Hi.
Letterforms 1 Process Book Jess Byrd 2016
Weekly Snippets 9 Weekly Media Responses 19 Exercises One, Two & Three 35 Remaking Language Project 45 Typographic Adulation Zine 63 Acknowledgments 79
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Weekly Snippets
A snippet is a piece of work that functions as a visual response to the weekly readings and videos that were a required part of this Letterforms One course.
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This piece is a visual response to an excerpt I read by Robert Bringhurst. This piece is also an attempt of a selfportrait through the use of typography.
PERFECTIONIST
BREAK BREAK BREAK BREAK BREAK the mold
your give a damn
expectations
the rules
assumptions
notions
EVERYTHING YOU KNOW
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This is a visual response to an article written by Michael Dooley. This piece is dedicated and inspired by the nonconformist ideas and practices of designers, Rudy VanderLans and Zuzana Licko. This piece expresses what designers, like myself, might take away from the work done at Émigré Publications.
The above photo is a visual response to Chapter 1 of Typographic Design: Form and Communication. Reading this excerpt inspired me to create my own cuneiform tablet from clay in my backyard. This piece serves as a commentary to the effects cuneiform has had on our language and typography today.
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This image is a visual response to Chapter 2 of Typographic Design: Form and Communication. The book referred to typography as “frozen sounds” and this is what inspired me for this snippet (31). I created this image by cutting out letterforms from a cardboard box and then freezing them and crushing ice.
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My snippet this for week five was inspired by our reading of Chapter 4 in Typographic Design: Form and Communication. I used a modular grid to create this design. I was also inspired by Timothy Goodman and his Sharpie word artwork.
For week six we read Chapter 3 in our book which was all about legibility. This photo is a visual response to this reading. I played with the legibility of the hand-written Henry David Thoreau quote by manipulating the image in Photoshop.
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For my week seven snippet, I took a photo of typographic stone carvings on the Frog’s Head Landmark on the Sheltowee Trace Trail in the Red River Gorge. These letters that previous guests have carved meant something to them; it’s probably their initials (I do not approve of defacing natural landmarks). But, all I see are letterforms and I am left to guess what they mean. This ambiguity is the lack of typographic syntax.
This is a visual response to the reading for week eight. I created this with denotation in mind. Putting a pig near the word cow makes for a more ellusive message.
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invisible.
The image above is a visual response to the film, Helvetica. This piece is a representation of the subtlety and provocativeness of Helvetica in our world.
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The image above is my week ten snippet responding to our reading from the textbook. I created movement by progressively reducing the opacity of the letters arranged behind the letters that came before.
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I was inspired by John Malinoski to create this flyer, on right, for the farmers’ market in my hometown. I used his vector illustration style to create this snippet. I got the information about the location and dates for the Jeffersontown Farmers’ Market at www.jeffersontownky.com.
This is a visual response to reading chapter 11 from our book. I experimented with typography working with this image of an Ale81 sitting on the bar.
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Weekly Media Responses
Weekly Media Responses are written passages that respond to our weekly readings from the book and film viewings for this Letterforms One class.
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Elements of Typographic Style A RESPONSE TO BRINGHURST
I am Jessica Byrd, a beginner in the Graphic a designer has been seamlessly combining my illustrations and photographs with typography to work as a whole, cohesive piece. I am taking a Letterforms class during the Fall 2016 semester at my university. Hopefully, during this class I will begin to observe and better understand typography and how to use it more efficiently. I read a portion of Robert Bringhurst’s book, Elements of Typographic Style. I found an excerpt that really speaks to me, being the typography noob that I am: it says “Writing merges with typography, and the text becomes its own illustration” (Bringhurst 21). To me, this quote embodies what typography is and what I so badly want to master as a designer. The main goal is to use words in a way that will be advantageous to the piece. The most simple way to look at this principle of design is to think of text as an illustration of its own. There is much more to typography than just pasting the text onto the piece. The words must interact and coexist with the imagery of the design.
