Annotated bibliography
As a continuation from my website presentation earlier in the semester, I am going to discuss the websites of several places I frequent in Birmingham. I will briefly describe each site’s content and analyse the verbal and visual features and finally, evaluate each website’s overall effectiveness.
www.woib.co.uk
What’s On In Birmingham?
If you were visiting Birmingham, your first port of call might be an online guide, yet ‘What’s on in Brum?’ is not particularly helpful. I wanted to first begin by analysing a website I disliked. Prior to my website presentation, I’d never used this site and I’m not likely to use it again as it was difficult to navigate and looked juvenile, almost amateur-ish.
I was first struck by the lack of colour, the background is white and the only use of colour is on the ‘What’s on in Brum?’ banner at the top, which is grey. The typography connotes youth culture as the chunky letters appear scattered and grainy; also there is no use of capitalisation which again connotes a ‘care-free’ lifestyle. Though the typography alludes to a trendy youth culture the rest of the site is bland and lacks imagination. There is little consistency as the choice to use lower-case letters in the banner is not continued throughout; instead, the sophisticated red and grey font colour jars with the youthful banner. ‘What’s on this week?’ is immediately below the banner and lists events in the coming seven days. There is no helpful chunking of text, instead the long list requires a lot of scrolling. A horizontal lay out would be more appealing, perhaps Monday to Sunday beneath the banner then with a pop down menu for each day.
What I did like about the website was the information it offered. After clicking on an event from the ‘What’s on this week?’ list, users are redirected to another page and a full summary of the event is given, as well as recommendations for hotels and hostels. The information is clouded by the shoddy, amateurish layout and style of the website. Several ‘Google Ads’ appear down the left hand side of the page, which would immediately put most people off. Again, the use of advertising adds to the amateur nature of the website and dissuades me from visiting again. The information the site conveys is void as the manner in which it is communicated, is poor.
www.bullring.co.uk
Bulling Shopping Centre
The Bullring has been an important market place in Birmingham since the Middle Ages. It has been developed into a shopping centre twice; first in the 1960s, and then in the 2000s.
A Sixties monstrosity in the centre of the city, the renovations were eagerly anticipated. The website is as impressive as the building’s structure; architecturally the Bullring is distinctive yet the website does not include a gallery, thus there is an element of mystery. The website connotes quality and modernity but without photographs of the building, one cannot understand how impressive it is. The shopping centre consists of two main buildings (East and West Mall) which are connected by an underground passage lined with shops. The website includes detailed floor plans for both East and West Mall which is useful. Users can see a list of all shops or they can search within categories, such as ‘Jewellery’ which then lists all the shops that sell jewellery. You can then click on a shop and further information will be shown, as well as a map. The site is easily navigable and by clicking on the word ‘Bullring Birmingham’ in the top left hand corner, you can easily return to the homepage. The opening hours are always listed on the right hand side of each page and this consistency is alluring. The colours grey and purple are used throughout and this connotes sophistication and luxury. The colours do not appear flat, in fact a myriad of shades create a modern and fresh look.
Touch screen computers are located throughout the building, which allows users to search for the location of a certain store or browse a map of the complex. Both the website and the touch screens offer the same browsing capabilities and again, this consistency is reassuring. The website is an extension of the shopping centre, and the impression it gives is positive.
Overall, the website does what it needs to; it provides a comprehensive list of the shops and amenities within the Bullring shopping centre and conveys modernity, assuring the user that the Bullring is worth visiting.
www.selfridges.com
Selfridges Department Store
Selfridges is part of the Bullring shopping centre but as its own department store there is a separate website. There are three Selfridges in the UK, the flagship in London, one in Birmingham and one in Manchester. Perhaps in a bid to differentiate the three stores, the Selfridges website includes pictures of each location, unlike the Bullring website which included an element of mystery.
The aspirational quality of shopping in Selfridges is reflected both in the architecture of the building and the website. The modern look of the store is reflected in the website, clad in 15,000 shiny aluminium discs, Selfridges is a landmark within Birmingham city centre. Organised much the same way as the Bullring website, upon selecting ‘Birmingham,’ a floor map is shown and the ability to search brands, restaurants and services is available. The use of black, white and grey is sophisticated and whilst this limited colour palette looked unappealing on the ‘What’s on in Brum?’ website, the Selfridges website looks modern and expensive.
However, I feel the Birmingham portion of the website is lacking. While Selfridges the brand is conveyed well, the information about each of the three stores is not particularly comprehensive. There is no way to search specific items, simply shops within Selfridges.
www.purnellsrestaurant.com
Purnell’s Restaurant
Initially I wasn’t going to include this website, but after visiting the site again I noticed something I’d ignored previously, a virtual tour called the ‘Purnell’s Experience.’ Upon entering the site the user is offered 3 options; ‘Purnell’s Experience,’ ‘Main menu with intro’ and ‘Main menu without intro.’ The element of choice allows users to dictate their understanding of the website. The ‘Purnell’s Experience’ makes ample use of graphics as it includes a virtual tour of the restaurant starting at the bar, followed by a pop-up about the wine menu. A further click to the right takes you into the restaurant which again produces a pop-up with information about the food.
To enter the main site, the user can click on the ‘P’ in the top left hand corner, a convention used frequently. The website uses a grey palette, making the food appear more colourful and appetising in contrast. Several images are displayed on the homepage; the restaurant, a plate of food, Glyn Purnell cooking, each fading subtly into one another. The sense of calm is again reinforced by the grey colour palette and the sophisticated typography.
Horizontally beneath the images are several drop down menus; home, menu, private dining, the team, news, gallery, careers, contact and links. When the mouse is placed over one of these options, the grey background colour changes to a lighter shade in order to highlight. Subtle tactics like this help to create a sense of sophistication, no doubt encouraging people to eat at Purnell’s.
The images in the gallery are high quality and connote expense. The food is photographed well and looks appetising.
www.factoryclub.co.uk
Factory at The Custard Factory
The look of the Factory website is industrious and modern. Grey concrete breeze blocks appear graffitied with the neon-pink Factory logo. Upon entering the site, through clicking on the ‘O’ in FactOry, a main menu is displayed. The typography looks like scrawled messy handwriting, which suggests a laid back approach. To the left there are three tabs; homepage, what’s on and newsletter. The tabs again look like graffiti, this time in black; their smudged, messy appearance is conducive to the rest of the website which connotes an urban, industrious feel. The Custard Factory was formerly Bird’s custard factory; hence the industrious feel the website alludes to is inspired by the building’s structure.
The website is a means of promotion effectively; so the sleek, trendy look is appealing to a young audience. In the main menu, scrawled in messy handwriting is a list of options, such as ‘nights,’ ‘buy tickets,’ ‘how to find us’ and ‘gallery.’ The ‘nights’ page loads quickly and displays thirteen colourful posters, each representing a different night the club hosts. By hovering the mouse above the poster, a large version is produced. Each poster is colourful and vibrant and simply states the name of the event, ‘Spectrum’ for example. Double clicking on the poster produces a small text box that lists the type of music played and past live performances affiliation with the night. With thirteen different nights, the website offers something for everybody.
The website is easy to navigate and loads quickly, instilling trust in the user (thus encouraging people to wait in line, pay cover and come dance!)
www.thehareandhoundskingsheath.co.uk
Hare and Hounds Pub
Similar to the Factory website, this website with its quality images and sophisticated colour scheme is aimed at a specific audience. Mainly black and white, with the use of green as an accent colour, the feel is almost vintage. The Hare and Hounds is a Victorian pub that was recently refurbished. The original wall and floor tiles have been restored and the previously dark walls have been painted a neutral cream colour. The renovations have rejuvenated the space and changed the pub’s clientele; the existence of a website is testament to the change in clientele.
