PROCESS MATERIAL
Type
Anatomy Calendar & Image Typographic
Type As
JOSHUA
JACOBS
Typography | Professor Scherer | Fall 2013
INDEX
Project 1: Type Anatomy Concept Statement 3 Pre-Existing Design Analysis 5 Research 7 Grids and Sketches 8 Process Work 11 Final Designs 21
Project 2: Typographic Calendar Concept Statement 25 Pre-Existing Design Analysis 27 Research 30 Process Work 33 Final Designs 43
Project 3: Type as Image Concept Statement 54 Pre-Existing Design Analysis 55 Sketches and Concepts 57 Process Work 63 Final Designs 67
1
“
I do not think of type
as something that should be readable.
beautiful.” Rather, I think of type
as something that should be
- Ed Benguiat
2
PROCESS MATERIAL
erossbar c
ostress Z TUVWXY NOPQRS M L z K y x IJ w H v G qrstu ABCDEF ijklmnop abcdefgh
R
REGULA
XYZ STUVW NOPQR M xyz L w v K IJ tu s GH nopqr lm k ABCDEF ij h fg abcde
crminal te
BOLD
UVWXYZ OPQRST N M L yz K GHIJ qrstuvwx ABCDEF ijklmnop h fg e cd b a VWXYZ PQRSTU O N M yz L GHIJK rstuvwx lmnopq ABCDEF k ij h fg e abcd
OBLIQUE BOLD UE OBLIQ
A
serif
M
trast
stroke con
a i g r o Ge Type ARTER
HEW C T T A M • 96
19
IONAL
TRANSIT
123
Anatomy 456 789 0
3
CONCEPT STATEMENT In the beginning (Graphic Design I) we learned the basics of visual layouts, and with that came a brief foray into the anatomy of text. In this project, the goal was simple; analyze two different font families, research their history, and create posters which visually represent the font family whilst remaining similar in likeness to the set as a whole. Sounds simple, and yet I was personally very challenged by this process. See, something had not quite clicked in my head about the way elements interact on a page; it would not be until project two (see page 25) that I would truly come to understand contrast in regards to typesetting. However, this project definitely set me on the right course; through creating these posters I feel that I learned alot about composition, and how sometimes you don’t have to completely fill a page for it to be successful. And in the end I was very happy with the final product; not only were they cohesive visually, but I managed to maintain my personal style while simultaneously growing in alot of ways. I will be taking away from this project a newfound confidence in regards to the principles of composition, space, and weight, all of which will surely benefit my future portfolio and industry work. So sit back, get comfortable, and prepare yourself for the pieces ahead; I hope you enjoy looking at them as much as I enjoyed making them.
4
PROCESS MATERIAL
PRE-EXISTING DESIGNS
PRE-EXISTING DESIGNS
5
Upon first inspection of the designs predating this project, it became abundantly clear that while every piece we saw was incredibly different, they all shared commonalities on a base level. For example, examine the hierarchy in the pieces on these two pages; note how the title or defining element is significantly bolder or bigger than the rest of the content. Also, take note of the balance in each one of these pieces; the majority of them benefit from a well organized, well filled composition that doesn’t feature much of any awkward white space. Lastly, it is important to note the overall use of color and visual punctuation throughout the designs; without them, I’d image these pieces would be much less successful.
6
PROCESS MATERIAL
RESEARCH
Upon first approach, I developed a more neutral, calmer color scheme, which I would later make use of when designing for serifed fonts, i.e. Garamond or Georgia. I particularly liked the idea of the greens, but it would instead come across as more of a youthful color.
In developing color schemes for my projects, I knew I would be selecting an edgy sans serif font; I saved this bright red as well as a lighter blue that I had hoped would reflect the cutting edge qualities of the font family I would select.
7
SKETCHES
Grids & Sketches
8
PROCESS MATERIAL
SKETCHES
Creating these sketches was quite enjoyable for me, simply because I set out to define the title and where some elements could go. On the rightmost side of the spread, you will find the grids that were deemed the most successful, although it was clear still that I would need to explore a greater size contrast in regards to the titles.
