Computers in Art Practice:Manfred Mohr

Artist Manfred Mohr

Since 1969, Manfred Mohr has used computers and plotters as electronic and digital drawing aids, thus making inevitable that the creative process would be turned into a logical one.

 In Mohr’s own words “computer graphics … are the product of unambiguously defined problems, with the detailed analysis of the programming process that have previously remained concealed as if by taboo”. (M.M.)

 In the Divisibility work group, which form part of the Generative Arbeiten [Generative works] series, where the work P-306-K belong, Mohr is researching the surface character of signs made up according to defined rules laid down by the artist:

 “The cube is divided into four parts by a horizontal and a vertical incision. Four independent rotations of a cube are projected into the corresponding quadrants produced by incisions. In order to make the signs visually stable, two diagonally opposite quadrants contain the same rotation” 

(M.M.).  P-197 J, however, makes the systematic principle transparent, through varying seriality and structural pattern.

Paths through the cube: Manfred Mohr at the Kunsthalle Bremen Prize winners of the d.velop digital art award [ddaa] 2006 Manfred Mohr is one of the pioneers of computer art. 

In 2006, he received the d.velop digital art award [ddaa], which was awarded for the second time in 2006. This first major, international award in the field of digital art is donated by d.velop AG (Gescher) and annually. 

The Digital Art Museum [DAM] in Berlin will award the prize, and the Kunsthalle Bremen will present the award winner in a separate exhibition.

 First prizewinner of the d.velop digital art award [ddaa] 2005 was the artist Vera Molnar. Manfred Mohr has programmed from the outset himself and laid down the fundamental theme of his work, but the specific form is determined by the computer. 

Born in Pforzheim, Germany, Mohr was born in Paris in 1963-81, and since then has lived in New York, Mohr is one of the first artists to see more than one graphical field in the computer. 

Nevertheless, he always understood the computer as a means for his own art, independent of technical utopias. Mohr's consistently computer-generated œuvre led to a difficult position in the art system during the first years, because the computer as an artistic medium was generally viewed with skepticism by colleagues, critics and museum managers. In the meantime, Mohr's work, which has been devoted exclusively to the figure of the cube since 1973, is highly valued. 

With the awarding of the d.velop digital art award [ddaa] 2006 to Mohr, his artistic approach has received a corresponding appraisal. Around 70 works by Mohr's computer-generated work are presented in the Kunsthalle - from the search for forms of a graphic language from 1969 on to the exclusive employment with the cube up to the recent examination of the cube.

http://www.bitforms.com/artists/mohr

http://www.carrollfletcher.com/artists/37-manfred-mohr/overview/

Since the late 1950s, Manfred Mohr, a pioneer of generative and computer art, has been making rigorously minimal paintings and drawings. His work is stringently conceptual, but with an elegant lyricism which belies its formal underpinnings. 

During the 1960s, Mohr’s practice evolved from abstract expressionism towards a more hard-edged geometric painting. By 1968, in pursuit of a ‘real rational art’ he had begun to develop a ‘programmed expressionism’ in which algorithms were used to generate art that formalised his vision in a new, logical way.

Computers in Art and Design

Computers in Art and Design

Aim and purpose

This unit will enable learners to develop skills and understanding of the use of computers in art and design. They will research existing applications of computer use, and develop creative responses through their own study and production of computer-based art and design work.

Unit introduction

 The use of computers by artists and designers is firmly established in many fields and disciplines.
 This area of art and design is exciting and dynamic, with new technologies continually advancing, enabling the development of new ways to communicate and combine different art and design forms. 
Understanding and keeping up to date with the changing technological needs of the creative industry is critical in order for learners to be flexible, adaptable and employable. It is important that learners engage with new technology and develop the skills, knowledge and understanding necessary to communicate ideas effectively in a highly competitive, technical and innovative sector. 


Learners will develop their understanding of how computers are used as new media in contemporary art and design. 

