LETTERFORMS II
3
TABLE OF CONTENTS
5
PUBLIC ENGAGEMENT POSTER
01.11.17
7
First, our class looked up and complied some examples of type as an image since for the first part of this class we are dealing with header font or big sized type. I found this type treatment to be fun and playful. Then being asked to visually explain and represent ‘dialogue’ was not what I was expecting for the first assignment. Immediately my mind went to the old game of tennis where the line is down the middle and two people bounce the circle off a platform they can move. Dialogue is communication and communication to me immediately looked like that. I feel like dialogue means more than that. Communication can be good but is mostly bad communication where things are said on both sides but neither party is absorbing information but combatting it rather. I googled the definition of dialogue and got “... conversation between two or more people as a feature of a book, play, or movie.” that doesn’t seem all that accurate either. On top of this, being asked to consider how our own bias’, genuine dialogue,
and how vastly opposing viewpoints effect dialogue is something entirely new. I then started to think about all the things that effect your bias’ or self like how you were raised, where you were raised, your parent’s beliefs, your experience with the real life things and people, all the way down to how good of a day you were having could effect the quality of dialogue you give on your end. This is not mentioning all the social media that taints and skews facts that most take as legitimate news without realizing they are being manipulated. All these things form an invisible bubble around you that acts like a filter for conversation coming in, so you hear what you want to hear or you do not understand fully and it filters what comes out, maybe what comes out is misinformed or ignorantly rude. The goal is to create a poster, flyer, social media image campaign to call attention to this countries lack of or poor dialogue. The point is to make the viewer stop, think, process and change their ways and to do this through type as an image or in large format.
As I started to explore ideas for this project I wasn’t sure where to start. I had the initial ideal of the old Ping Pong video game but that was about it. I sketched out other ideas that were ‘eh’. When I was thinking of dialogue I was not thinking about a conversation over important or hot topics like some of the kids in my class. I was thinking more about what makes up, stops, dilutes and diminishes real and honest dialogue. Some of my ideas included a figure and around that figure was a semi visible shield that is made up of all the bias’ that sometimes make real true dialogue hard and ineffective. Another image I had was a set of shelves and on those shelves were boxes made from words. Those boxes would represent the topics people find hard to have dialogue over because they are either personal or controversial. My favorite idea was a game of operation but the spaces on the figure would be hot topic issues but as I was looking up what exactly entailed all of that game I discovered that it was not so much an original thought... shucks. I went forward with these ideas and sketched them larger. Shortly after I moved them foward to the digital realm.
01.18.17
9
11
01.23.17
13
After a short peer critique over the digital sketches (seen to the left) that were produced, I decided to go with the idea involving the old ping pong game. This direction was the strongest of my couple ideas. It was certainly more flushed out (I favored it more than the other ideas as well). During my critique it was brought up that I needed to work on the copy. I just needed to find a better way to display it. I was also missing #dialoguefirst hashtag that was a requirement. Other comments made were in reference to the idea on the poster. Before the score on the game was 8-2 which some of my classmates expressed was inappropriate for the idea in general. Dialogue is a game but it should be an equal game where both people win not an a game in which one winner is produced. To fix this I changed the score to be an even, 2-2. Also one classmate challenged my slogan “not
about deflection but reflection” and that this old ping pong game is solely about deflection. Which is true. It is supposed to be symbolic for the concept that dialogue does go back and forth but that both sides should be listening and reflecting on the opposers points and ideas. I also reflected the last three letters of ‘dialogue’ that make up the path the ping pong ball is taking. This is to symbolically represent the reflection that needs to happen after an opposer (in this metaphor- that would be the right side player) receives their counterparts idea or response. Below I have added snap shots of the environment in which my design needs to live. Which is on campus bulletin boards. Keeping this is mind when designing will become essential if I want to create something that will grab people’s attention and stand out when hung among the semi-chaos.
Campus Bulletin Boards | Humanities Building (Photo Credit: Leslie Friesen)
15
After a peer critique and feed back from some other students (outside of the 22 of us in letterforms), I moved forward with some small edits to pull my design into the final stage of refinement. I ditched the colon after the big header ‘dialogue’. It was just cluttering the design and was not needed for the posters text to make sense. I also played around with kerning so that all the letters in the typeface were evenly spaced. Another small change I made was making the hashtag slightly smaller. At 100% scale it was too big and although it was needed as part of the overall campaign, it was taking away from the design as a whole. I understand that the hashtag is important for those who want to learn more and see more about this campaign but I wanted viewers to see/read the content on the poster and if they were interested they would see the hashtag second. The flyer pretty much followed suit with the changes I made on the poster. For my instagram post, I elongated the art board after figuring out which dimensions work with instagrams feature which allows you to include the whole image instead of their classic square. I also ditched the text on the image for the post. Duh. I could put that body copy in my caption for the post!
