T YPE COMPOSITIONS 2010 Eunjoo Ree
T YPE COMPOSITIONS 2010 Eunjoo Ree
P R AT T I N S T I T U T E G R A D UAT E CO M M U N I C AT I O N S D E SI G N FA L L 2010 / T Y P O G R A P H Y 1 P RO FE SSO R TO M D O L L E
As 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 imagebased 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. 02
TA B L E O F CO N T E N T S 04 NEIGHBORHOODS OF TYPE 10 COMPOSITIONS 12 letterforms 18 words 24 text and graphic elements 30 texture and positive/negative 38 image 48 OVERVIEW
NEIGHBORHOODS OF TYPE
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he neighborhoods of New York are diverse and rich with character. This character can be seen in the architecture, the shops and restaurants, the public space and the people who make the neighborhood what it is. In this assignment, I explored four unique neighborhoods: Times Square, Central Park, Soho and Williamsburg (Brooklyn). I made observations about the mood, pulse, visual attributes and overall impressions of each area. Once the essence of the neighborhood was captured, I looked through magazines to find examples of common typographic letterforms that represent the qualities of that neighborhood. The typography was limited to several letters and cut out, scanned and/or copied from magazine covers, ads or layouts. 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.
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C E N T R A L PA R K
T I M E S S Q UA R E
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SOHO
WILLIAMSBURG
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texture
detail
depth
color
rhythm
direction
structure
form
focus
meaning
context
contrast
tension/harmony
balance
size
scale
COMPOSITION
omposition is the organization or grouping of the different parts of a work of art so as to achieve a unified whole. Although typographic composition utilizes the same basic compositional concepts that are part of all visual arts, there are unique ways that typography relates to each of these concepts. By forming relationships between the elements, and incorporating concepts in abstract ways, a new and more open relationship with typography is achieved. Shown on the following pages, the exploration of typographic composition started with simple elements—three letterforms—and became a process of identifying abstract concepts as they became visualized. Additional elements were added each week, and new relationships evolved as we explored positive/negative, texture and image use.
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COMPOSITION WITH
letterforms
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hese compositions feature three letters from the alphabet, set in any of the following classic 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 sized 8.5"x 8.5" (standard format throughout). The letters I chose are: an uppercase Futura ‘Q,’ an uppercase Garamond ‘J,’ and a lowercase Baskerville ‘v,’ all in regular weight.
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COMPOSITION WITH LETTERFORMS AND
words
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eeping the three letters from the previous assignment, I have now included three words. The words do not necessarily need 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, or a different typeface, just as long as it is a ‘classic’ one. Using only the three letters and three words, I created the following compositions. The three words I chose are: ‘kelp’ in uppercase Gill Sans, ‘arcadians’ in title case Adobe Caslon Pro, and ‘gut’ in lowercase Helvetica Neue Light.
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COMPOSITION WITH LETTERFORMS AND WORDS AND
text and graphic elements
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tarting 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. The typeface chosen for the text is Times Roman.
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COMPOSITION WITH LETTERFORMS AND WORDS AND TEXT AND GRAPHIC ELEMENTS AND
texture and positive /negative
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ositive/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? 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, etc.) 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.
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COMPOSITION WITH LETTERFORMS AND WORDS AND TEXT AND GRAPHIC ELEMENTS AND TEXTURE A N D P O S I T I V E / N E G AT I V E A N D
image
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or the final stage of 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 and emotional works of art and communicate on multiple levels. The object I chose for this image is a holepunch, which has an interesting shape, various levels of grayscale, and details I could work with.
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OVERVIEW This excercise we did allowed me to really examine typography up-close and explore the abundance of things I could do with it. Although typography is a huge part of graphic design, it tends to look difficult and distant. That’s how it seemed to me, anyway. As a result, not only did this class give me a new perspective of typography, but also confidence and pleasure. Moreover, I enjoyed viewing all the different styles and experiments of my classmates, which were my main source for inspiration.
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the end