PROCESS BOOK Connor Muhs Typography 01 Professor Kimmel Spring 2017
EXCERCISE 01
In exercise 01 we were given the task to create a business card knowing what we know now. I chose to keep it simple, only including what’s necessary. I set my name, email, and quote opposite of the class and school logo, separting them with a simple line to emphasize the balance. I chose to bold and italicize my name to draw attention to it.
In the future, I would’ve used one typeface for every word on the card and emphasized certain words by bolding OR italicizing them, not both.
Connor Muhs Email: connor.muhs@huskers.unl.edu
Basic Typography 223
“I can’t always will but I’ll try always could.” -Unknown
FINAL
EXCERCISE 02
In exercise 02 we were taught rules and guidelines on presentation and instructed to experiment with different ways of presenting information through text. This exercise mainly reminded me of the various ways text can be assembled. By utilizing text on the X, Y and Z axis, I learned there is more for the eye and brain to take in, making it more exciting or chaotic depending on how it’s used.
‘th
of the institutional features of design practice are at odds with zealous attempts
e ‘th
f
of r e ath
a
But some
a time when literary theory was moving away from that very position).
fe’ i l ll
On the surface, at least, it would seem that designers were moving away from authorless, scientifi c texts – in which inviolable visual principles arrived at through extensive visual research were revealed – towards a position in which the designer could claim some level of ownership over the message (and this at a time when literary theory was moving away from that very position). convey specifi c information or emotions.
The ever-present pressure of technology and electronic communication only muddies the water further
at self-expression. The idea of a decentred message does not necessarily sit
the designer could claim some level of ownership over the message (and this at
e
‘th
But some
h fat
well in a professional relationship in which the client is paying the designer to
through extensive visual research were revealed – towards a position in which
of the institutional features of design practice are at odds with zealous attempts
authorless, scientifi c texts – in which inviolable visual principles arrived at
convey specifi c information or emotions.
On the surface, at least, it would seem that designers were moving away from
at self-expression. The idea of a decentred message does not necessarily sit
But some of the institutional features of design practice are at odds with zealous attempts at self-expression. The idea of a decentred message does not necessarily sit well in a professional relationship in which the client is paying the designer to convey specifi c information or emotions.
But some of the institutional features of design practice are at odds with zealous attempts at self-expression. The idea of a decentred message does not necessarily sit well in a professional relationship in which the client is paying the designer to convey specifi c information or emotions.
On the surface, at least, it would seem that designers were moving away from authorless, scientifi c texts – in which inviolable visual principles arrived at through extensive visual research were revealed – towards a position in which the designer could claim some level of ownership over the message (and this at a time when literary theory was moving away from that very position).
well in a professional relationship in which the client is paying the designer to
But some of the institutional features of design practice are at odds with zealous attempts at self-expression. The idea of a decentred message does not necessarily sit well in a professional relationship in which the client is paying the designer to convey specifi c information or emotions.
a time when literary theory was moving away from that very position).
fa o r
e
authorless, scientifi c texts – in which inviolable visual principles arrived at
the designer could claim some level of ownership over the message (and this at
fe’ i l ll
On the surface, at least, it would seem that designers were moving away from authorless, scientifi c texts – in which inviolable visual principles arrived at through extensive visual research were revealed – towards a position in which the designer could claim some level of ownership over the message (and this at a time when literary theory was moving away from that very position).
On the surface, at least, it would seem that designers were moving away from
through extensive visual research were revealed – towards a position in which
But some
a time when literary theory was moving away from that very position).
