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TYPOGRAPHY 223
Jinell Carslin | Spring 2016
PROJECT 1:
Typographic Systems & Space For Project 1, we developed an understanding of the mechanics of page layout through the exploration of the use of typographic grid, variations of a typeface, scale, contrast, control of white space, and the creation of order and beauty within a composition. We were required to create 4 separate layouts, all using the same underlying grid. These layouts were to be created to accomodate the typographic elements accordingly and in a design that celebrates the elements and principles of design.
Reading
(process) From Wikipedia, the free encyclopedia
Reading
sharing information and ideas.
From Wikipedia, the free encyclopedia
Reading is a complex cognitive process of decoding symbols It
is
a
means
of
language acquisition,
of
communication,
and
of
Reading is a complex process
Like all language, it is a complex interaction between the text and the reader Reading is a
The reading process requires continuous practice, development, and refinement.
complex process, it cannot be controlled or restricted to
one or two interpretations. There are no concrete laws in reading, but rather allows readers an escape to produce their own products intro
In addition, reading requires creativity and critical analysis.
spectively. This promotes
deep exploration of texts during interpreta
tion. Readers use a variety of reading strategies to assist with decoding (to
Reading is a complex process, it cannot be controlled or restricted to one or two i n t e r p r e t a t i o n s
translate symbols into sounds or visual representations of speech) and comprehension. Readers may use
There are no concrete laws an escape to produce
in reading, but rather their own products
context clues to identify the mean
ing of unknown words. Readers integrate the words they have read into
allows readers introspectively.
their existing framework of knowledge or schema (schemata theory). Other types of reading are not speech based writing systems, such as music notation or pictograms. The common link is the
interpretation
of symbols to extract the meaning from the visual notations or tactile
This
promotes
Layout 1
deep
exploration
of
texts
during
signals (as in the case of Braille).
interpretation.
Layout 2
Reading (process) From Wikipedia, the free encyclopedia Reading is a
complex cognitive process
of decoding symbols in order to
construct or derive meaning.
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It is a means of language acquisition, of communication, and of sharing information and ideas. Like all language, it is a complex interaction between the text and the reader which is shaped by the reader’s prior knowledge, experiences, attitude, and language community which is culturally and socially situated. The reading process requires continuous practice, development, and refinement. In addition, reading requires creativity and critical analysis. Reading is a complex process, it cannot be controlled or restricted to one or two interpretations. There are no concrete laws in reading, but rather allows readers an escape to produce their own products introspectively. This promotes deep exploration of texts during interpretation. Readers use a variety of reading strategies to assist with decoding (to translate symbols into sounds or visual representations of speech) and comprehension. Readers may use context clues to identify the meaning of unknown words.
Layout 3
Reading is a complex cognitive process of decoding symbols in order to construct or derive meaning (reading comprehension). Reading requiresand of It is a means of language acquisition, of communication, Reading (process) sharing information and ideas. Like all language, it is a complex From Wikipedia, the free encyclopedia creativity interaction between the text and the reader which is shaped and and by the reader’s prior knowledge, experiences, attitude, language community which is culturally and socially situated. Reading is a complex cognitive process of decoding symbols in order to construct or derive meaning (reading comprehension). Like all language, it is a complex interaction between the text and the reader which is shaped by the reader’s prior knowledge, experiences, attitude, and language community which is culturally and socially situated.
critical analysis
Reading is a complex process, it cannot be controlled or restricted to one or two interpretations. There are no concrete laws in reading, but rather allows readers an escape to produce their own products introspectively. This promotes deep exploration of texts during interpretation. Reading is a complex process, it cannot be controlled or restricted to one or two interpretations. There are no concrete laws in reading, but rather allows readers an escape to produce their own products introspectively. This promotes deep exploration of texts during interpretation. Readers use a variety of reading strategies to assist with decoding (to translate symbols into sounds or visual representations of speech) and comprehension. Readers may use context clues to identify the meaning of unknown words. Readers integrate the words they have read into their existing framework of knowledge or schema (schemata theory).
The reading requires of continuous practicestrategies , Readers use process a variety reading to assist with decoding translate symbols into sounds or videvelopment,(to and refinement. sual representations of speech) and comprehension. Readers may use context clues to identify process the meanReading is a ing of unknown words. The reading process requires
complex
continuous practice, development, and refinement Layout 4
EXERCISE 1:
TYPE IN THE ENVIRONMENT For Exercise 1, we had to design a message that will inform, persuade, promote, and educate an audience. We were required to present in typographic form a short word or message about equality, freedom and justice for all in letters that we found in the urban landscape. We had to construct a one word or short phrase in typographic form only. The composition was to be designed with found typographic form. This includes letters, or typography that we see on the streets or in a designed environment that is not the internet.
PROJECT BRIEF The word I chose to represent the message about equality, freedom, and justice was “respect.” I chose “respect” because I feel like so many issues and conflicts would never happen/ could easily be resolved if people just had common respect for one another. If people treated every other person the way they would want to be treated—regardless of their race, age, gender, sexual orientation, etc—the world would be a much better place to live. I collected all of my letters from Barnes & Noble books.