Now entertaining a younger crowd, the website is indulgent in its use of artistic photographs and promotion of live bands. The homepage displays a calendar of events on the left hand side. Enclosed within a small text box, only half a dozen events that are visible, to see more, the user must scroll down. This is a more effective use of space, and does not create the ‘wall of text’ that so many of us dislike. On the right hand side there are several links: Line-up, food, private hire, promoters, contact and gallery. The links are placed haphazardly on the page, and do not look tidy or uniform. This quirky placing of text is appealing and connotes youth. Each link takes the user to another page; in order to return to the homepage users must click the ornate shield in the top left hand corner that reads “Hare and Hounds Kings Heath.” The colour scheme is kept consistent throughout, the use of grey, black, white and green. The vintage feel of the pub is transferred to the website and successfully conveys new ownership and renovation.
www.ikon-gallery.co.uk
Ikon Gallery
The Ikon gallery website uses a modern, white and light grey colour scheme. The limited use of colour reflects the gallery as an exhibitor. The current programme displays the work of Victor Man, a collection entitled “Attebasile.” A brief description of the collection is given; the text is chunked for the readers ease. The content explains a little about Man and his work as a painter and sculptor. An example of Man’s work from the collection takes up the majority of the homepage; an extreme close up of a male profile, who appears to be smoking. The painting is dark, shadowy, and obscure; in order to display Man’s work well, the mainly white background is apt.
I found the website difficult to navigate; the tool bar is at the bottom of the page and unless you scroll all the way down, (which the website does not encourage as it uses a horizontal navigation) it is easy to miss. Websites for art galleries on the whole are rather elusive, it is not within their interests to show an entire art collection to internet users, instead they need to encourage people to visit the gallery. Yet, the Ikon gallery website is bland and I am left uninspired. With no personal manifesto, I know too little about the gallery and what it offers to want to visit.
www.bmag.org.uk
Birmingham Museum and Art Gallery
Having decided to evaluate the Ikon gallery’s website, I thought I ought to evaluate an older, more established art gallery. The BG&M logo in the top left hand corner uses an ornate, calligraphy inspired font. This alludes to a more traditional art gallery than the Ikon (whose logo was simply IKON in a strong black font type.) The white BG&M logo is set on a festive, red banner; snowflakes fall down the banner, suggesting movement. The nod to the Christmas period is cute, and indicates the website is being regularly updated and maintained. This instils trust in the user.
Beneath the fest banner, is a small grey tool bar; home, about the museum, for visitors, what’s on, learning, contact and help. The toolbar is simple but effective. The about the museum section is helpful and lists opening times, the address, contact details and admission costs. A link to a map is also included. The page also includes several photographs of impressive one hundred and twenty year old exterior. On the same page, the museum’s history is included and further details about the sorts of exhibitions on offer are displayed.
The expense is apparent. A traditional well-established museum and art gallery, the website is appropriate. Unlike the Ikon website, the BG&M website provides users with a wealth of information about the gallery and others within Birmingham; which would be useful for tourists. Perhaps a smaller independent gallery like Ikon is less inclined reveal too much as it hopes to encourage attendance.
Thursday, December 11, 2008
Annotated bibliography
As a continuation from my website presentation earlier in the semester, I am going to discuss the websites of several places I frequent in Birmingham. I will briefly describe each site’s content and analyse the verbal and visual features and finally, evaluate each website’s overall effectiveness.
www.woib.co.uk
What’s On In Birmingham?
If you were visiting Birmingham, your first port of call might be an online guide, yet ‘What’s on in Brum?’ is not particularly helpful. I wanted to first begin by analysing a website I disliked. Prior to my website presentation, I’d never used this site and I’m not likely to use it again as it was difficult to navigate and looked juvenile, almost amateur-ish.
I was first struck by the lack of colour, the background is white and the only use of colour is on the ‘What’s on in Brum?’ banner at the top, which is grey. The typography connotes youth culture as the chunky letters appear scattered and grainy; also there is no use of capitalisation which again connotes a ‘care-free’ lifestyle. Though the typography alludes to a trendy youth culture the rest of the site is bland and lacks imagination. There is little consistency as the choice to use lower-case letters in the banner is not continued throughout; instead, the sophisticated red and grey font colour jars with the youthful banner. ‘What’s on this week?’ is immediately below the banner and lists events in the coming seven days. There is no helpful chunking of text, instead the long list requires a lot of scrolling. A horizontal lay out would be more appealing, perhaps Monday to Sunday beneath the banner then with a pop down menu for each day.
What I did like about the website was the information it offered. After clicking on an event from the ‘What’s on this week?’ list, users are redirected to another page and a full summary of the event is given, as well as recommendations for hotels and hostels. The information is clouded by the shoddy, amateurish layout and style of the website. Several ‘Google Ads’ appear down the left hand side of the page, which would immediately put most people off. Again, the use of advertising adds to the amateur nature of the website and dissuades me from visiting again. The information the site conveys is void as the manner in which it is communicated, is poor.
www.bullring.co.uk
Bulling Shopping Centre
The Bullring has been an important market place in Birmingham since the Middle Ages. It has been developed into a shopping centre twice; first in the 1960s, and then in the 2000s.
A Sixties monstrosity in the centre of the city, the renovations were eagerly anticipated. The website is as impressive as the building’s structure; architecturally the Bullring is distinctive yet the website does not include a gallery, thus there is an element of mystery. The website connotes quality and modernity but without photographs of the building, one cannot understand how impressive it is. The shopping centre consists of two main buildings (East and West Mall) which are connected by an underground passage lined with shops. The website includes detailed floor plans for both East and West Mall which is useful. Users can see a list of all shops or they can search within categories, such as ‘Jewellery’ which then lists all the shops that sell jewellery. You can then click on a shop and further information will be shown, as well as a map. The site is easily navigable and by clicking on the word ‘Bullring Birmingham’ in the top left hand corner, you can easily return to the homepage. The opening hours are always listed on the right hand side of each page and this consistency is alluring. The colours grey and purple are used throughout and this connotes sophistication and luxury. The colours do not appear flat, in fact a myriad of shades create a modern and fresh look.
Touch screen computers are located throughout the building, which allows users to search for the location of a certain store or browse a map of the complex. Both the website and the touch screens offer the same browsing capabilities and again, this consistency is reassuring. The website is an extension of the shopping centre, and the impression it gives is positive.
Overall, the website does what it needs to; it provides a comprehensive list of the shops and amenities within the Bullring shopping centre and conveys modernity, assuring the user that the Bullring is worth visiting.
www.selfridges.com
Selfridges Department Store
Selfridges is part of the Bullring shopping centre but as its own department store there is a separate website. There are three Selfridges in the UK, the flagship in London, one in Birmingham and one in Manchester. Perhaps in a bid to differentiate the three stores, the Selfridges website includes pictures of each location, unlike the Bullring website which included an element of mystery.
The aspirational quality of shopping in Selfridges is reflected both in the architecture of the building and the website. The modern look of the store is reflected in the website, clad in 15,000 shiny aluminium discs, Selfridges is a landmark within Birmingham city centre. Organised much the same way as the Bullring website, upon selecting ‘Birmingham,’ a floor map is shown and the ability to search brands, restaurants and services is available. The use of black, white and grey is sophisticated and whilst this limited colour palette looked unappealing on the ‘What’s on in Brum?’ website, the Selfridges website looks modern and expensive.
