (are there any other kinds anyway?) than looking around them. Almost all of Steve Cutts' oeuvre is consumerist culture art, be it illustrations or animated movies, masterfully executed through programs like Photoshop or Cinema 4D. Some of his topics include obesity, pet ownership and comic books superhero obsessions.

Dotmasters - High Roller

Known for trashing the consumerism - quite literally - Leon Sessix, better known as Dotmasters , just won't leave pop culture alone. His favourite victims? Giant clothing brands like Chanel or Nike, which he loves to pack up in a black dumpster bag and dispose of, or use them as a dispenser for his spray cans and paint rollers, like in the case of High Roller. Using typical English humor, The Dotmaster also likes to play with dollar bills, embellishing them with pop drawings of a recurring face like Mao's, reinterpret famous artworks like the Mona Lisa or Michelangelo's Creation of Adam. Even famous British actor Bill Nighy is a fan of his work, having posed with one of his works on the streets of London.

Faile - The New York City Ballet Tower, 2013

Ben Frost - Store In A Dark Place (Mickey on Prozac), 2015

Fan of Consumerism and Pop art? Sign up for My Widewalls and enjoy the series of it for free!

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Consumer Culture Expressed Through 10 Contemporary Art Pieces

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The browsing, selection and purchase of goods and commodities have become one of the defining activities of modern urban life. In this consumer culture, shopping has become a crucial ritual for shaping and transforming our identities. Artists have always been fascinated and intrigued by the consumer culture and the way it shapes our society.

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Literature on how Visual Communication has impacted Consumer Culture

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Literature on how Visual Communication has impacted Consumer Culture

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A resource for theory lessons.

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Task Sheet for Part A of the Project.

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Use these resources and materials to support student learning and work and to help scaffold the concepts learned.

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Use these resources and materials to support student learning and work and to help scaffold the concepts learned.

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List of designers that you can give to Students as an accompaniment to the Handout.

Source: Creative Bloq

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There are famous graphic designers that have had such an impact that their work helped shaped the industry, providing inspiration for future generations of designers. From pioneers of the discipline to maverick contemporary designers forging new ground, the 33 famous graphic designers collected here have made very different contributions but have all had an impact on how graphic design is conceived.

We've picked out influential graphic designers from across the industry, from typographers and logo designers to book cover artists and contemporary digital creators. Of course, there are many other great designers who we haven't managed to include here, but, in no particular order, those below are some of the most famous graphic designers we think everyone should know because of their impact or their fresh take on the field.

If you feel inspired, don't miss our pick of the best graphic design software to update your toolkit. You might also want to browse the best graphic design books to learn more about some of the professionals on this list.

01. Chip Kidd

Based in New York City, Chip Kidd is best known for his stunning book jackets - most notably for seminal publishing house Alfred A. Knopf. Kidd has worked for writers such James Elroy, Michael Crichton and Neil Gaiman (among many others).

One cover you might know? How about Jurassic Park logo, which he originally designed for the cover of Crichton's novel? In his 2005 monograph, Kidd explained the thinking behind his design: "When trying to recreate one of these creatures, all anyone has to go on is bones, right? So that was the starting point...

"Not only was the drawing integrated into the movie poster, it became the logo in the film for the park itself. I think it's safe to say that the Jurassic Park T-Rex became one of the most recognisable logos of the 1990s."

You can listen to Kidd's hugely entertaining TED talk here. Oh, and if you want to see what you could learn from Kidd's portfolio, check out our roundup of famous designers' online portfolios.

02. Rob Janoff

Why do you need to know about Rob Janoff? Simple: he designed the Apple logo. Janoff masterminded possibly the most famous mark in the world today while at ad agency Regis McKenna back in 1977. And although it's been tweaked, the basic form has remained the same ever since - a testament to its simplicity and longevity (and it was created in only two weeks).

Back in 2013, Janoff told us that the idea of an apple with a bite taken out of it was "really a no-brainer". He continued: "If you have a computer named after a piece of fruit, maybe the image should look like the fruit? So I sat for a couple of weeks and drew silhouettes of apples.

