Reverse Engineering

What Ajax Does Right

For this exercise, I chose this New Zealand advertizement for Ajax cleaning wipes, created by designer Tim O’Neill. I found that the design visually “flowed” well compared to many of the other options listed in the database where I searched for it, and thought it would be a good introductory piece to start off our exploration into what makes a good design! Also, please forgive the shakey lines… I am still getting used to photoshop and was struggling to get the line tool to cooperate, so I had to improvise.



In this version of the image, I’ve highlighted two things I thought were interesting examples of contrast: the use of color, and the use of negative space. I’ll talk about the color in more detail later, so for right now let’s focus on the negative space. The product is, of course, a cleaning product; so the artist did something very clever by putting a clean break right in the middle of the “juice spill”, to indicate that it’s been “wiped clean” in the act of pouring. That clean break in the middle of the pouring liquid is very eye-catching, and it immediately grabbed my attention! The fact that we have this very surreal but photorealistic image against such a plain background also makes the picture “pop” more, which seems to enhance the sense of contrast.



At first, the minimalistic look of this ad threw me for a loop as far as repetition was concerned. However, after closer inspection, I realized that the ad’s text was printed in the same font used for the “spray and wipe” portion of the product label. This ties the image to the product quite nicely, and brings the ad as a whole together.



Here, the text is aligned to the right, with no breaks (using changes in font size and weight to provide emphasis instead). This makes it easier to read (for me, at least), possibly because we’re used to reading right to left. The bottom and top halves of the “juice spill” are also aligned as if they were still a single stream, making the image more coherent, and the whole image is aligned in the center of the ad, making the clean “wipe” in the juice the focus.



Here, the text is closely grouped with the pictures of the product. This is presumably meant to establish the connection between the ideas presented in the text, and the product itself. It seems like a no-brainer, until you try to imagine it a different way and see how jarring that might be!



I mentioned that I liked the use of color here in the “contrast” section, and now I get to explain why. I like how generally muted the colors are, and how the magenta used for the juice is the strongest one: it makes the “wipe”, the focus of the image, stand out more. The contrast of the cool-colored background and the warm colors of the cup and juice also seem to enforce the theme of the ad, with the untextured teal gradient seeming to represent “clean”, and the warmer colors “dirty”. A very effective use of color!


Final Thoughts

It seems that the main strengths of this advertizement are color and contrast, meant to give the impression of the product’s effects. The fact that the design is so minimal works in its favor, using the simple image of a “wipe” in the still-pouring juice to show rather than tell. Simple, understated, and it gets the point across. A very effective use of design, I think!


A Starting Spread

Learning to work with InDesign has been a rocky but rewarding experience, and I’m both surprised by and proud of how just a few simple tricks can make a spread look so much better than a simple word document!

I did my spread on this interesting story about the youth cultural celebration at the dedication of the new Paris, France temple, and tried to make the colors and layout of the pages match the “Festive” yet reverent theme with a mix of yellows and blues. I also attempted to select photographs of the event that showed off the colors, diversity, and sense of scale presented by the event.

The Spread

First spread final draftFirst spread final draft2First spread final draft3

Here is my finished spread… In retrospect, I would have liked to clean up the text boxes used for the labels and pull-out quote, but otherwise this might be the most elaborate and least crowded-looking piece I’ve ever done!

For my contrasting typography, I used Baskerville Oldface (an Oldstyle font) for the title, headings, and pull-out quote, and Microsoft Sans Serif for the remainder of the text.

The following images were used:

All these images can be attributed to Sarah Jane Weaver, and can be found here.

Target Audience

Since this was a story about youth showing their devotion, I decided to make this piece appeal to youth. I tried to keep the design lively, but still easy to follow; fun, but not distracting. So, I selected pictures that showed off the youth showcasing thier talents and having fun! I also tried to use the background to my advantage, with lines that emphasized the way the text flowed, colors and shapes positioned so that they highlighted pictures and quotes, offsetting the title, and putting the photos on the first page into circles, rather than leaving them in their standard shape. This last idea is one I’m particularly proud of, since I thought it would be fun to make them look like baloons at a party!

Use of Design

In addition to the considerations listed above, I wanted to evoke certain feelings with the colors… A yellow that is awake and remeniscient of light, the theme of the youth festival, and a blue that sets a tone of reverence. I used a brighter yellow to make the pull-out quote and captions pop, as well as differentiating them from the main text and carrying on the “light” theme.

I picked Baskerville Oldface for the heading text to give it a more “french” feel, and Microsoft Sans Serif for a bit of contrast that was still easy on the eyes!

Reverse Engineering

Is Carsonified Our Type?

While I could not find the initial creator of this design, I did a bit of digging using the information in the piece itself and discovered that the company advertized is, a web design company. I found the initial ad here, and was drawn to its sleek composition and the apparent differences between type fonts; however, I will admit that since this was the best image quality I could find, and that attempting to enhance the images to look at the smaller print resulted in decreased image quality, it was difficult to place the families, but I have narrowed each down to a major and minor possibility. I’ll post my breakdown here, and am more than happy to accept feedback on alternate views!

carsonified type example

A Typefont Family Gathering: Who’s Who?

I’ve taken the liberty of focusing on the two main typefonts, and I’ve circled prominent examples in two different colors:

carsonified type outline

I debated for a while on the sections circled in blue, but after some deliberation, I believe they qualify as “Modern”. Here is my reasoning:

Close up modern breakdown

While the fact that this is the clearest “closeup” image I could get limited my ability to discern small details clearly, it does seem as though the serifs on the text are fully horozontal, rather than slanted. The letters also seem to show vertical stress. Both of these things are listed in the text as major indicators that a font belongs to the Modern family. One caveat, however, is that close scrutiny of the capital “T” on the bottom row seems to suggest a font similar to Times New Roman, which is classified as an “Oldstyle” font… So it may be that I’ve missed something?

In contrast, I’ve identified the areas circled in yellow as “Oldstyle”, for the following reasons:

Close up oldstyle breakdown

While this font’s “nubby” look made it difficult to tell how to group this font according to its serifs, the negative space in the “O’s” makes it seem as though there is diagonal stress in the letters, a trait only Oldstyle fonts possess. Another possibility, based on the thick and mainly horizontal serifs, is that this is a “slab serif” font… The combination of traits here makes it difficult to tell.

Is There Sufficient Contrast?

While my eyes tell me that there is sufficient contrast here, with the differences of hard lines verses curves and thin letters verses thick ones, I’m wondering if maybe the folks at Carsonified couldn’t have tried to mix it up a little more? That being said, I do believe that the two fonts are from different families, with the larger, “bubblier” font contrasting nicely against the thinner, “sharper” lines of the other… The fact that I couldn’t initially tell which families these fonts belong to might just be due to my own lack of experience.