Graphic Design and the EL Series
SZ (post #8)
Thanks for drawing attention to your previous post. As the images clearly show the external differences between the models, I certainly would have made use of them if I’d been aware of them
They also reminded me of something that I’ve thought about before. That is, notwithstanding:
- the changes to the rubber armour and the bridge areas between the EL and the EL SV versions, and
- the additional changes to the EL FieldPro rubber armour
the changes to the placement of the Swarovski label and the hawk badge were clearly done to enable easy distinction between the 3 versions
Origins
The original use of the Swarovski label on the left, and the hawk badge on the right - when looking at a binocular front on (as for example in a store display) - dates back to the mid 1990’s
From 1994, the label and badge were used on the SLC, Pocket and traditional Porro prism models
And on all 3, the label was located either near or on the axle e.g. see the first 2 SLC's in the attached image
(it’s from Gijs van Ginkel’s history of Swarovski Optik; for the link, see around 2/3's down the page:
https://www.houseofoutdoor.com/verrekijkers/verrekijkers-testen-en-vergelijken/ )
In terms of graphic design, the placement and orientation of the badge and label were considered choices - it’s not accidental that both the label and the hawk are facing inwards
The EL
When the EL was introduced in 1999, the label was moved away from the centre line, which seems to make for a stronger effect (in the first image, compare the SLC neu of 2005 to the earlier models)
And although the combination is successful as a pair of graphic elements, I’ve always thought that the effect would have been stronger if the two were reversed
i.e. with the label on the right, and the badge on the left (and with both adjusted so that they were facing inward)
- see the attached horizontally flipped image from my previous post
The flipped version follows a simple compositional device often used in photography:
- providing a lead in line (or point) on the left, to allow the viewer’s attention to flow into the image, and then
- redirecting the attention from exiting the right of the image, by the use of either a vertical or an inward curved shape on the right of the image
This arrangement works especially well on those long experienced in - and therefore conditioned to - reading texts from left to right
But regardless of my observation, the original combination is clearly much more effective than what follows with the EL Swarovision
The EL Swarovision
Compared to the orientation on the EL, the EL SV’s outward facing branding, tends to make it more difficult for a viewer to comfortably concentrate on the detail of the binocular
- compare the two in both the first and last images in post #7 (usefully, the models are on different sides in each photo)
I’m surprised that at a minimum the Swarovski label was not turned upside down, so that at least both it and the badge were facing to the viewer’s left, so as to resolve some of the visual tension
And the flipped version of the EL Swarovision seems to work better than the original!
- the low placement of the label seems to provide a lead in function, and
- the badge then redirects attention from exiting the right of the image (as the hawk faces to the left)
The EL FieldPro
Clearly it’s not an improvement over the original EL, and it’s debatable if it improves on the EL SV (see the second image in post #7). But it is distinct from the 2 previous versions
Again I’ve provided a flipped image of the FieldPro, and as the hawk faces to the left it would act to redirect one’s attention from exiting the right side of the image
Well those are my musings about the graphic design elements. As we have a membership with a wide variety of knowledge, skills and experience, I'd be interested to hear the thoughts of others
John