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Hopefully, during this class I will begin to observe and better understand typography and how to use it more efficiently.
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Design world. One of my biggest struggles as
Critical Conditions: Zuzana Licko, Rudy VanderLans, and the Emigre Spirit A RESPONSE TO DOOLEY
For this week I read an article, Critical
to the opinions of outside individuals. It is not
Conditions: Zuzana Licko, Rudy VanderLans, and
an easy task to develop this tough attitude as
the Emigre Spirit, written by Michael Dooley.
an artist, at least in my experience. I think the
This article was a commentary on the work of
key to overcoming this obstacle for myself is to
designers, Rudy VanderLans and Zuzana Licko.
focus on making work that I am proud of and
VanderLans and Licko were a married duo that
allowing my give a damn to break a little bit.
created their own magazine called Émigré. This was no ordinary design publication. Their work broke many boundaries of what was expected of designers in the 80s. For this reason, Licko and VanderLans have inspired me and many other designers throughout the years. It is designers such as this pair that set the bar for the rest of us. Their determination and thickskinned attitude are what I strive to develop in my design career. In his article, Dooley provided proof of VanderLans’ and Licko’s persistence when he stated, “When their work began to receive public attention, it was attacked for promulgating visual incoherence and viewed as a threat to Modernist ideals and an affront to universal notions of beauty.” VanderLans and Licko could have easily given up their practice when criticism such as this arose, but their passion overpowered their inclination to submit
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The Evolution of Typography A RESPONSE TO CHAPTER ONE
Chapter 1 of Typographic Design: Form and
changing the ideology that design and typography
Communication has given us a historical overview
were only meant to be functional and legible.
of typography in the form of a timeline. What
Mass-produced products were being sold and,
really struck me when I perused this timeline
therefore, customers had to be urged to buy them.
is how long ago people started to feel the need
From the nineteenth century to now, more and
to record things. Our book says that the oldest
more goods and services needed to be marketed.
known written documents date back to 3150
It is now very easy to get lost in the big sea of
BCE. It appears that the forms written on the clay
posters, CD covers, record labels, movie posters,
tablets were meant to be functional and legible.
newspapers, magazines, food packaging, and
There was not a lot of pizazz to the forms on
book covers. The goal has changed from being
the tablets because they were restricted to what
understood to being understood while standing
writing tools they used as well. It is fascinating
out among the whirlwind of ideas and images.
to think that these tablets only functioned as receipts, or what we would consider trash today. This first form of typography really does have a lot in common with what we do with it nowadays. While flipping through the timeline, I could really see where typography began and how it came to be what it is now. I could see the effects that society and the human race had on the uses of typography over the years. It began as a way to record information and it still has that same function today, but now it is a bit more complex. Typography can now be used to subconsciously manipulate people and evoke feelings within them. Typography has become more aesthetically-focused for these reasons. The Industrial Revolution played a huge role in
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The Anatomy of Typography A RESPONSE TO CHAPTER TWO
Chapter 2 of Typographic Design: Form and
when it is appropriate to use them today. We
Communication begins by diagramming the
must study the historical classifications of
formal names of components of the anatomy
typefaces because we would not want to use a
of letterforms (33). It is important that we, as
typeface that gives the wrong connotations and
designers, know these terms because it makes
expressions to our viewers (38-39). For example,
communication in the field of graphic design
it would be inappropriate to use an Old Style
much easier. It opens up informed conversations
typeface when making a logo for a cell phone
when it comes time to choose a typeface. Other
service provider. The viewers would notice
things to consider are proportions, specific
that the font looks really old and outdated,
optical relationships within a typeface, and
therefore, they might want to choose another
historical classifications of typefaces. It is
provider. All of these topics discussed in chapter
crucial to keep these things in mind when we are
2 should be introduced to young designers
designing because all of these factors play into
like me because they all affect our designs in
the way the audience reads and comprehends
more ways than what first meets the eye.
the information that we are portraying to them. For example, we must think about the effect our design because it dramatically changes the presence of the typography and the hierarchy of the whole composition. These factors can also change the feeling our viewers get from looking at our designs. If we do not consider the specific optical relationships within a font, our typeface may look a little off. The viewer might not notice it immediately, but their subconscious could
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Knowledge of typographic terms opens up informed conversations when it comes time to choose a typeface.