The ever-present pressure of technology and electronic communication only muddies the water further
at self-expression. The idea of a decentred message does not necessarily sit
a f e
the designer could claim some level of ownership over the message (and this at
But some of the institutional features of design practice are at odds with zealous attempts at self-expression. The idea of a decentred message does not necessarily sit well in a professional relationship in which the client is paying the designer to convey specifi c information or emotions.
of the institutional features of design practice are at odds with zealous attempts
e h t
through extensive visual research were revealed – towards a position in which
On the surface, at least, it would seem that designers were moving away from authorless, scientifi c texts – in which inviolable visual principles arrived at through extensive visual research were revealed – towards a position in which the designer could claim some level of ownership over the message (and this at a time when literary theory was moving away from that very position).
ll a f o r
’ fli e
On the surface, at least, it would seem that designers were moving away from authorless, scientifi c texts – in which inviolable visual principles arrived at through extensive visual research were revealed – towards a position in which the designer could claim some level of ownership over the message (and this at a time when literary theory was moving away from that very position).
authorless, scientifi c texts – in which inviolable visual principles arrived at
The ever-present pressure of technology and electronic communication only muddies the water further
well in a professional relationship in which the client is paying the designer to
But some of the institutional features of design practice are at odds with zealous attempts at self-expression. The idea of a decentred message does not necessarily sit well in a professional relationship in which the client is paying the designer to convey specifi c information or emotions.
convey specifi c information or emotions.
But some of the institutional features of design practice are at odds with zealous attempts at self-expression. The idea of a decentred message does not necessarily sit well in a professional relationship in which the client is paying the designer to convey specifi c information or emotions.
On the surface, at least, it would seem that designers were moving away from
On the surface, at least, it would seem that designers were moving away from authorless, scientifi c texts – in which inviolable visual principles arrived at through extensive visual research were revealed – towards a position in which the designer could claim some level of ownership over the message (and this at a time when literary theory was moving away from that very position).
FINAL
EXCERCISE 03
For this exercise, we were instructed to select multiple typfaces we found attractive and individual letters within that typeface we liked. Using these letters, we sliced and altered them based upon the elements we wanted to use for our composition. We then combined 4 sections we cut from two letters, creating a new form.
Q, G
PROCESS
R, Bodoni MT J & R, Bodoni MT
FINAL
EXCERCISE 04
Exercise 04 explored expression and how a typeface can evoke emotion or feeling. Applying font variations to words within quotes, it’s apparent to see how much the font can have an effect on the meaning & how it’s percieved.
Angry Sorrow elegant Technical
Codociosa Diode Gatsby Inline Ogonek
Speedhunter Fast The Quick South Industrial Sitka Educational Winter Caligraphy Playful Impact AUTHORITY Footlight MT Light Classic
PROCESS
Design should
Good designby must be defined
never say
”Look at me.” not should Italways say Swiss ”look at”
appropriateness to
audience and goals,
and by its effectiveness,
This.
by its adherence to design or the number of awards it wins.
-David Craib
-Drew Davies
me,
For is like choosing design what I’m going to
wear
Only
for the day -
much
more
complicated and not really the same at all. -Robynne Raye
FINAL
PROJECT 01
Our first project was to create a brand identity for ourselves. On the surface, this sounds like it should be a simple task. However, when ideating for possible logo solutions I found it particularly hard to come up with something that represented me in a concise way. I was going for a sleek, free-flowing, but professional look. I’m not sure if it comes across that way, but I am excited to further develope this brand identity in the future.