They will also develop an understanding of the potential benefits of combining digital and traditional art and design techniques and processes to develop their own work.
 It is anticipated that digital techniques, in conjunction with appropriate hardware, will be introduced as a foundation on which to develop skills in using new technology and processes to communicate art and design ideas, concepts and proposals in contemporary and innovative ways. 
The extent to which the full range of digital techniques can be covered will depend on the centre’s access to computer hardware and multi-media software facilities.

 Learners will need to be given appropriate briefs to focus their work and guide them through investigating and experimenting with hardware and software, in relation to art and design. 

Briefs will need to be designed within a relevant vocational context and take into consideration new industrial developments in computer hardware and software technology. 

These skills will help learners progress and adapt to a vocational environment where computers play a key role.

Learning outcomes On completion of this unit a learner should: 

1. Understand the potential of digital media in contemporary art and design practice 
2. Be able to select materials for digital experimentation 
3. Be able to produce work using digital art and design techniques

Understand the potential of digital media in contemporary art and design practice 

1. Digital media: chosen pathway; specialism eg magazines, film videos, music videos, title sequences, animation, illustration, computer games, architecture, CAD, CAM, fine art, comics, fashion, print, music, graphic design 

Contemporary practice: production eg photographic work, fashion styling, fashion, textile design, 3D design, product design, digital fine art, film, graphic communication; digital work eg annotation, printout, sketches, photographs, photocopies, notes, presentation, discussion.

Be able to select materials for digital experimentation

 2. Materials: art, craft and design work (digital, traditional) eg sketches, prints, paintings, textiles, models, 2D, 3D, writing, photographs, found materials, natural objects, video, audio, recordings, photocopies, printed material; preparation for digitising; qualities eg technical, aesthetic; fitness for purpose

 Digitising: digital technology eg scanner, touch screen, graphics tablet, video camera, microphone, digital camera, keyboard; differences in digitising processes

 Combining media: traditional media; computers; processes; benefits; properties eg emphasis, characteristics, effects, uses, suitability, limitations, creative potential; considerations eg constraints, memory, speed, size, resources, time

 Digital media: backup eg storage, external, internal, devices; specialist hardware; 2D software eg image manipulation, drawing, painting, vector, raster graphics, typography, website design, printing, 3D software eg CAD, CAM, 3D modelling, laser cutting; time-based software eg animation, interactive, multi-media authoring, audio, video.

Be able to produce work using digital art and design techniques 

3. Digital techniques: editing eg capturing, materials manipulation; ideas generation eg layering, compositing, downloading, recording 

Outcomes: images eg paper, screen, audio, projector; pathway or specialism-driven digital techniques eg image manipulation, distortion, pattern making, layering, illustration, mixed media, page layout, drawing, typography; artefacts eg modelling, rotation, turning, milling, lathing, extruding, linking, rendering wire frame, surface textures;

 Interactive: eg multi-media, navigation, buttons, type, interactive elements, audio, moving image, cascading style sheets, basic scripting projection, installation; animation eg timelines, key frames, parameters, tweening, onion skinning, continuity, path of movement


Delivery 

This unit is designed to help learners to determine, understand and evidence the potential for digital multimedia in contemporary art and design practice. Learners will have appropriate tutorial, peer and professional support, guidance and formative assessment feedback to be able to research, experiment with produce and present evidence demonstrating the use of digital multi-media in contemporary art and design practice. 

Tutors delivering this unit have opportunities to use a wide range of traditional and digital media and techniques. Although the majority of learner work is likely to be carried out in a studio or workshop environment, it will be helpful to include demonstrations, visits to galleries and events and informal discussions between professional practitioners, tutors and learners.

 Research using the internet, library and multi-media resources will inform an essential part of the learner’s evidence. An active, experimental approach to media is needed to encourage learners to broaden their creativity. Delivery should stimulate, motivate, educate and inspire learners. This unit aims to give learners a broad introduction to digital design applications. 

Tutors should consider integrating delivery and assessment of this unit with any other relevant units learners are taking as part of their programme of study, especially those involving digital art media, hardware and software, photography and interactive media. In planning delivery of project briefs, tutors should be aware of the need to map the relevant criteria of the units being covered. Health and safety issues relating to workshop practice must be stressed, as working in studios and workshops that combine technology and traditional media can be dangerous.