"Bite is also a computer term. Wow, that was a happy accident. At that point I thought 'this is going to have a wink and a nod with it, and give it personality'."

And the long-gone coloured stripes? "The big deal about the Apple II was that it was the only computer that reproduced colour images on the monitor, and it was the only computer that you could plug into your home colour TV.

"Also, a lot of it had to do with the aesthetic origins of both Steve [Jobs] and I, which was a kind of hippy aesthetic and The Beatles and Yellow Submarine."

03. Peter Saville

Peter Saville is one of the most famous graphic designers connected to the music industry. He's best known for his record sleeve designs for Factory Records artists - think Joy Division and New Order (Unknown Pleasures, Transmission, Blue Monday and more). But his sleeve work spans five decades. Saville is one of the most prolific record designers of all time, if not the most prolific.

But the Manchester-born designer's work doesn't stop at sleeve design. In 2004 he became creative director of the City of Manchester; he has worked with fashion's elite including Jil Sander and Stella McCartney; and in 2010 he designed the England football home kit.

In 2013 he told The Guardian all about the latter: "The red and white thing has been entirely marginalised by one kind of person. It's synonymous with an attitude that is naive, xenophobic, bullying and self-marginalising. I thought, that's not reflective of the team, or football, or of the nation at all.

"But it turns out the market for those shirts are those bloody-minded xenophobic individuals with the shaved heads. When it came out, they did not like it. They did not like it at all."

Born in 1955, Saville is still going strong - in 2018 he redesigned the Burberry logo and in 2022 he revamped the Aston Martin logo.

04. Michael Bierut

There aren't many design agencies that are more respected than Pentagram - and becoming a partner is one of the ultimate design accolades. Designer and educator Michael Bierut has been a partner for 27 years now and has won hundreds of design awards (he's also got permanent work in MoMA). Before Pentagram, Bierut worked for 10 years at Vignelli Associates.

This famous graphic designer's projects at Pentagram include identity and branding for Benetton, the New York Jets, Walt Disney, design work on Billboard magazine and Hilary Clinton's 2016 campaign logo. This is of course, just a small slice of his sprawling portfolio. Bierut is also a senior critic in graphic design at the Yale School of Art. Check out his Monograph - How To - published in 2015 and his collection of essays, Now You See It, published in 2017.

In 2013, we caught up with his to find out what he looks for in new talent: "The best are people who are bright and articulate, and have great work in their portfolio. I could sit with them all day," he says. "The second best have great work but can't talk about it intelligently. That takes work, but still it's worth the effort.

"I like people who, in talking about their work, scratch below the surface. Don't talk about typefaces and Photoshop effects; talk about the subject matter, and how that interested and inspired you."

05. Massimo Vignelli

Massimo Vignelli died in 2014, but leaves behind a legacy of some of the most iconic design work of the past 50 years.

Having counted IBM, Ford, Bloomingdale's (his 'Brown Bag' designs are still in use today), Saks, American Airlines and many more as clients, and Micheal Bierut among his protégés, Vignelli's influence can still be felt. It lives on perhaps most prominently in the subway map and signage he designed for New York City in 1972.

At the time of his death in 2014, web designer Justin Reynolds wrote an in-depth piece for us on what we can learn from Vignelli's design principles. Reynolds wrote: "He was celebrated for his teaching as well as his work... Which means Vignelli's legacy is of fundamental importance to all designers.

"The web emerged too late in his career to allow him to make a direct contribution to the medium, but the design principles that guided his work have had a profound impact upon the processes and aesthetics of both traditional and digital design."

06. Jonathan Barnbrook

As David Bowie's latter-career go-to designer, Jonathan Barnbrook has become even more prominent in recent times. But Barnbrook's work is far deeper than Heathen, The Next Day and Blackstar.

