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Typographic Composition Book by Christina Holtzen
CONTENTS Composed by Christina Holtzen Typography I, Professor Tom Dolle, Spring 2012
In My Words Learning and process
Neighborhoods of Type Photography of four Neighborhoods of type
Composition Explanation
03 05 15
What was explored? Description of process
Compositions with Letterforms
17
First stage of exploration
Compositions with Words
23
Second stage of exploration
Compositions with Text & Graphics
29
Third stage of exploration
Compositions with Texture & Positive/Negative
35
Fourth stage of exploration
Compositions with Image Final stage of exploration
43
IN MY OWN WORDS What is Typography I? What have the essentials taught me? This book is an expression of how I view type in the world of design.
2 | SPRING 2012
A
s part of the Pratt Institute Graduate Communications Design program, this Typography I class was an introduction to the concrete and conceptual aspects of typography as a visual medium.
The first half of the semester was a review of the technical requirements of typography. The second half was an exploration of the abstract compositional uses for typography, integrating hand skills and the computer as a way to render type. Historical and current forms of alphabetic communications were also explored, along with the relationship to modern image-based communications. This book was the final assignment, and incorporates the steps taken in the process of composition exploration, while the book format functions as an introduction to the complexities of editorial design.
TYPOGRAPHIC COMPOSITION BOOK | 3
Assignment: Neighborhoods of Type The neighborhoods of New York are diverse and rich with character. This character can be seen in the buildings, the shops and restaurants, the public space and the people who make the neighborhood what it is. In this assignment, I explored four neighborhoods: Times Square, Central Park, Soho and Williamsburg (Brooklyn). I made observations about the mood, pulse, visual attributes and overall impressions of each area, and photographed abstract elements of typography as I saw them. The letterforms convey the aspects I have identified through their visual attributes alone—this isn’t about words, but merely letterforms and the feelings they evoke. For the second part, I created simple compositions with limited font choices to convey the feeling of the each neighborhood. This part of the assignment was a focus on scale, positioning and structural relationships rather than expressive fonts.
TYPOGRAPHIC COMPOSITION TYPOGRAPHIC COMPOSITIONBOOK BOOK || 5
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12 | SPRING 2012
COMPOSE Classic typefaces are expressed utilizing letterforms, texture and image while keeping the basic concepts of composition in mind.
LIST OF COMPOSITIONS Scale Size Balance
C
Tension/Harmony omposition is the organization or grouping of
Contrast
the different parts of a work of art so as to
Context
achieve a unified whole.
Meaning
Although typographic composition utilizes the same
Focus
basic compositional concepts that are part of all visual
Form
arts, there are unique ways that typography relates to each of these concepts. By forming relationships between the elements, and incorporating visual concepts in abstract ways, a new and more open relationship with typography is achieved. Shown on the following pages, the exploration
Structure Direction Rhythm Color Depth
of typographic composition started with simple
Positive/Negative
elements—three letterforms—and became a process
Foreground/Background
of identifying abstract concepts as they became
Detail
visualized. Additional elements were added each
Texture
week, and new relationships evolved as we explored
Smooth/Rough
positive/negative, texture and image use.
Computer/Hand Alters definition Drama Mystery/Surprise
TYPOGRAPHIC COMPOSITION BOOK | 15
Composition 1: Letterforms These compositions feature three letters from the alphabet, set in any of the following typefaces: Helvetica, Univers, Futura, Garamond, Times Roman, Century, Baskerville and/or Bodoni. By using size, scale, spacial relationships, bleeds and positioning as the variables, I created six compositions using only the three letterforms. The final compositions are 8.5"x 8.5" (standard format throughout).
TYPOGRAPHICCOMPOSITION COMPOSITIONBOOK BOOK || 17 TYPOGRAPHIC
Composition 2: Letterforms & Words Keeping the three letters from the previous assignment, I have now included three words. The words do not have to have any particular meaning or association with each other. Each letter and word is set in one of the following typefaces: Helvetica, Univers, Futura, Garamond, Times Roman, Century, and/or Bodoni. Using only the three letters and three words, I created the following compositions.
TYPOGRAPHIC COMPOSITION BOOK | 23
Composition 3: Text & Graphics Starting with the same three letters and three words from the previous assignments, I am now adding some text and a graphic element. I am setting the text in one of the approved typefaces from before, adjusting the leading, column width, type size, etc. to achieve different results. As abstract compositions, it is not necessary that the text or other typographic elements be readable. I also included graphic elements: lines, circles, triangles or squares in any size or configuration, either solid or outlined. Screens of black could be employed, white type could be used, and structure was to be considered.
TYPOGRAPHIC COMPOSITION BOOK | 29
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Composition 4: Texture & Positive/Negative Positive/negative is the relationship between figure and ground. Are there black elements on a white ground, or white elements on a black ground? Does the ground interchange from black to white? Just making a composition negative does not deal with those issues. Texture is the ability to render type in ways other than just hard edge black and white. Combining hand effects (drawing, painting), machined effects (photocopying, scanning), computer effects (PhotoShop, Illustrator) and/ or accidental effects (spills, crumples, rips) allows you to define type in unusual and unique ways challenging you to see it differently. Typography exists in our world in many forms—this was an opportunity to explore non-traditional representations of typographic form. Starting with the same three letters, three words and text used in the last assignments, I incorporated positive/negative and texture as major design components. Graphic elements were optional.