 Learners should be aware of the health and safety issues relating to the equipment and learning resources they use, and how to reduce risks to themselves and others.
 Learning outcome 1 covers research and analysis of digital media in the context of the learner’s specialist pathway. 
Teaching and learning strategies should be varied to introduce a broad range of source media and achieve a comprehensive understanding of the potential for digital media in contemporary art and design practice.

 The techniques and processes involved in producing digital outcomes, and the combination of traditional art and design with the development of the use of computers in art and design need to be emphasised. 
Digital art and design techniques can be introduced, for analysis, through demonstrations, lectures, workshop practice and the use of multi-media resources. 

At an early stage, tutors should encourage the use of analytical skills through probing questions and discussions about relevant digital resources. It is important to use the correct technical terms when discussing digital media. 

Learning outcome 2 covers the preparation and development of ideas, materials and media for selected digital outcomes. Learners should experiment and develop ideas across as broad a range of materials and digital media as possible. It will be valuable to demonstrate the digital working practices of professionals.

 Learners will need to develop appropriate techniques for using hardware and software to digitise art and design material.
 Tutors should encourage an experimental approach during the selection, preparation and development process in order that learners are exposed to the maximum impact of digital media manipulation. Learning outcome 3 covers the exploration of digital techniques and the role played by traditional art and design practice.
 The breadth of study and eventual proposal will depend on the equipment and materials available in each centre and learners’ chosen pathways/specialisms.

Learners should be taught to combine traditional art and design techniques and processes with digital media to understand the benefits of using computers in art and design and discover a new way of working to achieve diverse and unusual results. 
They should use the correct techniques for using hardware and software and understand how these can contribute to the creative process. 
Final outcomes can be presented digitally, on screen or online as well as through the more traditional media for example canvas, paper. The contribution of digital media to the creative process will be emphasised, introducing learners to the reality that computers can be used as a tool to create and enhance the outcomes both traditional and digital practice outcomes such as fashion prints and designs, 3D models and sculpture, and mixed media artwork. 

Learners should be taught how to use a range of hardware devices, for example computer, scanner, graphics tablet, digital camera, video camera, external and internal storage devices, microphone, laser cutter, printer.

 Learners should also be taught how to use a range of software applications relevant to their specialism in 2D, 3D, time-based or interactive media. Learners should be encouraged to investigate a range of multi-media applications in order to demonstrate their new digital skills and present their findings.

https://prezi.com/4ri84dkzya83/digital-media-in-current-contemporary-art-and-design-practic/

http://blog.spoongraphics.co.uk/articles/20-amazing-digital-artists-to-follow-on-behance

http://uk.complex.com/style/2015/05/the-greatest-digital-artists-of-the-21st-century/

http://uk.complex.com/style/2015/05/the-greatest-digital-artists-of-the-21st-century/

http://www.smithsonianmag.com/arts-culture/7-ways-technology-is-changing-how-art-is-made-180952472/

https://www.behance.net/gallery/33453883/O-V-E-R-L-A-Y


check out these digital artists.

• Alberto Seveso. 
• Evgeny Parfenov.
• Natalie Shau. 
• Anton Semenov. 
• Bram Vanhaeren. 
• Melvin Zelissen. 
• Richard Davies. 
• Aaron Campbell.

Digital Designers

• Milton Glaser.
• Stefan Sagmeister.
• Jessica Walsh. 
• David Carson. 
• Neville Brody. 
• Paula Scher.

http://www.creativebloq.com/graphic-design/graphic-designers-follow-behance-1012941




Delivery

This unit is designed to help learners to determine, understand and evidence the potential for digital multimedia in contemporary art and design practice.

 Learners will have appropriate tutorial, peer and professional support, guidance and formative assessment feedback to be able to research, experiment with produce and
present evidence demonstrating the use of digital multi-media in contemporary art and design practice.

Tutors delivering this unit have opportunities to use a wide range of traditional and digital media and techniques. Although the majority of learner work is likely to be carried out in a studio or workshop environment, it will be helpful to include demonstrations, visits to galleries and events and informal discussions between professional practitioners, tutors and learners.