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expanding and condensing typefaces has on
respond in a negative way towards a font that does not have harmony (36). Designers must also contemplate about when and where specific typefaces were first used in order to understand
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Legibility A RESPONSE TO CHAPTER THREE
This week we read Chapter 3 of Typographic
legibility. When there are only a few words per
Design: Form and Communication. The main
line, it is difficult to read because the sentences
point of this chapter is legibility and how to
are so broken up. Breaking up sentences will
achieve it in design. The three main principles
ruin any type of flow that the writing might
of creating text with good legibility are type
have. Let’s not make people speak like robots.
size, line length, and interline spacing. From these three principles we can establish three rules of thumb for optimal legibility.
The third rule of thumb: Add 1 to 4 points of interline spacing to text type that is between 9 and 12 points (55). Interline spacing is vital
The first rule of thumb: Keep type size between
to keeping good legibility because it gives the
9 and 12 point. These type sizes preserve
lines of type room to breathe. Lines of type
the patterns that exist within words. The
that are too close together give our readers
preservation of these patterns is crucial because
visual anxiety. Lines of type that are too far
they make the characters and combinations of
apart may give the reader too much negative
characters recognizable to the readers (54). This
space, making it difficult to visually connect the
type size rule is an important thing for designers
lines as one section. We must slightly liberate
to remember because it would be inappropriate
our lines of text, but never imprison them.
to use large type size for body copy and small type size for headlines; it could lead to visual and to attract eyeballs, not confuse and harm them. The second rule of thumb: Keep line length between 6 and 9 words per line. Lines of type that contain more than 9 words are harder to read because the reader is required to backtrack so much between each line (54). The readers are more likely to lose their place when the text is set in this way. Setting the line length to less than 6 words per line is also damaging to
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hierarchal confusion for the viewer. It is our job
It is our job to attract eyeballs, not confuse and harm them.
The Typographic Grid A RESPONSE TO CHAPTER FOUR
Our reading this week was chapter 4 from our
modular grids, multicolumn grids and single
book, Typographic Design: Form and Communication.
column grids. Modular grids are formed by
This chapter covered all things grid. It talked
intersecting vertical and horizontal lines to create
about the historical background of grid use
modules. It is important to remember to allow
and the influence that movements such as
yourself to break the modules to an extent. For
Dadaism, Futurism, Constructivism and Stijl
example, do not be afraid to keep the body copy
had on the rise of using grids for design. I
rag right just because the rag goes outside of
never realized that Egyptian hieroglyphics
only some of the modules (78). A single column
were planned out by grid structure.
grid has a single column that is usually filled
Chapter 4 also goes over the principles of space and proportion. Space is important because the way in which elements of a composition are arranged determine the spatial structure in the composition (67). When designing a grid, considering not only space but also proportion is
with the text block. A multicolumn grid has multiple columns where text type and images align in accordance to that grid. I have used single column grids and multicolumn grids in my letterforms 1 class. I am going to try out a modular grid for my visual response this week.
crucial to successful grid structure. For example, using a mathematical grid sequence to plan the composition of the design will make it seem effortlessly proportional. The golden rectangle is an example of a mathematical sequence that almost always creates a successful grid structure with proportion. This golden rectangle design comes from nature which is the reason why people are so drawn to it—it just looks so natural and unplanned to our eyes (68). Our reading then goes on to show us the three main types of grid used by designers. We have
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Syntax & Communication A RESPONSE TO CHAPTER FIVE
This week’s reading was Chapter 5 of
designing a composition containing lots of text
Typographic Design: Form and Communication.
and also typographic space must be considered.