Before Bowie, he was perhaps best known for his influential type design - Exocet becoming the most pirated font on the web shortly after release in 1991 (it was also used in the FPS video game Diablo).

Barnbrook's VirusFonts foundry continued to thrive throughout the next couple of decades, with Bastard and Tourette being good examples of his still contemporary, but controversial, typefaces.

In an interview with us in 2012, Barnbrook said of Tourette: "Tourette is based on an early 19th century slab serif form. Having Tourette's means that people move outside an agreed code of language... That's what I was trying to say in Tourette. There are swear words that are banned, but it's necessary that they appear in language as well, because we can't calibrate it otherwise. And I do like swearing."

Flip to the modern day and Barnbrook's masterpiece of sleeve design for David Bowie's sign off album Blackstar - the artwork from which was released for free - is every bit as good as the record itself. He also designed the all-caps Exocet typeface.

07. Aries Moross

Aries Moross (previously known as Kate Moross) is creative director of Studio Moross. They are an art director and designer from London who came onto the scene in 2008 with their trademark typography and energetic, fluid drawing style.

Moross has since become one of the UK's most sought-after and successful designers, creating a myriad of album covers, magazine covers, branding and video. Moross even created live visuals for One Direction and for the Spice Girl's 2019 tour.

"I don't think about things in terms of influence. I'm not at school any more," Moross told Creative Bloq in an interview in 2011. "I don't look at a painting by van Gogh and go off and do a van Gogh drawing in my sketchbook. I don't read magazines, I don't go to art galleries, I don't engage with the culture in a traditional way that perhaps a lot of people do.

"I think I get most of my ideas from everyday life - going to the shop or interacting with the bus driver or seeing something by accident. I'm not one for organised culture or anything like that, so I do try to let things happen naturally. I definitely think your influences are to do with your character, your life, your mood and general culture like TV and film that you can't really escape."

08. Carolyn Davidson

Some famous graphic designers have created icons that become known the world over. There aren't many logos that are more recognised internationally than Nike's iconic swoosh. It's often the simplest ideas that are the best, and the Nike mark (which we rate as one of the best logos of all time, proves it.

Graphic designer Carolyn Davidson designed the logo as a student at Portland State University in 1971 - and was paid $35 for it by Nike founder Phil Knight (Knight met Davidson in an accounting class he was teaching).

The tick-like logo was seen as a symbol of positivity, but it's actually the outline of the wing of the Greek goddess of victory whom the brand was named after. In 2011, Davidson told OreganLive.com that "it was a challenge to come up with a logo that conveyed motion" and that Philip Knight was very impressed with the stripes of rival company Adidas - it was increasingly hard to come up with something original.

As Nike grew in the 1980s, Philip Knight gave Davidson an undisclosed amount of Nike stock, making up for that tiny fee she received for the logo.

09. George Lois

In terms of magazine design, George Lois was perhaps the original maverick. From 1962 to 1972 he enjoyed an incredible 10 years at US Esquire magazine, designing some of the most iconic, and perhaps controversial, covers in history - including April 1968's Muhammed Ali cover. He had big ideas, presented in a simple way.

In an interview with Design Boom in 2014, Lois was asked about his ability to surprise. "When I create an image, I want people to take a step back in awe when they see it for the first time. I want them to be taken back first by the strength of the image, then by the meaning of the content. This makes people understand what's special about a product or how exciting and interesting a magazine is.

"Another one of my strongest skills is making something memorable. If something is memorable, it stays in the consciousness, and that helps sales."

As well as a successful magazine designer, Lois was also a top figure in the world of advertising, working for a raft of huge clients including MTV, VH1, ESPN and Tommy Hilfiger.

10. Saul Bass

It sounds like hyperbole, but Bass was probably the most famous graphic designer of the 20th century. His work transcended graphic design, poster design, film titles, logos and more - with perhaps his most iconic work being opening sequences for Hitchcock. In fact, his opening credit work spanned five decades - right up to his death in 1996. Some of his last work was for Martin Scorcese on Goodfellas and Casino.

