PG. 34. Marx: Objectification as rupture
PG. 133. Study of Consumption
PG. 178. Tavardsa Theory of Consumption
PAGE: 1, Marx fetishism
PAGE: 2, 3, 6, 8 - Introduction Pages.
PG. 21. Guidlelines for branding
PG. 28. The Core DIea
PG. 50. Branded the Brand - Based Identity
PG. 61. Leadership / Brand Management
Page: 21, 24, 29 - core reactors, 30, 51, 61, 62
Chpt. 54. Industrialism, Consumerism and Power.
Chpt. 69. Societies of consumers and consumer societies.
Chpt. 157. Consumption and Class analysis.
Chpt. 185. The genealogy of advertising.
Chpt. 246. Classes and Classifications
Chpt. 251. Production, Consumption, Distribution exchange
Chpt. 255. The ideological genesis of needs
Pages: 54, 59, 60, 61, 69, 70, 71, 157, 158 - good way of triangulation, 159, 185, 186, 187, 188, 189, 246, 247, 249, 251, 252, 253, 255 - 258.
Each page highlighted and noted.
PhD. Benson, A.L. 2008. To Buy or not to buy. Massachusetts: Trumpeter books.
Chandler, D. 2007. Semiotics - The basics. 2nd Ed. London: Routledge
Clarke, D.B. Doel, M.A. and Housiaut, KML. 2003. The Consumption Reader. London: Routledge
Cobey, P. and Jansz, L. 2004. Introducing Semiotics. Royston: Icon Books LTD.
Danziger, P.N. 2005. Let Them Eat Cake. Chicago: Dearborn Trade Publishing
Dittmar, H. 2008. Consuming Culture, Identity and Well being. New York: Psychology Press.
Faubion, J.D. 1994. Michael Foucault - Power. 3rd Ed. London: Penguin group.
Hodkinso, P. 2011. Media Culture and Society. London: Sage.
Klein, N. 2005. No Logo. London: Harper Perennial.
Lasn, K. 2000. Culture Jam. New York: Harper Colins
Miller, D. 1987. Material Consumption and Mass Consumption. Oxford: Basil Blackwell.
Olins, W. 2003. On Brand. London: Thames and Hudson LTD
Olins, W. 2008. Wally Olins: The Brand Hand Book. London: Thames and Hudson LTD.
Silverstone, R. and Hirsch, E. 1999. Consuming Technologies. New York: Routledge
For our type module we had to choose a serif font and analyze is using the structural format, which incorporates looking at its key factors, modeling, proportions etc. Georgia was designed for the Microsoft Corporation in 1993 by Matthew Carter. Its function was to designed as part of the core fonts for the web. This is due to the fact the characters are serifs, known for making it reading easier. With a large x-Height it means that no matter what size you read it and it stays legible. It has a continuos construction throughout the typeface meaning it can be easily manipulated to fit the appropriate form for its use. In comparison to a similar font such as Times New Roman, where the singular strokes and medium x-height hampers its readability at a small size. Georgia really capitalizes on this leading to it being a strong font to be used on screen.
Putting the font into context. In the use of technology now, e-books and kindles now use this generic type face to produce their works. This is because it can be zoomed and manipulated into any size and the legibility does not suffer. It makes it perfect for a functioning online book.
Verdana is another font that was used and designed for specifically for screen. Verdana is a Sans Serif font, the design thought behind it was to create a larger x-height which would mean that the characters would look bigger. However, this would not damage the separation between uppercase and lowercase, making them defined enough so that you can read them easily. By doing this too takes away the chances of the words looking almost crowded, again making it more applicable to screen. One of the strongest characteristics of Verdana that makes it perfect for screen is the fact that it is extended, allowing extra space between lettering meaning the characters don't touch. Regardless of whether they have been turned to bold or are just regular. Another brilliant property of Verdana is that it can be printed and still look exquisite, it doesn't loose its consistency. Everything it does for screen it does on paper too.
This is why both Georgia and Verdana are perfectly made for screen. Each type face has thoroughly thought out characteristics which compliment the format it has been designed for.
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