However, I feel the Birmingham portion of the website is lacking. While Selfridges the brand is conveyed well, the information about each of the three stores is not particularly comprehensive. There is no way to search specific items, simply shops within Selfridges.
www.purnellsrestaurant.com
Purnell’s Restaurant
Initially I wasn’t going to include this website, but after visiting the site again I noticed something I’d ignored previously, a virtual tour called the ‘Purnell’s Experience.’ Upon entering the site the user is offered 3 options; ‘Purnell’s Experience,’ ‘Main menu with intro’ and ‘Main menu without intro.’ The element of choice allows users to dictate their understanding of the website. The ‘Purnell’s Experience’ makes ample use of graphics as it includes a virtual tour of the restaurant starting at the bar, followed by a pop-up about the wine menu. A further click to the right takes you into the restaurant which again produces a pop-up with information about the food.
To enter the main site, the user can click on the ‘P’ in the top left hand corner, a convention used frequently. The website uses a grey palette, making the food appear more colourful and appetising in contrast. Several images are displayed on the homepage; the restaurant, a plate of food, Glyn Purnell cooking, each fading subtly into one another. The sense of calm is again reinforced by the grey colour palette and the sophisticated typography.
Horizontally beneath the images are several drop down menus; home, menu, private dining, the team, news, gallery, careers, contact and links. When the mouse is placed over one of these options, the grey background colour changes to a lighter shade in order to highlight. Subtle tactics like this help to create a sense of sophistication, no doubt encouraging people to eat at Purnell’s.
The images in the gallery are high quality and connote expense. The food is photographed well and looks appetising.
www.factoryclub.co.uk
Factory at The Custard Factory
The look of the Factory website is industrious and modern. Grey concrete breeze blocks appear graffitied with the neon-pink Factory logo. Upon entering the site, through clicking on the ‘O’ in FactOry, a main menu is displayed. The typography looks like scrawled messy handwriting, which suggests a laid back approach. To the left there are three tabs; homepage, what’s on and newsletter. The tabs again look like graffiti, this time in black; their smudged, messy appearance is conducive to the rest of the website which connotes an urban, industrious feel. The Custard Factory was formerly Bird’s custard factory; hence the industrious feel the website alludes to is inspired by the building’s structure.
The website is a means of promotion effectively; so the sleek, trendy look is appealing to a young audience. In the main menu, scrawled in messy handwriting is a list of options, such as ‘nights,’ ‘buy tickets,’ ‘how to find us’ and ‘gallery.’ The ‘nights’ page loads quickly and displays thirteen colourful posters, each representing a different night the club hosts. By hovering the mouse above the poster, a large version is produced. Each poster is colourful and vibrant and simply states the name of the event, ‘Spectrum’ for example. Double clicking on the poster produces a small text box that lists the type of music played and past live performances affiliation with the night. With thirteen different nights, the website offers something for everybody.
The website is easy to navigate and loads quickly, instilling trust in the user (thus encouraging people to wait in line, pay cover and come dance!)
www.thehareandhoundskingsheath.co.uk
Hare and Hounds Pub
Similar to the Factory website, this website with its quality images and sophisticated colour scheme is aimed at a specific audience. Mainly black and white, with the use of green as an accent colour, the feel is almost vintage. The Hare and Hounds is a Victorian pub that was recently refurbished. The original wall and floor tiles have been restored and the previously dark walls have been painted a neutral cream colour. The renovations have rejuvenated the space and changed the pub’s clientele; the existence of a website is testament to the change in clientele.
Now entertaining a younger crowd, the website is indulgent in its use of artistic photographs and promotion of live bands. The homepage displays a calendar of events on the left hand side. Enclosed within a small text box, only half a dozen events that are visible, to see more, the user must scroll down. This is a more effective use of space, and does not create the ‘wall of text’ that so many of us dislike. On the right hand side there are several links: Line-up, food, private hire, promoters, contact and gallery. The links are placed haphazardly on the page, and do not look tidy or uniform. This quirky placing of text is appealing and connotes youth. Each link takes the user to another page; in order to return to the homepage users must click the ornate shield in the top left hand corner that reads “Hare and Hounds Kings Heath.” The colour scheme is kept consistent throughout, the use of grey, black, white and green. The vintage feel of the pub is transferred to the website and successfully conveys new ownership and renovation.
www.ikon-gallery.co.uk
Ikon Gallery
The Ikon gallery website uses a modern, white and light grey colour scheme. The limited use of colour reflects the gallery as an exhibitor. The current programme displays the work of Victor Man, a collection entitled “Attebasile.” A brief description of the collection is given; the text is chunked for the readers ease. The content explains a little about Man and his work as a painter and sculptor. An example of Man’s work from the collection takes up the majority of the homepage; an extreme close up of a male profile, who appears to be smoking. The painting is dark, shadowy, and obscure; in order to display Man’s work well, the mainly white background is apt.
I found the website difficult to navigate; the tool bar is at the bottom of the page and unless you scroll all the way down, (which the website does not encourage as it uses a horizontal navigation) it is easy to miss. Websites for art galleries on the whole are rather elusive, it is not within their interests to show an entire art collection to internet users, instead they need to encourage people to visit the gallery. Yet, the Ikon gallery website is bland and I am left uninspired. With no personal manifesto, I know too little about the gallery and what it offers to want to visit.
www.bmag.org.uk
Birmingham Museum and Art Gallery
Having decided to evaluate the Ikon gallery’s website, I thought I ought to evaluate an older, more established art gallery. The BG&M logo in the top left hand corner uses an ornate, calligraphy inspired font. This alludes to a more traditional art gallery than the Ikon (whose logo was simply IKON in a strong black font type.) The white BG&M logo is set on a festive, red banner; snowflakes fall down the banner, suggesting movement. The nod to the Christmas period is cute, and indicates the website is being regularly updated and maintained. This instils trust in the user.
Beneath the fest banner, is a small grey tool bar; home, about the museum, for visitors, what’s on, learning, contact and help. The toolbar is simple but effective. The about the museum section is helpful and lists opening times, the address, contact details and admission costs. A link to a map is also included. The page also includes several photographs of impressive one hundred and twenty year old exterior. On the same page, the museum’s history is included and further details about the sorts of exhibitions on offer are displayed.
The expense is apparent. A traditional well-established museum and art gallery, the website is appropriate. Unlike the Ikon website, the BG&M website provides users with a wealth of information about the gallery and others within Birmingham; which would be useful for tourists. Perhaps a smaller independent gallery like Ikon is less inclined reveal too much as it hopes to encourage attendance.
As a continuation from my website presentation earlier in the semester, I am going to discuss the websites of several places I frequent in Birmingham. I will briefly describe each site’s content and analyse the verbal and visual features and finally, evaluate each website’s overall effectiveness.
www.woib.co.uk
What’s On In Birmingham?
If you were visiting Birmingham, your first port of call might be an online guide, yet ‘What’s on in Brum?’ is not particularly helpful. I wanted to first begin by analysing a website I disliked. Prior to my website presentation, I’d never used this site and I’m not likely to use it again as it was difficult to navigate and looked juvenile, almost amateur-ish.
I was first struck by the lack of colour, the background is white and the only use of colour is on the ‘What’s on in Brum?’ banner at the top, which is grey. The typography connotes youth culture as the chunky letters appear scattered and grainy; also there is no use of capitalisation which again connotes a ‘care-free’ lifestyle. Though the typography alludes to a trendy youth culture the rest of the site is bland and lacks imagination. There is little consistency as the choice to use lower-case letters in the banner is not continued throughout; instead, the sophisticated red and grey font colour jars with the youthful banner. ‘What’s on this week?’ is immediately below the banner and lists events in the coming seven days. There is no helpful chunking of text, instead the long list requires a lot of scrolling. A horizontal lay out would be more appealing, perhaps Monday to Sunday beneath the banner then with a pop down menu for each day.