01.25.17
17
This post is part of a class project addressing the need for more d i a l o g u e . View more on Instagram #dialoguefirst. Poster design: Emily Frink Graphic Design BFA student, University of Louisville Hite Art Institute
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(left) Final poster & (right) final instagram post with caption reading “#dialoguefirst dialogue: not about deflection but reflection | Search this hashtag to see a series my design class has done about the absence of true dialogue in this country.�
01.25.17
21
It was excited to get back our posters after being printed professionally by Michael Winters here in Louisville, Kentucky at Material Print Shop. For my poster I chose the non-glossy paper type. This decision allowed for the black to be very matte and light absorbing which provided an interesting look and I think when this poster is hanging up around a light source it will not have a glare on it. At this time we also posted our images to instagram to start the series. Of course I used the hashtag #dialoguefirst so that it could be searched by anyone interested. I think that my image is working just fine and the elongating feature on instagram is allowing my design to have the text about and below the ping pong image like I wanted. I also provided a screen capture of the explore page when you search the series’ hashtag. Above is my final flyer next to a draft.
Temporary Exhibit | Schneider Hall (Photo Credit: Leslie Friesen)
02.20.17
23
We were asked, for the last step, to hang up our flyers around campus. And in doing this we were asked to ask a few passing people about their impression and digestion of our flyers. Of course, people were not brutal but they did address a few things. Two of the five people I asked said that they thought at first glance that it was for a video game release. I understand that, after all I am imitating an old video game. Another female peer said she looked right over it because nothing she saw at first glance peaked her interest due to the flyer being video game like. My close friend when I asked him said he appreciated that the flyer style being video game fit, in a way, nicely with the concept of dialogue because his train of thought went immediately to online conversations, social media and radio. Which is a factor of why Americans have such dishonest and closed dialogue. Overall, I was pleased with my feed back from both my classmates and others outside of the graphic design bubble. I also think it is pretty cool that these flyers, not only mine but my whole classes’, and hung over all over campus. I’ve seen several already as I walk through the SAC and Humanities building and I think to myself “I know who made that wonderful flyer design”.
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TYPE HISTORY EXHIBITION
01.30.17
27
For this assignment we were put on teams. On these teams we are to create a 10 x 20 foot wall display for a library that has the potential to travel. Within our groups we were assigned a typeface period. In my group, of Kendra, Maddy and I, we were assigned Humanist/Old Style. On this wall display we are to depict and incorporate a time line, a section and diagram of several typefaces within the category, information on a type designer, characteristics of the typeface and anything else that is important to understanding the essence of our assigned typeface category. To generate ideas and to get our creative juices going we did an exercise that Humana does to generate ideas. We did three rounds of sketching and pitching to our group, and getting feed back. In the end my group had over 20 decent ideas that all could be explored more. When we finished with the three rounds we did dot voting and picked 3 ideas we will push further. To finish the class out we assigned who would be researching what so that for the next class we are ready to move forward.
Group Working (Photo Credit: Leslie Friesen)
02.02.17
29
As my group moved forward we decided to divide up the work and research. Kendra was to handle the context of the time period and what was happening in the world that might have influenced the typefaces during this time. She also was to research modern uses of Old Style/Humanist type in logos. Maddy was to research one version of type from this time and it’s creator. I was to research exactly what makes Humanist/Old Style type, the characteristics of it and how to identify it. Over the next couple days we broke off and did our research respectively and shared our findings over text, e-mail and basecamp. At this point, working in groups was not too bad but I can’t imagine how it is going to be once we start designing for real... It’s not like we can work off one document or one computer.
