Process Book Typography 1 Christopher Lee Fall 2010 Lauren Mackler
Process Book Typography 1 Christopher Lee Fall 2010 Lauren Mackler
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Table Of Contents: Klavika: the typeface..................... i Ligature......................................... 01 Grid................................................ 17 Broadside...................................... 31 Bingo............................................ 51
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Klavika: the typeface I was online in search of a new typeface. I was looking for something bold, clean, and modern. On top of that, I was on a budget, so I could not exactly afford an expensive typeface. I was hoping to find something other than Helvetica for my first process book for Comm Studio. Luckily, I found Klavika, the same typface used to create Facebook, the logo. Klavika was first introduce in 2004 as a do-it-all sans serif. It’s a design that’s unadorned, modern and infinitely flexible. In my favor, and the theme of continuity, I decided to use Klavika for the cover and main title page for all of my first year process books. i
Ligature
This project was my very first type project so it was a bit confusing in the beginning but very fun to do. By studying the single letterform, we began to understand the issues of scale, variation in line-weight, form/counter-form, closure, and ambiguity. For this project, we had to combine two typographic characters to compose one single mark.
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Ligature We divided the ligatures into three catagories: Scale, Ambiguity, and Form/Counterform.
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Ligature 3
Ligature We took the first step and played around with the orientation and scale. We also tried to exagerate scale, ambiguity, and form/ counterform to create a better composition.
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Ligature 5
Ligature From the pencil drawings, we tried to exagerate scale, ambiguity, and form/ counterform. During this stage, we outlined and filled the ligatures with a fine tip pen.
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Ligature 7
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Ligature
Ligature 9
Ligature From the 24 ligatures we made, we took three of the best ones and made 3 more variations; mixmatching typfaces and rotating them.
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Ligature 11
Ligature
From the 12 Ligatures that we made, we picked two of the best ligatures and made two more vartiations each with a total of 4 ligatures. After, we picked two finals from the set.
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Ligature 13
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Ligature
Ligature 15
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Grid
This assignment was the second project we did in Typeography 1. By using a grid, we started to follow a certain structure. First, we had to use forms such as circles, squares, and rectangles, and we aligned them to a grids. Next, we cut and glued letterforms from paragraphs in different point sizes. We used these letters to create scale, hiearchy, and visual interest; moving the eye through the composition. Finally, we broke the grid. We started to create complex shapes like curves and dashes to break the grid. Than we substituted those shapes with typographic elements. We broke and adhered to the grid.
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Grid
Using different a grid, we had to use basics shapes to create hiearchy, scale, and texture.
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Grid
This was the second variation that I made. I opened up more negative space so that the eye would not get trapped or blocked in the space around the objects.
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Grid
This was my third variation. Here, I tried to experiment with thick line weight. In these examples, the grid is more obvious than my first two.
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Grid
I opened up more space, and I created more variation in line weight and some texture with the smaller elements of squares and circles. There are more variations in lineweight, and the hiearchy is more prominent.
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Grid
This is project 1b. In this projects, we translated the shapes from 1a into handcut letters. It was much more difficult creating the same hiearchy from 1a to 1b because we also had to work with the typographic grays which created different densities.
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Grid
This was my second variations. I had to change the top left box because the one I made before was not appropriate for the project, so I created a new one.
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Grid
This is 2a. Using shapes, we had to create a composition. Here, our objective was to break the grid. We had to create visual complexity and hiearchy.
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Grid This was the second variation. I decided to do a mash up. I decided to combine bits and pieces of my 1a with my 2a.
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Grid
This is Project 2b. Using 2a, we had to transplate the shapes into typographic elements. In this step, I found the the hiearchy quite difficult to construct.
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Grid
I had a problem with my type project. I did not like the direction it was going, so I decided to change a lot of it. The top two were much more successful after the change.