What I did like about the website was the information it offered. After clicking on an event from the ‘What’s on this week?’ list, users are redirected to another page and a full summary of the event is given, as well as recommendations for hotels and hostels. The information is clouded by the shoddy, amateurish layout and style of the website. Several ‘Google Ads’ appear down the left hand side of the page, which would immediately put most people off. Again, the use of advertising adds to the amateur nature of the website and dissuades me from visiting again. The information the site conveys is void as the manner in which it is communicated, is poor.
www.bullring.co.uk
Bulling Shopping Centre
The Bullring has been an important market place in Birmingham since the Middle Ages. It has been developed into a shopping centre twice; first in the 1960s, and then in the 2000s.
A Sixties monstrosity in the centre of the city, the renovations were eagerly anticipated. The website is as impressive as the building’s structure; architecturally the Bullring is distinctive yet the website does not include a gallery, thus there is an element of mystery. The website connotes quality and modernity but without photographs of the building, one cannot understand how impressive it is. The shopping centre consists of two main buildings (East and West Mall) which are connected by an underground passage lined with shops. The website includes detailed floor plans for both East and West Mall which is useful. Users can see a list of all shops or they can search within categories, such as ‘Jewellery’ which then lists all the shops that sell jewellery. You can then click on a shop and further information will be shown, as well as a map. The site is easily navigable and by clicking on the word ‘Bullring Birmingham’ in the top left hand corner, you can easily return to the homepage. The opening hours are always listed on the right hand side of each page and this consistency is alluring. The colours grey and purple are used throughout and this connotes sophistication and luxury. The colours do not appear flat, in fact a myriad of shades create a modern and fresh look.
Touch screen computers are located throughout the building, which allows users to search for the location of a certain store or browse a map of the complex. Both the website and the touch screens offer the same browsing capabilities and again, this consistency is reassuring. The website is an extension of the shopping centre, and the impression it gives is positive.
Overall, the website does what it needs to; it provides a comprehensive list of the shops and amenities within the Bullring shopping centre and conveys modernity, assuring the user that the Bullring is worth visiting.
www.selfridges.com
Selfridges Department Store
Selfridges is part of the Bullring shopping centre but as its own department store there is a separate website. There are three Selfridges in the UK, the flagship in London, one in Birmingham and one in Manchester. Perhaps in a bid to differentiate the three stores, the Selfridges website includes pictures of each location, unlike the Bullring website which included an element of mystery.
The aspirational quality of shopping in Selfridges is reflected both in the architecture of the building and the website. The modern look of the store is reflected in the website, clad in 15,000 shiny aluminium discs, Selfridges is a landmark within Birmingham city centre. Organised much the same way as the Bullring website, upon selecting ‘Birmingham,’ a floor map is shown and the ability to search brands, restaurants and services is available. The use of black, white and grey is sophisticated and whilst this limited colour palette looked unappealing on the ‘What’s on in Brum?’ website, the Selfridges website looks modern and expensive.
However, I feel the Birmingham portion of the website is lacking. While Selfridges the brand is conveyed well, the information about each of the three stores is not particularly comprehensive. There is no way to search specific items, simply shops within Selfridges.
www.purnellsrestaurant.com
Purnell’s Restaurant
Initially I wasn’t going to include this website, but after visiting the site again I noticed something I’d ignored previously, a virtual tour called the ‘Purnell’s Experience.’ Upon entering the site the user is offered 3 options; ‘Purnell’s Experience,’ ‘Main menu with intro’ and ‘Main menu without intro.’ The element of choice allows users to dictate their understanding of the website. The ‘Purnell’s Experience’ makes ample use of graphics as it includes a virtual tour of the restaurant starting at the bar, followed by a pop-up about the wine menu. A further click to the right takes you into the restaurant which again produces a pop-up with information about the food.
To enter the main site, the user can click on the ‘P’ in the top left hand corner, a convention used frequently. The website uses a grey palette, making the food appear more colourful and appetising in contrast. Several images are displayed on the homepage; the restaurant, a plate of food, Glyn Purnell cooking, each fading subtly into one another. The sense of calm is again reinforced by the grey colour palette and the sophisticated typography.
Horizontally beneath the images are several drop down menus; home, menu, private dining, the team, news, gallery, careers, contact and links. When the mouse is placed over one of these options, the grey background colour changes to a lighter shade in order to highlight. Subtle tactics like this help to create a sense of sophistication, no doubt encouraging people to eat at Purnell’s.
The images in the gallery are high quality and connote expense. The food is photographed well and looks appetising.
www.factoryclub.co.uk
Factory at The Custard Factory
The look of the Factory website is industrious and modern. Grey concrete breeze blocks appear graffitied with the neon-pink Factory logo. Upon entering the site, through clicking on the ‘O’ in FactOry, a main menu is displayed. The typography looks like scrawled messy handwriting, which suggests a laid back approach. To the left there are three tabs; homepage, what’s on and newsletter. The tabs again look like graffiti, this time in black; their smudged, messy appearance is conducive to the rest of the website which connotes an urban, industrious feel. The Custard Factory was formerly Bird’s custard factory; hence the industrious feel the website alludes to is inspired by the building’s structure.
The website is a means of promotion effectively; so the sleek, trendy look is appealing to a young audience. In the main menu, scrawled in messy handwriting is a list of options, such as ‘nights,’ ‘buy tickets,’ ‘how to find us’ and ‘gallery.’ The ‘nights’ page loads quickly and displays thirteen colourful posters, each representing a different night the club hosts. By hovering the mouse above the poster, a large version is produced. Each poster is colourful and vibrant and simply states the name of the event, ‘Spectrum’ for example. Double clicking on the poster produces a small text box that lists the type of music played and past live performances affiliation with the night. With thirteen different nights, the website offers something for everybody.
The website is easy to navigate and loads quickly, instilling trust in the user (thus encouraging people to wait in line, pay cover and come dance!)
www.thehareandhoundskingsheath.co.uk
Hare and Hounds Pub
Similar to the Factory website, this website with its quality images and sophisticated colour scheme is aimed at a specific audience. Mainly black and white, with the use of green as an accent colour, the feel is almost vintage. The Hare and Hounds is a Victorian pub that was recently refurbished. The original wall and floor tiles have been restored and the previously dark walls have been painted a neutral cream colour. The renovations have rejuvenated the space and changed the pub’s clientele; the existence of a website is testament to the change in clientele.
Now entertaining a younger crowd, the website is indulgent in its use of artistic photographs and promotion of live bands. The homepage displays a calendar of events on the left hand side. Enclosed within a small text box, only half a dozen events that are visible, to see more, the user must scroll down. This is a more effective use of space, and does not create the ‘wall of text’ that so many of us dislike. On the right hand side there are several links: Line-up, food, private hire, promoters, contact and gallery. The links are placed haphazardly on the page, and do not look tidy or uniform. This quirky placing of text is appealing and connotes youth. Each link takes the user to another page; in order to return to the homepage users must click the ornate shield in the top left hand corner that reads “Hare and Hounds Kings Heath.” The colour scheme is kept consistent throughout, the use of grey, black, white and green. The vintage feel of the pub is transferred to the website and successfully conveys new ownership and renovation.
www.ikon-gallery.co.uk
Ikon Gallery
The Ikon gallery website uses a modern, white and light grey colour scheme. The limited use of colour reflects the gallery as an exhibitor. The current programme displays the work of Victor Man, a collection entitled “Attebasile.” A brief description of the collection is given; the text is chunked for the readers ease. The content explains a little about Man and his work as a painter and sculptor. An example of Man’s work from the collection takes up the majority of the homepage; an extreme close up of a male profile, who appears to be smoking. The painting is dark, shadowy, and obscure; in order to display Man’s work well, the mainly white background is apt.
