TYPOGRAPHY ONE PROCESS JOURNAL JOYCE CHEN
TA B L E O F C O N T E N T S
theory
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field studies
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double-sided poster
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typographic adulation zine
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more less
— ellen lupton
THEORY
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design matters podcast 1
There were two things that were in my mind after listening to the podcast about Jessica Hische: one, Jessica Hische is one of the most relatable design heroes I’ve heard speak and two, I cannot believe that her font, Buttermilk, was used on Barbie’s packaging. Aside from these
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two immediate thoughts, I was extremely
After listening and analyzing her
apart from many designers. In addition
interested in her journey as a designer. I am
interview, I ultimately admire her work
to that, her down-to-earth attitude
inspired by the fact that she didn’t always
ethic and attitude. Her freelance work
was very distinctive throughout the
start with a strong background in art. But
gained a substantial amount of attention
interview. These two characteristics of
instead, she was rejected by a community
through her dedication of posting a
Jessica Hische are attributes that I plan
college and only got into hand-lettering
daily drop cap. I truly believe that it is
to integrate into my work mindset.
because she couldn’t afford fonts.
her impeccable work ethic that sets her
Image: Here’s one of my favorite pictures of Jessica Hische in her workspace.
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erik speikermann podcast 1
Image: Erik Speikermann with his work. Credit: freundevonfreunden.com
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During the interview, Erik Speikermann
when I studied in Hong Kong last semester,
not only revealed a short biography about
I had a very similar experience. I was able
himself, but his design philosophies. One
to appreciate the characters as forms
of the things that stood out to me was his
because I couldn’t create any meaning
discussion about how designing numbers
from it. This connects to the work I have
was far more difficult than designing
been doing this past week. In the Art 371
letters. My first initial thoughts were, “how
class, we are creating character marks
would they be different? After all, both
to show expression. I felt like because it
letters and numbers were characters.” But
didn’t have any meaning behind it, I could
as I sat down to analyze his opinions and
fully concentrate on the forms of the
design views, I realized just how difficult it
marks. Finally, as a personal take away
would be. For letters, they can be just as
from the podcast, he concluded with
connotative as denotative. What I mean
how he wanted to have a change of pace
is, that while the letters need to be legible
in his lifestyle. Specifically, he wanted
to people, many people already associate
to go back into letterpressing and have
letters to so many things. It is easier to
less strict deadlines. As a personal take
convey a feeling to a letter because of
away, I thought it was super important
our use in letters. But I started thinking
for people to have a change of pace
about the context of when a number is
in their lifestyle so they don’t become
used. Often times, they are used strictly
burnt out. This has been especially
to show the meaning. I was thinking
relatable to me. This past summer, I had
about the tables I made back when I did
a lifestyle where I was completely on
a large amount of research. It would have
the go. I was working 70+ hour weeks
been disastrous if the numbers weren’t
and while I could come home at the end
legible. The sole purpose of numbers is
of the day knowing I had accomplished
to denote the number that it stands for.
a good amount of things, I was slowly
Because of this, I understood exactly how
becoming burnt out. This change of pace
difficult it was to design a beautiful number
from just starting school has allowed me
while still being completely denotative.
to get back into the creative mode!
Another part of his interview I felt was very interesting was when he said that he viewed the Japanese characters as a way to find patterns during his trip. I felt that was something very interesting because
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chapter 1 evolution of typography
Top: Letterpress was invented by Johannes Gutenburg. Bottom: Bauhaus building designed by Walter Gropius.
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Throughout this course, we responded
typography exercises we had in class.
to chapters in Typographic Design:
The first exercise was re-drawing the
Form and Communication. The book
letters of specific typefaces. The tedious
demonstrated the evolution of typography
work and craftsmanship emphasized in
through a visual timeline. It is amazing
that exercise helped me understand the
to see the origins of writing starting
long process that had to be done before
in 3150 BCE – the simple characters
Gutenburg created the movable type. This
carved into the stones remind us of the
chapter encompasses the evolution of
progression that typography has gone
graphic design to what we know today.
through. The milestones exhibited in the chapter directly connect with the
Image: Poster designed by Bud Rodecker.
