Serif Type & The Best of All Backgrounds
How do we see type?
The question above is one I have asked myself (and others) since this research began; more specifically I’ve asked how do learners perceive education when it’s dressed in serif type? This virtual exhibition collects together some of the cornerstones of this research to date, and presents an overview of my findings, providing a context of higher and further education in Wales and the UK, and design that sits within any framework. Visual samples also include advertising work by BBDO photographed against environmental backdrops which ‘house’ the noted “best of all backgrounds.” This also provides further context for the core of my research to date: namely whether the use of aspirational typography should be used to encourage wider take-up of education amongst groups that have tradtionally avoided its offer.
The virtual exhibition also includes narrative background text to help the reader through the research stages as well as presentations, photo media, illustrations and a movie file.
As always your thoughts and comments are welcomed – please leave a comment at the base of this or any other posts on toserifornot.
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Design education has presented me with “essential typographical rules” (Jury, 2002 p.144). As a result I find myself “perpetuating the stereotypes” (Swann, 1991 p.55). If we concur with Pavlov and Skinner, I am helping to ‘mould’ my environment, shaping it by typographical “association” thus “reinforcing” beliefs through repeated use of a visual system. But if we (as designers) are actively creating a visual system based on stereotype or cliché shouldn’t we question any apparent validity? Clichés and stereotypes are characterized values arguably founded on unsubstantiated prejudices. Repetition or perpetuation of these I would claim would not necessarily make them accurate or appropriate.
Type selection is fundamentally subjective and relies heavily upon the designers sensitivity and awareness of types semiotic, linguistic and rhetorical values relative to the society around them to make what can be termed an ‘appropriate’ choice. Any perceivably inappropriate choice might arguably result in any ‘message’ being undermined, confused or de-valued.
In January 2003, the UK government White Paper, “The Future of Higher Education”, called for “an expansion of the higher education system”, which “had not yet extended to the talented and best from all backgrounds”, by widening participation (WP). Recently (2006), I completed a logotype re-design for the Workers’ Educational Association (WEA), whose learner’s – those “outside any traditional education provision” (ibid I) and ‘inside’ the governments WP ‘framework’ – are ‘typical’ of those socio-groups noted as ‘all backgrounds’. The exercise introduced me to the notion of communicating any WP message using typography to support its message, effectively, successfully and appropriately. Could design contribution seek to motivate prospective WP into a university education and thus support government strategy? Could any preferred ‘style’ be identified in this context? If “typefaces are loaded with references” (Peacock (Visard), 2005) what ‘references’ should be called upon here?
Have a look at this:
Does this make sense to you? Are the type faces used ‘in sync’ with the wording and therefore do the faces satisfy any expectation?
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It could be claimed that history has presented university education with a visual-language: from ancient manuscript’s of the 12th century, this ‘original’ style has since been determined by technological advance and perpetuated in serif-type. When this research began, the research strategy set out firstly to establish whether there existed any quantifiable typographical trend within university logotypes in the UK. Secondly using type (originating from any logotype findings), the research sought to establish whether any identifiable type preference existed among widening participation (WP) learners, which might be (preferably) used in a university context. Any correlation between perception and preferred style was noted.
My starting point for the sourcing of ranking data was The Times Top 100 Ranking Table. University standings and how these institutions portrayed themselves in type proved to be intriguing – although perhaps not surprising. NB. For the purposes of this research, the logotype is taken as the institutions ‘visual embodiment’ – although I would accept that the logotype cannot be charged with fair universal representation of an institution.
Figure’s 1 and 2 illustrate the top and bottom twenty universities (according to The Times Ranking Table).
Fig.1 "Top Twenty" UK universities and their logos. Designer credits not supplied
"Bottom Twenty" UK universities and their logos. Designer credits not supplied
My hypothesis with regard to university logotypes, that serif-type logo’s would appear toward the top of The Times rankings list was proven to be correct (see fig.3). Further to this, a second hypothesis based on stereotype was constructed, claiming that serif-type would be selected as an appropriated choice and would not correspond to the preferred type.
