Typography II Process Book by janearmstrongart

Process Book I

Process Book

Table of Contents I 4

Statement of Intent & Introduction

Week 1: ARTS 246 Podcast & Classifications Exercise

Week 7: ARTS 246 The Typographic Message & Zine cntd.

Week 2: ARTS 246 Evolution of Typography & HoNY

Week 8: ARTS 246 The Evolution of Typographic Technology & Zine cntd.

Week 3: ARTS 246 Anatomy of Typography & Tyke Hike

Week 10: ARTS 246 Typography on Screen & Designer Spreads

Table of Contents I 5

Week 4: ARTS 246 Legibility & Type Hike cntd.

Week 11: ARTS 246 Typography in Time and Motion & Process Book

Week 5: ARTS 246 The Typographic Grid & Type Hike cntd.

Week 12: ARTS 246 Case Studies & Process Book

Week 6: ARTS 246 Syntax and Communication & Zine

Week 13: ARTS 246 Typographic Design Process & Process Book

Process Book I 6I 6 ARTS 246 6 Statment ofI Intent

ProcessofBook Statement Intent I I 7

Dear Faculty, My name is Jane Armstrong, I am a rising junior f inishing my f irst semester at the University of South Carolina. I previously attended the University of West Florida in Pensacola, Florida but I made the decision to leave my previous institution in the fall of my sophomore year. It was a dif f icult decision to decide to leave a place where I felt I was f inally putting roots down, but it was necessar y. There were several reasons I decided to transfer to Uof SC but it came down to the things I heard about the gd+i program. The more I looked into the BFA Studio Art program with a concentration in gd+i, the more I knew this is the place I wanted to be. Before I attended college, I knew my career would be in graphic design. I value this f ield because of its importance to society. My goal as a graphic designer is to impact the world in a positive way, and give a voice to those who cannot express what is important to them. I believe that ever ything we do

is part of the bigger picture, no matter how insignif icant one message may seem, it has the potential to impact people’s lives in signif icant ways. Because of this goal, I am incredibly motivated and look forward to being challenged artistically and conceptually through the gd+i program. A lthough it has only been one semester, I believe that my work as a student artist has grown and will continue to improve as I continue my journey at Uof SC. Coming to The University of South Carolina has presented me with more opportunities than I could have imagined when I f irst accepted admission here this past October. Being accepted in the gd+i program would mean that not only would I be able to continue to grow as an artist and designer but I cannot wait to continue my personal and professional journey at Uof SC. Thank you for your time and consideration.

Sincerely,

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Introduction The week of Januar y 10th, 2022 was a huge week for me. This week was my f irst week at the University of South Carolina. I graduated from Wade Hampton High School and The Fine Arts Center of Greenville in June 2020, which was just the beginning of ver y uncertain times. The Covid-19 pandemic had broken out just broken out a few months prior, and ever ything felt incredibly uncertain. A lthough I had already applied to (way too many) colleges and thought I had my heart set on a small school in Florida, there was a lot of anxiousness I felt for my future, as did the rest of the world. The University of West Florida charmed me because I loved the beach, the arts program

seemed decent, and I thought a school with a tight community and small classes meant close relationships with the faculty and my peers. The other part of its appeal was also maybe the fact that I wanted to get back at my parents for forcing me to move across the countr y when I was 16 and in the middle of high school. I wanted to choose somewhere that felt right for me, and in my mind, that was any where but South Carolina. Even though they begged me and warned me not to move away from my family at 18, of course, I thought I knew what was best for me. When I f irst started college I had high expectations, just as any incoming freshman would.

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These expectations were however repeatedly crushed as Covid restrictions made it hard to meet anyone in this place where I was brand new. As time passed, and the dangers of Covid seemed to slip from ever yone’s minds as we all adjusted to the “new normal”, not much changed for me in terms of meeting people. This isn’t what bothered me, as I had gotten used to being the new kid after moving states as a sophomore in high school, but as my classes stayed completely online through my sophomore year, my Fear Of Missing Out became real. Not only was I jealous of my friends from back home who seemed to f inally be getting their social

college experience, but I felt that I was getting incredibly behind in my advancement of education. I missed feeling challenged. In October of 2021, I made the incredibly hard decision to not only swallow my pride and admit that my parents were right but to leave The University of West Florida and transfer. I packed up ever ything in my Saab and drove 9 hours from Pensacola, FL to Columbia SC, where I was going to give myself a fresh start. I had no idea what to expect starting at Uof SC in the Spring of 2022, but Week One in Arts 246 gave me all the conf irmation I needed that I had done the right thing and I was f inally somewhere I belong.