It goes over typographic syntax in terms of letters, words, lines of type, columns and margins. It is important for designers to consider all of these elements in their designs because they are what form the structure of the page. It is important to realize that these elements of the page are forms, even though they have developed meaning over time.
Typographic space is the field where the artist balances positive and negative space. For example, the designer may want to leave more negative space directly next to text type that may be really heavy in presence. Giving that contrast in visual weight balances the piece and makes it feel natural and whole. Using a grid helps designers to consider typographic
Letters can be considered in relationship to one
space and visual hierarchy before creating a
another in ways other than word formation. For
piece–just another reason why using a grid
example, words can be stacked on top of one
can be so crucial to successful design.
another and make one become negative space to create new forms. Words can also be more than a combinations of letters with a meaning; they can be seen as form and counterforms on a page, which builds complexity, pattern and texture in the design. Lines of words must be seen by designers as physical lines on the page so that they can be aligned in a way that creates harmony, legibility and visual comfort. The same goes for spacing between columns and margins. To create a feeling of “good type” the columns must be thought of like boxes and rectangles given the perfect amount of spacing between each other and the edge of the page. All of these things must be considered when
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The Typographic Message A RESPONSE TO CHAPTER SIX
This week we read chapter 6 of Typographic
denotative understanding. Information designers
Design: Form and Communication, titled The
are usually skilled in this area. They are masters
Typographic Message. The Typographic Message is
of minimalism and displaying the hard facts.
the visual language that is portrayed to designers’
Information design is very mathematical
audiences. It is the relationship between the
and logical. It takes a very patient, intelligent
content and form of a design (111). The way
individual to create design of this type. I have an
in which an artist renders their illustrations,
equal appreciation for all designers, but those that
arranges the typography, and makes relationships
can accomplish good information design baffle
between elements all affect the Typographic
me. In my Graphic Design class I discovered
Message. For example, if an artist draws the
that this subject is definitely a challenge for
wrong style of hat, it may throw the audience
me as a designer. I hope to get the opportunity
off because they associate that style of hat to
to take a stab at the strictly denotative
other things that the artist was not trying to
realm again at some point in my career.
allude to. Also, if the artist puts a word too close to this hat, the viewers may try to connect the two elements. Designers must be fully the audience may see in their designs. They also must be willing to change their ideas when unintended relationships such as these come up. Another topic discussed in chapter 6 is functionalism, which is the utilitarian properties
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conscious and aware of the relationships that
Information designers are masters of minimalism and displaying the hard facts.
of designed things (118). Sometimes, typography only has the function of extending information to the audience. For example, a receipt or a nutrition label uses typography with a solely denotative intention. A lot of designers prefer to design expressive pieces, but some have a more
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Helvetica A RESPONSE TO THE FILM
Today we watched a film called Helvetica. The Type Foundry in Switzerland where Helvetica was born. It was designed by Max Miedinger during the peak of Swiss modernism. He was inspired by the Akzidenz-Grotesk typeface. Max Miedinger’s main goal in creating Helvetica was to design a completely clean, strictly functional, non-ornamental typeface. The rest of the film mostly gives type expert testimonies on their opinions of Helvetica. To sum up what most of them had to say; Helvetica is the most influential, timeless and functional typeface in the history of the world. Using Helvetica can say so much to the viewer even though it is so simple. It’s inevitable; it’s ubiquitous; it’s bold; it’s rational; it’s neutral. It blends in so well that it begins to stand out. It amazes me to begin to think about how many designers have used it. Some designers use Helvetica only. They use it because it is the only typeface that, in its neutrality, allows the message to come before expression.
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Using Helvetica can say so much to the viewer even though it is so simple... it is the only typeface that, in its neutrality, allows the message to come before expression.