Outside Speed with Carrie + Andy, Group Work (Photo Credit: Leslie Friesen)
02.01.17
31
Today, we took a trip to the Speed Art Museum. We met with Carrie Donovan, a recent alum of our program, and her co-worker, Andy Perez. We first met outside where we looked at the large scale ad on the side of the Museum. We talked about resolution that the photo in the ad needed to be so that it could be printed that large. We also talked about type size and treatment because obviously how you treat type in body copy on a flyer is vastly different then how you would treat type on a 1 story by 3 story print ad. Inside the museum we talked more about the environment Carrie designs in and what things she pays close attention to and the features she must work with and around. In the particular exhibit we looked through she was working with vinyl cuts on the walls. She explained to us that at certain heights text cannot be used because it could be too low or too high to comfortably read. We also discussed how she was careful in her leading, tracking and type choice so that she was creating something that
both complimented the pieces in the exhibit but did not distract from them. Later, we ended back up in the class room which was good because Kendra, Maddy and I needed to nail down the basics of the design we wanted to create. We set some basic parameters in which we would design our own pieces in and bring them together at a later date. Kendra was busy working on an informational video about what was happening in the time and finding a way to incorporate the modern uses of our typefaces into our exhibition design. Maddy was working on Claude’s depiction, which we were thinking would be a short GIF of him moving. She also was working on a time line featuring when the typefaces were made as well as these small take away cards which were to feature different typefaces. I was busy working on the interactive blackboard where guests could try to trace garamond themselves. As well as designing a dissection of the characteristics of garamond.
Exhibit Location
Oldstyle
inspiration
breakdown
Features on the Wall
Â
02.08.17
33
original sketch
We presented our initial design directions to the class. We wanted our design to bring the old to the modern world by using interesting colors, lighting features to bring in viewers and we wanted to feature some body copy language that is interesting and might even reference pop culture to bring in a younger crowd. We wanted the exhibition to be mostly black and white with a pop of color. We wanted to mainly feature garamond but have it accompanied by gotham which would act as a modern, san serif contrast that would make the human like stokes of garamond stand out. Our 3D element would be the garamond ‘Aa’ and parts of the time line, was our initial thought.
Outside First Build, Watching the Laser Cutter (Photo Credit: Leslie Friesen)
02.13.17
35
At First Build we gained a more solid understanding of what we could produce for our 3D element. At First Build we found out laser cutting wood, plastic or metal could be of use to us in making the 3D feature of our design. Working at First Build was pretty simple and even cheap! As a group we were thinking about having the garamond “Aa” cut out of plastic and have that set as our 3D element with the type’s characteristics drawn on the A’s. After the trip to First Build, we met back in the classroom in our groups. Kendra, Maddy and I further narrowed down the design plan we had because next week we were to present to the class what our ideas where in addition to having rough digital versions of our design done. Over the weekend Kendra was to keep working on the historical context video, Maddy was pushing forward with the GIF of Claude, and nailing down the body copy for him as well as starting on the take away notes for one of the interactive wall. I was to make the wall that stood inferno of the main wall. This wall would be considered our 3D element and would have both the dissection of type on it as well as the interactive blackboard.
This is the first time, as group we brought our designs together after working semi-apart for a week or so. After printing our designs out and getting a little peer feedback we knew we were going to chance gears pretty significantly. We also learned that maybe the wall we were pulling out was not being utilized in the best way and that it was not needed for it to be as tall as the whole wall. In general, our color choice was a bit of a snooze and evoked some feminine vibes which is not what we were trying to achieve. We also got the sense that maybe we should make the wall wider since it had to be at least 20 feet long so we had room to grow. By making the back wall longer, it would relieve the cluttered feeling that was coming from this particular composition.
02.20.17
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BACK WALL (center panel goes in history OLD STYLE
1495
VIDEO OLD STYLE
Italian
French
F
D
BEMBO
1540
christofell van dijck
I
aldus manutius
TAKE A
LOVE F R O M
GARAMOND
YOU’RE the GARA to my MOND
YOU aint
OLD
YOU HAVE OLD STLE
C L A U D E
YOU’RE my #
1
font choice
Born in Paris, France in 1490, Garamond started his career out as an apprentice for the Parisian punch-cutter and printer, Antoine Augereau in 1510 . It was during this early part of the 16th century that Garamond and his peers found that the typography industry required unique multi-talented people. This way they could produce fine books. Many of the printers during that time period were able to master all or most of the artistic and technical skills of book production from type design to bookbinding. Claude Garamond was first to specialize in type design, punch cutting, and type-founding in Paris as a service to many famous publishers. In 1545 Garamond became his own publisher, featuring his own types including a new italic. His first book published was Pia et religiosa Meditatio of David Chambellan. As publisher, Claude Garamond relied on his creativity harnessed by reasoned discipline to produce superbly well crafted products. He modeled his book publishing style after the classic works of the Venetian printers who catered to the absolute elites of high society. He admired and emulated the works of Aldus Manutius. Garamond insisted on clarity in design, generous page margins, quality composition, paper and printing , which was always accentuated with superb binding. Claude Garamond's contribution to typography was vast, a true renaissance man. Creating perfection in the type that he crafted his life will live on through his contribution to typography.