Research using the internet, library and multi-media resources will inform an essential part of the learner’s evidence. An active, experimental approach to media is needed to encourage learners to broaden their creativity. Delivery should stimulate, motivate, educate and inspire learners.

This unit aims to give learners a broad introduction to digital design applications. Tutors should consider integrating delivery and assessment of this unit with any other relevant units learners are taking as part of their programme of study, especially those involving digital art media, hardware and software, photography and interactive media. In planning delivery of project briefs, tutors should be aware of the need to map the relevant criteria of the units being covered.

Health and safety issues relating to workshop practice must be stressed, as working in studios and workshops that combine technology and traditional media can be dangerous. Learners should be aware of the health and safety issues relating to the equipment and learning resources they use, and how to reduce risks to themselves and others.

Learning outcome 1 

covers research and analysis of digital media in the context of the learner’s specialist pathway. Teaching and learning strategies should be varied to introduce a broad range of source media and achieve a comprehensive understanding of the potential for digital media in contemporary art and design practice. The techniques and processes involved in producing digital outcomes, and the combination of traditional art and design with the development of the use of computers in art and design need to be emphasised.

Digital art and design techniques can be introduced, for analysis, through demonstrations, lectures, workshop practice and the use of multi-media resources. 

At an early stage, tutors should encourage the use of analytical skills through probing questions and discussions about relevant digital resources. 

It is important to use the correct technical terms when discussing digital media.

Learning outcome 2 

covers the preparation and development of ideas, materials and media for selected digital outcomes. 

Learners should experiment and develop ideas across as broad a range of materials and
digital media as possible. It will be valuable to demonstrate the digital working practices of professionals.

Learners will need to develop appropriate techniques for using hardware and software to digitise art and design material. Tutors should encourage an experimental approach during the selection, preparation and development process in order that learners are exposed to the maximum impact of digital media manipulation.

Learning outcome 3 

covers the exploration of digital techniques and the role played by traditional art and
design practice. The breadth of study and eventual proposal will depend on the equipment and materials available in each centre and learners’ chosen pathways/specialisms.

Learners should be taught to combine traditional art and design techniques and processes with digital media to understand the benefits of using computers in art and design and discover a new way of working to achieve diverse and unusual results. 

They should use the correct techniques for using hardware and software and

understand how these can contribute to the creative process. Final outcomes can be presented digitally, on screen or online as well as through the more traditional media for example canvas, paper.

The contribution of digital media to the creative process will be emphasised, introducing learners to the reality that computers can be used as a tool to create and enhance the outcomes both traditional and digital practice outcomes such as fashion prints and designs, 3D models and sculpture, and mixed media artwork.

Learners should be taught how to use a range of hardware devices, for example computer, scanner, graphics tablet, digital camera, video camera, external and internal storage devices, microphone, laser cutter, printer.

Learners should also be taught how to use a range of software applications relevant to their specialism in 2D,3D, time-based or interactive media.

Learners should be encouraged to investigate a range of multi-media applications in order to demonstrate their new digital skills and present their findings.

Assessment

For P1, learners will be able to describe how digital media is used in contemporary art and design practice.

They will research and highlight specific examples using appropriate terminology. The range of ideas and examples will tend to be basic. Areas will be identified and described but will lack the explanation of context and application shown in work assessed for M1.

For P2, learners will be able to select a basic range of materials for digital experimentation. Some of the work they produce will be tutor driven. Ideas will be explored and materials selected in an obvious way, without considering of how they may be used in more original or effective ways.

For P3, learners will produce and present art and design outcomes using a basic range of digital art and design techniques. Solutions will match the brief and equipment will be used safely. Work produced will lack the sense of purpose or effectiveness found in work assessed M3. Ideas will be seen through to a conclusion but alternatives may remain largely unexplored.

For M1, learners will understand the purpose of visual research for which will be effective, consistent and relevant, referring to digital techniques. The findings of their analysis will influence the preparation of materials for digital outcomes with consideration and understanding.