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Grid
AD
RH VE E E N U YO E O VE SOM A H VE LO
TO
M
A T
E
A . G . . G . . . . . . . . A . . . . . L O
N S I
R . . E N . . . . . . y . . od . . I M . eb . m . . so ay e w ak e m th to u yo ng r yi fo tr re ca A
W
I N
////////////
HAVE YOU EVER HAD TO LOVE SOME ONE t h a t
j u s t
d o n t
t r y i n g t o m a k e y o u t h e w a y I d o
f e e l
t h e
s a m e
s o m e b o d y c a r e i s l i k e t r y i n g
f o r
WE CA N DA NCE WE w e c a n d a n c e w e c a n d a n c e d o i n g i t w a l l t o w a l l w e CA N
DA NCE DOING IT WA L L TO WAL L WE c a n d a n c e w e c a n d a n c e d o i n g i t w a l l t o w a l l w e c a n CA N DA NCE W E CA N DA NCE WA L L
The top two were so much better after the change, and it started to look pretty good made with type.
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DOING TO
IT
dance we can dance doing it wall to wallwe can dance
WAL L WE w e c a n d a n c e d o i n g i t w a l l t o w a l l w e c a n d a n c e w e
Grid
AD
RH VE E E N U YO E O VE SOM A H VE LO
TO
M
A T
E
A . G . . G . . . . . . . . A . . . . . L O
N S I
R . . E N . . . . . . y . . od . . I M . eb . m . . so ay e w ak e m th to u yo ng r yi fo tr re ca
Y
+ + + + + +
oo
WE C A N DA NC E WE C AN DA N C E D O I N G IT WA L L TO WA L LWE C A N DA NC E WE C AN DA N C E D O I N G I T WA L L TO WA L LW E C AN DA N C E WE C A N DA N C E D O I N G IT WA L L TO WA L L WA L L TO WA L LWE C A N DA N C E WE C A N DA NC E D O I N G IT WA L L TO WAL L WE C AN DA N C E WE C A N DA NC E
we
can
doing
it
o o oo o o ooo
dance wall
o
+
T
DO
.
o
o
. ..
o
o
+
/// /// ///
R
+
oo
M
o
+ + + + +
.. ... ... . . . ...
+ + + + +
oo
S
O
+
to
+
EF O
wall
oo
E AK
it
oo
... ... .. . .. .. .. . +
doing
oo
E B O DY C A SOM R
dance
oo
+
to
ooo
+
TJ U
NT
FEE
L T HE SAME, T RY
IN
G
T
+
+
//////// //// /// ///
+
+
+
...
+
can
wall
+
OMEONE T VE S HA
+
we
wallwe can dance we can
+ + + +
LO
+
TO
.
. . . . . .
.............. .... .... .. ... ...
it
I N
ooooooo
D
. .
.
B a by, l o o k h e r e a t m e H a ve yo u eve r s e e n m e t h i s wa y ? I ' ve b e e n f u m b l i n ' f o r wo r d s T h r o u g h t h e t e a r s a n d t h e h u r t a n d t h e p a i n I ' m g o n n a l a y i t a l l o u t O n t h e l i n e t o n i g h t A n d I t h i n k t h a t i t ? s t i m e To t e l l t h i s u p h i l l f i g h t g o o d bye H a ve yo u eve r h a d t o l ove s o m e o n e T h a t j u s t d o n ' t f e e l t h e s a m e ? Tr y i n g t o m a ke s o m e b o d y c a r e f o r yo u T h e wa y I d o i s l i ke t r y i n g t o c a t c h t h e r a i n A n d i f l ove i s r e a l l y f o r eve r I ' m a w i n n e r a t a l o s i n g g a m e B a by, l o o k h e r e a t m e H a ve yo u eve r s e e n m e t h i s wa y ? I ' ve b e e n f u m b l i n ' f o r wo r d s T h r o u g h t h e t e a r s a n d t h e h u r t a n d t h e p a i n I ' m g o n n a l a y i t a l l o u t O n t h e l i n e t o n i g h t A n d I t h i n k t h a t i t ? s t i m e To t e l l t h i s u p h i l l f i g h t g o o d bye H a ve yo u eve r h a d t o l ove s o m e o n e T h a t j u s t d o n ' t f e e l t h e s a m e ? Tr y i n g t o m a ke s o m e b o d y c a r e f o r yo u T h e wa y I d o i s l i ke t r y i n g t o c a t c h t h e r a i n A n d i f l ove i s r e a l l y f o r eve r I ' m a w i n n e r a t a l o s i n g
dance
doing
W
+
H
can
dance
o
ER
+ +
O O
T U,
H AV E YO U WAY EV HE
we
oo oo ooo
+
A
B a by, l o o k h e r e a t m e H a ve yo u eve r s e e n m e t h i s wa y ? I ' ve b e e n fumblin' for wo r d s Through the tears and the hur t and the pain I'm gonna lay it all out On the line tonight And I think that it?s t i m e To t e l l t h i s u p h i l l fight g o o d bye B a by, look here at mehere at
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/// /
dy
+
+
+
om eb o