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film took us on a journey back to the Haas
The Typographic Message & The Evolution of Typographic Technology A RESPONSE TO CHAPTER SIX & SEVEN
Chapter 7 in our book takes us through the
typeface families less expensive and less time-
history of typographic design in terms of
consuming since it was set on a single line of
technology. Throughout the years, artists,
film. This form of typesetting also easily allowed
printmakers, craftsmen, typographers and
designers to creatively manipulate and kern the
designers have had to discover how to use the
letterforms. They could condense, italicize and
technologies that were readily available to
distort letterforms without having to cut them
them at the time. It is so important for us as
out of metal first. I can only begin to imagine the
graphic designers to be aware of the changing,
amount of experimentation and creativity that this
growing technology so that we may be in a
innovation opened up for designers in the 1960s.
position to be leaders in our field. We must also understand the technologies of the past that laid the foundation for the work that we do today. In the early stages of typography, designers were constrained to Gutenberg’s method of movable type using the printing press. It was a very time consuming method because each letterform had to be cut out of metal and then placed and spaced out by hand. Ottmar Mergenthaler’s invention of the linotype machine in 1886 opened up the possibilities for typographers by speeding up the process. This machine allowed
In the 1970s, designers began to use only computers and digital typesetting which allowed for extremely high-resolution letterforms. They used the methods of digital-scanning systems and digital-laser systems to set type. The use of desktop computers and page layout software took this digital-only typesetting to the next level. The accessibility of this technology is essentially what started the explosion of the field of graphic design as we know it today. From this point on, the technology is only going to get more complex and advanced.
for full lines of text to be created instantly. By the 1950s, the method of display and keyboard phototypesetting became available to designers. It was a huge innovation for setting display type because it made the process of creating new
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Typography on Screen & Typography in Time and Motion A RESPONSE TO CHAPTER EIGHT & NINE
Chapter 8 in our book, Typographic Design:
page. This is what can helps the viewers in
Form and Communication, talks about on-screen
defining the visual hierarchy of the page.
design. Things to consider while setting and/ or designing typography meant to be viewed on-screen include; hinting, anti-aliasing, using type images and pixel fonts. Hinting means that the typeface designers have to re-arrange the pixels of the each  letterform in each point size in order to make them more legible at all sizes. Anti-aliasing gets rid of the jagged edges of letterforms by replacing them with pixels that match the background and font color. Using pixel fonts is beneficial to on-screen typography because these typefaces were designed with the pixel in mind. Using type as an image works well for web design because image type can not be manipulated once it is display on the web. Sans serif typefaces set at large point sizes are much easier to read on-screen. The reason for this is that sans serif typefaces lack serifs and all other adornments commonly used in serif typefaces. It is recommended to use only two to three typefaces per web page design. Using typefaces, type sizes and type weights that contrast each other is successful because it assists the reader in navigating through the
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Chapter 9 is titled Typography in Time and Motion. It covers the use of typography that suggests motion which can be very invigorating and interesting to the audience. With today’s technology it is possible to literally create movement in type design for film. Many planning factors must go into creating moving type. Speed, duration and transitions, among many other aspects, all must be worked out to the finest of details in order for the moving type to effectively impact and inform the readers. I have never produced a film or animation before. This is something that I would like to try sometime in the near future.
Case Studies in Typographic Design A RESPONSE TO CHAPTER TEN
This week we read chapter 10 in our book,
Farmers’ Market. The Farmers’ Market in
Typographic Design: Form and Communication.
Richmond, Virginia had an extremely long
This chapter covers what makes for good visual
history behind it. By the 1980s, the farmers’
systems design through the use of environmental
market had declined in popularity and the
and dimensional typography (171). The book
administrators turned to a modern graphic
does this by showcasing 7 different case studies.
designer, John Malinoski, to revamp their
I am going to describe two of my favorites
marketing efforts (194). Malinoski used a very
and explain why they are successful.
limited, but stunning color palette, a flat vectorbased illustration style and creative, interactive
The first one that works well as a system is the U.S, National Park Service (NPS) grid system. Massimo Vignelli, Vincent Gleason and Denis McLaughlin invented this unigrid system for the NPS in 1976 (176). This system is successful because these designers made so many good decisions to keep it
typography. His design style and methods were so successful because they were so different to what the people of Shockoe had ever seen before. He created an intriguing visual language and story for the viewers to follow and that is what carried this design to such a positive outcome.
looking like one body of work. The designers used the same grid, typeface and black banding method released. I went to nps.gov; there I found out that they are still using the black bands and a typeface similar to Helvetica; the design still looks cohesive with the designs created in 1976. August 25, 2016 was the 100th Birthday of the National Park Service. The work of these designers plays a big part in maintaining the good reputation that the NPS has acquired over the years.