 Learners will be able to explain the use and context of digital media in art and design contemporary practice with more precision and understanding than in work assessed for P1. They will demonstrate the ability to articulate explanations about the use of digital media in contemporary practice that are not purely descriptive.

For M2, learners will demonstrate well-organised exploration and development of multi-media (digital and traditional) techniques and processes, showing a deeper understanding of the effectiveness of hardware and software and traditional techniques, and an ability to refine ideas.

For M3, learners will present purposeful visual outcomes that are effective in meeting the briefs. Ideas will be carried through to a conclusion with a greater sense of purpose than in work assessed for P3. There will be more consideration of alternative ideas and ways of working with digital media.

 

Hardware and software will be handled with more purpose than in pass level work.

For D1, learners need to undertake a complex analysis of the potential of digital media and use the findings to inform imaginative preparation of ideas and work for digital outcomes. Their work will demonstrate an ability to analyse the purpose, effect and context of contemporary art and design practice in more detail and depth than in work assessed for M1. Analysis will show a greater sense of understanding and confidence in
reaching in-depth conclusions.

For D2, learners will be able to find a wide range of sources from which to develop creative ideas that demonstrate an in-depth understanding of hardware and software. Development will be consistent and innovative reflecting on creative decision making. Learners will be able to demonstrate that they have a clear understanding of the benefits of using certain traditional and digital techniques in combination.

For D3, learners will produce and present outcomes that demonstrate an ability to work confidence with hardware and software confidently. Digital outcomes will be produced with greater independence than in work assessed for M3. 

Learners will be able to relate their outcomes to the specific techniques and equipment
they have used and applied. They will show an informed understanding of the potential of using computers in their own art and design work, as well as recognising of the limitations of digital and traditional techniques.

Outcomes presented will demonstrate creativity and an imaginative approach to communicating ideas through digital work.

Essential resources

The computer software and hardware resources required will vary according to the learners’ specific pathway or specialism, but are likely to include:

computers with industry appropriate software and hardware
projectors
monitors
digital cameras
video cameras
printers
scanners
graphics tablets
external storage devices
internet access.

Learners will also need access to a range of traditional media, and associated tools and equipment, together with adequate work and storage space. 

Library and learning facilities that enable learners to access examples of digital media should be available.

Common Design Mistakes

THE TOP 10 DESIGN MISTAKES TO AVOID AND WHAT TO DO INSTEAD


The visual aspect of your brand identity, so anything design related you’re showing to your potential clients is the core of the first impression. You don’t want to turn people off your blog or instantly through away your business card. Well-designed website and brand identity will help you get more clients, customers, email subscribers, followers and more.


MISTAKE 1 – BLURRY, LOW-QUALITY PHOTOS AND GRAPHICS

When you use images and graphics on your website, in your promotional materials or in social media posts, don’t choose low-quality images with low resolution. Don’t waste your money on low-quality graphics and use proper program for creating your website graphics.

WHAT TO DO INSTEAD?

Make sure to choose high resolution and quality images, so even if you resize them, they would still look sharp. If you take your own images, take them near the huge source of natural light, use a tripod, chose consistent, not busy backgrounds.

If you design your own graphics, use Adobe Illustrator, because it creates vector-based graphics, which you can resize and reuse for other purposes. For example, if you design a logo in Photoshop or Canvas at 500x500px canvas, you won’t be able to resize it to 2000×2000 without it looking all blurry.

MISTAKE 2 – SCALING TEXT OR IMAGES DISPROPORTIONATELY

Probably the most dreadful design mistake, sorry but as a designer, I just can’t stand it! You’ve probably seen it more than once on someone’s website or even on a billboard in your city. What does it mean? It’s changing the height (or width) more than the width (or height), so the image is disproportionate.

WHAT TO DO INSTEAD?

When you scale graphics, text or images hold SHIFT and it’ll proportionately resize your design.

