Riga Style Sheet

Style Sheet Final Draft:

SilviaH_5.2.1_StyleSheet_FINAL

Rationale

within-3216986_1920

“Dynamic movement is characterized by movement of the eye that flows smoothly from one area of the composition to another, guided by continuations of line or form, and by gradations of color or form.” (Jirousek, 1995)

The theme for the campaign is Cultural Crossroads. It’s the ideas of different ideas and concepts coming together to meet in the same place. This is why for the layout and shapes I tried to stay with mostly radial designs or designs that bring the eye towards a center. Re-enforcing the idea of moving from one point to the center. Radial designs and curves are also prominent on much of the architecture of Riga, so it helps tie the cities visual identity into the design.

 

art-2728203_1920

Color

“Value tells the eye where one thing ends, and another begins…Clear value differences between a layout’s components are what allows them to stand apart from each other.” (Krause, 2016)

In playing with the idea of converging ideas, I picked colors that were close compliments and had bright, bold values. In picking colors, I picked hues that could play as near complements. The blue-green can act as an opposite to the red-orange and the yellow-orange creating a good contrast. It also incorporates the idea that Riga can take opposing cultures or ideas and blend it into a new, cohesive idea or tradition. The red-orange and yellow-orange while similar enough to create harmony, also have differing values which keeps them unique and distinct but cohesive. I changed my color choices because the original combination was too similar to the Microsoft logo colors. This change allows for the colors to still use the near compliments but still be just Riga.

 

facade-2755708_1920Riga_Dom_Bruecke_Daugava

Images/Textures

“Texture is the quality of an object which we sense through touch. It exists as a literal surface we can feel, but also as a surface we can see, and imagine the sensation might have if we felt it. Texture can also be portrayed in an image, suggested to the eye which can refer to our memories of surfaces we have touched. So, a texture can be imaginary.” (Jirousek, 1995)

Much of the beauty of Riga is seen through the carvings featured on their buildings. Many of the crafts they are known for (wood working, metal working, ship building, etc.)  have textures that are popularly associated with them. And since the art nouveau movement hit so hard here, many places have similar aesthetics. So, finding common icons or stone textures will help tie the visual identity of the city into the designs. In order to bring in the idea of convergence or a crossroad it was also important to find images that blended multiple concepts together. For instance, a picture with a bridge connecting old town to the more modern part of the city. It also shows how even in the newer buildings they still use curves and arches, just in new ways.

 

latvia-172024_1920riga-79666_1920

Shapes

“Try to create a relationship-tight, almost molecular-between words and pictures. The word synergy has been applied to the desired effect between what you say and what you show. (When two or more elements combine to achieve a total effect greater than the sum of their individual effects, they are synergistic; so too are great headline/visual combinations.)” (Felton, 2013, p. 81)

Most of the city utilizes the Jugendstil style design. Even places built before the movement still use similar elements. In the newer additions of the city, soft arches and curves are used. Making them cohesive to the rest of the city but more modern. Using terminology or shapes that evoke the same curves, spirals, regal adornments helps the viewer associate the design with the city. It also helps create a free-flowing identity that allows for creativity. And the spirals and circles can be used to create designs that radiate in and bring elements together. Similar to that of a crossroad.

 

bike-3722209_1920 copylatvia-3725678_1920 copy

Type

“We associate certain type styles with historical eras. So, if you want to match your time span specific content with a font that evokes that period, choose a typeface or several typefaces that will do the job…It can add an extra dimension to your viewer’s appreciation of your project.” (Saltz, 2014)

Riga should be depicted as a metropolis with a heritage. Part of doing that is acknowledging that traditions have survived from the past and are being utilized today. This also allows for the old road to meet the new road at the crossroads. When picking fonts, I chose fonts that called back to older eras. This meant finding fonts that were similar to scripts but much more legible. Text with personality. Amarante Regular helps tie in the era when Jugendstil was popular. Litos Script calls on a similar era while providing a more uniform and less decorative heavy style. Casablanca URW Light was picked for legibility and it still holds some design elements of Amarante and Litos. This makes it look like a modern take on the other two.

 

Previous Drafts:

 

References

Felton, G. (2013). Advertising: Concept and copy. New York: Norton & Company.

Jirousek, C. (1995). Art, Design, and Visual Thinking. Retrieved from http://char.txa.cornell.edu/

Krause, J. (2016, February 10.). Color for Design and Art. Lecture. Retrieved from https://www.lynda.com/Illustrator-tutorials/Valuing-value-over-all/418257/471600-4.html?autoplay=true

Saltz, I. (2014, October 17). Typography: Choosing and Combining Typefaces. Lecture. Retrieved from https://www.lynda.com/Design-Typography-tutorials/rule-three-typefaces-Using-serif-sans-serif-slab-serif/162445/197926-4.html?autoplay=true