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WEEK Blog Post One: Creative Reaction Lab, a nonprof it founded by Antionette D. Carroll was created to address inequities in design when it comes to race, the health of the Black and Latinx community, and more. Carroll believes that the systems of racism, inequality, inequity, and oppression that exist in our society were all inherently designed and therefore can be changed. People are calling for these systems to be redesigned because after all, the design industr y is meant to create solutions and make things work more ef fectively. Carroll, a graphic designer, began to look at the impact of design and how oftentimes it benef its certain groups over others. The power certain groups hold over others, intentional or not, is what creates these oppressive systems that need to be redone. I know that as a white, cis-gendered, straight female that I have a large advantage over minorities when it comes to my career. I have never had to struggle much when it came to work and educational opportunities which have put me ahead of my peers because they are not white, straight, or cis presenting. The design world needs to be more inclusive and the best way to achieve this is to not just provide equal opportunities for ever yone but to provide extra support to strive for an equal outcome. The work that groups like Creation Reaction Lab are doing is vital to not only supporting but uplifting Black and Latinx designers who are now able to continue this change in their communities.

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Assignment 1 In -progress shot of Assignment 1 & Podcast

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WEEK Podcast & Assignment One

99U Podcast “It starts with you.” Antionette D Caroll Creative Recation Lab Accessed 30 March 2022

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To complete the Classif ications Exercise we have been tasked with recreating letters of words through drawing and kerning and then identifying the ty peface used as well as the historical classif ication of the ty pe. There are a total of six Charlie and the Chocolate Factor y-related words with six dif ferent ty peface varieties for us to recreate. When this exercise was f irst assigned I greatly underestimated how long it would take for me to come up to accurately transcribe each letter. To do this I have been using a ruler and pencil to measure the length of the words as a whole,

the space individual letters take up as well as the kerning. One thing I have struggled with is accurately copying the angles of certain letters. For example, to get the strokes in the capital letter A I took several measurements at dif ferent points of the kerning of the letters on either side of it. This f irst assignment relates to the podcast that was assigned this week because letter forms are an essential part of design, and the more familiar we as designers become with them, the more ef fectively we can communicate and create solutions and therefore change in the future.

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WEEK Podcast & Assignment One

Assignment 1 Final Works for Assignment 1: Classif ications Exercise

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WEEK Blog Post Two:

Evolution of Typography Snapshots from Chapter One of Typographic Design: Form and Communication Textbook , Figures 1-53, 1-54, 1-85, 1-86

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Since the beginning of time humans have had the need to communicate. As languages developed, there became a need for written communication and documentation. These started out as patterns and hierogly phics. Dif ferent societies had dif ferent means of writing and all began to develop dif ferent systems which evolved into ref ined letters. As letters became vital to society, ways of writing them also began to transform. Details such as serifs, line weight, angle of stroke, and

more were altered to change the composition of letters and words as a whole. The invention of the printing press allowed for more experimentation in creating ty pe. Design is to create solutions to improve the human experience. Communication is a key part of not only survival but the human experience so it is only natural that ty pography has evolved with people and society. It has been designed and redesigned to f it any situation to be the most ef fective at communicating as can be.

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WEEK

The Evolution of Typography & HoNY Assignment Assignment 2 was to create an 11”x17” one-sided poster using content from the Humans of New York. The purpose of this assignment was to understand how to create a design based on a grid structure. In class, we looked at some poster examples and worked backward to def ine the ty pe of grid structure that was used and how the artists utilized the structure to come up with a successful design. The images, text, color palette, and fonts were all provided so that we could focus on setting longform text and how to achieve ty pographic hierarchy. This assignment reminds me of how in ty pographic histor y people were looking for clean designs and order above all so that words were legible. I enjoy learning the proper technique and the reason why people design this way is because it builds a foundation of understanding what rules can be broken to create visually appealing designs.