I found the website difficult to navigate; the tool bar is at the bottom of the page and unless you scroll all the way down, (which the website does not encourage as it uses a horizontal navigation) it is easy to miss. Websites for art galleries on the whole are rather elusive, it is not within their interests to show an entire art collection to internet users, instead they need to encourage people to visit the gallery. Yet, the Ikon gallery website is bland and I am left uninspired. With no personal manifesto, I know too little about the gallery and what it offers to want to visit.
www.bmag.org.uk
Birmingham Museum and Art Gallery
Having decided to evaluate the Ikon gallery’s website, I thought I ought to evaluate an older, more established art gallery. The BG&M logo in the top left hand corner uses an ornate, calligraphy inspired font. This alludes to a more traditional art gallery than the Ikon (whose logo was simply IKON in a strong black font type.) The white BG&M logo is set on a festive, red banner; snowflakes fall down the banner, suggesting movement. The nod to the Christmas period is cute, and indicates the website is being regularly updated and maintained. This instils trust in the user.
Beneath the fest banner, is a small grey tool bar; home, about the museum, for visitors, what’s on, learning, contact and help. The toolbar is simple but effective. The about the museum section is helpful and lists opening times, the address, contact details and admission costs. A link to a map is also included. The page also includes several photographs of impressive one hundred and twenty year old exterior. On the same page, the museum’s history is included and further details about the sorts of exhibitions on offer are displayed.
The expense is apparent. A traditional well-established museum and art gallery, the website is appropriate. Unlike the Ikon website, the BG&M website provides users with a wealth of information about the gallery and others within Birmingham; which would be useful for tourists. Perhaps a smaller independent gallery like Ikon is less inclined reveal too much as it hopes to encourage attendance.
Sunday, November 30, 2008
Making sense of the visual – is Google the seventh language?
Robert K. Logan
In his 2005 Semiotica article, Logan explores the notion that Google might be the seventh language , Through discussion of technology and its communicative effects, Logan takes the reader through an evolutionary chain of language, in which the Internet subsequently became recognised as the sixth language; it is from this understanding that Logan concludes Google should be recognised as the seventh language.
I find it difficult to imagine a life without the internet, indeed it has become a necessity for many. Logan discusses the discovery of speech for our predecessors, which was born out of the need to communicate more effectively as lives became increasingly more complex. Without speech the ability to control fire, live communally and share food became ever more difficult, therefore humanity’s first words came to be. Can we liken our own world to early man’s? The notion of a ‘shrinking world’ (Allen and Hamnet: Oxford University Press) struck me whilst reading Logan’s article. While technology has allowed us to travel and communicate more easily with one another it has further increased our reliance on the internet. Had I moved some 2800 miles away from home ten years ago, my overall experience would have been significantly different to the one I am having now. I am able to speak to my family and friends via email, Facebook and Skype, even though I am not particularly dexterous. The prevalence of the internet in our lives has given even those lacking computer skills the ability to navigate the internet easily.
It would appear that Logan’s article brings us full circle, as once again we are reminded that “the medium is the message.” From start to finish, this course has wrestled with McLuthanesque theories, trying to place them within our own perceptions of the internet and what it offers. Logan’s article offers further insight into the way the internet has evolved, yet I feel the article lacks substance and I am left feeling somewhat confused by the claim that Google is the seventh language; I am left wanting more to substantiate the claim.
Project Gutenberg and the Million Book Project should not be likened to Google, as they offer only one thing, the ability to reproduce texts, whereas Google has many capabilities and is first and foremost a search engine. I was puzzled by Logan’s claim that Google has become the seventh language – how so? Logan inadequately explains his prediction and further confuses the reader by likening Google to dissimilar enterprises. Google is fast becoming a rival of Microsoft’s. The shift from Microsoft’s Hotmail, to the superior Gmail has occurred over the last couple of years with many preferring Google’s alternative over Microsoft. Furthermore, I would like to suggest that Google has become synonymous with the internet itself. Everybody is familiar with the word Google, even if they aren’t aware of its capabilities.
While I agree that one day “all the books ever printed will be accessible to Google (or its successor)” (page 350) I think Logan should go further and question the future of music and film on the internet – a true return to oral communication. If every book becomes accessible for free, will music and film be as readily available free of restraints? “Publish or perish.”
Robert K. Logan
In his 2005 Semiotica article, Logan explores the notion that Google might be the seventh language , Through discussion of technology and its communicative effects, Logan takes the reader through an evolutionary chain of language, in which the Internet subsequently became recognised as the sixth language; it is from this understanding that Logan concludes Google should be recognised as the seventh language.
I find it difficult to imagine a life without the internet, indeed it has become a necessity for many. Logan discusses the discovery of speech for our predecessors, which was born out of the need to communicate more effectively as lives became increasingly more complex. Without speech the ability to control fire, live communally and share food became ever more difficult, therefore humanity’s first words came to be. Can we liken our own world to early man’s? The notion of a ‘shrinking world’ (Allen and Hamnet: Oxford University Press) struck me whilst reading Logan’s article. While technology has allowed us to travel and communicate more easily with one another it has further increased our reliance on the internet. Had I moved some 2800 miles away from home ten years ago, my overall experience would have been significantly different to the one I am having now. I am able to speak to my family and friends via email, Facebook and Skype, even though I am not particularly dexterous. The prevalence of the internet in our lives has given even those lacking computer skills the ability to navigate the internet easily.
It would appear that Logan’s article brings us full circle, as once again we are reminded that “the medium is the message.” From start to finish, this course has wrestled with McLuthanesque theories, trying to place them within our own perceptions of the internet and what it offers. Logan’s article offers further insight into the way the internet has evolved, yet I feel the article lacks substance and I am left feeling somewhat confused by the claim that Google is the seventh language; I am left wanting more to substantiate the claim.
Project Gutenberg and the Million Book Project should not be likened to Google, as they offer only one thing, the ability to reproduce texts, whereas Google has many capabilities and is first and foremost a search engine. I was puzzled by Logan’s claim that Google has become the seventh language – how so? Logan inadequately explains his prediction and further confuses the reader by likening Google to dissimilar enterprises. Google is fast becoming a rival of Microsoft’s. The shift from Microsoft’s Hotmail, to the superior Gmail has occurred over the last couple of years with many preferring Google’s alternative over Microsoft. Furthermore, I would like to suggest that Google has become synonymous with the internet itself. Everybody is familiar with the word Google, even if they aren’t aware of its capabilities.
While I agree that one day “all the books ever printed will be accessible to Google (or its successor)” (page 350) I think Logan should go further and question the future of music and film on the internet – a true return to oral communication. If every book becomes accessible for free, will music and film be as readily available free of restraints? “Publish or perish.”
Colour as a semiotic mode: notes for a grammar of colour
Gunther Kress and Theo Van Leeuwen
Hamish and Vanessa Dows are chiropodists. They remove warts, veruccas, corns and calluses for a living; these people are odd.No wonder they’ve decorated their home a myriad of colours; they’ve done so in order to escape from their hellish work lives. Perhaps I’ve been unkind, but seriously, feet creep me out. Are our homes and the way we decorate them an apt representation of our personalities? Is a house number plate with feet on it an expression of personality? If so, I think Hamish and Vanessa Dows are morons.
I found Kress and Van Leeuwen’s article troublesome. I fully understood the concepts discussed and, while I found their definitions a little tedious, I found the examples used to support the “grammar of colour” theory wholly unsuitable. Throughout the article, Kress and Van Leeuwen allude to “section 5,” wherein they will discuss “home decoration: colour, character and fashion.” Section 5 left me feeling uninspired. Is the way two wacky chiropodists choose to decorate their home an effective illustration of “colour semiosis”? (p. 359) Kress and Van Leeuwen ask whether colour is a mode of communication in its own right (p. 345), and while I agree, the way in which Kress and Van Leeuwen attempt to illustrate how colour can be recognised as a mode communication is unsuitable.
