Action Research: Semester 2 Presentation

ACTION RESEARCH 2014 SEMESTER 2 Laura Hudson s2841584

RESEARCH PROPOSAL

Typography is primarily used for communication and considered as both text and image. Different art movements used typography and design differently to communicate the visual aesthetic of the era.

Explore the idealistic typography forms developed through the Bauhaus movement and the Deconstructivist/Grunge movement and apply them to contemporary design.

• Still within the postmodern era: History of typography is within the dispersed history of graphic design.

Typography ideals from both eras are still very much prevalent in design today.

• Relates to print/publishing/display design • Contemporary design and typography mainly consists of mimicking and inspiration, it’s difficult to create something ‘new’.

• This isn’t entirely ‘new’ however it attempts to create something different from what already exists.

CONTEXTUAL RELEVANCE

METHODOLOGIES

• Collect and compile work from exemplars • Analyse work samples to note similarities and differences • Sketching and drawing basic concept designs • Reflect on research and compare to work samples to explore the ‘feel’ of the typeface.

• Refine using software like Illustrator and finalised with Typetool • Display new typeface by designing a type specimen using Illustrator and Indesign.

BAUHAUS PERIOD: • Form Follows Function • Industrial/Non Expressive. Sans Serif • The Grid System • New Typography Style emerged from this era which challenged the grid, but didn’t necessarily break it to the extent of David Carson.

GRUNGE/DECONSTRUTIVIST PERIOD: • Typography was a massive part of what made this period. Bold and seemingly ‘thoughtless’ design.

• Completely different from previous movements, completely new and revolutionised contemporary design • Broke away from design ‘stigmas’: • Breaking the Grid • Expressive

THEORETICAL DISCOURSE

TYPOGRAPHY AS COMMUNICATION/ VISUAL LANGUAGE IN DESIGN • What defines ‘good’ typographic communication?

• Practicality: Legibility, Readability, Weight, Size, Hierarchy, Expressive, Perception • If the message is received/interpreted as intended.

CHOOSING THE RIGHT TYPEFACE TO ACCURATELY CONVEY A MESSAGE • “Fonts are not symbols that represent voices, they are communication tools with cognitive qualities that aid telling stories. Therefore the designers focus not only on what is being said but also on how it is delivered.” İsmail Nakilcioğlu, ‘THE EFFECTS OF FONT TYPE CHOOSING ON VISUAL PERCEPTION AND VISUAL COMMUNICATION’, Online Journal of Art and Design, volume 1, issue 3, 2013, accessed August 24, 2014, URL: http://ojad.emu.edu.tr/articles/13/134.pdf.

THEORETICAL DISCOURSE

EXEMPLARS HARRIET GOREN • Graphic Designer • Created a typeface inspired by David Carson and his ideology of conveying a message using expressive design/typography.

RELATION TO PROJECT • Created a typeface inspired by the Grunge era/David Carson.

• Created a display project (book) for the typeface. <Discuss all exemplar methodologies>

DAVID CARSON • Iconic Graphic Designer of the Grunge Era • Created numerous typefaces, Ray Gun magazine, revolutionised graphic design with his expressive/out of the box/breaking the grid approach.

RELATION TO PROJECT • One of the main focus points: Grunge Style • His work will help inspire the final outcome.

EXEMPLARS

EXEMPLARS MASSIMO VIGNELLI • Italian Graphic Designer inspired by Bauhaus.

• Created typefaces with other designers who upheld Bauhaus typography ideals of Form Follows Function.

RELATION TO PROJECT • Addresses one of the main focus points • Contemporary approach to Bauhaus.

MAX MIEDINGER • Created Helvetica, inspired by previous Bauhaus typefaces • Swiss Typeface Designer RELATION TO PROJECT • Created one of the most used typefaces in contemporary design.

• Addresses Bauhaus typeface ideology.

• Inspire final outcome.

EXEMPLARS

PROGRESS TO DATE TO DATE • Mainly defining research.

• Collaborating work samples from exemplars to analyse and map differences/commonalities.

FUTURE PROCESS • Specifically define the typography characteristics of each movement.

• Sketch typeface samples/ideas that combine both.

• Constantly reflect back on research: consider what defines ‘good communication’.