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Assignment 2 Final Poster Design for Humans of New York Assignment with grid, 11”x17”

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WEEK

The Evolution of Typography & Hony Assignment

Assignment 2 G rid Structure for Humans of New York Assignment , 11”x17”

Assignment 2 Final Poster Design for Humans of New York Assignment , 11”x17”

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WEEK Blog Post Three: Ty pography stemmed from the f irst ways of mark-making. Practices such as carving into stone, using brushes, and reed pens are what f irst developed. The basic structure of letterforms exists between the cap line, baseline, mean line, x-line, and beard line. These boundaries def ine the tops and bottoms of letters as well as the width. Lowercase and uppercase letters hit dif ferent lines. There are over 20 components that makeup letterforms, each letter, depending on the ty peface, use a dif ferent combination of these. Developed ty pefaces fall into dif ferent historical classif ications depending on the combinations and styles used. Paying attention to proportion is vital in designing ty pography. The contrast of stroke weight, as well as stroke-to-height ratio, should be considered because these properties af fect legibility and readability. Within a font all letters, numbers, symbols should be unif ied and expressed in the same style. Digitizing ty pography has allowed for the archival of ancient fonts and the design of new ty pefaces for many dif ferent uses.

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White Sands National Park Research for W hite Sands National Park in New Mexico for Type Hike Poster

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WEEK Anatomy of Typography & Type Hike Introduction

Montserrat Research for Montserrat Typeface chosen for my Type Hike Poster

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WEEK Anatomy of Typography & Type Hike Introduction

Anatomy of Typograhy Snapshots from Chapter Two of Typographic Design: Form and Communication Textbook Figure 2-2

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This week we were introduced to a project called Ty pe Hike, based on the Ty pe Hike poster series created in 2016 to honor the centennial of the National Park System. I was assigned the White Sands National Park in New Mexico which was only recently established as a national park in 2019. I began by researching as much as I could about the natural landscape, histor y, f lora and fauna of the park. I found myself most interested in the animals that occupy the park, particularly insects. The Bleached Skimmer Dragonf ly, White Moths, Caramel Crickets in addition to animals like the Apache Pocket Mouse all have evolved to adapt to f it their white surroundings of the park. I also found that the plants of this park are especially vital because, without their root systems, the vast dunes of white

g y psum sands would collapse. The plants that stood out to me were Gy psum Centaur y wildf lowers and Soap Tree Yucca. I plan on incorporating scorpions, snakes, insects, and wildf lowers in my design. Because the ty peface I’m using is Montserrat, I want to make the lettering of my poster look hand printed with a stamp ef fect because Montserrat was inspired by old signage and posters. This would also help to balance out how geometric and modern this font is with the older more western-style I plan on incorporating. Learning the anatomy of ty pography has been helpful in this process because I now have a better understanding of the composition of this ty peface. This allows me to adjust it to f it the needs of my poster while keeping it true to the original aesthetic of the font.

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WEEK Blog Post Four:

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Legibility is essential to design. If a design is not legible by a wide audience then all meaning is lost. Innovative designs are able to balance visually pleasing design with legibility. A ltering stroke and line weight in letterforms can transform how the letter reads. The textbook, Ty pographic Design: Form and Communication references the letters A and D in their lowercase form to highlight the importance

Type Hike Poster T humbnail Sketches for W hite Sands National Park Poster

of how long the stroke lines are in order to read the letters legibly. There are many factors that af fect how legible a design is, however. Weight, spacing, color, size of ty pe, and more should be considered when designing. Ty pographic forms are meant to communicate so if a design is not legible, the point can easily be lost.

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WEEK Legibility & Type Hike Initial Drafts

Legibility Snapshots from Chapter T hree of Typographic Design: Form and Communication Textbook Figure 3-26

Type Hike Poster Full Image of Rough Draft Sketch of W hite Sands National Park Poster

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WEEK Legibility & Type Hike Initial Drafts This week we began to develop our initial poster designs for the Ty pe Hike project. Last week I came up with 10 thumbnail sketches after researching my assigned park, White Sands National Park in New Mexico. After discussing my research with the rest of my peers who also had the White Sands park I continued to focus on the natural f lora and fauna of the park. The species that I found most compelling became the focus of my design. I found that the park is home to scorpions and many wildf lowers. For my design, I wanted to incorporate at least one botanical aspect, Gy psum Centur y Wildf lower, and one animal, a scorpion. I presented the rough draft of my f irst design at an in-progress critique this week and got helpful feedback but as I started to make the recommended changes, the more I worked on it, the more I came to realize I needed to scrap the whole thing. As I developed this new design, I changed the layout completely but kept the scorpion. I replaced the wildf lower with a Soaptree Yucca.