9
10
PROCESS MATERIAL
PROCESS WORK
Process Work
A
IR
GI
OR
GE AVEN
11
Draft 1, Georgia e ar
oess
cinal
Arif
M
A I G R GEO crossb
str
term
se
stroke contrast
1234567890 ABCDEFGHIJKLM NOPQRSTUVWXY Z abcdefghijklmnop qrstuvwxyz 1234567890 ABCDEFGHIJKLM NOPQRSTUVWXY Z abcdefghijklmnop qrstuvwxyz
TIONAL RTER • TRANSI
1234567890 ABCDEFGHIJKLM NOPQRSTUVWXY Z abcdefghijklmnop qrstuvwxyz
W CA 1996 • MATTHE
1234567890 Z PQRSTUVWXY NO LM IJK ABCDEFGH nopqrstuvwxyz klm hij efg cd ab Z 1234567890 RSTUVWXY IJKLMNOPQ ABCDEFGH z xy vw lmnopqrstu abcdefghijk
1234567890 Z PQRSTUVWXY NO LM IJK ABCDEFGH nopqrstuvwxyz klm hij efg cd ab Z 1234567890 RSTUVWXY IJKLMNOPQ ABCDEFGH z xy vw lmnopqrstu abcdefghijk
ctly orgia was dire r Microsoft, Ge with the display at d rter in 1996 fo ne Ca w sig he de e, att M ag ned as a Created by r the digital orgia was desig and created fo a typeface. Ge the point as as n influenced by elf tio its nc fu sts nded to face adju s. Georgia displays; the heart and expa on computer smaller setting and ts, font to be used to maximize readability in igh he xr ge er g, lar te size gets small aracter fittin a major upda th superior ch font received e Th d. in was created wi m in Monotype ts of igh ce we tan m sis r with the as consistent ste ade to include Matthew Carte dates were m in 2010 from au. These up re Eastern Bu et es nt Fo typ e y to and th were necessar l Georgia ich na wh igi s or e ter ac Th char ore. d guages and m ld, oblique, an bo , lar gu European lan re ty four weights; orgia has twen Ge ted typeface had da up d . The newly condensed an to in bold oblique ted ra pa ts; se different weigh eface now features Light, d Black, regular, the typ ibold, Bold an styles. Regular, Sem hing oblique atc m th wi each
Avenir was design er by Adrian Frutige r in 1988, pendin sans serif typefaces g a period of inte . Frutiger wanted rest in to create a sans seri that made use of f font in the vein the development of future s in type which occ Avenir means ‘fut urred in the 20th ure’ in French, hint century. ing at its modern era roo heavily involved in ts. Frutiger was the transition of me tal type to phototy was the period in pe, and thusly this which Avenir was born, heavily influ appearance of the encing the overall typeface. In 2004, Frutiger and associa reworked Avenir tes to accommodate for issues regarding screen, making it text on easier to read in dig ital versions. The Avenir typeface cam original e with six different weights; 45 (book), 46 (book oblique), 55 (regular), 56 (reg ular oblique), 75 (bold), and 76 (bold oblique). The newly updated Avenir typeface has 24 different weight s; six different weights each featuring a nor mal, oblique, condensed and condensed obl ique versions of each.
c
o
b
e
M
AVENIR 1988 • ADRIAN
FRUTIGER • GEO
METRIC
I was incredibly happy upon completion of the first drafts of this project, but the first critique quickly put me in my place. In the coming pages, I will be glossing over my errors in regards to color, composition, and so on.
12
PROCESS MATERIAL
PROCESS WORK
Draft 1, Georgia e ar
oess
A
cinal
M
A I G R O GE crossb
str
term
serif
stroke contrast
NAL R • TRANSITIO
W CARTE 1996 • MATTHE
1234567890 RSTUVWXYZ PQ NO LM ABCDEFGHIJK nopqrstuvwxyz abcdefghijklm Z 1234567890 RSTUVWXY IJKLMNOPQ ABCDEFGH xyz vw tu rs pq lmno abcdefghijk
1234567890 RSTUVWXYZ PQ NO LM ABCDEFGHIJK nopqrstuvwxyz abcdefghijklm Z 1234567890 RSTUVWXY IJKLMNOPQ ABCDEFGH vwxyz tu rs pq no lm abcdefghijk
ctly orgia was dire at Microsoft, Ge th the display r in 1996 for wi d rte ne Ca w sig he de att age, as a Created by M for the digital was designed ted gia ea or cr Ge d . an ce the point influenced by tion as a typefa justs itself as nded to func s; the face ad orgia lay Ge sp s. di heart and expa ng ter tti on compu smaller se and font to be used to maximize readability in ger x-heights, lar er g, all tin sm fit ts size ge aracter major update th superior ch nt received a was created wi mind. The fo in Monotype ts of igh ce we m assistan consistent ste rter with the Ca include w to he e ad att m M re in 2010 from e updates we stern Bureau. Thes to typeset Ea y ar and the Font ss ce ne ich were nal Georgia characters wh ore. The origi lique, and guages and m gular, bold, ob European lan re ts; igh we has twenty four d gia ha or ce Ge efa ted typ da . The newly up ndensed and co to in bold oblique ted ts; separa different weigh eface now features Light, d Black, regular, the typ ibold, Bold an . Regular, Sem oblique styles ng hi atc m each with
In creating this composition, I wanted to have similar elements in both posters that would simultaneously show how different the attributes of the font families were; however, it became clear after the first critique that the S in the background would not be a suitable representation for the Georgia font family; participants suggested I try R or a lower case g. Another major criticism was with my color choices; When I was designing I thought of green as a more old timey, foresty color, but I agree now that it comes off as more youthful and bright for a font so serifed. Lastly, the body of text containing the bulk of information at the bottom was far too bulky, and the angle of the S I chose to type along did not lend to legibility. I would end up almost entirely scrapping this draft in favor of a better one, as you can see on Page 14.