In a 2011 article for the Telegraph, Scorsese reflected on Bass' genius: "I had an idea of what I wanted for the [Goodfellas] titles, but couldn't quite get it. Someone suggested Saul, and my reaction was: 'Do we dare?' After all, this was the man who designed the title sequences for Vertigo, Psycho, Anatomy of a Murder... and so many other pictures that defined movies and moviegoing for me.

"When we were growing up and seeing movies, we came to recognise Saul's designs, and I remember the excitement they generated within us. They made the picture instantly special. And they didn't stand apart from the movie, they drew you into it, instantly. Because, putting it very simply, Saul was a great film-maker.

"He would look at the film in question, and he would understand the rhythm, the structure, the mood - he would penetrate the heart of the movie and find its secret."

Bass was also prolific as a logo designer, creating the marks for AT&T, Kleenex, United Airlines, Minolta and many, many more.

11. Morag Myerscough

For over 30 years, Morag Myerscough has been creating stunning supergraphic installations - grand scale installations, pop-ups and wayfinding graphics that bring spaces to life through her trademark bright colours.

Her clients - through her studio, Studio Myerscough - include London's Barbican, Royal London Hospital and the Stockholm Kulturfestival. Later in 2021 will see a super-colourful installation project for the City of Paris, which builds an 'after' to Covid.

In 2013, Myerscough revealed to Design Boom just what makes her tick: "What I enjoy the most [about environmental graphic design projects] is that people enjoy and respond to the places we make and it makes a difference to them.

"I put a narrative in the building; we make places where people feel they belong," she says. Her awards include the Design Museum's Design of the Year.

12. Lindon Leader

Leader by name, leader by nature, Lindon Leader is responsible for one of the cleverest logos out there, utilising negative space in a way never done before (at least for a huge global company). In 1994, Leader was senior design director at Landor Associates when the FedEx logo was designed. It was subsequently applied to 600 aircraft and 30,000 ground vehicles. Now there's a portfolio piece.

Leader told us, in an interview in 2013, that Landor did around 200 designs for the logo before settling on a shortlist of 10 to show to the FedEx brand manager. And the use of white? Particularly that hidden arrow between the E and the X? "I cannot tell you how many times I fight with a client who says 'I'm paying an enormous amount of money to pay for an ad in a magazine and you're telling me you want 60 per cent of it to be empty space?'" he smiles.

"On the one hand I can understand where they're coming from, but basically the average client does not have a sophisticated enough appreciation of white space to understand that it can be a strategic marketing tool."

As well as FedEx, Leader worked on many high-profile branding projects while at Landor, quoting his favourites as Hawaiian Airlines, Cigna Insurance and Banco Baresco. But Leader understands just what the FedEx logo means: "While I think I'm blessed and privileged to have said I designed the FedEx logo, sometimes I think I'm going to go to my grave and that's the only thing people are going to remember me for."

13. Herb Lubalin

The famous graphic designer, typographer and advertising director Herb Lubalin was perhaps most recognised for his work on magazines published by Ralph Ginzburg. Eros, Fact, and Avant Garde. These titles gave Lubalin unprecedented room for typographic experimentation.

He also gained acclaim for designing the typeface ITC Avant Garde, based on the logo font from the magazine of the same name. Lubalin passed away in 1981, having won the 1980 AIGA Medal.

The profile of his distinguished career on the AIGA site says: "Herb Lubalin's unique contribution to our times goes well beyond design in much the same way that his typographic innovations go beyond the 26 letters, ten numerals and the handful of punctuation marks that comprise our visual, literal vocabulary. Lubalin's imagination, sight and insight have erased boundaries and pushed back frontiers."

It also says: "Typography is the key. It is where you start with Lubalin and what you eventually come back to. However, 'typography' is not a word Lubalin thought should be applied to his work. 'What I do is not really typography, which I think of as an essentially mechanical means of putting characters down on a page. It's designing with letters. Aaron Burns called it typographics, and since you've got to put a name on things to make them memorable, typographics is as good a name for what I do as any.'"