While I covet nice things and wonder whether one day I will be capable of keep a refrigerator well stocked (like those on MTV’s Cribs) I am simply void of imagination when it comes to decoration and colour schemes. Last year whilst I was living in a student house with several friends, the landlord said I could paint the garish red bedroom if I wanted to ; I hastily accepted. It felt like sleeping within a nose bleed if only for a few nights, though it could have been worse my friend’s bedroom was lime green and lilac (surely an illustration of “differentiation,” whereas my red bedroom was perhaps an example of “purity” p. 356-7.) Nevertheless when the landlord offered to buy us paint, I chose an off-white colour. Reaction to the brash red that covered every inch of the four-walls? Perhaps. The painting of the room took place one Saturday afternoon as we drank beer and listened to the radio, each cleansing brush stroke bringing about more happiness. I would sooner exist in a “timid” home, as Hamish Dows puts it, and create my own colour from my experiences. The blue of my friends’ eyes, the whites of their teeth, the green dress, the red wine…
I don’t dispute that colour is a fun expression of personality however, I do object to the assumption that those who shy away from differentiation, and avoid using a wide spectrum of colours, are void of “adventure.” (House Beautiful, September 1998:21 - p. 359) Similarly, when visiting websites I am often deterred by excessive use of colour, as I feel it looks juvenile and disorganized. I much prefer simplicity and consistency. For example, clothing websites often use light coloured backgrounds and allow the clothes to become the colour. While I am under no illusions that colour usage plays a significant role on the internet, the way in which Kress and Van Leeuwen chose to illustrate the “grammar of colour” theory is unhelpful.
Gunther Kress and Theo Van Leeuwen
Hamish and Vanessa Dows are chiropodists. They remove warts, veruccas, corns and calluses for a living; these people are odd.No wonder they’ve decorated their home a myriad of colours; they’ve done so in order to escape from their hellish work lives. Perhaps I’ve been unkind, but seriously, feet creep me out. Are our homes and the way we decorate them an apt representation of our personalities? Is a house number plate with feet on it an expression of personality? If so, I think Hamish and Vanessa Dows are morons.
I found Kress and Van Leeuwen’s article troublesome. I fully understood the concepts discussed and, while I found their definitions a little tedious, I found the examples used to support the “grammar of colour” theory wholly unsuitable. Throughout the article, Kress and Van Leeuwen allude to “section 5,” wherein they will discuss “home decoration: colour, character and fashion.” Section 5 left me feeling uninspired. Is the way two wacky chiropodists choose to decorate their home an effective illustration of “colour semiosis”? (p. 359) Kress and Van Leeuwen ask whether colour is a mode of communication in its own right (p. 345), and while I agree, the way in which Kress and Van Leeuwen attempt to illustrate how colour can be recognised as a mode communication is unsuitable.
While I covet nice things and wonder whether one day I will be capable of keep a refrigerator well stocked (like those on MTV’s Cribs) I am simply void of imagination when it comes to decoration and colour schemes. Last year whilst I was living in a student house with several friends, the landlord said I could paint the garish red bedroom if I wanted to ; I hastily accepted. It felt like sleeping within a nose bleed if only for a few nights, though it could have been worse my friend’s bedroom was lime green and lilac (surely an illustration of “differentiation,” whereas my red bedroom was perhaps an example of “purity” p. 356-7.) Nevertheless when the landlord offered to buy us paint, I chose an off-white colour. Reaction to the brash red that covered every inch of the four-walls? Perhaps. The painting of the room took place one Saturday afternoon as we drank beer and listened to the radio, each cleansing brush stroke bringing about more happiness. I would sooner exist in a “timid” home, as Hamish Dows puts it, and create my own colour from my experiences. The blue of my friends’ eyes, the whites of their teeth, the green dress, the red wine…
I don’t dispute that colour is a fun expression of personality however, I do object to the assumption that those who shy away from differentiation, and avoid using a wide spectrum of colours, are void of “adventure.” (House Beautiful, September 1998:21 - p. 359) Similarly, when visiting websites I am often deterred by excessive use of colour, as I feel it looks juvenile and disorganized. I much prefer simplicity and consistency. For example, clothing websites often use light coloured backgrounds and allow the clothes to become the colour. While I am under no illusions that colour usage plays a significant role on the internet, the way in which Kress and Van Leeuwen chose to illustrate the “grammar of colour” theory is unhelpful.
The Rhetoric of Typography: Effects on Reading Time, Reading Comprehension, and Perceptions of Ethos - Eva Brumberger
Brumberger argues that typography has been overlooked, and thus? does not play a significant enough role in the discussion of visual rhetoric. Furthermore, the argument predicts typeface has the ability to shape readers’ interaction with a document.
Typography is the art and technique of arranging type and type design. In traditional typography, text is composed to create a readable, coherent, and visually satisfying whole that works invisibly, without the awareness of the reader. Brumberger’s article explains that distractions and anomalies will increase the likelihood of confusion; the key is clarity and transparency. Credibility is removed if the writer, designer or organization ‘mismatches’ typeface, thereby “alienating readers.” (16)
Brumberger makes effective use of other critics’ work, and this helps to create a well constructed argument, (though I did feel somewhat overwhelmed by the extensive use of parentheses’ – visual pun intended!). I found Brumberger’s discussion of “typeface persona” particularly relevant. The notion of “appropriateness” (17) in typeface is something I think many websites succeed at, but where others fail, the mistakes are glaringly obvious. One can understand why an eighteenth century historic website would be inclined to use a font type reminiscent of the time period to make it appear more authentic, it would simply create an unreadable text.
Text set in lower case is more legible than text set all in upper case, presumably because lower case letter structures and word shapes are more distinctive. Additionally, contrast is important. Black is easier to read on a white/light coloured background, far easier to read than negative or reversed images, e.g. white on black. The use of italics is less easy to read, versus standard upright type; these conventions are important as they create a more readily? understandable text.
I am reminded of a scene from the film ‘American Psycho,’ (based on the novel by Bret Easton Ellis) in which an unhinged Patrick Bateman becomes enraged by the business card of a colleague. He and several workmates share business cards as if bragging about conquests, their attitudes pompous and judgemental. A man disliked intensely by Patrick shows off his business card, and he becomes visibly sickened with jealousy. What is so bizarre about the whole yuppie mentality of the men is that the cards look almost identical. All are set on white, cream, ivory, even bone coloured card, and the font types are all strikingly similar, yet the men see tackiness in some and supreme elegance in others. The whole scene is absurd and personifies yuppie culture, but effectively illustrates the importance of typography and the very nuances that determine success or failure.
Brumberger argues that typography has been overlooked, and thus? does not play a significant enough role in the discussion of visual rhetoric. Furthermore, the argument predicts typeface has the ability to shape readers’ interaction with a document.
Typography is the art and technique of arranging type and type design. In traditional typography, text is composed to create a readable, coherent, and visually satisfying whole that works invisibly, without the awareness of the reader. Brumberger’s article explains that distractions and anomalies will increase the likelihood of confusion; the key is clarity and transparency. Credibility is removed if the writer, designer or organization ‘mismatches’ typeface, thereby “alienating readers.” (16)
Brumberger makes effective use of other critics’ work, and this helps to create a well constructed argument, (though I did feel somewhat overwhelmed by the extensive use of parentheses’ – visual pun intended!). I found Brumberger’s discussion of “typeface persona” particularly relevant. The notion of “appropriateness” (17) in typeface is something I think many websites succeed at, but where others fail, the mistakes are glaringly obvious. One can understand why an eighteenth century historic website would be inclined to use a font type reminiscent of the time period to make it appear more authentic, it would simply create an unreadable text.
Text set in lower case is more legible than text set all in upper case, presumably because lower case letter structures and word shapes are more distinctive. Additionally, contrast is important. Black is easier to read on a white/light coloured background, far easier to read than negative or reversed images, e.g. white on black. The use of italics is less easy to read, versus standard upright type; these conventions are important as they create a more readily? understandable text.