MISTAKE 3 – INAPPROPRIATE DESIGN FOR TYPE OF BLOG/BUSINESS

When creating a brand identity for the business, sometimes we forgot why is it for, what is our target audience, what’s our signature style we’d like to show through design. The huge mistake is to use inappropriate design elements like photography, graphics, fonts and colours.

WHAT TO DO INSTEAD?

For example, if you’re a wedding dress designer, your target market are women who want to get married, so you’d use colours, light graphics, romantic photos, script or sans serif fonts appealing to women, not masculine, sport-style or gothic style fonts and dark images.

MISTAKE 4 – USING HARD TO READ FONTS

If you’re searching for a blog post on Pinterest, the first thing you see is sticking, bold and large text on the vertical image. If someone if using hard to read fonts, you probably scroll further. Who doesn’t love script fonts? But they have to be used carefully. Another dreadful design mistake is to use capitalized script fonts – sometimes is impossible to read them, no matter how awesome your blog post is.

WHAT TO DO INSTEAD?

Use mainly sans serif fonts (serif are also fine, but harder to read) on your website and on your images (especially blog post images!) and if you use a script or handwritten fonts, use them on a small portion of your design. If you use them, please use Title Case or all lowercase.

MISTAKE 5 – NOT USING PARAGRAPHS

Writing long, high-quality and valuable blog posts helps you rank higher in Google, get more repins on Pinterest, gain traffic and loyal followers. But if you write a blog post, no matter how long it is, you should use paragraphs to make it more pleasing to your reader’s eyes.

WHAT TO DO INSTEAD?

Let’s be honest – images are much more appealing than text, so to make it more approachable, use paragraphs, headings, empty space and dividers in your blog post images

MISTAKE 6 – TOO MANY COLOURS & CLASHING COLOURS

Who doesn’t love colours?! Colours takes a huge part in the design, but it’s easy to overuse them. Although is all right to have multiple shades of colours in your brand design (especially for blog post images with a solid background like mine), having too many different colours is just distracting and decreases your chances that someone would remember you. Also avoid colours that clash, because when you use them for example in your blog post images, they are simply impossible to read.

Don't use clashing colours, they are simply impossible to read.

Avoid colours that don't fit well together. Look at your colour theory models

see link

Don't forget about using contrasting colours. It's impossible to read it.

WHAT TO DO INSTEAD?

Keep it simple, try to use no more than two different colours in your text and no more than three colours in your images. Choose colours that complement each other or fit together, so don’t use gold and silver together. If you create graphics with a solid background and text, use contrasting colours so the text is visible.

Use colours that fit well together

Use contrasting colours. It's so much better now.

MISTAKE 7 – TOO MANY FONTS

Similar to colour usage, don’t use too many fonts on your website, logo or other designs. You shouldn’t use more than 2-3 fonts if you use too many fonts, your brand seems incohisive, unprofessional and busy. Not to mentioned that, when you have too many fonts, you distract your visitors, because their eyes have a hard time scanning multiple typefaces.

WHAT TO DO INSTEAD?

Use no more than 2-3 fonts, have a main font and a secondary font. Choose the fonts that will fit all your design needs.

MISTAKE 8 – CENTRE-ALIGNED TEXT EVERYWHERE

While is all right to sometimes use centre aligned text on your headings or short text, it’s a huge mistake to use it everywhere on your website. Why? Centred text is just difficult to read, not to mentioned it look sloppy and unprofessional. This forces your readers to find where each line of text starts since there’s no consistent starting place.

WHAT TO DO INSTEAD?

Use right or left aligned text. Make your visitors experience on your blog much more appealing and less frustrating.

MISTAKE 9 – NOT ENOUGH WHITE SPACE (NEGATIVE SPACE)

Don’t just place all the elements in one place of the image and don’t fill the canvas all the way to the edges. The term “white space” (or negative space) doesn’t necessarily mean that the background should be white – it’s just a design term and practically speaking is about leaving a blank space.

WHAT TO DO INSTEAD?

Having a place to breath in your design or photography can make it so much better and pleasing to the eyes.

MISTAKE 10 – POOR KERNING (SPACES BETWEEN LETTERS)


Kerning is a design term to the spacing between two letters. Poor kerning is usually common with low-quality fonts. If two letters are too close together, it can make words look messy, unclear and difficult to read.