Initial results suggested that WP learners recognised an ‘association’ between serif-type and the word “university” (deeming this as “appropriate”). Serif-type also proved to be their preferred choice (fig.4).
Fig. 3 Top-Twenty UK University's Graph - The yellow bar illustrates serif fonts used in the top-twenty 15:5. MA Design Research 2007, Jonathan Goddard
Fig. 4 WEA Learners - Serif For University Logos is an "Appropriate choice" 31:17. MA Design Research 2007, Jonathan Goddard
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Early data suggested that there seemed to be a correlation between the found perception that the use of a serif font signalled a higher standard, and was appropriate to a university’s (higher) level of learning. Keywords were noted from early interview sessions with adult learners.-
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-[A serif font} "IS MORE ORDERLY. . ."
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". . .IS BETTER THAN. . ."
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"IS MORE IMPORTANT"
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"IS CLASSIER"
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"PEAK OF EDUCATION"
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"THIS [SERIF, UNIVERSITY LOGO] WOULD GIVE ME THE BEST”
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“WHAT A UNIVERSITY [LOGO] SHOULD BE”
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[THE SERIFED LOGO] “GIVES A BETTER IMPRESSION”
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All of the comments listed above of course need to be taken in context (which the subsequent interview research will seek to provide together with transcripts). However, those 12 learners who were interviewed (some of their comments are listed above) spoke of the positive effect serif typography had on their perception when the word “university” appeared in serif type.
In many cases though, the reality for adult learners is that they are presented with publicity such as this:
'Real Life' Publicity. WEA South Wales A5 Publicity Flyer. Original Designer: Jonathan Goddard, 2006
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In this instance, even though an initial designed template was provided, the size and font of the entered text by Development Workers (who in the FE and Voluntary sectors are usually tasked with publicity) is not sensitive to this and combined with clear production compromises all perhaps consort to undermine the message and the noted education provider. Does this ultimately dumb-down any preconception of the provision?
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For those WP learners who aspire to higher education (HE) learning, the notion of linking a (high) education standard and an aspirational education brand was born. This is illustrated in the movie below.
Can higher education be branded?
Included in my initial research presentations was the inclusion of brand logos – the aim of which was to link into my own theory highlighting higher education as aspirational rather than ‘out-of-reach’ or elitist for those within the widening participation framework.
Brand choice is not made on the basis of linked social values, rather the perceived quality and experience of the product. Some of the brands previously highlighted are given here.
Aspirational brands dressed in serif-type. Designer credits not supplied.
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Throughout the research to date, I have retained – and perhaps had a heightened state of consciousness – regarding myself as a designer, and where I sit within my ‘environments’. I live in Rhondda Cynon Taff, the largest unitary authority in Wales where deprivation and poverty are fuelled by higher than average (Wales) rates of unemployment, essential skills needs, and poor health records. Although I don’t claim to be a statistic within the noted figures, I do claim to be aware of my home surroundings where aspiration it could be argued is far from the thoughts of the county’s inhabitants.
One of those brands noted above, Merecedes-Benz, could perhaps be perceived to be a stranger to areas housing “the best of all backgrounds.” Not so. During 2009 and early 2010, as new ranges hit their dealer forecourts, promotional hoardings all over the South Wales valleys projected Mercedes-Benz serif-dressed posters depicting models reaching retail values of £70,000 plus; this in an area where that sum for most would pay for. . . well all that perhaps is currently out of reach or beyond current means.
Seeing these posters and the irony of their copy reminded me of this researches starting point and affirmed my belief as a designer that tools used to depict aspiration in surroundings that would potentially decry them, should not be shied away from. Although as I am fast re-discovering, politics and a visual language determined by the education sector culture itself, has a critical say in any final output.