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Image: This breaks down the different anatomy parts of typography.
chapter 2 anatomy of typography
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This chapter analyzed the anatomy of
researching about my typeface, Bodoni.
typography, and specifically went into
The book described modern fonts to have,
detail about the typefaces that were
“strong geometric quality projected by
available for our poster project. The
vigorous horizontal, vertical, and circular
book recapped the information that we
forms”, which I have been playing around
learned in class about the different parts
with in my poster project. In my poster
of letterforms, including capline, x-height,
project, I wanted my informational side
stroke weights, etc. I thought it was
of the poster to completely embrace the
very interesting that different typefaces
“feeling” of what Bodoni represents. I have
manipulate the letterforms to optically
been trying to find new ways to represent
appear to be mathematically correct, but
the iconic thick and thin lines that are so
when in reality it is not actually correct.
prominent in this modern typeface. So
After reflecting on the reading, I felt like
far, I have been having fun playing with
it connected with my work this past
proportions and new ways of playing the
week. I have been not only working on
text in a dynamic way, but yet still keeping
the layout of my poster design, but also
it rational and staying on the grid.
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Image: The importance of legibility was challenged among designers. While many of the modernists valued legibility, designers like David Carson challenged those ideas.
Chapter three discusses about several key elements that revolve around legibility.
chapter 3 legibility
The book reiterates the ideas that we have been learning in class. One of the ideas we have been learning is the art of juggling type size, line length, and interline spacing (leading) in body text.
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The book also mentions other elements
My challenge was trying to balance these
and elegant feeling for my poster. During
that can affect legibility such as the
elements to convey the associations I felt
my process critique, I was able to refine
weight of the letterforms, color, alignment.
represented Bodoni, the typeface I chose
my legibility on my poster by adding more
These elements play a significant role in
for my project. I was able to carefully use
leading throughout my paragraph. By doing
determining legibility. This information was
type size and color to define the hierarchy
so, it created a more elegant and clean
especially important to the iterations that
in my poster. I also studied the line lengths
look to my poster, and more importantly,
I was doing this past week for my poster.
for my paragraphs to create a comfortable
increased the legibility to my viewers.
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Image: This is one of Jan Tschichold’s most famous book.
chapter 4 typographic grid
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Chapter four discussed about the usage of grids. This completely connects with our poster project because we had to use a grid. The chapter gives us an overview about where the grid originated from and how it has been used. The book mentioned several types of grids such as the traditional single-column grid, multicolumn grids, and modular grids — just to name a few. While there are several grids, the chapter discussed how the modular grid presents more opportunities to show complex information in a more clear format. The different layouts that were exhibited throughout the chapter inspired me to try out more new and unconventional ways of presenting information. The grid ultimately offers designers new ways of experimenting with the space to create a more dynamic composition. While the grid presents itself to be very rational and logical, the way the designers handle the grid are all very interesting. This information is particularly important for my next project that we were given in class.
Image: Wolfgang Weingart’s poster design
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Image: By distorting the letterforms, it can change the feeling.
chapter 5 syntax and communication
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The chapter starts out discussing about the letterforms as an important element in creating new forms. While we normally view letters are pieces in creating a word with meaning, the book discusses the letters about how they can be graphic elements. This section of the chapter immediately drew me back to those 205 days when we had to create an emblem! (I just remember how difficult it was to just focus on the letterforms as shapes. I feel like because of how much I struggled with that project back then, I oddly enough came to really appreciate letters as graphic forms.) I loved how the chapter starts off with a small unit (the letterforms themselves), then builds on discussing about the context we get from just seeing a word and how design can impact the meaning of the word. It then expands and talks about the space that the words are placed in and how all of these things can impact the feeling. All of this connects back to what we have been working on. This will be especially important as I work on my zine for the next couple of weeks. I’ll have to carefully think about where I place my words and how that will affect my readers’. Not only that, but I’ll need to think about the letterforms themselves as I experiment.
Image: Design by Wolfgang Weingart
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Image: One of my favorite posters from the book is designed by David Colley. I love both the vibrant colors and fun typography.
chapter 6 typographic message
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The chapter was about typographic messages, specifically the relationship between form and content. The book dives into talking about the different “ism” movements that occurred during that period, including the Dada movement, Futurism, and Constructivism. In these period, they were experimental with the way they presented content. One of the images I found very interesting was the way the “E”s were presented. The designers took a simple geometric E and presented the letterform to match the description underneath it. The designers were experimenting with expression in this image. Throughout the chapter, it presented several images where the designers presented the words in the appropriate context. Another super interesting visual was the “zipper” word. The designer presented the word zipper in a way that actually looked like a zipper. All of this connects back to the project that we’ve been currently working on. I want to try to integrate these ideas when I’m revising my zine, especially in the poem spread. I think I can find a fun way to express these words that fit the mood of the content. I am already experimenting with the colors that are presented. I want to do more iterations. I am also thinking about adding more quotes throughout my zine. One of the things that I will definitely be thinking while designing is how I can present these words in appropriate ways that match the tonality of the words.