WHAT TO DO INSTEAD?

Try fonts before you buy them, check if they have equal spaces between letters. If you’re downloading free fonts, use tested websites like Google Fonts, Da font etc. It doesn’t apply to handwritten fonts – they supposed to look like someone hand written them, so they don’t have to be perfect.

When you making those design mistakes, you’re decreasing your chances of making a good first impression. Nobody wants to look unprofessional, amateur, inconsistent and as you can see – none of the top design mistakes is related to your personal taste, it’s related to design principles. Without good design, even the best, most valuable content gets lost in the mix.


LET’S RECAP:

1. BLURRY, LOW-QUALITY PHOTOS AND GRAPHICS

Use high resolution and quality images. If you take your own images natural light is your friend. When designing graphics – use Adobe Illustrator or other vector based program.

2. SCALING TEXT OR IMAGES DISPROPORTIONATELY

When you scale graphics, text or images hold SHIFT and it’ll proportionately resize your design.

3. INAPPROPRIATE DESIGN FOR TYPE OF BLOG/BUSINESS

Keep in mind your target audience and your personal style when you choose graphics, photos, colours or fonts for your business or/and blog.

4. USING HARD TO READ FONTS

Sans serif fonts are your friend! Don’t use capitalised script or handwritten fonts.

5. NOT USING PARAGRAPHS

Use paragraphs, headings, empty space and dividers in your blog post images

6. TOO MANY COLOURS & CLASHING COLOURS

Try to use no more than two different colours in your text and no more than three colours in your images. Also, avoid colours that don’t fit together, use contrasting colours.

7. TOO MANY FONTS

Use no more than 2-3 fonts, have a main font and a secondary font. Choose the fonts that will fit all your design needs.

8. CENTRE ALIGNED TEXT EVERYWHERE

Use right or left the aligned text for a large portion of your content.

9. NOT ENOUGH WHITE SPACE (NEGATIVE SPACE)

Having a place to breath in your design or photography can make it so much better and pleasing to the eyes.

10. POOR KERNING (SPACES BETWEEN LETTERS)

Use fonts that have equal spaces between letters.

Digital Marketing Overview

Design an A3 illustration covering all the major aspects with your Digital Marketing course.

Use photoshop and illustrator together to map Digital marketing, 
Collect the logos of the most important social media channels and use photohop to create
images to PLACE into illustrator.

Set the image size as 50,50 pixels, 72dpi and RGB.
Create logos with transparent backgrounds using layers.

Start building your Graphical Map

1. Facebook:

When did it begin?
Who uses it...(target audience)?
How many users?
What is facebook, and how is it used?
Whats the best time to post?
What countries use Facebook the most?

Facebook owns the following apps

Their numbers are also large by any measure.

• Instagram with 300 million+ users
• WhatsApp with 700 million
• Facebook messenger has 600 million users