READ ME
like an open
BOOK
lit up from behind
books that open
Wall that comes out FRONT (Letter is cut out & lit)
BACK (Chalk board)
C A N
YO U
COMPETE with
Thick & Thin Strokes Angled Crossbar
TestCLAUDE your hand at Garamond: Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz
Garamond
Serifs Slightly Bracketed
Garamond
Dutch
EHRHDARDT
you
CLAUDE
LETTER
1600
GARAMOND claude garamond
Aa
ENGLISH william caslon
E English
1725
After the initial critique we gathered back into our group and talked about ways to solve the issues we were facing in our last design. This is where the magic happened... We decided to change the colors from black, white and a pop color to this blue, magenta, black, white and gray color scheme. This provided a little more interest visually. We also went ahead and made the back wall longer, almost one third longer which allowed us more space to design in and opened up the design overall. We also made the front wall a bit wider which allowed us to add the exhibition title in the front and a larger more interactive chalk board on the back. Another big change we made was that we ditched the reallife book display and graphically represented that requirement with our ‘now & then’ section. We also tweaked with the take home note cards, which in this design are entirely too big. In real life those would be bigger than a letter sized piece of paper.
02.27.17
39
Slanted Stress Serifs Slightly Bracketed
High Contrast Thick & Thin Strokes
Horizontal Cross Bar
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz
Garamond
Aa
C A N
YO U
COMPETE with
CLAUDE
The field trip to unique imaging was important and eye opening. It was important because this is where our final exhibition designs were to be ordered from so knowing how this company operated was key. It was also interesting to learn about this processes, requirements, tips & tricks and most importantly their pricing (broke college kids). What was eye opening was the experience of talking to a company that in a couple years from now I could easily be using through where I work. So it was good to soak up this resource and have it in my tool belt incase I ever needed to outsource a project that fits their expertise. Our exhibitions would be printed at 1/12th scale, on board that was about a quarter inch thick and would be printed and transfered onto the board through sublimation. Learning about sublimation was interesting. I didn’t know that is how most clothes with prints are made. Learn something new everyday.
03.01.17
41
Printing before the Sublimation, Seeing final Product (Photo Credit: Leslie Friesen)
Ben Jett from Solid Light came to our third critique which was truly a treat. I am always so thankful that through this program we are able to be in touch and interact with successful professionals of the working world. It is such a good experience to talk to different people of different variations of design, to hear their experience and to gain a little insight from them about their jobs. It also is a great way for me to narrow down or nail down what type of design I want to do in my life... Because right now, I really do not know. Ben was very helpful in providing his real working critique to our hypothetical exhibition design. He really enjoyed our glass wall which again, we wanted to touch on modernism and have it be an eye catching element. It also
allowed for the dissection of the type to be displayed also as the title for the exhibition was front and center. Ben also made a few positive comments about our color choice, thoughtfulness in interactive elements and the organized time line sections we had with the duelling elements of contextual history on top on type history. Ben suggested we keep an eye on our header height, which he thought was a little high and our body copy height which he thought both touched a little too low and reached a little too high. In addition, he mentioned that ‘garamond’ in the designer section provided a sort of a disconnect since it was not in the typeface garamond but rather the modern, sleek gotham we were using. Ben’s advice was much appreciated.