13
Draft 2, Georgia
The use of the g in combination with a new color scheme, lighter opacity background, and an overall more spacious composition made this draft significantly more successful. However, it was not without criticism; a few participants did not enjoy the layering with the lines, while others felt that my title was simply too compacted. Meanwhile, the body copy at the bottom of the piece was better than previous drafts, but was still in need of some tightening and tweaking. You can find the next draft of the Georgia poster on Page 17.
14
PROCESS MATERIAL
PROCESS WORK
Draft 1, Avenir 1234567890 ABCDEFGHIJKLM NOPQRSTUVWXY Z abcdefghijklmnop qrstuvwxyz 1234567890 ABCDEFGHIJKLM NOPQRSTUVWXY Z abcdefghijklmnop qrstuvwxyz 1234567890 ABCDEFGHIJKLM NOPQRSTUVWXY Z abcdefghijklmnop qrstuvwxyz Avenir was design er by Adrian Frutige r in 1988, pendin sans serif typefaces g a period of inte . Frutiger wanted rest in to create a sans seri that made use of f font in the vein the development of future s in type which occ Avenir means ‘fut urred in the 20th ure’ in French, hint century. ing at its modern heavily involved in era roots. Frutige the transition of me r was tal type to phototy was the period in pe, and thusly this which Avenir was born, heavily influ appearance of the enc ing the overall typeface. In 2004, Frutiger and associa reworked Avenir tes to accommodate for issues regarding screen, making it text on easier to read in dig ital versions. The Avenir typeface cam original e with six different weights; 45 (book), 46 (book oblique), 55 (regular), 56 (reg ular oblique), 75 (bold), and 76 (bold oblique). The newly updated Avenir typeface has 24 different weight s; six different weights each featuring a nor mal, oblique, condensed and condensed obl ique versions of each.
c
o
b
e
M
AVENIR 1988 • ADRIAN
FRUTIGER • GEO
METRIC
A few of the criticisms of the first Georgia poster rang true for the first draft of Avenir as well. For starters, the S in the background was far too distracting and dark, and at the angle it maintained, did not lend to showing any qualities of this typeface. There were also significant complaints about the distribution of weight and contrast; the elements along the top of the page simply could not compete with the heaviness of the title and its surrounding elements. Meanwhile, not only was I missing font weights, but the numbers representing said weights were too large, and thusly competed for attention with the title. Just like in the Georgia poster, my approach towards the body copy here was not a success; while from afar it might seem pleasing, up close it became an eyesore very quickly. I did not completely start from scratch here, but you will notice significant changes between the first and second drafts, for good reason.
15
Draft 2, Avenir With the second draft of the Avenir poster, I really wanted to work out the problems in regards to the spacial issues; as you can tell, a new layout and a better treatment of the copy helped greatly. During the in-class critique, it was agreed that the tapered lines at the bottom of the page were atrocious, and while I fought for some of them, the majority of the class agreed that they did not fit the visual style of the blocky sans serif typeface. Meanwhile, though the split body copy was a welcome change, the treatment on the right half was far from acceptable. Sure it was legible, but the first parts of the paragraph were far too lonely. Also, many people still had a problem with my treatment of the weights; I would come to realize that by moving the numerical values I would be saving myself a ton of space.
16
c
o
b
e
M
AVENIR 1988 | ADRIAN FRUTIG
ER | GEOMETRI C
46 56 76
1234567890 ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnopq rstuvwxyz 1234567890 ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnopq rstuvwxyz
1234567890 ABCDEFGHIJKL MNOPQRSTUVW XYZ abcdefghijklmnopq rstuvwxyz 1234567890 ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnopq rstuvwxyz 1234567890 ABCDEFGHIJKLMN OPQRST abcdefghijklmnop UVWXYZ 1234567890 qrstuvwxyz ABCDEFGHIJKLMN OPQRSTUVWXYZ abcdefghijklmnop qrstuvwxyz
45
55 75
PROCESS MATERIAL
PROCESS WORK
Draft 3, Georgia eossbar cr
ostress Z TUVWXY NOPQRS GHIJKLM tuvwxyz lmnopqrs jk hi efg abcd
ABCDEF
R
REGULA
XYZ STUVW MNOPQR rstuvwxyz GHIJKL pq ABCDEF ijklmno abcdefgh
crminal te
BOLD
Z TUVWXY NOPQRS GHIJKLM mnopqrstuvwxyz ABCDEF jkl hi efg cd ab XYZ STUVW MNOPQR xyz GHIJKL pqrstuvw ABCDEF ijklmno abcdefgh
OBLIQUE BOLD UE OBLIQ
A
serif
M
rast
stroke cont
a i g r o Ge ARTER
TTHEW C
1996 • MA
IONAL
TRANSIT
The third draft of the Georgia poster saw minimal changes; a tweak here and there, and slight adjustments to the body. Clearly thought more work was to be done to make this piece successful; Professor Scherer made a very significant point of showing me that there was just too much going on, and I’d need to calm the composition down in order for it to be really successful.