14. Marian Bantjes

Marian Bantjes is a Canadian designer, artist and letterer. Her unique approach to typography, weaving it between often ornamental graphics, has built her a reputation as one of contemporary design's most creative letterers, her striking portfolio backing this up.

In 2010, she released the beautiful monograph I wonder (which was republished in 2018, with an extra chapter). In 2013, she released Pretty Pictures, published by Thames and Hudson in the UK/Metropolis Books in the US

In 2013, she revealed to Nothingmajor.com her fascination with challenging the way type is seen: "I think I like the fact that you can push letterforms into so many different shapes. Like graffiti - I'm fascinated with graffiti - I think graffiti is so sophisticated typographically.

"I love the idea of something that's recognisable and readable to those who know how to read it, but not everybody else. I like the continuum between the readable and unreadable, the variation there is within that. I just really love that ability to experiment with that and make forms that are interesting but that say something, but are not abstract."

15. Max Miedinger

Neue Haas Grotesk. Sound familiar? Well, how about Helvetica? This legendary typeface was designed in 1957, but it was renamed in 1960. As neutral as it is legible, Helvetica's ubiquity has no doubt made it the love/hate typeface of today. And the man behind this now-omnipresent typeface was Max Miedinger.

Meidinger learnt his trade in the 1930s, and after the Second World War he worked at Haas Type Foundry in Switzerland. The story behind Helvetica goes as such: the foundry needed a typeface to rival Akzidenz-Grotesk by H Berthold. It took Meidinger months to draft the new typeface before presenting it to the company's director Eduard Hoffmann.

Neue Haas Grotesk was soon changed to Helvitia (to denote the typeface's Swiss origins) before another tweak made it Helvetica. It's since been used everywhere - from the American Airlines logo to BMW to, well, hundreds of big brands. And even today it's the choice of designers wanting a clean, legible typeface that's an expression of modernist perfection.

But Helvetica isn't for everyone - after all, familiarity breeds contempt. If Helvetica is a bit too familiar for you, check out our list of alternatives to Helvetica.

16. Susan Kare

While Mr Hyperbole Jony Ive is now responsible for all the icons you see on your Mac and iOS devices, we would never have got to this point without the inimitable Susan Kare - the designer responsible for the original icons and interface elements on macOS.

A creative director at Apple in the 1980s, Kare paved the way for what we see on our desktops every single day: the trash can, the happy/sad Mac, the Command key icon.

In our interview with Kare back in 2013, she reflected on her time at Apple: "I really enjoyed working with Steve Jobs, both at Apple and then later at NeXT [the company founded in 1985 by Steve Jobs after he'd been forced out of Apple]. He cared so much about every detail, was interested in design and graphics, and challenged you to do your best work."

She's still innovating now, with her portfolio boasting icons for Facebook, Microsoft, Wired and more. Kare also worked on the Geneva typeface, as we revealed in our post 5 fonts created by famous designers and why they work.

17. Erik Spiekermann

Erik Spiekermann has enjoyed a distinguished career as both a famous graphic designer and typographer. He's best known for designing some of the most successful fonts of the last century. FF Meta, originally designed for the German Post Office, is possibly one of the most prominent.

So what makes a good typeface in Spiekermann's expert eyes? "The alphabet hasn't changed," he smiles. "If it deviates too far then it will be disturbing. A shoe is a shoe. A triangular shoe is not going to work.

"But it has to have that little element in there that most people won't even notice - something a little different. It has a different take; it may feel warmer or colder or squarer or whatever."

18. Paul Rand

Born in 1914, Paul Rand was an American art director and graphic designer. He was undoubtedly best known for his logo work, including that for one of America's biggest companies, IBM. Rand's first IBM logo was revealed in 1956 as part of the company's new focus on the importance of design. Using a big, slab serif face, its statement was bold and confident.

