V ISUAL JOURNAL
IDEATION
A 2
COLOUR
SHAPE
TEXTURE
I created a rainbow effect in the program InDesign. I used a solid strong font in order to achieve the sharp thick lines of colour. The colours were chosen for their density and drama.
In order to emphasise shape in the letter I designed the above in an abstract style. Still using the well known shape of the A I manipulated the gaps in the letter and moved them into a less conventional position.
I used brush tools in Photoshop in order to create texture. The letter has a fluffy voluminous appearance similar to fur or grass and the background is a layered feel reminiscent of a bad paint job.
IDEATION WWWW WW W WWWW WWWW WWWW W
FORM
UN ITY
SPACE
For the principle of form I was inspired by joints and flexibility. I recreated the letter by breaking it up into sections and adding circles for joints showing its natural makeup.
Something that I like the most about unity is how it is beautifully represented by contrast. Up above your eye will draw to the bold pink upside down letter that is different from the others however the whole group is still unified due to their structure.
Space is very important in the world of design, it can be the difference in cluttered and confusing to sleek and modern. Up above you will see how I have tried to eliminate space by increasing the size greatly of the letter.
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IDEATION
SS SS
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BALANCE
HE IRARCHY
SCALE
Balance in art can be achieved in a number of different ways. A well balanced piece brings a sense of contentment to the viewer showing the work is complete and refined. Up above you will see it represented through shapes, placement and colour.
Heirarchy is used when showing importance in text. This can be achieved with size, placement and colour to represent where you want the consumers eye to draw to first. Above I’ve used size and placement to make certain letters stand out.
Scale can be used very artistically within typography. in order to fill strange spaces or to create white space with smaller size scale can make a big difference in the aesthetic of your work. Up above I’ve used scale to use the entire box.
IDEATION
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Dominance is used to create power and importance and to show a difference between your text. I have used an upper case E to show a dominant letter covered in the smaller lesser letters. The larger letter looks most like an E and is most important.
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DOM INANCE
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RHYTHM
SIM ILARITY
Rhythm is a good way to bring movement and life into your work. Being inspired by rhythm I’ve layed out the letters up above to created a bouncy feel.
Similarity and Contrast go hand in hand. It can really emphasise a piece of work and draw interest to a certain area. I’ve used 2 reflecting letters up above and changed the colouring. This shows the similarities and differences of the letter.
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1970'S
TYPOGRAPHY The 1970’s was a decade of bold, colourful and confident artists, it’s no surprise that the designers drew inspiration from the atmosphere of the time and applied it willingly to typography. Typefaces popular in and created in the 1970’s reflect the below characteristics: • • • • • •
Hard Lines Outlines Shapes Symbols Warped/Bold Colours Decorative Type
In the realm of design you could say that the 1970’s was all about enhancing features and steering away from simple design. In a decade heavily influenced by popular culture many logos and designs were loud and exciting. The only negative in this decade that seems to have affected the liveliness of the generations style was that the colour choices used in designs would slightly dull when printed. In this time many designs were still created by hand due to the lack of technology at the time, making it even more powerful what was being achieved.
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Although bright colours were significant in this time another popular palette was that of earthy muted tones. You would see this within advertisements in newspapers as well as the fashion of the time. The warping, playful and intricate typography used in this generation meant muted tones were not an issue in gaining attention or interest. What a wonderful array of colours that would have been achieved if technology had been a part of a designers working life in this era.
CREATED FOR THE DESIGN COMMUN ITY Upper & Lowercase Magazine was a publication released in 1970. It ran for 29 years up until 1999. It was one of the first recognised publications specifically created for the design community. It was a product of popular typographical designer Herb Lubalin and the International Typeface Corporation. It’s intent was to show the latest typefaces of the ITC to designers in and out of the industry.
UPPER AND LOWERCASE The magazine often featured experimental typography and illustrations and was a success for many years in the design world. Herb Lubalin remained the art director of the publication for 11 years until his death in 1981. Many upcoming and talented artists and designers at the time were showcased keeping the publication relevant and topical.