123 456 789
10 from date in 20 e a major up received of Monotyp The font assistance with the 1996 for r in rte r re made Ca rte tthew Ca Matthew updates we Ma ese ly by Th ect u. Created was dir nt Burea sary to t, Georgia and the Fo were neces Microsof rs which digital more. e characte ated for the ages and to includ by and cre ean langu art rn Europ influenced play at he weights; ste r dis Ea t fou the d typese eface ha ned with ce. sig typ ia de efa e, org typ ag The al Ge ction as a oblique. The origin nded to fun , and bold be used and expa ld, oblique a font to different regular, bo signed as s twenty de ha ts s ia wa jus org e ad Georgia d regular, dated Ge ys; the fac ensed an newly up uter displa er to into cond on comp , gets small separated ht, Regular weights; point size Lig the es gs. as tur itself settin ing ce now fea th match in smaller the typefa ck, each wi readability rior Bla ize pe d su an xim th ld ma wi Bo s created Semibold, d Georgia wa . eights, an les x-h r sty ge oblique fitting, lar nd. character ights in mi t stem we consisten
0
At the same time, some people felt that my treatment of the anatomy on the top half was off kilter and needed reworking. And though the copy was getting there, it was beginning to seem like I would need to ditch the symmetrical idea in favor of a more angular and legible approach.
17
Draft 3, Avenir c
o
b
e
AVENIR 19 88 | A D R IA N FR U T IG E R
IJKLMNO abcdefghij PQRSTUVWXYZ klmnopqrst uvwxyz ABCDEFGH IJKLMNOPQ abcdefghij RSTUVWXY klmnopqrst Z uvwxyz ABCDEFGH IJKLMNO abcdefghij PQRSTUVWXYZ klmnopqrst uvwxyz ABCDEFGH IJKLMNOPQ abcdefghij RSTUVWXY klmnopqrst Z uvwxyz
56
2
1988, pendin typefaces.
3
designer by
g a period
of interest
Frutiger wa
4
5
Adrian Fru
tiger in
in sans ser
nted to cre
if
6
In 2004, Fru
7
tiger and ass
Avenir to acc
ommodate
8
45 55
ABCDEFGH IJKLMNO abcdefghij PQRSTUVWXYZ klmnopqrst uvwxyz ABCDEFGH IJKLMNO PQRSTUVW abcdefghij klmnopqrst XYZ uvwxyz
76 1
| GEOME T R IC
ABCDEFGH
46
Avenir was
M
75 9
0
ociates rew
orked
ate a sans for issues reg the vein of text on scr arding future that een, makin made use g it easier the develo of to read in pments in digital versio type which ns. The orig occurred in inal Avenir the 20th cen typeface came with tury. Avenir six different means ‘fut weights; 45 ure’ in French, hin (book), 46 (book obliqu ting at its mo e), 55 (regula dern era roo Frutiger wa r), 56 (regula ts. s heavily inv oblique), 75 r olved in the (bold), and transition 76 (bold ob of metal typ lique). The newly e to photot updated Ave ype, and thu nir typeface sly this was the per has 24 different iod in which weights; six Avenir was different we heavily infl born, uencing the ights each featur overall app ing a norma earance of l, oblique, condensed and conden sed obliqu the typeface. e versions of each. serif font in
Again I found myself dealing with a composition that was far too busy. Even though clearing up the lines on the bottom helped a great deal, there was much more work to be done here. Finally, the weights were lacking official titles, and without them were floating when they should have been grounded.
18
PROCESS MATERIAL
PROCESS WORK
Type Anatomy, Georgia
Georgia, Transitional I decided to create a visual representation of a car with each of my typefaces; Stylistically, I liked the idea of a serifed font creating the odd curved shapes of an old-timey first generation car, while at the same time it would be just as easy for me to show the curvy yet purposeful lines of modern day vehicles. Side by side, I had hoped that they would compliment each other while really showing each fonts true colors.
19
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ,./;’[]~!@#$%^&*()-=_+<>?:”{}
Type Anatomy, Avenir
AVENIR, GEOMETRIC Though when the critique of these pieces came around I hadn’t reached 100% completion on either, there was still much to be said. Even with what I had built so far, without the image it was difficulty to determine exactly what the image was. More detail and more work would be necessary.