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Image: Typography evolved as technology developed. As a result, typography had to change to fit the technology.
chapter 7 typographic technology
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This week’s chapter discussed about the
screen. What was once a letterform made
can be used in my experimental page in
technological impact on typography.
of 10 pixels is now made with thousands
my zine. My experimental process uses
Typography is a direct result of the
of pixels. As a result, we are able to see
a combination of traditional technology
technology on hand. The book starts
smooth, clean letters. One really neat
(cooking and baking!) with technology.
out with Gutenburg and his movable
thing that was shown in the chapter was
I was (surprisingly) able to print out my
type invention. The idea of moving
the Rechner Calculator app. Instead of
3-D cookie cutters without any trouble!
away from writing each manuscript to
displaying the function features as buttons,
They came out absolutely perfect! The
setting the type letter by letter was a
they created gestures that would control
idea of being able to actually print out
huge technological advancement. Flash
the different calculation functions. All of
something 3-D is still so unreal to me.
forward, we see images of the first digital
this information, combined with last week’s
Above is an image of the cookie cutters.
letters. The pixelated letterforms are
chapter about using the overall form to
vastly different from the letters on this
help with the denotation of the words,
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Image: These two posters were released to advertise the new documentary directed by Gary Hustwit. This week’s chapters discussed about two important topics: first, it discussed
chapter 8 typography on screen
about handling typography on screen, and second about handling kinetic typography. Since screen fonts are made to be bitmaps, it presents a problem with possible legibility issues. The book discusses
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Image: This is one of my all time favorite posters. The usage of the grid is beautifully handled. some ways to combat these issues with
typefaces that have plenty of contrast. In
utilized a beautiful color palette and an
methods like anti-aliasing, hinting, the
the next chapter, it discussed and showed
interesting use of typography to present
use of pixel fonts, and type as an image.
examples of kinetic typography. The new
the information to people. While kinetic
One thing that I learned was that many
ways of displaying typography adds more
typography is an experimental sector
effective web pages use only two or three
interest and dynamic energy to the art
of typography, the chapter discussed
different typefaces. One rule of thumb to
pieces. I really loved the exhibition poster
the same principles of typography such
live by when choosing the fonts is to find
for a museum in New York! The poster
as hierarchy, meaning, variation, etc.
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chapter 9 time and motion Image: The placement of the letterforms creates a dynamic energy in the poster.
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Image: This is a frame of a sequence directed by Stanley Donen. The chapter begins by displaying different
was finding new ways in combining both
posters that embedded typography in
type and imagery in a graceful way. By
unique ways. One of the posters that
using things like a grid, it allows me to find
caught my attention immediately was the
more ways to integrate type within my
labyrinth poster. The designer explored the
image-heavy prints. Another poster that I
orientation and perspective of the letters to
enjoyed looking at in the chapter was the
create a dynamic poster. The way that the
Farmers’ Market posters. The integration of
typography was laid out in the poster also
typography and imagery is clearly shown
spoke in the same language as the imagery.
in these series of posters. I specifically
All of the posters that were exhibited
like the way he integrated images like
in the chapter demonstrated the close
tomatoes into the typography. The color
relationship imagery has with type. The
usage in the poster series is also very eye-
posters clearly showed that the typography
catching. Color is another topic that I have
was given special attention, rather than
been trying to push this semester. I have
just an afterthought. One of the biggest
been trying to expand my color palettes
principles I learned this past semester
and integrate them into my designs.
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Project 5 Logo Design
EMERGING
ENERGIES
EMERGING
ENERGIES EMERGING
ENERGIES
Top: This is the first logo that I made when I began my graphic design journey.
chapter 10 case studies ABOUT
BOOKS
NEWS
CONTACT
THE FUTURE OF TIME
Top right: I developed this logo to rebrand Lux, a soap company. Bottom right: This is a shirt that I designed in a wearables class while I studied abroad in Hong Kong.