Later on in 1972, Rand refined the logo, breaking it into eight horizontal stripes (reminiscent of the scan lines on the cathode ray tube monitors of the day) and introducing the distinctive IBM blue.

Interesting fact: Rand was actually born Paul Rosenbaum but when he established himself as a designer he shortened his name to Paul Rand - four letters for name and surname. And his name became a symbol in its own right as he became one of the most famous graphic designers of his age.

Rand also designed the logo for Steve Jobs' post-Apple venture, NeXT. Jobs said: "I asked him if he would come up with a few options, and he said, 'No, I will solve your problem for you and you will pay me. You don't have to use the solution. If you want options go talk to other people.'" Rand passed away in 1996.

19. Alan Fletcher

One of the founding partners of Pentagram, Alan Fletcher was one of the most famous graphic designers of his generation (and in fact, any generation). His work spans decades, but he was most recognised for his Pentagram years, when he was at his most prolific.

Fletcher's logo for London's V&A museum is a testament to the timeless appeal of his work. Designed in 1989, it's still going strong more than 30 years later. The relatively fragile Bodoni-style serifs work brilliantly with negative space to create a high-contrast, confident logotype.

Fletcher passed away in 2006, but check out the Alan Fletcher archive for a comprehensive journey through his career.

20. Milton Glaser

Milton Glaser was another of the most famous graphic designers of all time. His most celebrated work is undoubtedly the logo he designed for New York to promote tourism in the city in 1977. Much used, adapted and adored, the I ❤ NY logo is set in American Typewriter, a rounded slab serif.

But Glaser, who died in 2020, was much more than one logo. His work for Bob Dylan, DC Comics and The Brooklyn Brewery are just some of the logo masterpieces that cement him as one of the most prominent designers in history.

"The most important thing in design, it seems to me, is the consequence of your action, and whether you're interested, fundamentally, in persuading people to do things that are in their interests," he told us in an exclusive interview in 2009).

But Glaser was much more than the one logo. His work for Bob Dylan, DC Comics and The Brooklyn Brewery are just some of the logo masterpieces that cement him as one of the most prominent designers in history.

21. Stefan Sagmeister

Born in Austria, New York-based graphic designer and typographer Stefan Sagmeister enjoyed a career resurgence in 2012 when he made Jessica Walsh (number 22 in our list) a partner at his studio, which was named Sagmeister & Walsh.

Just as he had done when he launched his own studio, Sagmeister announced the partnership with a naked photoshoot. That did the PR job. This partnership dissolved in 2019, and Sagmesiter now runs Sagmeister Inc.

But there's more to Sagmeister than nudity. His often conceptual, thought-provoking work has turned just as many heads as his PR stunts: particularly his 'cutting' work for AIGA and his incredible album artwork for Lou Reed.

22. Jessica Walsh

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33 famous graphic designers that everyone should know

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Find inspiration in the work of these pioneering famous graphic designers.

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Scaffolding Resource

Source: Weebly

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A suggested special lesson on Milton Glaser. He is one of the most prominent Graphic Designers who have influenced Consumer Culture through Design.

Source: Milton Glaser Website

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Resource to help scaffold the Design Elements and Principles. It is to assist Students who are having a hard time analysing Design Work. [Can also be used for the Research Stage of Project B].

Source: Canva

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Task Sheet for Part B of the Project.

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Use these resources to help support students in their project undertaking.

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Use these resources to help support students in their project undertaking.

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The Importance of Design in All Marketing Campaigns

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The Importance of Design in All Marketing Campaigns

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Source: blog.hubspot.com

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One of the major challenges at the agency level is working with clients to help them understand the potential impact of all aspects of a campaign: in-depth conceptualization, strong copywriting and world-class design. While you're focused on generating the results expected by your client, your client is closely watching the bottom line. Any service that can be trimmed or that doesn't directly contribute to clear ROI is likely to receive pushback. Yet, as a marketing or advertising professional, you know that great design is critical to getting traction with almost any campaign. Here are some launch points for how to discuss this issue with your clients.