20
PROCESS MATERIAL
Georgia Type Poster
FINAL DESIGNS
erossbar c
ostress WXYZ QRSTUV KLMNOP IJ H vwxyz G tu F rs E q ABCD ijklmnop abcdefgh
R
REGULA
Z UVWXY OPQRST z N y M x L w v K GHIJ opqrstu ABCDEF hijklmn abcdefg
crminal te
BOLD
UVWXYZ OPQRST IJKLMN H tuvwxyz G F rs E q p D ABC ijklmno abcdefgh XYZ STUVW NOPQR M xyz L K w v IJ u GH opqrst ABCDEF hijklmn abcdefg
OBLIQUE BOLD UE OBLIQ
A
serif
M
trast
stroke con
a i g r Geo TTHEW 1996 • MA
CARTER
IONAL
TRANSIT
123 456 789 0
21
o
b
e
1988 | A D R IA N F R U T IG E R
46
56
ROMAN OBLIQUE
76
1
22
2
3
BOLD OBLIQUE
4
5
M
| GEOME T R IC
ABCDEFG
HIJKLMNO abcdefghijk PQRSTUVWXYZ lmnopqrstu ABCDEFG vwxyz HIJKLMNO PQRSTUVW abcdefghijk XYZ lmnopqrstu vwxyz
BOOK OBLIQUE
ABCDEFG
HIJKLMNO abcdefghijk PQRSTUVWXYZ lmnopqrstu vwxyz ABCDEFG HIJKLMNO PQRSTUVW abcdefghijk XYZ lmnopqrstu vwxyz ABCDEFG
HIJKLMNO abcdefghijk PQRSTUVWXYZ lmnopqrstu vwxyz ABCDEFG HIJ abcdefghijk KLMNOPQRSTUVW XYZ lmnopqrstu vwxyz
6
7
8
9
Avenir Type Poster
c
45
BOOK
55
ROMAN
75 BOLD
0
PROCESS MATERIAL
FINAL DESIGNS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ,./;’[]~!@#$%^&*()-=_+<>?:”{} Crossbar Descender Stroke Spur
Ascender
Cross Stroke
Eye Bowl Arm Loop
Ear
Vertex
Spine Tail Terminal Shoulder Link
Serif
Apex
Leg Closed Counter Open Counter
Georgia, Anatomy Transitional
Georgia Type Anatomy 23
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ,./;’[]~!@#$%^&*()-=_+<>?:”{}
SPINE
CROSS STROKE ASCENDER TERMINAL DESCENDER BOWL
CROSSBAR
TAIL
APEX
LEG
OPEN COUNTER
EYE
STROKE
CLOSED COUNTER
VERTEX
SHOULDER ARM
AVENIR, ANATOMY GEOMETRIC
SPUR
Avenir Type Anatomy 24
PROCESS MATERIAL
Typographic Calendar
25
CONCEPT STATEMENT And then everything changed. This project was a pivotal point for me as a designer, because I was able to take a concept that I thought I knew and turn it completely on its head. The assignment: create a functional calendar that features at least 8 different typographical compositions that interact with said calendar. At first I was at a loss at where to start. I started by researching quotes, but they were far too boring for me. Then I tried lines from a movie (see Page 31) but ultimately the lines were too intricate or too weird to communicate through layout. Then finally I decided I wanted to do songs; especially songs that really communicate feeling like anger or sadness. Audioslave was the first band that came to mind, even though I wouldnâ&#x20AC;&#x2122;t consider them a favorite of mine. Chris Cornellâ&#x20AC;&#x2122;s half screams half melodies combined with pungent guitar and moving lyrics proved to be the jackpot as far as content. Plus, throughout the entire process I managed to listen to Audioslave at every session, meaning the more I designed the more I knew these songs, and it showed. But thatâ&#x20AC;&#x2122;s not the best part; like I said, i had a revelation. See, in art contrast means something different than it does in design; namely, contrast in art focuses more on the focus of elements near each other and how they interact to each other. But now I know that in design, contrast means that the elements as a whole should have their own definitions, and no two elements can have the same focus; its all or nothing, with very little in-between. It took my professor saying it at least 7 times for it to really sink in, but I get it now. Contrast. Important. Focus. And my designs have clearly been different ever since.
26
PROCESS MATERIAL
PRE-EXISTING DESIGNS
27
PRE-EXISTING DESIGNS When I began researching (and designing) for this project, the first thing I thought of was layout. Layout layout layout. And though this was slightly detrimental for me leading up to the first critique, It did help me to narrow my search and locate only calendar designs that had both form and function. Later I would go on to find more examples of type layout and expression in general, but there is still much to be learned from the compositions I started with (the ones included here). Firstly, just as in the first project there would have to be a significant emphasis on appropriately using the space allotted. These compositions mostly benefit from a healthy amount of space while simultaneously not feeling too empty. And though we werenâ&#x20AC;&#x2122;t allowed to use photos and images in our compositions, it was good to see most of these calendars making use of color schemes and visual punctuation to make more successful compositions.