Legibility Snapshots from Chapter T hree of Typographic Design: Form and Communication, Figure 3-3

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WEEK The Typographic Grid & Type Hike Continued Grid on Poster Rough Draft Sketch for Up-close screen shot displaying how a grid was used to organixe my design

The Typographic Grid Snapshots from Chapter Four of Typographic Design: Form and Communication Textbook Figure 4-2

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WEEK Blog Post Five:

Ty pographic grids use structure and space to create thoughtful designs. There are many ty pes of ty pographic grids, depending on the situation and purpose of a design, grids can be adapted to create a proportional design. Grids are the barebones, framework, to any design. They are essential for the ef fective placement of elements in a design so that the information can be best comprehended. While grids can provide rigid, linear structure, just like any rule in art, they can also be broken to create visual interest. Accessibility and design go hand in hand, grids assist in making sure designs are coherent, aesthetically pleasing, and can be understood by a wide audience.

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Type Hike Poster Rough Draft Sketch for W hite Sands National Park

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WEEK The Typographic Grid & Type Hike Continued

Assignment 1

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After scrapping my f irst rough draft and changing my layout completely, I felt that the new design I came up with gave me more room to experiment and also much better represented the park. I sketched out several stages of life of the Soaptree Yucca, from seed pod to in bloom in Procreate. I decided to go with the depiction of the plant in its full form because I liked the f loral element with the large shoots that they produce. I overlaid this with a drawing of a scorpion that I also made in Procreate. After rearranging my text in a bold horizontal layout in addition to the drawn elements I made I felt that my design was missing something. To solve

Type Hike Poster Type Hike Poster Critique and AR Poster experience

this problem I color-blocked the highlights and shadows of a sand dune. In conjunction with the park poster, we were also tasked with creating a ty pe specimen poster that displays the ty peface we chose to use in our park poster. For this design, I drew inspiration from Montserrat’s origins: vintage posters, marquees, and other signage. This poster will become an A R experience viewed through the app Artivive. Using a grid in both of my designs was key when it came to ref ining and keeping things organized. I kept referring back to my grid to assist with the f low of my designs, especially in my ty pe specimen.

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White Sands National Park Poster Type Hike Poster 16”x24” 2022

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AR Triggered Type Specimen Poster Type Specimen Poster for Montserrat 16”x24” 2022

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White Sands National Park Post Card Front of Postcard 4”x6” 2022

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White Sands National Park Post Card, Back Back of Postcard 4”x6” 2022

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WEEK Syntax and Communication & Zine

Initial Layouts Rough draft sketches for zine layout and spread ideas

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The ty pographic syntax is when a designer appropriately uses the associated meaning with letters and words in ty pe in order to send a message ef fectively. Ty pography as a means to communicate relies on letters, words, lines, and layout. If a designer does not understand the signif icance of symbols or their placement the meaning of a message is lost, therefore their communication is not ef fective. When tr ying to express an idea, it is crucial to pay attention to the

relationships between letterforms spacing and layout on a page. The exaggeration or understatement of key elements can be intentionally used to emphasize ideas or as an interesting visual element. This concept can also be applied to the general structure of a page: how lines are laid out and how margins and columns are used. Dif ferent uses of all of these elements af fect how the audience interprets a work.

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WEEK Blog Post Six: As we f inalized and wrapped up the Ty pe Hike Project this week, we were introduced to our next assignment: The Ty pe Zine. For this project, we are to f ind a ty peface that we are slightly embarrassed by the fact that we like, a “guilty pleasure”. There wasn’t one specif ic font that popped into my mind when this idea was f irst introduced. There were many that I feel strongly against, but it took a little digging to f ind one that I would be happy, with and not completely embarrassed, to work with. I used Adobe Fonts to locate the ty peface for my project. I ultimately chose HWT Tuscan Extended. I liked this option the best because it reminds me of a countr y granny who enjoys crafting needlepoint almost as much as she does reading cheesy western romance novels. I had some dif f iculty f inding a companion font to use for the subtext of my zine however because I wanted something that was less intricate but still complimented the personality of HWT Tuscan Extended. I f inally settled on Parisine Plus Std Clair Regular, a slim sans serif with some height to it to balance out how elongated my guilty pleasure ty pe is. For my zine, I wanted to run with the western vibe of this ty peface but make it modern. The singer, Orville Peck, is a good example of the aesthetic I want to achieve. I also want to lean into the fact that it reminds me of cross stitching/needlepoint and would like to add tactile elements to my zine. I would like to add elements of lace and fringe to bring this zine concept to life.