20 Facts about Facebook

1. Worldwide, there are over 1.79 billion monthly active Facebook users (Facebook MAUs) which is a 16 percent increase year over year.(Source: Facebook as of 11/02/16) What this means for you: In case you had any lingering doubts, statistically, Facebook is too big to ignore.
2. 4.5 billion likes generated daily as of May 2013 which is a 67 percent increase from August 2012 (Source: Facebook)
3. 1.18 billion people log onto Facebook daily active users (Facebook DAU) for September 2016, which represents a 17% increase year over year (Source: Facebook as 11/02/16) The Implication: A huge and vastly growing number of Facebook users are active and consistent in their visits to the site, making them a promising audience for your marketing efforts.
4. There are 1.66 billion mobile active users (Mobile Facebook MAU) for September 2016 (Source: Facebook as of 11/02/16) an increase of 20 percent year-over-year.  There are 1.03 billion Mobile Daily Active Users (Facebook DAU) for June 2016 which is an increase of 22% year-over-year.
5. On average, the Like and Share Buttons are viewed across almost 10 million websites daily. (Source: Facebook as of 10/2/2014)
6. In Europe, over 307 million people are on Facebook. (Source: Search Engine Journal) The Takeaway: This isn’t just a U.S. phenomenon – a worldwide market is available via Facebook.
7. Age 25 to 34, at 29.7% of users, is the most common age demographic. (Source:Emarketer 2012) What this means for you: This is the prime target demographic for many businesses’ marketing efforts, and you have the change to engage these key consumers on Facebook.
8. Five new profiles are created every second. (Source: ALLFacebook 2012) The Implication: Your potential audience on Facebook is growing exponentially.
9. Facebook users are 76% female (out of 100% of all females) and 66% male (out of 100% of all males).This is stat is one that you really have to think about because it’s comparing the percentage of all females against the percentage of all males who are on Facebook. Sorry for the confusion. To dig a little deeper take a look at this study which does a much better job at explaining the nuances – Source: Brandwatch – https://www.brandwatch.com/2015/01/men-vs-women-active-social-media/) The Takeaway: Since this isn’t a large statistical difference, you should be able to effectively reach both genders on Facebook.
10. Highest traffic occurs mid-week between 1 to 3 pm. (Source: Bit.ly blog) On another note, a Facebook post at 7pm will result in more clicks on average than posting at 8pm (Source:  Forbes). Go figure.  How this can help you: You have the potential to reach more consumers and drive higher traffic to your site during peak usage times, but people may be more likely to be more engaged in the evenings. This statistic may be a factor when you are planning social communication scheduling. (Also consider that Facebook has a global audience, so you may want to plan around the time zone of your key market.)
11. On Thursdays and Fridays, engagement is 18% higher. (Source: Bit.ly blog) The Implication: Again, use this information to determine when to post in order to optimize your social media marketing efforts.
12. There are 83 million fake profiles. (Source: CNN) The Takeaway: Nothing is perfect, so always remain thoughtful and strategic in your efforts. Also, fake or not, these are still potential consumers. There are various reasons for fake profiles, including professionals doing testing and research, and people who want to segment their Facebook use more than is possible with one account.
13. Photo uploads total 300 million per day. (Source: Gizmodo) The Implication: Again, this is an indication of engaged users; also, it is an indication that there are a lot of photos, as well as other information, competing for users’ attention, so target your efforts strategically.
14. Average time spent per Facebook visit is 20 minutes. (Source: Infodocket) What this means for you: You could have a short time period to make your impression, so use it wisely with relevant, interesting and unique posts and offers in order to get the most return on your efforts.
15. Every 60 seconds on Facebook: 510 comments are posted, 293,000 statuses are updated, and 136,000 photos are uploaded. (Source: The Social Skinny) The Implication: Again, there are a lot of engaged and active users, but also a huge amount of information competing for their attention, so quality and strategy on your part matter.
16. 4.75 billion pieces of content shared daily as of May 2013 which is a 94 percent increase from August 2012. (Source: Facebook)
17. 50% of 18-24 year-olds go on Facebook when they wake up. (Source: The Social Skinny) What this means for you: Facebook is important to these users, and potentially, if done correctly, so is the content you post on it.
18. One in five page views in the United States occurs on Facebook. (Source: Infodocket 2012) How this helps you: This is a huge market on the web; if you use social media marketing efforts on Facebook well, you could have huge returns to show for it.
19. 42% of marketers report that Facebook is critical or important to their business. (Source: State of Inbound Marketing 2012 The Takeaway: This is a crowded marketplace, but you can’t afford to sit it out, because odds are fairly high that your competition is there. The key is to use Facebook marketing correctly and make sure that your efforts stand out from the crowd.
20. 16 Million local business pages have been created as of May 2013 which is a 100 percent increase from 8 million in June 2012. (Source: Facebook). Facebook marketing has transformed how business is conducted, and its use by local businesses to extend their markets continues to explode.

Thought to take with you:  At 1.79 billion, Facebook has more monthly active users than WhatsApp (500 million), Twitter (284 million) and Instagram (200 million)—combined. (Source: CNBC) Facebook continues to reign in popularity over other social media channels.