/////////////////// ////// ///// //// / / / / //// /// /// /// or /// // /// re f /// ca
tr yi
/ /// ///
///// ////// ////////// / //// / /// /// ///
///////////////////// / / / //// /////////////////////////////////// ///// / / /// ////////// ng to make s ///////// /
A
we to
can
dance
wallwe
can
dance we can dance doing it wall to wallwe can dance we
I decided to change the bottom two because they were really poorly constructed compared to the top two I had decided to redo them.
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Broadside
This was the last project for Typography 1. From what we learned from the past projects, we had to create a typographic broadside. We had the freedom of creating our own format and grid structure. First, we created simple layouts from scratch or from our previous project. Next, we had to include the type name, the type designer, date, and the type specimen. From that, we created more variations adjusting: scale, hieachry, texture, and negative space.
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Broadside
From the 12 Ligatures that we made, we picked two of the best ligatures and made two more vartiations each with a total of 4 ligatures. After, we picked two finals from the set.
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Broadside 33
Broadside I was encouraged to try working off my 2b, so I tried rotating it and moving elements to create an interesting composition.
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Broadside 35
Broadside I decided to use the typeface Adobe Garamond Pro. I thought it would be interesting to create both positive and negative of my broadside.
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Broadside 37
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Broadside
Broadside 39
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Broadside
Broadside 41
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Broadside
Broadside 43
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Broadside
Broadside 45
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Broadside
Broadside
O
n pi
io
nv
a
s rie
reg
ardi
ng
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Broadside We got a chance to help other students by creating variations from their original work. I got a chance to work on Baskerville. This helped me a lot becuase I got a chance to work with something new instead of the same old thing.
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Broadside 49
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Bingo
Type Bingo was one of the games we played during our second week in Typography 1. This was not so much about the game, rather it was an introduction to the terminology we would be using throughout the weeks in the class. I was familiar with a lot of the terminology including: serif, san-serif, descenders, and ascenders, and many more basic terms. But through farther research, I got to learn many more terms, rules, and techniques.
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Bingo
Bingo 53
Bingo
Just for kicks
Typography Lesson Barb- a sharp pointed serif
Capline
Spine- a left-to-right curving stroke in “s” Ear- a small stroke protruding from the letters “r” and “f”
Meanline
X - height
Baseline
Shoulder- the cur ved stroke leading into the Bracket- the transitional leg of an “h” or ”n” shape, connecting the stem and the serif Leg- the lower , possibly downward sloping stroke of a letter 54
Bingo
Descender - part of a letter that falls below the baseline
Stress- the orientation of a slanted ve curon a letter
Ascender- part of a letter that extends over the x-height
Bowl- part of a character that encloses a space in a circular letterform
Serif- a small stroke at the end of a main vertical or horizontal stroke
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