03.06.17
43
Class Photo + Ben (Photo Credit: Leslie Friesen)
N
E TAKE A
F R O M
YOU ARE
GARA MOND to
my
C L A U D E
YOU
YOU
ARE
ARE
NOT
GETTING
garamond
YOU ARE
GARA MOND to
my
to
my
OLD YOU
ARE
ARE
NOT
GETTING
awesome
YOU
YOU
ARE
ARE
NOT
GETTING
to
my
garamond
KEEP CALM
OLD YOU
YOU
ARE
ARE
NOT
GETTING
awesome
garamond
to
my
KEEP CALM
OLD YOU
YOU
ARE
ARE
NOT
GETTING
awesome
YOU ARE
to
my
KEEP CALM
OLD YOU
YOU
ARE
ARE
NOT
GETTING
awesome
to
my
KEEP CALM
OLD YOU
YOU
ARE
ARE
NOT
GETTING
awesome
garamond
GARA MOND to
my
KEEP CALM
OLD YOU
YOU
ARE
ARE
NOT
GETTING
awesome
garamond
YOU ARE
GARA MOND to
my
KEEP CALM
OLD YOU
YOU
ARE
ARE
NOT
GETTING
awesome
YOU ARE
to
my
KEEP CALM
OLD YOU
YOU
ARE
ARE
NOT
GETTING
awesome
garamond ON
garamond ON
YOU ARE
GARA MOND to
my
KEEP CALM
OLD YOU
YOU
ARE
ARE
NOT
GETTING
awesome
ON
GARA MOND
garamond ON
ON
YOU ARE
garamond ON
YOU ARE
GARA MOND
ON
GARA MOND
garamond ON
YOU ARE
GARA MOND
ON
YOU ARE
GARA MOND
& & & & & & & & & & & & KEEP CALM
OLD
awesome
ON
KEEP CALM
YOU
garamond ON
YOU ARE
GARA MOND to
my
KEEP CALM
OLD YOU
YOU
ARE
ARE
NOT
GETTING
awesome
garamond ON
garamond Born in Paris, France, in 1490, Garamond started his career out as an apprentice for the Parisian punch-cutter and printer, Antoine Augereau in 1510. It was during this early part of the 16th century that Garamond and his peers found that the typography industry required unique multi-talented people. This way they could produce fine books. Many of the printers during that time period were able to master all or most of the artistic and technical skills of book production from type design to bookbinding. Claude Garamond was first to specialize in type design, punch cutting, and type-founding in Paris as a service to many famous publishers. In 1545, Garamond became his own publisher, featuring his own types including a new italic. His first book published was Pia et religiosa Meditatio of David Chambellan. As a publisher, Claude Garamond relied on his creativity harnessed by reasoned discipline to produce superbly well crafted products that exsist today. He
N
& & & & & & & & & & & & KEEP CALM
OLD
awesome
YOU ARE
GARA MOND
C A N YO U
“elements of the past and the present combine to make our future” modeled his book publishing style after the classic works of the Venetian printers who catered to the absolute elites of high society. He admired and emulated the works of Aldus Manutius. Garamond insisted on clarity in design, generous page margins, quality composition, paper and printing, which was always accentuated with superb binding. Claude Garamond's contribution to typography was vast, a true renaissance man. Creating perfection in the type that he crafted his life will live on through his contribution to typography.
COMPETE
with
NOTE
E
&
then
CLAUDE
W 1495
I
Italian
BEMBO aldus manutius
claude garamond
1600
F
D
1540
EHRHDARDT
GARAMOND
French
Dutch
christofell van dijck
ENGLISH william caslon
now
Palatino is the name of an old-style serif typeface designed by Herman Zapf. Initially released in 1948. The Ritz-Carlton is a luxury hotel company that was founded in 1983. It is currently a subsidiary of Mariott International. In 2015 their new logo combining a lion and a crown was released. Along with this royal image, the logotype was created using Palatino. Bembo is a 1929 serif typeface created by the British branch of the Monotype Corporation and most commonly used for body text. Maserati is an Italian luxury vehicle manufacturer established on December 1, 1914 in Bologna.
S
E English
1725
W S
45
03.08.17
47
In the end, I am pleased with what I learned from this project and I am fairly happy with the final design. I do not think working in groups for graphic design is the greatest thing, especially when the group is producing one final thing and have to either work on one computer or format everything to match later when it is all brought together, either way it is sort of inconvenient and time consuming. I appreciate that Ben came and gave his real working world experience and advice, I think it is totally awesome that working professionals take time out of their days to come to spend time with our class. It is always interesting and helps me personally because I am still not sure what I want to do after college. Also as this project went on and we critiqued and presented to each other, I learned a little bit about all the type periods. Of course, I know the most about Humanist/Old Style. It is not a bad thing to know more about type, more information helps you make better choices when choosing a font because the history might counter or go against the project it is being used for.
49
SELFDIRECTED PROJECT