TYPOGRAPHIC COMPOSITION TYPOGRAPHIC COMPOSITIONBOOK BOOK || 35
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Give me a second, I need to get my story straight. My lover she is waiting for me. Just across the bar. My se gave it to you months ago I know you’re trying to forg you know I’m trying hard to take it back so if by the t night, We are young. So let’s set the world on fire. We world on fire. We can burn brighter than the sun. Now we could find a ways to fall apart. But our friends are night, We are young. So let’s set the world on fire. We world on fire. We can burn Give me a second, I need to than the empire state. my lover she is waiting for me. ‘bout a scar and I know I gave it to you months ago I k the holes in my apologies you know I’m trying hard to down, I’ll carry you home. Tonight, We are young. So l So let’s set the world on fire. We can brighter t though let’s raise a toast cause I found someone to carry me h brighter than the sun. Tonight, We are young. So let’s you got, I guess that I just thought maybe we could fin cause I found someone to carry me home. Tonight, We the sun. Tonight, We are young. So let’s set the world My friends are in the bathroom getting higher than th seat’s been taken by some sunglasses asking ‘bout a sc get, but between the drinks and subtle things the hole time the bar closes and you feel like falling down, I’ll can burn brighter than the sun. Tonight, We are young I know that I’m not all that you got, I guess that I jus back, so let’s raise a toast cause I found someone to ca
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friends are in the bathroom getting higher than the empire state. my eat’s been taken by some sunglasses asking ‘bout a scar and I know I et, but between the drinks and subtle things the holes in my apologies ime the bar closes and you feel like falling down, I’ll carry you home. Tocan burn brighter than the sun. Tonight, We are young. So let’s set the w I know that I’m not all that you got, I guess that I just thought maybe e back, so let’s raise a toast cause I found someone to carry me home. Tocan burn brighter than the sun. Tonight, We are young. So let’s set the o get my story straight. My friends are in the bathroom getting higher . Just across the bar. My seat’s been taken by some sunglasses asking know you’re trying to forget, but between the drinks and subtle things take it back so if by the time the bar closes and you feel like falling let’s set the world ire burn brighter than the sun. Tonight, We are young. ht maybe we could find a ways to fall apart. But our friends are back, so home. Tonight, We are young. So let’s set the world ontofire. Wesocan burn I ng to you got, tryithat take it back if by the time the bar closes and you feel like falling down, I’llnot carry you home. Ton re you’ all wI’m agowI kno that ths I kno Now to you sun.mon I gave thanitthe know I brig hter and set the world on fire. We can the sun. Now I know that I’m not all that scar a burn tWe can ‘bou ng aski fire. toa hard a on ses e ng ld glas rais tryi wor are young. So let’s set the world on fire. We can burn brighter than the sun. Tonight, We are young. I’m e sun let’s the w so somfound set , kno s you ogie ds areonback someone to carry me Tonight, We are young. So let’s set world fire. We can burn brig apol frien myBut inrt. s friends me araise second, I drin need tohome. get my story straight. Myapa areour in the the bathroom getting higher nd a ways to fall apart. But our friends are back, soGive let’s a toast gs sthe fall to hole le thin a way subt and d find coul the bekswe een may betw ght thou forget, but I just are young. So let’s set the world on fire. We can burn than take itstate. back than brighter thetoempire myiflover she is waiting for me. Just across the bar. My seat’s been taken by so by the time the bar closes and you feel like falling down, I’ll on fire. We can burn Give me a second, I need to get myarestory straight. carry you home young. So let’s set the world on fire. We can burn brighter than he empire state. my lover she is waiting for me. Just across the bar. My the sun. Tonight, We are you car and I know I gave it to you months ago I know you’re trying to fores in my apologies you know I’m trying hard to take it back so if by the carry you home. Tonight, We are young. So let’s set the world on fire. We g. So let’s set the world on fire. We can burn brighter than the sun. Now st thought maybe we could find a ways to fall apart. But our friends are arry me home. Tonight, We are young. So let’s set the world on fire. We
MERCI
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Composition 5: Image The final addition to the compositional process was the incorporation of an image. With the same three levels of typography—letters, words and text—an image of a simple object was introduced to the mix. The image could be cropped, silhouetted, texturized or changed in other ways in the course of creating the compositions. Texture could now be a part of the image, or continue as a separate element. Positive/negative, graphic elements and structure could be incorporated as needed. The resulting compositions are still abstract, but hint at the richness that can be incorporated into even the simplest realistic project. The complex relationships between typographic elements and the concepts of scale, balance, focus, etc. are all exhibited in these engaging works that become expressive works of art and communicate on multiple levels.
TYPOGRAPHIC COMPOSITION BOOK | 43
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Life between two serifs Before taking this course, I had already completed two typography classes in undergrad. It had been a few years since I had studied typography immensely. I have to say after taking this course, I learned more than the previous two typography classes combined. This course taught me the fundamentals of typography and getting down to the nitty gritty of technical terms. I learned that typography goes far beyond what you see in an editorial layout and the elements can be used to create the most abstract compositions imaginable.
About the creator Christina Holtzen is from Albuquerque, New Mexico and has been living in New York City for the past three years. She is obtaining her MS in Digital Design at the Pratt Institute. She is a lover of all things design and type. LOVE Sculpture in NYC. One of my favorite pieces of typography. That’s me in the green by the way.
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Typographic Composition Book by Christina Holtzen