I am reminded of a scene from the film ‘American Psycho,’ (based on the novel by Bret Easton Ellis) in which an unhinged Patrick Bateman becomes enraged by the business card of a colleague. He and several workmates share business cards as if bragging about conquests, their attitudes pompous and judgemental. A man disliked intensely by Patrick shows off his business card, and he becomes visibly sickened with jealousy. What is so bizarre about the whole yuppie mentality of the men is that the cards look almost identical. All are set on white, cream, ivory, even bone coloured card, and the font types are all strikingly similar, yet the men see tackiness in some and supreme elegance in others. The whole scene is absurd and personifies yuppie culture, but effectively illustrates the importance of typography and the very nuances that determine success or failure.
Thursday, October 30, 2008
As is often the case, I find myself thinking about the websites I frequent the most when reading each week’s material. Eric P. Kumpf’s article “Visual Metadiscourse: Designing the Considerate Text” (Technical Communication Quarterly 9.4) reminded me of all the horrible websites I have seen, and why others keep me going back time and time again. Kumpf offers a definition of metadiscourse, and cites several scholars who further “explain its usefulness during the writing process for helping readers interpret and understand textual content” (p. 401)
Kumpf offers an alternative to Vande Kopple’s “seven classifications [for metadiscourse],” in which he discusses the application of ten different “ad hoc categories” (p. 404), which I think are far more relevant than Vande Kopple’s. Whereas an inappropriate font type in an essay is somewhat irritating, it is something the marker must overcome, but a similarly irritating font type used on a website will undoubtedly result in the user leaving.
• First impression: the curb appeal Kumpf speaks of is certainly something I have experienced, whether it is because of an improper font type or a ‘wall’ of text, I am almost certain to leave. “We see documents before we read them: this initial encounter evokes an aesthetic response but one with immediate practical consequences.” (p. 406)
• Heft refers to the wall of text I spoke of previously, some websites are far too like a ‘Word document,’ and I often skim read them before scrolling to the bottom.
• Convention refers to expectations we might have; for instance I would expect a news website such as http://news.bbc.co.uk/ to show a main headline with several other stories beneath, easily categorized. However, as Andrew’s presentation showed last week, the Fox News website was disappointing and did not support the expectations I had of a news website.
• Chunking is another? tool that Kumpf cites to ease the reading of texts. It is the spaces between words that allow us to navigate and understand what we have read, and effective use of chunking online allows us to better understand content.
• External skeleton refers to the ‘bones’ of the text, i.e. page numbers and headings. I feel this is less important? (encountered) on the internet, as page numbers are somewhat obsolete but effective tagging of pages helps readers separate information.
• Consistency is something we come to expect from regularly frequented sites. It would be discouraging to go to a website that changes repeatedly. While updates are necessary, a familiar (sense) WC? must remain.
• Expense incurred to create a website while sometimes obvious is not always necessary. Take for example “Oh No They Didn’t” http://community.livejournal.com/ohnotheydidnt/ - a live journal community created for free to share celebrity gossip. The layout is simplistic and almost text-free, with large chunks of text hidden behind cuts. The photos posted are of a high quality and commenting is encouraged. If one were to compare “Oh No They Didn’t” to “Perez Hilton,” (the most frequented gossip website) one would notice the expense differences, though that is not to say that the former is not effective.
• Attraction “describes the ability to maintain readers once engaged.” This is key to the understanding of Kumpf’s ten ad hoc categories, I feel. Without a good first impression, supported by clever use of chunking and consistency, attraction cannot be maintained. I have been guilty of looking only at photos, and skimming the text, as Kumpf describes when referring to The National Geographic, which uses a photo on every page to draw readers in, encouraging them to read further.
• Interpretation is key to understanding the text by way of graphs/charts, etc. If I were shown a graph detailing the current economic crisis on the BBC News website, I would expect an apt description to explain the graph, as well as putting the article into context.
• Style ultimately is the creator’s choice. The analogy of “wearing a striped shirt with plaid pants,” amused me. Often there is no accounting for taste, and if a website looks imperfect, my interest is lost.
The internet allows us to be choosy, and while many website fail the ones that work, work well, and for a reason. Kumpf’s article provides ten ad hoc categories that if followed would help create more easily read text’s online. The relationships we have with our most frequented websites, be it mindless celebrity gossip (of which I am fan) or intellectually gripping news websites are personal, and while I recognise how some author’s do not fulfil Kumpf’s categories, I like them nonetheless . “Oh No They Didn’t” is not particularly stunning, in fact it follows a very basic blog format, but it is one of my most frequented websites.
Kumpf offers an alternative to Vande Kopple’s “seven classifications [for metadiscourse],” in which he discusses the application of ten different “ad hoc categories” (p. 404), which I think are far more relevant than Vande Kopple’s. Whereas an inappropriate font type in an essay is somewhat irritating, it is something the marker must overcome, but a similarly irritating font type used on a website will undoubtedly result in the user leaving.
• First impression: the curb appeal Kumpf speaks of is certainly something I have experienced, whether it is because of an improper font type or a ‘wall’ of text, I am almost certain to leave. “We see documents before we read them: this initial encounter evokes an aesthetic response but one with immediate practical consequences.” (p. 406)
• Heft refers to the wall of text I spoke of previously, some websites are far too like a ‘Word document,’ and I often skim read them before scrolling to the bottom.
• Convention refers to expectations we might have; for instance I would expect a news website such as http://news.bbc.co.uk/ to show a main headline with several other stories beneath, easily categorized. However, as Andrew’s presentation showed last week, the Fox News website was disappointing and did not support the expectations I had of a news website.
• Chunking is another? tool that Kumpf cites to ease the reading of texts. It is the spaces between words that allow us to navigate and understand what we have read, and effective use of chunking online allows us to better understand content.
• External skeleton refers to the ‘bones’ of the text, i.e. page numbers and headings. I feel this is less important? (encountered) on the internet, as page numbers are somewhat obsolete but effective tagging of pages helps readers separate information.
• Consistency is something we come to expect from regularly frequented sites. It would be discouraging to go to a website that changes repeatedly. While updates are necessary, a familiar (sense) WC? must remain.
• Expense incurred to create a website while sometimes obvious is not always necessary. Take for example “Oh No They Didn’t” http://community.livejournal.com/ohnotheydidnt/ - a live journal community created for free to share celebrity gossip. The layout is simplistic and almost text-free, with large chunks of text hidden behind cuts. The photos posted are of a high quality and commenting is encouraged. If one were to compare “Oh No They Didn’t” to “Perez Hilton,” (the most frequented gossip website) one would notice the expense differences, though that is not to say that the former is not effective.
• Attraction “describes the ability to maintain readers once engaged.” This is key to the understanding of Kumpf’s ten ad hoc categories, I feel. Without a good first impression, supported by clever use of chunking and consistency, attraction cannot be maintained. I have been guilty of looking only at photos, and skimming the text, as Kumpf describes when referring to The National Geographic, which uses a photo on every page to draw readers in, encouraging them to read further.
• Interpretation is key to understanding the text by way of graphs/charts, etc. If I were shown a graph detailing the current economic crisis on the BBC News website, I would expect an apt description to explain the graph, as well as putting the article into context.
• Style ultimately is the creator’s choice. The analogy of “wearing a striped shirt with plaid pants,” amused me. Often there is no accounting for taste, and if a website looks imperfect, my interest is lost.