Mercedes-Benz Hoarding, Penycraig, April 2010. Photograph: Jonathan Goddard
Mercedes-Benz E-Class Coupe Advertisement BBDO (Batten, Barton, Durstine & Osborn) Worldwide (Omnicom Group)
Mercedes-Benz Hoarding, Gelli, March 2009. Photograph: Jonathan Goddard
Mercedes-Benz SL Advertisement BBDO (Batten, Barton, Durstine & Osborn) Worldwide (Omnicom Group)
Mercedes-Benz Hoarding, Tonypandy, October 2009. Photograph: Jonathan Goddard
Mercedes-Benz E-Class Saloon Advertisement BBDO (Batten, Barton, Durstine & Osborn) Worldwide (Omnicom Group)
Mercedes-Benz Hoarding, Ystrad, March 2010. Photograph: Jonathan Goddard
Mercedes-Benz E-Class Coupe Advertisement BBDO (Batten, Barton, Durstine & Osborn) Worldwide (Omnicom Group)
Mercedes-Benz Hoarding, Hopkinstown, February 2010. Photograph: Jonathan Goddard
Mercedes-Benz E-Class Saloon Advertisement BBDO (Batten, Barton, Durstine & Osborn) Worldwide (Omnicom Group)
Mercedes-Benz Hoarding, Penycraig, October 2009. Photograph: Jonathan Goddard
Mercedes-Benz E-Class Coupe Advertisement BBDO (Batten, Barton, Durstine & Osborn) Worldwide (Omnicom Group)
Mercedes-Benz Hoarding, Tonypandy, June 2009. Photograph: Jonathan Goddard
Mercedes-Benz C-Class Coupe Advertisement BBDO (Batten, Barton, Durstine & Osborn) Worldwide (Omnicom Group)
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Is the use of advertising in this style, context and environment appropriate? Note that a serif font takes centre stage.
Surely for some, advertisers have found their audience.
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As alluded to above, culturally within the further and higher education sectors, there does appear to be a preferred visual style which in the majority of cases utilises a sans serif. From my research so far, this would seem to stem from a notion of readability – that a sans serif is easier to read, and hence is more accessible (see other aspects of the blog to read my findings). In addition, publicity for colleges appears to sell a perceived experience as a result of attending rather than the level of learning a student could hope to realise.
Visually, the colleges have much more in common with the bottom-twenty universities (see above) than the top-twenty. In the following examples, only Coleg Sir Gar makes a clear case for ‘high learning’ in its higher education prospectus and hence makes a visual link with the top-twenty universities and their adoption of serif type. And interestingly, Coleg Powys differentiates adult community learning from its more mainstream ‘student counterpart’ by using a serif font (I’m currently trying to speak with the documents’ designer regarding this); the type of serif font to these eyes appears to be ‘old-fashioned’ – for a reason I’m sure. I’ll record any findings in the blog when any discovery is made.
To illustrate those visual styles currently (at the time of writing) being employed by the colleges, I’ve sourced each of their most current respective prospectuses (time of writing, May 2010); the cover art is given below. Where access to higher education is listed by a college separately, this has been added as so. As an aside, it’s also interesting to note that not all colleges describe their documents as propectuses, rather as course guides. It could be argued that as with the college experience being sold rather or moreover than the learning itself, is the perceived learning being dumbed-down to make it more accessible? For those who aspire to learn, I await their responses and opinions on this during the remainder of this research.