Design communicates brand.

Campaigns are about raising the profile of brands or moving customers in a specific direction to buy a company's products or services. One of the critical elements of getting people to buy is trust. Brands are essentially the way that customers code a specific offering in their minds: this brand represents quality and luxury, or this brand represents comfort and value. Regardless of what your target customers hold in highest esteem, a brand is shorthand for that. Every piece of creative you release - blog posts, brochures, Google PPC campaigns or Nimlok booths at trade shows - says something about a brand. If the design is less than professional and aligned with the brand's core messaging, it can undermine years of work and good impressions. By contrast, good design speaks volumes to a company's professionalism, quality and positioning in the market.

Good design raises visibility.

Even the best campaign only gets traction if it stands out. It has to rise above the noise of all the other competing signals from advertisers and content producers. It then has to catch the attention of the right prospect and hold it. Depending on the goals of your campaign and your target audiecnce, the design required to do this may vary. Does a stark, minimalistic approach resonate with your audience, or is it a flashy, borderline-tacky look and feel that would work best? Whatever it is, great design helps you speak to your prospects in a memorable way, and it stands the best chance of getting your campaign noticed.

Design drives conversions.

If your clients have thought at all about conversions, it's likely that they've thought in terms of sales numbers or copywriting with a call to action. Many people fail to appreciate how psychologically compelling design is. Where does a viewer's eye fall on a page? What emotions do the photographs, colors and layouts that you chose evoke? Does one area - the most important takeaway - stand out above everything else? Good design can take a masterfully crafted pitch or concept and add gasoline to its ability to drive conversions.

Design reinforces messaging.

A well-done design will underscore the messaging that you hope to convey. This links to the argument on the importance of design in branding, but it's also about the power of design to drive home a message and evoke a response. Consider the case of a nonprofit that's fundraising or simply getting out the word about its cause. A few carefully chosen images can say more to a potential sponsor than hundreds of words of copy on the same issue.

Agencies are regularly hired to educate clients on various aspects of the creative process. By framing design in terms of the various roles it plays, such as building credibility and supporting other work done in campaigns, you stand a much better chance of getting client buy-in. Have you ever faced this issue with a client? What argument have you used to resolve the conversation? Let us know in the comments below.

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The Importance of Design in All Marketing Campaigns

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Even the best campaign only gets traction if it stands out. It has to rise above the noise of all the other competing signals from advertisers and content producers. It then has to catch the attention of the right prospect and hold it.

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At least one lesson during Project B should be dedicated to talking about the Design Process. Design Process Infographic from the Study Design VCAA on Page 10 and 11.

Source: VCAA Visual Communication Study Design

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Something to help you mind map for the Ideation Stage of the Design Process.

Source: Free Pic

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More than a million free vectors, PSD, photos and free icons. Exclusive freebies and all graphic resources that you need for your projects

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A special resource dedicated to the moral principles and legal obligations that govern Designers.

Source: The Design Institute of Australia

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Design Institute of Australia (DIA) - DIA Code of Ethics

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7.1 Notwithstanding anything elsewhere stated in this Guide to Professional Conduct, circumspect advertising may be properly employed by the designer to announce the practice and services offered. The media or other forms of communication used and the content of the announcement shall be dignified, becoming to a designer and characteristically free of any factor or circumstance that could bring disrepute to the profession.

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Resources for students to assist them in their reflective journal writing.

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Resources for students to assist them in their reflective journal writing.

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Tips and tricks in writing a reflective journal for Design.

Source: National Design Academy

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For Students to achieve effective writing across all their writing activities in the Unit.

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For Students to achieve effective writing across all their writing activities in the Unit.

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Source: How Design

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You've memorized every keyboard shortcut for Photoshop, Illustrator and InDesign, but when it's time to use that keyboard to string a few words together, you're frozen in fear. Whether you're drafting an email, crafting a design proposal, or preparing your thoughts for a pitch meeting, writing is an important part of your job. Here are a few writing tips for the next time you have to communicate an idea with nothing more than 26 characters and a few punctuation marks.