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JURRIAAN SCHRO FER A COM PUTER DESIGNER BE FORE THE COM PUTER Jurriaan Schrofer was a Dutch designer in the 1950’s - 1970’s. He designed for numerous high profile clients such as; The National Post Office, The Stedelijk Museum and was a partner at Total Design, alongside Wim Crouwel. He is regarded as one of the most defining designers of modern times however most peculiarly his name has been unnoticed in the industry and in the history of design until recently, 25 years after his death. Jurriaan’s area of expertise was Typography and he is now recognised for his geometric and multi-dimensional letter forms. Being a designer in a time scarce of technology he created all of his precise designs by hand and as Hyugen writes he was, “a computer designer before the computer.” Jurriaan’s work shows a certain unique style unlike any other designer. His letter forms are almost symbols or codes in the way they are shaped. Mostly they are not meant to be read but meant for aesthetic purposes. Another distinction apart from the geometric shaping in his work is his use of repetition. He repeats shapes, sizes and characters in his pieces to create a sense of unity however looking carefully each repeated mark is slightly different. Cleverly he creates an interesting effect giving his work a feeling of movement or motion even when using 2 dimensional characters.
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RE FERENCE L IST Agi-Congress.com. .n.d. Available: http://2017.agi-congress.com (accessed 20 June 2017). Blogspot.com.au n.d. Available: http://tervezografikatortenet.blogspot.com.au/2012/05/ jurriaan-schrofer-1926-1990-1963.html (accessed 20 June 2017). Design is History. (2010). U&lc, Available: http://www.designishistory.com/1960/ulc/ (accessed 1 July 2017). Designspiration.net n.d. Available: http://designspiration.net/image/1272204596894/ (accessed 20 June 2017). Designweek.co.uk n.d. Available: https://www.designweek.co.uk/issues/february-2013/ jurriaan-schrofer-restless-typographer/ (accessed 20 June 2017). Gable, G. (2007). Scanning Around With Gene: Part 1 of That ‘70s Type!, Available: https:// creativepro.com/scanning-around-gene-part-1-70s-type/ (accessed 1 July 2017). Istd.org.uk n.d. Available: http://www.istd.org.uk/files/assets/frontpage.default-article/ scale/958211241.jpeg (accessed 20 June 2017). Indexgrafik.fr n.d. Available: http://indexgrafik.fr/wp-content/uploads/Jurriaan-Schrofer-DrsPH-Brunsmann-filmstudies-19721.jpg (accessed 20 June 2017). Pinimg.com. n.d. Availble: https://s-media-cache-ak0.pinimg.com/ originals/07/2f/7b/072f7b8034f415fb24e157c74b9c6051.jpg (accessed 20 June 2017).
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Typeroom. (2016). Happy Birthday Jurriaan Schrofer, the genius of design you didn’t know, Available: http:// www.typeroom.eu/article/happy-birthday-jurriaanschrofer-genius-design-you-didn-t-know (accessed 30 June 2017). Tumblr.com. n.d. Available: http://superseventies.tumblr. com/post/59582307515/designer-fashion-shoppingclothes-beauty-travel-jewelry (accessed 20 June 2017). Tumblr.com. n.d. Available: http://fuckyeahvintage-retro. tumblr.com/post/5280654530/soda-cans-producedbetween-1930s-to-1970s (accessed 20 June 2017). Typejoy.com. n.d. Available: http://typejoy.com/ post/60988485541/uniteditions-typographical-poster-byherb (accessed 20 June 2017) Typogabor.com. n.d. Available: http://www.typogabor. com/herb-lubalin/pages/herb_lubalin_047.html (accessed 20 June 2017). Typeroom.com. n.d. Available: http://www.typeroom. eu/article/john-clifford-six-graphic-design-icons-whomastered-type (accessed 20 June 2017). Typetoken.net n.d. Available: http://www.typetoken.net/ wp-content/uploads/2013/03/JS1971_Stamps-copy.jpg (accessed 20 June 2017).