Process Process Book book DES 115
Elena Simeone
Elena Simeone DES 115 SS1
Contents
1 2 3 Project 1
Minimal Letterforms
Project 2 Type Hierachy Studies
Project 3 Design Book
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Minimal Letterforms This project requeires the close examination of the form and function of letterforms. We will investigate the unique visual characteristics of a specific typeface and the aspects of composition —including juxtaposition, contrast, form/counterform, symmetry, and balance.
Ce Garamond Bodoni Memphis Helvetica Friz Quadrata 1
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When choosing a font, I wanted to use one with a thicker weight. I went with serfis because I liked how it balances straightness with slight curves. For my final presentation, I chose to use the font Bodoni Book and the letters n, k, d, and p.
k ndp
Font: Bodoni Book
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Type Hierarchy Studies This project uses a provided set of information to explore compositional alternatives. You will begin with one size and weight of Univers, and as the assignment progresses, you will be given additional elements and variations of type to make the problem more complex. Set 1 on plain paper One size / one weight (15 pt. Univers 45) One size / two weights (15 pt. Univers 45 and 65)
Set 2 on plain paper Two sizes / two weights (15 pt and 9 pt Univers 45 and 65) Two sizes / two weights / two styles (15 pt. and 9 pt. Univers 45, 46, 65, 66)
All 3 sets FINAL on bristol Use given rules of any length Any size, weight and style of Univers, with or without rules
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For my drafts, I should have cut more of the text, and spent more time on leading and kerning. Once I started working digitally, I experimented with leading and angling the text.
Later in the project, we worked with rules, which I enjoyed. My set, 3s, were my strongest set.
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ation
tation
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Matter
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Visible
Set1A
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Visible Language A lecture series exploring the relationship between form and content
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Set1B
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Lectures are free and open to the public
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6 pm Thursday, December 10
More than just a love of letters
6 pm Thursday, December 3
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Ruedi Baur Nicholas Felton Richard Saul Wurman 135 Walker Hall UC Davis
Marian Bantjes Andrew Blauvelt Stefan Sagmeister Design Museum UC Davis
Zuzana Licko Jonathan Hoefler Tobias Frere-Jones 135 Walker Hall UC Davis
7 pm Thursday, December 17
Lectures are free and open to the public
Set2A
Orientation and disorientation
A lecture series exploring the relationship between form and content
Matter/anti-matter/does it matter?
Visible Language
Visible Language
Set 2A Set1B 6 pm Thursday, December 3 135 Walker Hall UC Davis
6 pm Thursday, December 10 135 Walker Hall UC Davis Marian Bantjes Andrew Blauvelt Stefan Sagmeister
Matter/anti-matter/does it matter?
Zuzana Licko Jonathan Hoefler Tobias Frere-Jones
More than just a love of letters
Ruedi Baur Nicholas Felton Richard Saul Wurman
Orientation and disorientation
A lecture series exploring the relationship between form and content
7 pm Thursday, December 17 Design Museum UC Davis
Lectures are free and open to the public
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Set3B
Visible Language A lecture series exploring the relationship between form and content
Orientation and disorientation Richard Saul Wurman Nicholas Felton 135 Walker Hall UC Davis Ruedi Baur 6 pm Thursday, December 3 More than just a love of letters Tobias Frere-Jones Jonathan Hoefler 135 Walker Hall UC Davis Zuzana Licko 6 pm Thursday, December 10 Matter/anti-matter/does it matter? Stefan Sagmeister Andrew Blauvlet Design Museum UC Davis Marian Bantjes 7 pm Thursday, December 17
Lectures are free and open to the public
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Set3B Set1B
Visible Language A lecture series exploring the relationship between form and content
Lectures are free and open to the public Orientation and disorientation Ruedi Baur Richard Saul Wurman Nicholas Felton 135 Walker Hall UC Davis 6 pm Thursday, December 3
More than just a love of letters Zuzana Licko Jonathan Hoefler Tobias Frere-Jones 135 Walker Hall UC Davis 6 pm Thursday, December 10
Matter/anti-matter/does it matter? Marian Bantjes Andrew Blauvlet Stefan Sagmeister Design Museum UC Davis 7 pm Thursday, December 17
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3
Book Design Typography and image in grid system layout Using the text and images supplied, develop and utilize a grid system in the layout of a book using the following process. Work only in black, white and grey, plus one spot color if appropriate.
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I practiced with different sized pages, and a variety of column options.I decided to use a two column display, while having the body text be left justified.
The Paul Rand book assignment finally allowed me to work with color and text. At first I wanted to work with two accent colors, but then found that I could only use one. I chose to use the pink instead of the orange because the pink compliments well with the grey. Deciding what font to use was my favorite part. I created a hierarchy of bold and thin fonts. I also decided to use a 8.5 x 6in layout with a .5 margin.
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Draft DESIGN and the Play Instinct
Paul Rand
“
A mind so disciplined should be both more abstract and more concrete. It has been trained in the comprehension of abstract thought and in the analysis of facts.� 5
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Final
Heading font: Pistilli Body Text: Helvetica Neue Light Other Text: Bebas Neue Light
DESIGN and the Play Instinct
PaulRand Rand Paul
“
I demand of art the role of the challenger of play and interplay, play being the very manifestation of the spirit.”
-Le Corbusier
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The Tangram
The Tangram is an ingenious little Chinese toy in which a square is divided into this configuration. It consists of seven pieces, called tans: five triangles, one square, and one rhombus. The rules are quite simple: rearrange to make any kind of figure or pattern. Here [above] is one possibility. Many design problems can be posed with this game in mind, the main principle to be learned being that of economy of means—making the most of the least. Further, the game helps to sharpen the powers of observation through the discovery of resemblances between geometric and natural forms. It helps the student to abstract: to see a triangle, for example, as a face, a tree, an eye, a nose, depending on the context in which the pieces are arranged. Such observation is essential in the study of visual symbols.
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Chinese Characteres
This character for the word tan (sunrise) is designed within an
Within this rather simple discipline the calligrapher is able to
imaginary grid. Geometry functions here in a manner similar to
play with space, filling it as he feels would be most appropriate.
the previous illustration, namely as a guide to filling the space
The composition of Chinese characters, says Chiang Yee, “is
correctly, but not to produce a geometric pattern. The Chinese character is always written in an imaginary
not governed by inviolable laws…however, there are general principles which cannot be ignored with impunity.” 8
square. The ninefold square, invented by an anonymous writer of the T’ang dynasty, has been employed as the most useful, because it prevents rigid symmetry and helps to achieve balanced asymmetry.
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At the same time it makes
the writer aware of negative and positive spaces. Each part of the character touches one of the nine squares, thus achieving harmony between the two elements and the whole.
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Matisse
It is inconceivable to consider Matisse’s compositions with cut paper without; in some way, linking them to the play element— the joy of working with simple colors and the fun of “cutting paper dolls.” But the greatest satisfaction, perhaps, is derived from creating a work of art with ordinary scissors and some colored paper— with so simple means, such satisfying ends.
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Hokusai’s Drawing
This drawing is reproduced from the first volume of Hokusai’s Rapid Lessons in Abbreviated Drawing (Riakougwa Hayashinan, 1812). In the book Hokusai shows how he uses geometric shapes as a guide in drawing certain birds. This exercise may be compared to the Tangram in that both use geometric means. The Tangram, however, uses geometry as an end in itself—to indicate or symbolize natural forms— whereas Hokusai uses it as a clue or guide to illustrate them. In the artist’s own words, his system “concerns the manner of making designs with the aid of a ruler or compass, and those who work in this manner will understand the proportion of things.”
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