PROJECT 2: TYPE IN HISTORY
For Project 2 we had to identify, specify, and classify typography of historical and cultural significance. We had to explain the significance of typographic history, with an emphasis on learning the ways in which typography as a discipline, has been influenced by economic, social and/or political conditions of a place and time. A publication was to be designed to communicate all of these ideas. The publication had to be attractive, easy to navigate and engaging while considering readability and legibility in book design. Partners were assigned for this project.
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PROJECT BRIEF I think that the biggest thing that made this project successful was that my partner and I really got along and had the same vision for our booklet. It would have been difficult to just split the work up and combine halves at the end—as the whole thing would not seem cohesive. We really worked together on every part of our booklet and combined our skills—whether we were designing our cover page for an hour or getting each and every thing lined up perfectly. We chose to have our booklet especially simple and clean. We chose to have a decorative font for the headlines to really emulate that Industrial style. We wanted our book to have an old timey feel with yellowed paper and big, black type.
EXERCISE 2: TYPE AS SHAPE
The objective of Exercise 2 was to learn the basic anatomy of letterforms. We had to explore the expressive qualities of different type families and discover visual solutions in which two characters can be combined to form a new abstract symbol or monogram. Attention was directed towards shape, proportion, weight, balance and beauty in letterforms.
PROJECT BRIEF I chose my second letter composition as I felt it had the most balance and fluidity to it. I thought it looked feminine but also structured and bold—and mainly just seemed the most successful to me. We had to create four scaled versions of the graphic to see how well it held up at different scales. One at 10% of the original size, 50% of the original size, 100% and 150%.
PROJECT 3:
TYPE INTERACTION For Project 3 we had to identify, specify, and classify printing types and fonts of historical and cultural significance through the design, typesetting, and publishing of six cubes that display typographic content of social media. Project 8 included watching the movie Helvetica in class. We were to write down “social media� posts or quotes from the movie. These quotes were then designed to be placed on a 3-dimensional cube which we constructed after printing the flat cube designs. We had to consider scale and hierarchy, positive and negative space, symmetry, color, and typographical style relevancy. We then had to develop a poster related to the cube project, including a full presentation and documentation of our designs.
Cube 1: Inspired by Massimo Vignelli
Cube 2: Inspired by Wilm Crouwel
Cube 3: Inspired by David Carson
Cube 4: Inspired by Mathew Carter
Cube 5: Inspired by Eric Spiekerman & Neville Brody
Cube 6: Inspired by Lars Muller, Paula Scher, & Stefan Sagmeister
Text Messaging Building Blocks
Mediating Typographic Space
Research + Typographic Space Design + Documentation Typographic Form + Communication
Cube Poster.indd 1
3/14/16 6:33 PM
PROJECT BRIEF Instead of choosing social media posts, I decided to only put quotes from the movie Helvetica on my boxes. I wanted my cubes to be more stylish and serious, instead of sarcastic “tweets”. Since the movie was about Helvetica font, I chose to only have Helvetica on my boxes— even for the designers who weren’t particularly fond of the font. I wanted to challenge myself and see how I could make the designs different while still using the same font. I emulated each designer’s style onto their individual cube, all the while keeping them cohesive. I also chose a color for each that I felt matched them or their style. Finally, for the poster, I chose a classic pyramid layout as I felt that complimented the structure of the cubes the most.
PROJECT 4: TYPE AS LANGUAGE / TYPE CLASSIFICATION As with any discipline, typography and type design have a specialized language. The names of things have evolved so that typographers, type designers, design historians, and foundries can talk amongst themselves. Various “dialects� exist within this specialized language, too. Based on the American Standard classification system, we had to design a series of movie posters displaying our understanding of these type classifications. We were allowed 3 typefaces per poster, and we could not transform or distort them in any way. Designs were to be primarily typographic, however we were allowed to use color, borders/lines, simple organize or geometric forms, or one monotone photographic image.
PROJECT BRIEF I really enjoyed this project. It was interesting to see how I could make a design that was primarily typographic based. I enjoyed creating the letters for some of the posters—such as Into The Wild, Pulp Fiction, and Ferris Bueller’s Day Off. I chose to keep each poster generally simple, with not too much text and only a couple of carefully chosen colors. Saul Bass’ illustrations were probably my biggest inspiration— especially on the Pulp Fiction and Sherlock Holmes posters.
EXERCISE 4:
EXPRESSION WITH TYPE Exercise 4 was composed of two different parts. The objective of Part 1 was to explore the expressive qualities of different type families. Using only type, we had to typeset a list of emotions in typefaces and sizes that reflect their meaning. We had to take in weight, kearning, size, and case into consideration. Colors were not an option. Very easily with type, we can show expression and hierarchy. In Part 2, we had to typeset three quotes to properly “call out� the key message or messages. We had to use at least two different typefaces per quote, and consider case, line breaks, leading, and contrast in scale, style, and weight.
PROJECT BRIEF I thought that searching for fonts to express specific emotions in Part 1 was an interesting challenge—as you don’t want a font that is too obvious that it is cheesy. Overall, I am happy with the fonts that I have chosen, and I feel that they convey each emotion nicely. Part 2, for me, was a little more challenging. I tried to arrange the phrase and spacing so that you read it slowly and had more time to think about what you were reading. I chose different fonts and sizes to emphasize the more important words/ phrases of the message.