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Typographic Zine Initial Research Typeface Companion Font Research & Screenshots of a Moodboard created for my Zine

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WEEK Syntax and Communication & Zine

Syntax and Communication Snapshots from Chapter Five of Typographic Design: Form and Communication Textbook Figures 5-50 through 5-52

Zine Brainstorm Inital ideas for zine development

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WEEK The Typographic Message & Zine Development

Cover Idea Experimenting with Adobe Illustrator Sttich Texture

Dr. Lesley-Ann Noel Notes from Dr. L esley-Ann Noel Keynote attended Februrary 22, 2022

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WEEK The Typographic Message & Zine Development

The Typographic Message Snapshots from Chapter Six of Typographic Design: Form and Communication Textbook Figures 6-9 and 6-11

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The ty pographic message describes all the meaning that we take from design. It encompasses all interpretations: verbal, visual, and auditor y. The function and purpose of ty pographic messages are to ef fectively communicate a specif ic meaning to an audience. Ty pographic design is just as much visual as it is verbal, when a design can be read aloud as well as visually interpreted it

is strengthened. As the design behind written words became more intentional, their function evolved to be more dynamic and expressive. To create a functional design, designers have to f ind a balance between viewers’ logic and intuition, what actually makes sense vs what should make sense when tr ying to understand a message.

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WEEK Blog Post Seven: This week we continued to develop concepts for the ty pographic zine. As I added more photographs of inspiration to my mood board I was inspired to create icons that I could use throughout my zine. In Procreate, I came up with sketches of a snake, heart-shaped doily, cowgirl boots, a cactus, horseshoe, four-leaf clover, lasso, and snake eyes pair of di. I chose these symbols because they encompass the countr y style of my ty peface. This week I also established a color palette and template where I’ll put together my zine in InDesign. I planned out all of my spreads so that I could plan out timing photoshoots and embroidering the f iber components I want to incorporate into my zine for texture and to reiterate the cross-stitch, countr y grandma style of HWT Tuscon Extended. I also got started working in Illustrator and InDesign on spreads that won’t require as much external work. Reading and learning about the ty pographic message while beginning this project helped me to see the connection between intention between ty pographic design and how it is interpreted by the audience. There are so many more factors that af fect meaning outside of what is being spelled out.

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Zine Illustrations Illustrations of symbols to use throughout my zine created on Procreate

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WEEK Blog Post Eight: Ty pography and the processes in which it is produced have changed immensely through time. Its original methods of production began by hand, setting ty pe one letter and line at a time using a composing stick was the best method available for a long time. The introduction of machines such as the Linoty pe machine and Monoty pe machine aided in producing ty ped work much more ef f iciently, allowing for increased production. This new technolog y included correction allowances and keyboards, both of which were able to turn out over a hundred words in a minute. Other machines were developed such as the Monoty pe machine and Ludlow machine. Technolog y continued to improve and the f irst computers were invented which created a limitless means of producing ty pes.

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HWT Tuscan Extended Embroidery In-progress shot of the embroidery hoop sewn for Zine

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WEEK

The Evolution of Typographic Technology & Zine

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My goal this week was to further develop my zine spreads. Monday we had an in-progress critique where we presented a rough mock-up of a printed zine. This was productive for me because it allowed me to see how ef fective my current layout was. Seeing how my spreads looked next to one another and came across when folded changed my opinion of my zine a lot. After this critique, I realized I need to add more non vectorized elements to create more visual interest. To achieve this I began on my experimental

Zine Illustration Pattern Pattern created from illustrations to be used throught my zine

ty pe which was embroidering the name of my ty peface and several illustrations to represent it. I also added images of western metal charms. This week I’m extremely thankful for the technological advancement of ty pography because working with a project such as a zine with multiple pages has made me realize how tedious and time-consuming traditional means of creating ty pe were. I can’t imagine the frustration of having to start over completely to make changes to multiple pages.