• Refine typeface ideas.

• Use software: Illustrator, Typetool, Indesign to create and test final typeface/typefaces.

• Design and print a type specimen booklet or display book for the typeface.

WHAT HAVE I LEARNED? • Expanded general knowledge on graphic design/typography history.

• Taken note of significant people/ works that helped define contemporary design • Been able to explore a personal interest more thoroughly • Learned how some iconic designers think and view their work

CONCEPTUAL FRAMEWORK • Has been expanded and then refined again • More direction/focus

CHANGES IN PROJECT • Extensively changed • Original concept was extremely broad • Able to compare and analyse and create

WHAT’S LEFT TO ANSWER? • Have to continue to strengthen connection between two ‘topics’ • Explore ‘visual communication’ • Create typeface (final outcome)

• Methodologies remain similar (more focused)

PROBLEMS SOLVED •

Final Outcome

•

Less confused

• Less broad

REFLECTIVE PROCESS

TIMELINE FOR COMPLETION WEEK 13 • Project Due: Present Work

WEEK 12 • Finish preparations for Week 13 presentation • Type Specimen should be printed and finalised

WEEK 11 • Test printed type specimen • Final adjustments to typeface • Research should be finalised

WEEK 10

WEEK 9

WEEK 6

• Working on Typeface

• Continue researching

• Start working on idea for Type Specimen

• Research should be refined and clear

WEEK 8 • Typeface drawings finalised in Illustrator • Final typeface sketch drafts completed

WEEK 7

• Typeface sketches should be clear and starting to come together • Continue referring to research

WEEK 5 • Continue researching

• Refine typeface sketches

• Typeface ideas

• Collaborate research/work samples and analyse

• Collecting/analysing work from exemplars

• Typeface completed

• Critically analyse progress

• Typeface Tested

• Action research over theory

(from Week 4 onwards)

ANNOTATED BIBLIOGRAPHY SOURCES: • Eskilson, Stephen. Graphic design: A new history. Yale University Press, 2012.

• Spencer, Herbert. Pioneers of Modern Typography. MIT Press, 2004.

• White, Alex. The elements of graphic design. Skyhorse Publishing, Inc., 2013.

• Poynor, Rick. No More Rules: Graphic Design and Postmodernism. Yale University Press, 2003.

• Rabinowitz, Tova. Exploring Typography, Cengage Learning, 2006.

• TED Talks, David Carson: Design and Discovery, TED2003, 22:33, February, 2003, http://www.ted.com/talks/david_carson_on_design/transcript?language=en.

• ‘The Rise and Fall of Grunge Typography,’ The Awl, accessed August 23, 2014, http://www.theawl.com/2012/08/grunge-typography.

• Fawcett-Tang, Robert. ‘New Typographic Design’, Lawrence King Publishing, 2007.

OTHER SOURCES: • İsmail Nakilcioğlu, ‘THE EFFECTS OF FONT TYPE CHOOSING ON VISUAL PERCEPTION AND VISUAL COMMUNICATION’, Online Journal of Art and Design, volume 1, issue 3, 2013, accessed August 24, 2014, url: http://ojad.emu.edu.tr/articles/13/134.pdf.

BIBLIOGRAPHY

IMAGE URLS: • www.harrietrgorendesign.com/159570/f-o-n-t/ • www.identifont.com/ • jamesbsp2.blogspot.com.au/2012/05/bauhaus-research-text-arrangement.html • www.chris-ashworth.com/ray-gun-publish/ray-gun-magazine-covers/ • www.magspreads.net/2011/11/ray-gun-covers-and-spreads.html • zjmccartney.studentsofdesign.com/page/3/ • printingserviceslatvia.wordpress.com/2012/07/18/featured-graphic-design-raygun-magazine/ • new.pentagram.com/2011/03/new-work-vignelli-gala-at-the/ • www.metalocus.es/content/en/blog/massimo-vignelli-makes-books • www.girvin.com/blog/?p=4412 • https://multimediaman.wordpress.com/tag/max-miedinger

ALL ACCESSED <Saturday, August 23, 2014.>

BIBLIOGRAPHY

ACTION RESEARCH 2014 SEMESTER 2 Laura Hudson s2841584