28
PROCESS MATERIAL
RESEARCH
Annotated Research
The first step in researching for this project was to find font faces that worked well together; below you can find all 88 different font comparisons I considered before I began composing my pieces.
29
Another thing I wanted to take care of from the get-go was the color palette; taking images from the pieces I purchased to build the final construction (see Page 51) I pulled out two different sets of colors; the first was a warm neutral set, while the second was a cooler set of colors. I had hoped that this set would simultaneously unify all my compositions and make for a more dynamic piece, although I didnâ&#x20AC;&#x2122;t actually implement the color schemes until alter in the design process.
30
PROCESS MATERIAL
DESIGN EXERCISE
Exercise 1 SEX B M O BOaBnd-we aree yheorue We
are
to mak
k n i h t t u o b a h t a e dget and
and stuff.
sad
e eâ&#x20AC;? Pin n O c i t rld cas he Sar vs. The Wo T â&#x20AC;&#x153; m i -K ilgrim Scott P
Part of the preplanning stage was to create two separate posters that emphasized type as function. As mentioned before, for this project I made use of quotes from the film Scott Pilgrim vs. The World in the hopes that they would make a good content for my final project. While these two pieces were mildly successful, looking back now I would need to seriously bump the contrast to make these two top notch.
31
Exercise 2 In critique, we determined right off the bat what the issues were in these compositions, namely that there wasn’t one true focal point. Yes, some elements were more emphasized than others, but in general alot of the elements were competing with each other; in the first exercise, look at how close in size and weight “Sex Bob-Omb” and “think about death” are; they’re so close in size that its hard to determine which is more important. Also, the tapered lines made a comeback, and were immediately shot down; especially in exercise 2, it became clear that these lines were a little unnecessary.
32
PROCESS MATERIAL
PROCESS WORK
Process Work
fal l
2014
33
c a le ndar
34
PROCESS MATERIAL
PROCESS WORK - DRAFT 1 JANUARY JANUARY
FEBRUARY
In your house
to be; by room, I long ro om
patiently.
for you there I'll wait
like a
STONE.
I'll for you there wait
aloneLI.KE A STONE
NAIL ATOR
D IN MY HAN
from my
CREnow show me
YOU GAVE ME
H OW T O
E V I L E LIF
TO LIVE W O H E M SHOW
MAY be
YOURSELF
Suddenly a shot ripped into his heart, and he lay in need of some attention. And there he played his card. Going into shock, the last thing that he said was,
is all that you can do.
MAY
F BE YOURSEL
JUNE
SET THIS FUCKER OFF 35
ARCH MARCH M
APRIL APRIL
, at I've loved the things th I've lost; at th gs in th the CRED StA e heldtha I've dropped. the things I'v
ou ca n be t. n o m or e, y I w on 't li e T TO LEARN
I DON’T WAN
Ne e d What I’ll
TO FORGET
ND ME I M E R T ’ N S DOE
I made alot of mistakes during the initial design stages. For example, I spent far too long working on the actual calendar part, and once I was done with that I barely had room to create a composition (see January, Page 35). On top of all that, once I did create compositions they did not have near enough room to breathe properly and were thusly that less successful.
I'm not a martyr, I'm not a prophet, and I won't preach to you, but here's a caution; You better understand, that I won't harm your hand, But if it helps you mend, then I won't stop it.
COCHISE
I learned alot from that first critique. Firstly, CONTRAST (as you can see on the adjacent page) was the theme of the day. Secondly, I would need to explore a better range of fonts if I was to make this spread really work. Some of them were starting, but there were many places where I would have to start from scratch.
JULY
I am not your blowing wind – I am the lightning. I am not your autumn moon – I am the night
JULY
36
HWAY G I H E H T M IA
The original fire has died and gone, but the riot inside moves on.