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WEEK

The Evolution of Typographic Technology & Zine

Evolution of Tyopgraphic Technology Snapshots from Chapter Seven of Typographic Design: Form and Communication Textbook Figure 7-17

Zine Spreads First stages of developing my zine

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WEEK Typography on Screen & Wrapping up Zines

Zine Photoshoot Images from HW T Tuscan Extended Typface Personif ication photoshoot

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Ty pography originated as a physically printed, tangible product. The introduction of the internet and technolog y such as digital screens creates a dif ferent set of problems that designers have to consider when designing for print. Designing for screens requires attention to several main factors in order to maintain the value of a ty peface. These factors include how ty pe appears on screen and the many ways it can be interacted with

online. The way ty pe is read onscreen versus paper has two ver y dif ferent results. Ty pefaces that work well on paper compared to being legible on-screen need to be balanced with scale, line weight, overall formatting, and more. Dif ferent ty pefaces and how ef fective and how legible they are on screen all depend on dif ferent components that need to be considered when designing legible and accessible ty pography for any surface.

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WEEK Blog Post Ten: Spring break gave me a chance to take a break from this project which allowed me to come back to what I had created with a fresh perspective. Throughout this process, although I had planned out the details of my ty peface personif ication photoshoot like the outf it, location, and poses, I struggled with designing my zine as a whole because this element was missing for so long. Over the break, I completed my personif ication photoshoot and all other photographed components to my zine which is what brought all my concepts together. Once this part of my zine was established it was much easier to get into the f low of bringing ever ything together into one unif ied piece. I also added a fabric texture over several pages to minimize the vectorized look and also reiterate the concept of how this ty peface resembles lettering used in embroider y and crossstitch. As I introduced these photographed elements I began to play around with collage as a way to combine my illustrations with the ty pe. To embellish and integrate these concepts further I photographed my personal jewelr y as accents to create unity throughout my zine. Viewing my spreads digitally versus printed out on paper made a much bigger dif ference than I anticipated. After the reading this week, I understand why my design comes across one way and feels a completely dif ferent way when printed and folded into a zine.

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Typography on Screen Snapshots from Chapter Eight of Typographic Design: Form and Communication Textbook Distortion of Type, Figures 8-1 & 8-2

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Final Project vs First Mockup Comparisons between the f inal constructed zine and f irst initial mockups

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Zine Spread 1 Title Page 8.5”x11” 2022

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Zine Spread 2 Type Specimen & Pangram 8.5”x11” 2022

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Zine Spread 3 Poem 8.5”x11” 2022

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Zine Spread 4 Metaphorical Video via Augmented Reality 8.5”x11” 2022

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Zine Spread 5 Collage 8.5”x11” 2022

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Zine Spread 6 Tyepface Personif ication 8.5”x11” 2022

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Zine Spread 7 About the Designer & Colophon 8.5”x11” 2022

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Cover Front Cover of Zine 5.5”x8.5” 2022

Cover Back Cover of Zine 5.5”x8.5” 2022

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WEEK Blog Post Eleven: When we think of moving ty pe, we ty pically imagine the title screen of a movie. Over the progression time and development of technolog y, the use of moving ty pe has changed drastically. Moving ty pe is found in almost all new media, it can move in a variety of ways. The text can be in a f ixed position with changing backgrounds. The frame, angles, and space which the text takes up can change, implying movement. The letters themselves can also move across an interface in virtually any direction to achieve movement. Movement allows for the visual reiteration of the intended message of ty pe. Hierarchy, sequence and timing all can alter the meaning of the message the ty pe is tr ying to convey. Timing is one of the most important factors of moving ty pe as it can ef fect legibility. A lthough its requirements change, legibility and visibility still play key roles in moving ty pe. The length of time ty pe is displayed, how long between each frame of variation, and more all contribute to the ef fectiveness of communication.