M CONNOR MUHS Graphic Designer/Artist
PROCESS
Connor Muhs 1535 R. St. Lincoln, NE 68128
October 25, 2016 John Smith Smith Co. 123 Elm Street Anytown, NE 65432 Attention: John Smith Jidia cum quasi sumet abores samet, sit ea cuptae consed quunt eum volenia quia volupta tquat. Giaest, inctat. Bo. Uga. Nam quid unt, ommodis aut quas doluptatia vitempedis ipiet veliatest ipsam dis imaximinum que volesti dolupta erfernati doluptatiam, eost, sed erum doluptur sequodis eaqui intio. Ecto ta simus, aut diciam si velecus, tem dolor rerum quos magnisi nctiasi consequ istrumque occus ex earcipid Experuntur ad mollatis ipic tem harumqu ibusam aut diassime occus suntist ionsedit vellita as eos et quatque nis sunt, cullor sit, quiam fuga. Agnihil liquas venisciis exped maximporepro modi quam sanimpo
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Ashley Stephan
CONNOR MUHS Graphic Designer/Artist
connor.muhs@huskers.unl.edu 402.675.2710 @conmoose
Connor Muhs Theta Xi Fraternity 1535 R. St. Lincoln, NE 68128
John Smith 1555 S. 69th st. Paxton, NE
FINAL
PROJECT 02
Project 02 was all about the history of typography. We were each assigned a time period of significance in the typographic world. From there, it was up to us how to depict that era in our compositions and accurately inform our peers on the era and it’s significance. I had the invention of writing and thoroughly enjoyed researching the origins of the written language. For something so commonly seen and overlooked, it’s just about as detrimental to our success as a human race as fire was.
PROCESS
FINAL
PROJECT 03
Project 03 is the one I had the most fun with. The task was to choose six movies and redo the cover or a poster associated with the movie. The hard part was making sure that the posters were typographically driven, not relying too heavily on graphic elements. I chose the movies I did based upon what I felt could be done typographically, not my top 6 favorite movies. Early on, I started with movies I like but as the ideas fleshed out, I had better ideas for different movies I am not particularly in love with, but have potential for a typographic poster.
PROCESS
How to Lose a Guy in 10 Days.
February 2005
Hitch Eva Mendes
Amber Valletta
S
I have to crack this guy. I mean this is Defcon 5, and I have to do something truly appalling.
♥
Will Smith
JA
Kate Hudson
Kevin James
Matthew McConaughey
Summer ‘75
11.27.2011
The outsiders Rob Lowe
WE BoUGht A ZOo
Tom Cruise
Patrick Swayze
Ralph Macchio
Matt Dillion
Matt Damon
Scarlet Johansson
8.5.2012
Rebel Wilson
Adam DeVine
Anna Kendrick
Brittany Snow
Ester Dean
FINAL
PROJECT 04
Project 04 was something I never even thought about before this class, even as a person who’s been interested in graphic design for quite a while. Designing a typographically driven cereal box proved harder than I initially thought it would be. I enjoyed the simplicity and commercial aspect of what I was designing, but found it hard not to incoporate too many images. I chose to make up my own cereal, wanting to show some satire and humor in my work. Although it was not welcomed with open arms by everyone, I did get a few laughs from the class.
Frat Flakes
We Know Everyone Here.
N E W
!
Frat Flakes
Garaunteed Whole Grain!
®
Crispy Protein Chips
Whole Grain Oats. Whey. Almonds. 9 Vitamins and Minerals.
Packed with all the protien and vitamins you need, bro.
Enlarged to show detail
Pure Manly Whole Grain
NET WT 8.9 OZ (252g)
Frat Flakes
Frat Flakes
NEW !
Frat Flakes
®
Crispy Protein Chips
teed ! aun in Gar le Gra o Wh
Whole Grain Oats. Whey. Almonds. 9 Vitamins and Minerals.
Enlarged to show detail
Pure Manly Whole Grain
NET WT 8.9 OZ (252g)
Frat Flakes
PROCESS
teed ! aun in Gar le Gra o Wh
We Know Everyone Here.
Packed with all the protien and vitamins you need, bro.
Frat Flakes
N E W!
Frat Flakes
®
Crunchy Protein Chips d Best s erve with a co ld one
All the ingredients you know and love, bro. Whole Grain Oats. Whey. Almonds. 9 Vitamins and Minerals.
Pure Manly Whole Grain
Enlarged to show detail
NET WT 8.9 OZ (252g)
Packed with all the vitamins and minerals you need, bro.
®
We, ve Done Our Homework
C h e c k th e f a c ts , b r o .
Frat Flakes
®
FINAL