TYPOGRAPHY&CONTEXT
PROCESS BOOK
HELLO
THERE I`m Hallan and this is the contents of my process book for Typography & Context 2010
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Typographic Self Portraits & Logos Asessment 01 Giants of Typography Assessment 02 Letters in the Environment Assessment 03 ProcessBook`s Process Assessment 04 Bibliography
Pictures of In class feedback for Typographic Self Portraits
Typographic Self Portraits & Logos You are asked to design a set of typographic self-portraits & a set of publisher’s logos.
THE POINT I basically jumped into session two in the middle of it and almost at the end of the first assessment. Although I had a two weeks extension, I decided I could do it during class, so I wouldn`t be late for other assessments. It`s such a great experience coming to a new country and starting college so quickly that it don`t have time to feel home sick.
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Typographic Self Portraits & Logos
LOGO
CATEGORIES A Logo always sits within one of the following five categories: WORDMARK
A freestanding acronym or name that has been designed to convey an attribute or attitude.
LETTERFORM
A unique design using one or more letterforms that act as a mnemonic device.
SYMBOLIC MARK
A symbol that conveys a big idea.
PICTORIAL MARK
An immediately recognisable literal image that has been simplified and stylised.
EMBLEM
A mark in which the name is nextricably linked to a pictorial element.
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Typographic Self Portraits & Logos
SelfPortrait
USINGTYPE Working with type, we had to develop a character showing ourselves as a typeface. I had no idea where to go when I started, and then I realised I could do it with simple and basic type glyphs and letters. After all, the best design is simple. Doing the typeface character I didn`t have much of problem to find the result I wanted, thank god.
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Abstractlogo
USINGTYPE Compared to the TypeFace Character, the feedback I received from my abstract logo wasn`t that good. Perhaps it is because I was in a rush as I had other assessments due at the same time. So, in the abstract logo, I tried many versions until I found something that was following the same thinking behind the other design elements. However it didn`t turn out as abstract as it should have been. Damn.
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Typographic Self Portraits & Logos
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Typographic Self Portraits & Logos
letterFORM
USINGTYPE Once I started using a comma as an eye and was happy with that, the letterform was very good to work on. I tried some different things mixing letters, but in the end I thought it was too busy and simplified it with just one letter, "T" and the comma. Coming up with this idea, I left the other ideas behind and stuck to it until getting a good final letterform.
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WORDMARK
USINGTYPE Playing with lots of different styles in the same font, I found it a little hard to decide which one to pick. In the end, I was unsure between two versions I designed. Although I could have been better at it, my final choice was satisfactory except for the the kerning. I have to learn more about it in the next assessment.
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Typographic Self Portraits & Logos
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Typographic Self Portraits & Logos
re a b o u t “ I lear nt mo i ng a n d ke r ning, lead ttings…” e s e p y t r e h t o ted studying W hen I star ally fall , I didn`t re typography I really it, but now in love with autiful this see how be ul, but just beautif unit is. Not a design portant for critically im t. rn out grea project to tu ment first assess During the ing, rn e about ke I learnt mor ttings se other type leading and ant rt po be very im that would e. m tasks to co during the
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USINGTYPE
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Pictures of In class feedback for Giants of Typography
Giants of Typography You are asked to design and produce a brochure and a logo, using the supplied grid and produce a series of 3 double page spreads plus a front & back cover for a typography booklet that features the work of influential type designers.
In class feedback for Giants of Typography
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Giants of Typography
BackGround
THEGRID In visual communication, whether on paper or a screen, the grid is visible to those who look for it. Often, a layout that to uninformed eyes is a random arrangement of photographs, type and space is seen quite differently once its grid structure has been pointed out. The perceptual shift can be quite dramatic: what had seemed arbitrary suddenly looks immutable. So, the grid. The grid is simply a way of dividing up the space so that your design elements can communicate in the most effective way with the minimum amount of confusion for the viewer. A grid is a tool that enables you to consistently repeat elements but without them becoming boring to the eye.
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CHOOSING
THE GIANT Eric Gill, Frederic Goudy, John Baskerville and Jan Tschichold.
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Giants of Typography
Left, Top, Down, Right Portrait of Eric Gill Jan Tschichold Frederic Goudy John Baskerville
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A Monument to John Baskerville outside Baskerville`s House. Sculpture in Centenary Square, Birmingham, England.
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Giants of Typography
BASKERVILLE
RESOURCES We have been supplied with the booklet grid layout, copy about the chosen typographer, portrait and images.
Right, Down Works of Joseph Addison (1761), The Folio Bible Printed by Baskerville in1763
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GIANT SPREADS
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After researching and reading about Baskerville, I came up with my first spread design, and luckily I kept the same structure to the end.
Giants of Typography
First spread Assessments 02 Giants of Typography.
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The other spreads were a little bit more difficult to conclude, but at the last week I got some good feedback and ideas, which helped me out a lot to finish them.
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Giants of Typography
Second spread Assessments 02 Giants of Typography.
“The week before it was due, I noticed I had to insert the list of fonts Baskerville had designed. 29
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Giants of Typography
“I really thought I would receive a ‘D’, but then I was given a ‘C+’. Couldn`t it be a 'D', Nigel?