1. Keep it simple. Somewhere around high school, many students started to equate good with finding the biggest possible word and using the passive voice to make it sound more impressive. Which is better? "It would behoove those responsible for the budgetary constraints to ensure that spending is kept within reasonable limits," or "Let's try to save money." Remember, the point of writing is to communicate an idea simply. Hemingway did just fine with one-syllable words-you can, too.

2. Re-write your work. Most novice writers think that experienced writers produce perfect first drafts. Wrong. Most professional writers would be horrified to share a first draft with anyone-we just write more drafts and spend more time polishing every one of them. Good writing is really re-writing. I rewrite everything, from articles to emails, even text messages.

The goal of any first draft is to get your ideas on the table, and that process can be messy-just focus on putting words on the page, and clean up the mess later. When you re-write, you should be thinking, "How will this sentence look to someone who has no idea what I'm going to say next?" If you find it too hard to step outside yourself and re-write your own words, ask a friend to review your work and interpret the message as he sees it, just as you might do for a design critique.

Two quick tips: Walk away from the piece, and let it sit for at least 24 hours-the time spent away from the text will give you fresh eyes, as if it were someone else's work. For longer pieces, write an outline after you've writtenthe first draft. Doing so just might reveal a missed thought, a disorganized argument, or a redundant passage.

Photo from Shutterstock

3. Break it up. Remember most readers enjoy short sentences, short paragraphs, bold headings, and numbered items-it's not that different from using white space in your design. Find ways to break up your writing so it's easier for readers to digest.

4. Analyze writers whose work you respect. When you were a design student, you spent a lot of time analyzing and perhaps even imitating some of the most respected designers. Do the same with writers. Next time you read an article or e-mail that strikes you, take a close look at what the author did to achieve that success, and try to incorporate that approach into your work.

5. Determine two or three key points. If you've got 7-10 key points, you don't have any. Think about what you want the reader to walk away with, and eliminate anything that doesn't advance that agenda. Remember, just because something is interesting doesn't mean you need to include it in your writing. If your goal is to start a conversation or persuade someone to consider a new idea, sell yourself enough to get to that point, then go into more detail at the next stage of the process.

6. Get back to basics. "Experienced designers recognize why visual media is 'good' or 'bad,' but often struggle to explain it in writing, especially when the client doesn't have an understanding or appreciation for good design," says Sarah Rutherford, instructor and creative director of the Student Design Studio at Kent State University in Ohio. "So I tell my students to use language related to design principles as much as possible. Mechanics and doctors use language specific to their fields-so should we." If you're working with a client who may not be familiar with design principles like "hierarchy" "texture" and "balance," illustrate your point with a specific example to get the conversation started.

Additional Resource
The In-House Designer's Resource Packwill help you-and your team-continue to succeed. In this pack, you'll find inspiration and creativity exercises, two webcast sessions, a case study, 2013 In-House Design Award winners and more to keep you energized.

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6 Writing Tips for Designers - HOW Design

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You've memorized every keyboard shortcut for Photoshop, Illustrator and InDesign, but when it's time to use that keyboard to string a few words together, you're frozen in fear. Whether you're drafting an email, crafting a design proposal, or preparing your thoughts for a pitch meeting, writing is an important part of your job.

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A possible scaffold resource to reinforce the idea of how these brands became Iconic because of Consumerism and Design.

Source: Complex

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The 50 Most Iconic Brand Logos of All Time50. Goodyear

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From Apple to Coca-Cola, these designs are ubiquitous and will survive the test of time.

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Teaching about Indigenous People and Culture

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Teaching about Indigenous People and Culture

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Guidelines and information about teaching students about Indigenous People and Culture should you choose to teach about Indigenous People + Consumer Culture.

Source: Education Victoria

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Hand out to give before your very first lesson.

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Weekly Reflective Journal Entries Learning Task

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Optional Template Handout to Students.