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Process Book Image Creation Screen shots of photoshop workspace used for developing Process Book images

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WEEK

Typography in Time and Motion & Process Book Development

Process Book Development Working on my Process Book in the T homas Cooper Library

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This week we f inished our zines and prepared for a f inal critique of our work. For me, this meant assembling my spreads into three editions of a physical 5”x8” zine. I accomplished this by printing my spreads at the Output Center, where I began working last month. My coworker Jess and I were responsible for printing out the zines of students from across three sections, so I used my spreads as an experiment to get the print settings correct and develop the most ef fective method of getting them produced in a timely manner. This was important to have down and f igured out because I wanted to get them back to my classmates as soon as possible so they could assemble their zines with plenty of time before critique. A lthough this was our intention, and we did get a system working in place, the equipment in the Output Center had ver y dif ferent plans for us. One printer ran completely out of ink, and the other is probably older than me. I wanted to scream with frustration as I watched it break down and jam ever y-other page. As frustrating as this was,

I was able to get as many copies completed as I could with what I had, and with the help of the faculty, Jess and I were ultimately successful. I felt particularly tested this week, but I would like to thank my professor Meena Khalili, who is always so supportive, and the reason I was able to keep it together! After I had a fully f inished f inal product, there were several things that stood out to me on paper that did not on screen that I would like to go back and edit. The most important item on this list is altering the placement of my die-cut. I thought that I had it placed so that it would create an interesting visual ef fect, but it turned out that my planning was a little of f, and the whole thing seems a little out of place. The critique was done dif ferently this go-round. We used Miro, an online whiteboard where ever yone had a place to comment with praise, a question, or a suggestion. I got a couple notes of praise and one suggestion about the cover of my zine. I found the suggestion helpful and am considering changing my cover now.

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WEEK

Typography in Time and Motion & Process Book Development

Typography in Time and Motion Snapshot from Chapter Nine of Typographic Design: Form and Communication Textbook , Figure 9-11

Assignment 5.1 Assignment 5.1 was meant to help us def ine layouts and grid structures for Process Books

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WEEK Blog Post Twelve: Chapter 10 discusses various case studies of issues that occur often when creating solutions in the world of design. Graphic design exists in virtually ever y environment and impacts ever yone on a daily basis. With the development of technolog y the formats in which design is needed var y greatly. What works for and is considered appropriate in designing a poster may not be an ef fective solution for designing magazine spreads. Being intentional with ty pography, whether it is in motion or stationar y, what its purpose is, and what format it takes up is all incredibly important and changes from solution to solution. Design should be accessible to all, this is the most important aspect to be considered when integrating written and visual elements into a cohesive design.

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Process Book Development Snapshots of Inital Process Book Design

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WEEK Case Studies & Process Book Development

Process Book Development Experimenting with warping text through a scanner

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This week we began working on our f inal project to wrap up this semester: The Process Book. Our process books will serve as portfolios of all the work and projects we f inished this spring in Arts 246. We f irst learned about this project at the start of the semester and as I developed all of my projects, The Ty pe Hike Poster and Zine along with the Classif ications and Humans of New York Assignment I wanted to keep this process book in the back of my mind. Now that all of my projects for class have been completed along with my previous blog posts, I have all the elements required to assemble my portfolio. I will be using this book to apply for the GD+I program at the end of the semester. When I f irst began working on this, I was intimidated by how this project could determine whether or not I get into the program which created a lot of mental blocks for me. I was all over the place with what I wanted this to look like for me as I feel that this book should

represent my personal aesthetic while also being neutral enough to showcase my projects from this semester. I found a ty peface that encompasses these ideas, Scandia, but it was looking ver y f lat when I f irst started designing with it. One day this week after work I began to experiment with printing out this ty pe and warping it with the scanners to create more visual interest. I loved this product and continued to experiment with the scanners. Since all of my designs this semester involve my personal illustrations, I thought it would be f itting to include a visual motif throughout my process book. I started having too much fun with the scanner and decided to play around with a design from a project I made earlier in the semester in my screen printing class. This design was created for a personal logo project, and because I’m essentially tr ying to sell myself as a future designer and student I thought it would be f itting to include this element.

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WEEK Case Studies & Process Book Development

Case Studies Snapshots from Chapter Ten of Typographic Design: Form and Communication Textbook , Figure 10-9

Process Book Development Snapshots of Photoshop Workspace to develop images for my Process Book

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WEEK Typographic Design Process & Process Book Development