AUGUST
IRE ORIGINAL F
PROCESS MATERIAL
PROCESS WORK - DRAFT 2 JANUARY R HOUSE IN YOU ;
room by room
FEBRUARY
E N O ST alone. I long to be
(patiently)
u there I’ll wait for yo
like a
I'll wait
for you there
E LIKE A STON
IN MY HAND FROM MY
CREATOR
YOU GAVE ME
ME NOW SHOW
HOW TO
LIFE LIVLEIVE
OW TO SHOW ME H
MAY
F L E S R U YO be
can do. is all that you
MAY
F BE YOURSEL
STHEITS FUCKER OFF
Suddenly a sho ripped into his hea t rt, and he lay in ne of some attentioed n. And there he played his card. Going into shock, the last thing that he said was,
JUNE
37
ARCH M MARCH
PRIL A APRIL
loved,ost; at I've
the things th
sac red l
mend that I won't harm
at I've the things th
e held the things I'v
your hand
but if it helps you
to forget
T O U C A N BeEe d Y , E R O M N E NO what I’ll I WONT LI opped) (that I've dr
D
UNDER STA N You better
NT TO LEARN
I DON’T WA
t i p o t s t ' n o w I then
MIND ME E R T ’ N S E O D
COCHISE
And boy did I play with fonts. Perhaps too much so, in the end; though not included here, a number of my compositions had big x’s all over them after the critique, and that was because while I was exploring fonts, the choices I was making was less for the sake of legibility and more for the sake of communicating something, which can be done in other less damaging ways. It was here that the professor suggested I completely remove color so that I better improve my compositions first. ULY Jmay
Fire NOT Riot I AM I AM
The original
has died and gone
But the
blowing wind autumn moon YOUR
I AM THE
LIGHTNING I am not your autumn moon –
JULY
38
YOUR
I AM THE
NIGHT
inside moves on. AUGUST
PROCESS MATERIAL
PROCESS WORK - DRAFT 3 JANUARY
FEBRUARY
L I A N NE
E S U O H R U IN YOroom by room
STO (patien
like a I’ll wait for you
there
tly)
HAND IN MY
CREATOR
LILFIVEE
FROM MY
E ME YOU GAV
ME N O W SH O W
HOW TO
O BE; I LONG T
there I'll wait for you
alone.
M
Removing the color really opened my eyes, and I started to see the errors of my ways. Some of these pieces grew in regards to contrast, but I wouldn’t really get it right until the final draft. However, though major improvements were made all around, it was still clear that the fancy fonts needed to go in favor of more traditional, elastic font Y families. A
r u o y self
SETHIS T
Going into sho ckg the last thin that he said was
BE
u can do is all that yo
MAY
OFF
FUCKER JUNE
39
MARCH MARCH
APRIL APRIL
I don't GSAVOE ON ELF FIRE S R U O Y anymore TAKE IT OUT fly AROUND your
AND
AND
ON ME
More proof that I really needed to find some better fonts.
JULY
blow ing I AM THE
LIGHTNING JULY
40
has
died
e
RIOT but th
WIND
fire
the ori ginal
YOUR
I AM NOT
and gone
inside moves on. AUGUST
PROCESS MATERIAL
PROCESS WORK - DRAFT 4
JANUARY
FEBRUARY
L I A N E STON USE IN YOUR HO o y ro m
b roowamit for you there
O BE; I LONG T
(patien
tly)
I’ll
IN M Y
Like
HAND
a
R E AT O R FRO M MY C
E ME YOU GAV
LIFE LIVE
there I'll wait for you
alone
ME NO W SH OW
HOW TO
MAY
yosuerlf
SET to shock Going in last thing the that he said was
THIS
BE
OFF
can do is all that you
MAY
JUNE
FUCKER
And then suddenly it became clear what the problem was. As you can hopefully see here, I finally realized that not every word can have close to the same emphasis as other words, and my compositions took a big step forward. They weren’t perfect, and still needed major color tweaking and even still more contrast, but I finally got it.
41
MARCH MARCH
APRIL APRIL
FIRE ON! GO
I dont
fly D AROUNyour
JULY
re anymo
OURSELF! T on E Y E V A S & TAKE IT OU M
Fire
the
orig
ina
l
NOT RIOT ha
I AM
a
BU
TT
g o nned
HE
dieds
insid
YOUR
blowing
WIND I AM THE LIGHTNING
JULY
42
e mo
ves o
n.
AUGUST
PROCESS MATERIAL
FINAL DESIGNS
JANUARY
USE O H R U O Y IN y room
b m o o r
O BE; I LONG T
E N STO (patien
tly)
u there
I’ll wait for yo
a e k i L
there I'll wait for you
alone
“LIKE A STONE” • AUDIOSLAVE • 2003
43
FEBRUARY
IN MY
HAND R E AT O R FROM MY C ME
E YOU GAV
LIFE LIVE! HOW TO
ME NOW SHOW
“SHOW ME HOW TO LIVE” • AUDIOSLAVE • 2003
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PROCESS MATERIAL
FINAL DESIGNS
MARCH MARCH
FI RE I dont
fly AROUND your
anymore!
•
“MOTH” • REVELATIONS • 2006
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APRIL
! N O
GO
APRIL
! F L E S R U O Y E & SAV TAKE IT OUT on ME “COCHISE” • AUDIOSLAVE • 2003
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PROCESS MATERIAL
FINAL DESIGNS
MAY MAY
r u yoself BE
can do is all that you
“BE YOURSELF” • OUT OF EXILE • 2005
47
JUNE
SET Going into shock the last thing that he said was
S I H T OFF!