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...an intriguing visual language and story for the viewers to follow...that is what carried this design to such a positive outcome.
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throughout every publication design that they
The second one that I think is successful is the typographic program for the 17th Street
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Typographic Design Education A RESPONSE TO CHAPTER ELEVEN
This week we read chapter 11 of Typographic
also intrigued is always a good thing because
Design: Form and Communication. The title of
it will lock in their attention. For example,
this chapter is Typographic Design Education.
cropping off part of a word or flipping it upside
This chapter was interesting to read because
down may cause them to stop and inspect for
we have done a lot of these exercises in our
a while. This is what I hope to accomplish
design classes. Mostly it reminds me of the
through typographic design. I want to do
“typographic experimentation” that we do for
things differently; make people feel something;
various assignments in our program. Playing
change perspectives; strike up conversations.
with typography is very exciting and amusing for
All of these sound like big goals, but my design
me. I love trying all of the different ways to place
teachers have definitely started to assist with
letterforms and text type just to see what will
my creativity in typographic design. They have
work best. It is very important for us, as young
taught me to never stop exploring and playing.
designers, to extensively explore typography. We must get acquainted with letterforms at an early stage in our design careers in order to gain We come into design school using letters only as symbols for meaning. In design school we are then taught to learn to use them in many other ways. We can use them to creatively attract the audience, while still conveying information to them. For example, David Carson’s work is not always legible, but he can still evoke emotion within people by effectively and inventively using typography. Sometimes the most successful way to use typography is to create a sense of mystery for the reader. Making the viewers a little uncomfortable, but
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an appreciation and a sensitive eye for them.
My design professors have taught me to never stop exploring and playing.
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Exercises One, Two & Three
Exercises One, Two & Three were mini projects that we completed throughout the semester that pushed our technical and typographic abilities. These exercises gave us hands-on experience using the skills necessary for success in our larger projects.
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Historical Classification EXERCISE ONE
For this exercise, we were required to copy the given six words exactly by-hand. We then had to label each word with the historical classification in which each typeface belongs.
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HISTORICAL CLASSIFICATIONS — PAGE ONE
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HISTORICAL CLASSIFICATIONS — PAGE TWO
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HISTORICAL CLASSIFICATIONS — PAGE THREE
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Grid Structures & Grey Readings EXERCISE TWO
For this exercise, we were asked to create a grid structure and use text type and xerox images to produce a well-planned collage piece.
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GRIDS & GREY READINGS PIECE
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Font Pairing & Copy Poster EXERCISE THREE
For this exercise, we were asked to use our assigned font-pairings to design a poster for a story that was featured in the Humans of New York project. I was given Montserrat and Robto for this assignment.
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Remaking Language Project
The Remaking Language Project consists of three parts. We created a new letterform, used that letterform to produce a collaboration painting with other students and, finally, made type specimen spreads.
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Making the Letter REMAKING LANGUAGE PART ONE
These images display my preliminary sketches for the first project. The photos that follow are process images. The objective of part one of this project was to create a new, interesting letterform by using bits and pieces of existing letterforms. These new letters are known as “Frankenletters�.
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PRELIMINARY SKETCHES
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RIZE — SANS SERIF LETTERFORM
This letterform, shown on the left, is called Rize. It is my sans serif Frankenletter that I chose to use for the next step in this project.
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EXPOSA — SERIF LETTERFORM
This letterform, shown on the right, is called Exposa. It is my serif Frankenletter that I chose to use for the next step in this project.