Bridgend College Prospectus Cover. Design: CR, Cardiff
Coleg Meirion-Dwyfor Prospectus Cover. Design: Martin Evans Design, Dolgellau
Coleg Morgannwg Prospectus Cover. Design: Coleg Morgannwg
Coleg Ceredigion Prospectus Cover. Design: credit not supplied
Coleg Glan Hafren Prospectus Cover. Design: Coleg Glan Hafren
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Coleg Gwent Annual Review Book Cover. Design: credit not supplied
Coleg Llandrillo Prospectus Cover. Design: View Creative, Conwy
Coleg Menai Prospectus Cover. Design: View Creative, Conwy
Coleg Powys Adult & Community Course Guide. Design: Coleg Powys
Coleg Powys Prospectus Cover. Design: Coleg Powys
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Coleg Sir Gar HE Prospectus Cover. Design: Coleg Sir Gar
Deeside College Prospectus Cover. Design: credit not supplied
Llysfasi College Courses Guide Cover. Design: Coleg Llysfasi
Neath Port Talbot College HE Prospectus Cover. Design: credit not supplied
Neath Port Talbot College Prospectus Cover. Design: credit not supplied
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Pembrokeshire College HE Prospectus Cover. Design: Pembrokeshire College
Pembrokeshire College Part Time Guide. Design: Pembrokeshire College
Yale College Prospectus Cover. Design: no credit supplied
Ystrad Mynach College Course Guide Cover. Design: no credit supplied
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Running parallel to this research has been my day-to-day work for the Workers’ Educational Association (South Wales). Where current interview questions are being compiled and learner groups are being contacted in readiness and preparation for further interview data, some of my work has resulted in a series of adult learning publicity posters which will form the basis for discussion during the subsequent learner interviews and focus groups. Samples of posters produced during 2009 / 2010 are provided below.
Further to my previous research methodology blog page, the posters adhere to that pages recommendation to only alter font-type to help enable direct comparison. Once again comments are welcomed; which versions do you deem appropriate? Do either stir any emotive responses? If so what are they?
Survive the Credit Crunch Poster (Sans Serif). Design: Jonathan Goddard
Survive the Credit Crunch Poster (Serif). Design: Jonathan Goddard
Child Development Course Poster. Design: Jonathan Goddard
Child Development Course Poster (Serif). Design: Jonathan Goddard
Tudors Connection Poster (Sans Serif). Design: Jonathan Goddard
Tudors-Connection-Poster (Serif). Design: Jonathan Goddard
Issues of Our Time Poster (Sans Serif). Design: Jonathan Goddard
Issues of Our Time Poster (Serif). Design: Jonathan Goddard
Writing For Pleasure Course Poster (Sans Serif). Design: Jonathan Goddard
Writing For Pleasure Course Poster (Serif). Design: Jonathan Goddard
Craft Course Poster (Sans Serif). Design: Jonathan Goddard
Craft Course Poster (Serif). Design: Jonathan Goddard
Introduction to Counselling Poster (Sans Serif). Design: Jonathan Goddard
Introduction to Counselling Course Poster (Serif). Design: Jonathan Goddard
Learn How to Use a Computer Poster (Sans Serif). Design: Jonathan Goddard
Learn How to Use a Computer Poster (Serif). Design: Jonathan Goddard
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All of the above have been produced for the purposes of publicity, but serve a dual purpose in providing the subject for initiating debate or discussion with learners and / or learner groups as to type appropriateness and any perception of the expected level of learning a learner could anticipate when enrolling on either course. Does a sans serif dumb-down the provision? Does a serif raise a qualitative expectation? Crucially for learners aspiring to higher education, could serif type support the governemnts widening participation agenda and positively encourage more learners through HE’s gates?
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The following images illustrate posters produced by me following specific requests from my colleagues for work to incorporate serif type (following on from the Democracy & Social Purpose poster given below, produced in 2006). This would suggest to me that by their own estimation, serif type could be deemed appropriate when ‘aligned’ with a particular type of event; serif type is seen to be appropriate for these. What do you think?
WEA South Wales Event Poster, 2006. Design: Jonathan Goddard. This poster perhaps represents an important moment, as colleagues deemed this type to be appropriate when aligned with certain events (a question of content) and subsequently requested posters "to be like it".
WEA South Wales Conference Poster, 2007. Design: Jonathan Goddard
WEA South Wales Poverty & Inequality Poster, 2009. Design: Jonathan Goddard. Ironic as in this case this use of serif type could be justified as being inappropriate. . .
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The research continues and your suggestions and / or comments regarding this virtual exhibition or any other aspect of this blog are welcomed.