“SET IT OFF” • AUDIOSLAVE • 2003
CKER 48
PROCESS MATERIAL
FINAL DESIGNS
JULY JULY
T O N
I AM
blowing YOUR
WIND NG I N T H LIG I AM THE
“I AM THE HIGHWAY” • AUDIOSLAVE • 2003
49
AUGUST
Fire
the
orig
ina
l
RIOT ha
a
BU
TT
g o nned
HE
dieds
insid
e mo
ves o
n.
“ORIGINAL FIRE” • REVELATIONS • 2006
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FINAL ASSEMBLY
51
The final construction is something I am really proud of. While everyone else was doing boring styles of calendars I knew I needed to do something more industrial to really communicate this message that Audioslave is sending. So I threw together some hinges, matte plastic, screws and bolts, and the final product is something that I think really screams â&#x20AC;&#x2DC;Audioslaveâ&#x20AC;&#x2122;.
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PROCESS MATERIAL
Type As Image
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CONCEPT STATEMENT
The final project, the most intimidating of all.
Without making use of a computer, we were sent out to create typography with only our bare hands; the first set would communicate simple words, while the second set would communicate an idea with the help of supporting text. For someone who has worked strictly from his computer in regards to design for his whole life, this one was by far the most intimidating project of them all. However, it also held the most intrigue, and I would come to find that not only was it a ton of fun, but the final pieces will definitely be a great addition to my portfolio. Now when I go forward in my career, I hope that I can continue to make great pieces of art by utilizing the hand building techniques I developed here.
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PRE-EXISTING DESIGNS
PRE-EXISTING DESIGNS
55
The main thing to glean from all these designs? The Wow Factor. Literally anyone can go to Michaels and but some wooden letters and glue them together to spell â&#x20AC;&#x2DC;woodâ&#x20AC;&#x2122;, but it is up to us designers to come up with and execute the ideas that will really turn heads.
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PROCESS MATERIAL
SKETCHES
Sketches and Concepts
The first step of this process was to choose the words we were going to create; I created 30 different ‘word maps’ to come up with just the right ones. In the end, I chose the words ‘Pensive’, ‘Greed’ (though that would change near the end) and ‘Filthy’ as the words with which I would wow.
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PROCESS MATERIAL
SKETCHES
I did my initial sketches digitally, because I had hoped it would relieve my stress over not being able to use a computer. My initial sketches were a little bit too difficult though, and I would end up taking my concepts down to a more base level.
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PROCESS MATERIAL
SKETCHES Choosing a cause was difficult for me, because I couldnâ&#x20AC;&#x2122;t really think of anything I really wanted to change. Originally I was going to do conformity, but I later decided that would be too difficult to communicate and finally landed on substance abuse.
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PROCESS MATERIAL
PROCESS WORK
Process Work
This was probably the most fun to make; after researching various different ways to cut fabric, I ended up just taking a dull knife and systematically I would stab and rip each letter which I had laid out in sharpie beforehand. It took a few different tries, but thankfully I didnâ&#x20AC;&#x2122;t have to go through the whole sheet I was using before I got a result I liked.
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Pensive was the first idea I was really excited about. The idea of capturing something in the human eye seemed both challenging and exciting. I had my friend Tawsha sit in a completely dark room, while I placed a cutout of the work inverted (above) in thick black paper over a blank screen in front of here. And the results were off the charts.
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PROCESS MATERIAL
PROCESS WORK Probably the most â&#x20AC;&#x2DC;wow factorâ&#x20AC;&#x2122; of my compositions, this one was also the most work. I cut out the word (in Futura 75, bold) and attached it to something called a glue board, which is used to catch bugs. I then laid the paper on top of a bright spotlight in a nearby park overnight, and in the morning I went back to pick up my bug filled creation.
I was really proud of how realistic this one turned out. Using the lines on my own veins (after shaving my arm) I slowly washed layer upon layer of a light blue in wash into my arm until it appeared that my veins were spelling a word. Then using the same set of inks I recreated the look of pock marks and blood dripping on my arm for a really cool effect.
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The glass composition was by far the most challenging of all my hand built projects. Meant to simulate a broken windshield, I meticulously etched the word into a piece of glass. After taping the back with clear packing tape, I methodically broke parts that weren’t letters and colored over them with india ink, creating a dark blood effect.
For my last draft, I really wanted to find someone with a breathing stoma in their neck to be the O of ‘one’, but the person I contacted wasn’t comfortable with it. So I went about recreating the same effect with various different types of paints on my own neck. Eventually I ended up using india ink, as it is the only pigment that retains the look of skin almost completely.
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FINAL DESIGNS
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FINAL DESIGNS
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FINAL DESIGNS
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JOSHUA
JACOBS