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The Collaboration REMAKING LANGUAGE PART TWO
These photos and the two that follow showcase my first collaboration piece throughout the process shared with a painting student at Western Kentucky University. 50
COLABORATION PIECE ONE
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COLABORATION PIECE ONE
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COLABORATION PIECE TWO
These photos and the two that follow showcase my second collaboration piece throughout the process shared with a painting student at Western Kentucky University. 53
COLABORATION PIECE TWO
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COLABORATION PIECE TWO
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Type Specimen Spreads REMAKING LANGUAGE PART THREE
This photo, on the right, shows my first spread for the Rmaking Language Type Specimen Spreads. This spread showcases my new letterform,
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REMAKING LANGUAGE — SPREAD ONE
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REMAKING LANGUAGE — SPREAD TWO
This spread, on the right, is my second spread for the Rmaking Language Type Specimen Spreads. This spread showcases my research on the typefaces, Bauer Bodoni and Franklin Gothic Book.
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REMAKING LANGUAGE — SPREAD TWO
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REMAKING LANGUAGE — SPREAD THREE
This photo, on right, is my third spread focused on my Frankenletter, Rize.
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REMAKING LANGUAGE — SPREAD THREE
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Typographic Adulation Zine
A zine is a mini magazine that focuses on a single subject. They often display controversial subject matter and break the rules of society. For this project, I chose to make a zine that personifies the typeface, Raleway.
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Research Spreads TYPOGRAPHIC ADULATION PART ONE
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RESEARCH — SPREAD ONE
This image, on left, is a research spread centered on Raleway, a typeface designed by Matt McInerney.
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RESEARCH — SPREAD TWO
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RESEARCH — SPREAD TWO
This image, on left, is a research spread focused on the topic of Zuzana Licko’s typeface, Mrs. Eaves.
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Zine Creation TYPOGRAPHIC ADULATION PART TWO
This image, on left, displays the front cover of my Typographic Adulation Zine.
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TYPOGRAPHIC ADULATION — SPREAD ONE
The image above displays the first spread of my Typographic Adulation Zine. This spread shows my experimental use of the typeface, Raleway.
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TYPOGRAPHIC ADULATION — SPREAD TWO
The image above displays the second spread of my Typographic Adulation Zine. This spread shows type specimens of the typeface, Raleway.
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TYPOGRAPHIC ADULATION — SPREAD THREE
The image above shows the third spread of my Typographic Adulation Zine. This spread presents my photomontage of selfies that I used to personify Raleway.
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TYPOGRAPHIC ADULATION — SPREAD FOUR
The image above displays the fourth spread of my Typographic Adulation Zine. This spread is a continuation of spread three. This spread also displays my use of a dicut, on the verso page.
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TYPOGRAPHIC ADULATION — SPREAD FIVE
The above photo shows the fifth spread of my Typographic Adulation Zine. This spread presents the sonnet I have written and the ham pattern that I have created to further personify Raleway.
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TYPOGRAPHIC ADULATION — SPREAD SIX
The image above displays the sixth spread of my Typographic Adulation Zine. This spread is a tribute to the designer of the Raleway typeface.
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TYPOGRAPHIC ADULATION — SPREAD SEVEN
The photo above displays the seventh spread of my Typographic Adulation Zine. This spread shows the final, send-off paragraph of my Zine.
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TYPOGRAPHIC ADULATION — BACK COVER
The image above displays the back cover of my Typographic Adulation Zine, which includes a colophon.
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Acknowledgments This class was very different than any other class I have taken before. It was a challenge, but, also an experience that has definitely pushed my limits further as a designer. I am sure that the skills I have exercised in this course will never leave my side throughout my academic career and beyond during my career
as a graphic designer. This process book is a documentatioin of my work from this semester. The most important thing I learned from this class is that process is important and a worthy subject to record.
“It is only process that saves us from the poverty of our intentions.� — Elizabeth King
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Bye.
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