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Giants of Typography
to se t u p “ I lear nt how r i d . G re a t a n d u s e th e g deed ! � n i , d a e h a p e st e in th comfortable I was very es I on r he ot . The first spread they re, but then wasn`t so su rted so I d an ing up star ted com them out. e in ere ef fectiv Lecturers w ce, vi e right ad giving me th . e it easier which mad
REFLECTION
GIANTS
mark, but I accept my her to some ot comparing me at got the sa students th l get I felt bad. I`l mark as me, ego. Designer`s over it. It`s fort in put more ef I could have heard skills, but I the finishing ent is assessm from Neil th as a e or m arked would be m hing. is fin or stock layout then fied. y, I`m satis In Summar
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Pictures I didn`t use for the final poster
Letters in the Environment You are asked to design and produce an A2 poster in two colours.
Other pictures from Letter in the Environment
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Letters in the Environment
TAKING
PICTURES Having the cameras in hand, my group and I went towards Luna Park to find some interesting places to set the A2 poster. However, we didn`t need to go there to get some good shots. We took some shots in front of a business building, a church and a park, where we caught ourselves trying to make some pigeons fly over the poster. It was funny and, of course, we didn`t get the pictures. Walking back to class, we decided to wrap the letter up and use it as if it were a pedestrian crossing. After 5 minutes shooting in lots of different angles, we got a truck running over our letter, which was very cool. Then we spent 10 minutes waiting for another truck to come. Of course, we didn`t get it again. But the results came out good, anyway!
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THE
PROCESS
RS LETTHEE IN T IRON ENVNT ME
SDAY THUERCEMBER
The process was long, I have to admit. I tried lots and lots of layouts until I got the simplest one, as you can see on the final poster attached.
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Art ce r Terra emporary Harbou m of Cont Museu orge Street 140 Ge cks ters entpos The Ro NSW 1223 vironm Sydney ca.org/en w.m ww
I started with a simple idea, but other ideas kept on coming up and I became indecisive. At the end of the process, with the lecturers help, I decided to change the color of the poster from gold to greenish, and it really helped, since I was stuck on other ideas.
RS LETTHEE IN T IRON ENVNT ME
SDAY THURCEMBER 2 DE 2010
Art ce r Terra emporary Harbou m of Cont Museu orge Street 140 Ge cks ters entpos The Ro NSW 1223 vironm Sydney ca.org/en www.m
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Letters in the Environment
RS LETTHEE IN T IRON ENVNT ME
SDAY THUR EMBER 2 DEC 2010
Art ce r Terra emporary Harbou m of Cont Museu orge Street 140 Ge cks ters entpos The Ro NSW 1223 vironm Sydney ca.org/en www.m
RS LETTHEE IN T IRON ENVNT ME
SDAY THUR EMBER 2 DEC 2010
Art ce r Terra emporary Harbou m of Cont Museu orge Street 140 Ge cks ters entpos The Ro NSW 1223 vironm Sydney ca.org/en www.m
RS LETTHEE IN T IRON ENVNT ME
S TTER SDAY LE THUREMBER IN THE N 2 DEC 2010 NVIRO E NT ME ce r Terra Harbou ary Art por treet ontem m of C George S cks 140 The Ro 223 NSW 1 s Sydney entposter nm /enviro
SDAY THUREMBER 2 DEC 2010
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Museu
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Letters in the Environment
i ng “ I kept chang ve r ytime e v e r y th i ng , e !� I looked at it e th elf changing I found mys I e im yt ut ever whole layo e poster. th at looked imes that somet And I learnt do is to ing thing to the best th ok at lo and relax, go outside eces. pi but design other stuf f ster to fit the po As we had ok, I process bo inside this sition e objects po changed th A5 to fit into an for the copy folded. size when
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LETTERS
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Pictures of In class feedback for Process Book and Poster
THE PROCESS BOOK`s PROCESS You are asked to show the process behind the process book itself. Quite funny, but let`s talk about the process of the process book.
In class feedback for the Process Book
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The Process Book`s Process
PROCESS
BOOK As I joined the class 3 weeks after the begining of the semester, I read the brief and I also asked some classmates about the process book. So, I started collecting material as soon as I could. We were supplied with the Grid and final size, A5, but we could choose the stock and binding method, as long as adding some more pages when necessary.
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A phrase that contains all of the letters of the alphabet. It`s commonly used in Design Projects to test the font.
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The Process Book`s Process
TYPOGRAPHY
CHOSEN I divided the typographic project in 3 fonts, one font for the body copy, another for the titles and one more for highlighted copy. “BlackOut 2AM” is the one I`m using for the titles. “Univers” is the one I`m using for the body copy and also “Adobe Caslon Pro” for the highlighted copy and page numbers. As the hierarchy in my book is basically title and body, the only aspect I changed through chapters were the colors.
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The Process Book`s Process
d “ I kind of ha my th e c o n c e p t i n .� mind already
ok e process bo I star ted th Tr y to d: in m y in m with an idea so not onal, but al be professi ate. " and corpor so "squared first signing the So, after de al iti with my in 10 spreads back ed fe d getting concept an yle. st a tablished in class, I es ess, of my proc At the end e th e us to w I learned ho that I ng hi et m so id, baseline gr di I dn`t missed, as might have gining ses at the be attend clas ester. of the sem
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BOOK
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The Process Book`s Process
THAT`s THE
BIBLIOGRAPHY Those are the places where I based my research and also got inspiration from.
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www.fffound.com
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www.formfiftyfive.com
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White, J. 2003. Editing by Design: For Designers, Art Directors, and Editors-the Classic Guide to Winning Readers, Allworth Press, USA.
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Pictures of In class feedback for Process Book and Poster