Process Book Development Experimenting with warping images through a scanner

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The ty pographic design process is similar to any other creative design process in the way that there are traditional models and means of producing work, but designers have their own personal means of creating. Because it is a designer’s job to come up with creative solutions, an important place to start is def ining the problem so it can be fully addressed. In order to do this ef fectively, designers should gather all the facts of a problem, including solutions that have already been created. Client information, problem, and what it will take to produce a solution. Once all useful information is gathered, the next and possibly the hardest step is ideating. For me, this step is the hardest because I f ind that when starting a project, I either have a million ideas that are impossible to wrangle, or I have none but have found that I can let my materials gathered earlier in my process to inspire me. Synthesis of ideas occurs when you sift through your ideas and land on one or two that you think will be most successful. After your ideas are born, they should be approved by the client. At all times you and your client should

be on the same page of what it is that you are producing and what it is that they expect and require. After the realizing step has been accomplished, a designer is now ready to move forward with their project and complete it. It remains imperative however to communicate often about what’s going on in their work in order for it to be the best solution for a client’s problem. A lthough there is a clear, f ive-step, plan that would make my life a lot easier if I actually chose to follow, I often get stuck in between the Ideating and Synthesizing phase. This is because as mentioned earlier when designing, I usually come up with lots of ideas that aren’t always cohesive. One way I’ve found I could solve this issue is by designing with a maximalist approach. An example of this is from my zine project. I had so many ideas of how to design and this particular project it worked out because there were several spreads to design for, all with a dif ferent purpose which for me meant all could have a completely dif ferent and new look while staying cohesive.

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WEEK Blog Post Thirteen:

Typographic Design Process Snapshots from Chapter Twelve of Typographic Design: Form and Communication Textbook , Figure 12-1

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Assignment 1

This week has been both exciting as we continued to work on our process books for Arts 246. A lthough it’s stressful to think that whether or not I stay on track in my college career rides on this one project, I’ve found it ver y enjoyable to go back and ref lect on all the work I accomplished during this semester. During an In-progress critique earlier this week, my professor said that this book should be like a mini-galler y of our design work, and this really hit home for me. Hearing this reminded me that this book should be less about me worr ying and more about me being proud of the work I’ve done and wanting to showcase it. So far, I’ve spent a lot of time worr ying about the layout and aesthetics of my book as a whole and not enough on the actual content, so that’s what I wanted to focus on this week. Because I did follow the design process, however (not without a

few wrong turns, though!) I set myself up for success because I had time to go through multiple iterations of what I thought I wanted this book to look like. Now I’m not only solidif ied in how it looks in terms of color scheme, layout, organization, and more but I’ve gotten excited as I’ve gone through a memor y lane of sorts this week while writing my course ref lections and going through in-progress shots from previous works. As I mentioned earlier, I struggle with staying on track with the ty pical design process, but because I want this piece to be successful, I’ve been stricter with myself in terms of communicating with the client ( professors who will review my work) and what they are looking for. Ultimately, this week has been stressful but I truly feel like I have a handle on things as I work towards f inishing up my ver y last blog post and my process book as a whole.

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WEEK Typographic Design Process & Process Book Development

Process Book Development Snapshots from InDesgin Workspace Of Process Book

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Process Book I 118I 118 Statment of Intent

ProcessofBook Statement Intent II 119

Final Statement, There was so much that intimidated me about coming to Uof SC, most of all I feared that I would be severely behind all my peers. I had to overcome the many mental obstacles that I had set up for myself. In my design process, I struggle with being a disorganized perfectionist. The process of which I create can either be my biggest weakness or my greatest strength. Taking this course has not only put this to the test but has taught me better ways of creating, which I hope to continue to improve in the gd+i program. The biggest thing I’ve learned through this exhausting but continuously rewarding process has been that college is a journey in itself, and ever yone is on a completely unique path. A lthough the roads we take may var y greatly from one another, we all share a common goal. Improving ourselves creatively, academically, and personally is the ver y least I can say I know I’ll leave college with. Starting to produce work in Arts 246 is just the beginning of what I can accomplish as a designer.

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Class of 2024

University of South Carolina School of Visual Art & D e s i g n

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Headers Scandia Medium Size I 65 pt Tracking I 50 pt Leading I 14 pt

Subheaders Scandia Light Size I 22 pt Tracking I -10 pt Leading I 84 pt

Scandia Medium Size I 22 pt Tracking I -10 pt Leading I 84 pt

Captions Scandia Medium Size I 22 pt Tracking I 50 pt Leading I 9 pt

Bakersville Italic Size I 9 pt Tracking I 50 pt Leading I 9 pt

Body Copy Bakersville Grid

Size I 10 pt Tracking I 50 pt Leading I 14 pt