The internet allows us to be choosy, and while many website fail the ones that work, work well, and for a reason. Kumpf’s article provides ten ad hoc categories that if followed would help create more easily read text’s online. The relationships we have with our most frequented websites, be it mindless celebrity gossip (of which I am fan) or intellectually gripping news websites are personal, and while I recognise how some author’s do not fulfil Kumpf’s categories, I like them nonetheless . “Oh No They Didn’t” is not particularly stunning, in fact it follows a very basic blog format, but it is one of my most frequented websites.
Monday, October 27, 2008
Website design: Viewing the web as a cognitive landscape
Deborah E. Rosen and Elizabeth Purinton
ASOS.com is the United Kingdom’s largest online fashion and beauty store., offering its own label as well as branded fashion and designer goods. It specialises in selling affordable versions of outfits worn by celebrities; ASOS is an acronym for “as seen on screen.” ASOS.com has grown to attract over 2 million shoppers every month and has 1.5 million registered users, of which I am one. Each month ASOS.com sends a glossy magazine in the post, which includes both articles and fashion-looks. The expansion of the website has come over the last year. It is certain a recognizable brand amongst young women in the UK, with many spending hours browsing the website – something I used to do when working in a call centre over the summer!
Camille Parker Bowles’ daughter, Laura Lopes (nee Parker Bowles) is a fashion columnist for both website and magazine, and whilst the ordinary ASOS shopper is not from such aristocracy, ASOS conveys a certain lifestyle that shoppers can seemingly buy in to. The aspirational quality of ASOS.com is confirmed by the “Celebrity Look” pages on the website, where certain items are recommended in order to allow shoppers to create celebrity looks, like Kate Moss’.
ASOS.com provides potential customers a number of features, including individual catwalk model videos for most clothing items on the site. Additionally it runs a fashion blog at blog.ASOS.com. The blog posts articles related to celebrity and entertainment whilst linking clothes worn by or similar to the people featured on the main retail site.
Rosen and Purinton discuss the sensory stimuli of a ‘brick-and-mortar’ retailer and how if done properly can encourage shoppers to spend longer in store and more money at the tills. I would like to suggest that ASOS.com creates/has achieved a similar buzz on the website. Colour is used sparingly, but has edge and sophistication while text is punchy and effective. Rosen and Purinton cite the “many elements of design and graphic art [that] can be used to convey content on the web. The choices are truly endless.” ASOS.com has seemingly got this right.
This article, written in 2004 by Susie Mesure for The Independent discusses ASOS.com’s growing success on the internet ‘high street,’ proving that while a difficult thing to get right, when done properly, generates healthy capital.
http://www.independent.co.uk/news/business/news/demand-from-wannabes-helps-asos-post-first-profit-535085.html
Below are 2 screen grabs from ASOS.com, the first I think illustrates the ease customers have when browsing the website. Clothing is categorized into women’s and men’s and then there are several sub-categories such as “Day dresses,” “Evening dresses,” “Knitwear,” and so on. The second screen grab is evidence of what I think, is the ‘aspirational’ lifestyle ASOS.com sell too. The texts demands customers to “MAKE LIKE AGYNESS DEYN IN HIGH IMPACT HUES LIKE SHIMMERING TURQOUISE.” Photographs of the ‘copy’ dress and the shoes to go with, are placed alongside the photograph of Agyness. Typically, they are selling a ‘look’ and a lifestyle. I along with many of my friends shop at ASOS.com, and while I spend more in ‘brick-and-mortar’ Below are 2 screen grabs from ASOS.com, the first I think illustrates the ease customers have when browsing the website. Clothing is categorized into women’s and men’s and then there are several sub-categories such as “Day dresses,” “Evening dresses,” “Knitwear,” and so on. The second screen grab is evidence of what I think, is the ‘aspirational’ lifestyle ASOS sell too. The texts demands customers to “MAKE LIKE AGYNESS DEYN IN HIGH IMPACT HUES LIKE SHIMMERING TURQOUISE.” Photographs of the ‘copy’ dress and the shoes to go with, are placed alongside the photograph of Agyness. Typically, they are selling a ‘look’ and a lifestyle. I along with many of my friends shop at ASOS.com, and while I spend more in ‘brick-and-mortar’ retailers, the ease of a website like ASOS.com has me and many others coming back time and time again every pay-day.
Deborah E. Rosen and Elizabeth Purinton
ASOS.com is the United Kingdom’s largest online fashion and beauty store., offering its own label as well as branded fashion and designer goods. It specialises in selling affordable versions of outfits worn by celebrities; ASOS is an acronym for “as seen on screen.” ASOS.com has grown to attract over 2 million shoppers every month and has 1.5 million registered users, of which I am one. Each month ASOS.com sends a glossy magazine in the post, which includes both articles and fashion-looks. The expansion of the website has come over the last year. It is certain a recognizable brand amongst young women in the UK, with many spending hours browsing the website – something I used to do when working in a call centre over the summer!
Camille Parker Bowles’ daughter, Laura Lopes (nee Parker Bowles) is a fashion columnist for both website and magazine, and whilst the ordinary ASOS shopper is not from such aristocracy, ASOS conveys a certain lifestyle that shoppers can seemingly buy in to. The aspirational quality of ASOS.com is confirmed by the “Celebrity Look” pages on the website, where certain items are recommended in order to allow shoppers to create celebrity looks, like Kate Moss’.
ASOS.com provides potential customers a number of features, including individual catwalk model videos for most clothing items on the site. Additionally it runs a fashion blog at blog.ASOS.com. The blog posts articles related to celebrity and entertainment whilst linking clothes worn by or similar to the people featured on the main retail site.
Rosen and Purinton discuss the sensory stimuli of a ‘brick-and-mortar’ retailer and how if done properly can encourage shoppers to spend longer in store and more money at the tills. I would like to suggest that ASOS.com creates/has achieved a similar buzz on the website. Colour is used sparingly, but has edge and sophistication while text is punchy and effective. Rosen and Purinton cite the “many elements of design and graphic art [that] can be used to convey content on the web. The choices are truly endless.” ASOS.com has seemingly got this right.
This article, written in 2004 by Susie Mesure for The Independent discusses ASOS.com’s growing success on the internet ‘high street,’ proving that while a difficult thing to get right, when done properly, generates healthy capital.
http://www.independent.co.uk/news/business/news/demand-from-wannabes-helps-asos-post-first-profit-535085.html
Below are 2 screen grabs from ASOS.com, the first I think illustrates the ease customers have when browsing the website. Clothing is categorized into women’s and men’s and then there are several sub-categories such as “Day dresses,” “Evening dresses,” “Knitwear,” and so on. The second screen grab is evidence of what I think, is the ‘aspirational’ lifestyle ASOS.com sell too. The texts demands customers to “MAKE LIKE AGYNESS DEYN IN HIGH IMPACT HUES LIKE SHIMMERING TURQOUISE.” Photographs of the ‘copy’ dress and the shoes to go with, are placed alongside the photograph of Agyness. Typically, they are selling a ‘look’ and a lifestyle. I along with many of my friends shop at ASOS.com, and while I spend more in ‘brick-and-mortar’ Below are 2 screen grabs from ASOS.com, the first I think illustrates the ease customers have when browsing the website. Clothing is categorized into women’s and men’s and then there are several sub-categories such as “Day dresses,” “Evening dresses,” “Knitwear,” and so on. The second screen grab is evidence of what I think, is the ‘aspirational’ lifestyle ASOS sell too. The texts demands customers to “MAKE LIKE AGYNESS DEYN IN HIGH IMPACT HUES LIKE SHIMMERING TURQOUISE.” Photographs of the ‘copy’ dress and the shoes to go with, are placed alongside the photograph of Agyness. Typically, they are selling a ‘look’ and a lifestyle. I along with many of my friends shop at ASOS.com, and while I spend more in ‘brick-and-mortar’ retailers, the ease of a website like ASOS.com has me and many others coming back time and time again every pay-day.
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