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The combination of rapid advancement of
a field that I had no previous knowledge
technology and the growing role of visual
about, but I didn’t have the full support
communication in our society has created
from my family. The work that was
an interesting challenge for typographic
presented in the book reminded me of my
education. This final chapter that we
design journey. Three years ago, I couldn’t
studied this semester examined several
even imagine being able to produce the
different assignments from students. The
level of work that I have been able to
projects that were presented balanced
work and develop over the past couple
perceptual and conceptual development.
of years. Even in this semester alone, I
While I flipped through the pages in
have not only developed a strong enough
this chapter, it helped me reflect on the
familiarity with the technology, but I’ve
work that I have produced since entering
been able to be confident enough to start
the program. When I first entered the
experimenting. These case studies of the
program, I was completely terrified and
students not only reminded me of how
yet excited at the same time. It was the
much I’ve been able to grow as a designer,
most spontaneous thing I’ve ever done in
but also motivate me to continue to grow.
my entire life. Not only was I entering into
is in the
— ludwig mies van der rohe
field studies
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Image: Through this tedious exercise, I was able to not only start noticing the tiny differences of typefaces, but I started appreciating those tiny details.
exercise 1 anatomy of letters
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While I was doing this exercise, I kept
logical standpoint, these letters seem very
down the heights of the three important
referring to the conversation in the
geometric, yet when I am drawing the
lines: cap line, mean line, and base line.
podcast regarding Hische’s favorite and
letters, it is more complicated. The spine in
These three lengths were essential in
least favorite letters. While I was drawing
the “S” is the trouble area. Contrasting this,
creating uniform letters. By jotting these
the letters “O” and “S”, I was in complete
the “O” is extremely difficult to reproduce
numbers down, it helped me become more
agreement with Jessica’s commentary
without additional tools. One of the things
efficient while drawing these letters.
of hand-lettering these letters. From the
I learned while doing this process is jotting
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In class, we learned about the grid system through experimenting with the layout design in this quick poster. While the grid presented some “rules� in designing the poster, it was super fun trying to find new and creative ways to present the materials at hand.
Image: This shows the color differences between the screen and print.
poster exercise on the grid
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Play Fair Display/Fauna One
Font Size: 32pt Line Height: 35pt Letterspacing: 0pt
It wasn’t a bad life. It was a normal moose life. “One night she asked me to tell her a bedtime story. And I started telling her this long story about Finnegan the Moose. Finnegan was a very dignified moose. But one day a crazy goose named Reginald came and sat on his head. Reginald was a very exciting goose. She was always making bold proclamations, and suggesting crazy adventures, and her tongue was always hanging out of her mouth. Finnegan would always do whatever Reginald suggested. And he’d pretend that he understood her even when she didn’t make sense. Because before Reginald landed on his head, Finnegan’s life was a little boring. It wasn’t a bad life. It was a normal moose life. He just hadn’t met his best friend yet. And he didn’t even know she was out there.”
Text source: Humans of New York © All text are property of Humans of New York ©
Font Size: 11pt Line Height: 17pt Letterspacing: 0pt
Image: This was a poster exercise that we did in class to learn about grids.
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Image: Letters on letters on letters.
typesetting printmaking studio
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This past week, my class was able to take a short field trip down the hallway and into the letterpress lab. To me, it was a great experience to be able to have the opportunity to have a tangible experience. While I have watched several documentaries about the origins of graphic design, it was completely different being able to experience these beginnings firsthand. The level of dexterity to handle the tedious movements involved in the letterpress workshop allowed me to appreciate my technology even more. This week has pushed me to reflect on just how great these past technology advances have transformed the industry. Just a couple decades ago, people were still designing in this rather archaic form. Now, we can quickly change a look of a document with a couple of key strokes. By having this firsthand experience, I can now fully understand just how quickly this industry has changed and is still changing. Because of this, it emphasizes the importance of having good ideas. Since the technology is always changing, it is important to have something that won’t change despite the technological advances we make.
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Here’s a snapshot of what I did this past week! I was able to literally see letterforms come to life. The lazercut machine at FirstBuild could cut the letterforms on different kinds of surfaces including acrylic and wood. Not only did we get to watch these letterforms transform into 3-D, but we got to take these forms back home with us.
Image: Here’s my acrylic lazer cut print from FirstBuild.
first build lazer cutting
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Image: My class went to first build to lazer cut the letters that we chose.
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This past week was a field-trip filled week! We started the week off with a visit to Welch’s print shop. During the tour, we learned about the logistics behind printing. Specifically, I learned about the formatting that must be done before sending it off for print. But most importantly, I learned about colors and the relationship it has with the printing world. (I still remember my poster project that I had to do when I took my 205 class and my printing struggles. The first thing that I complained was, “why does my poster look so dark?”. This field trip helped me understand how I should go about solving these color problems.) Next stop, our class took a trip to Brad Vetter’s studio. Not only did his studio workspace inspire me, but I felt really connected with his design philosophies. One of the things that I took away from the field trip was his quote, “Excellence is not perfection.” This really resonated with me because it encouraged me to go out of my comfort zone and do something completely experimental.
field trips welch & brad vetter
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Image: The print we made at Brad Vetter’s studio. Photo Credit: Meena Khalili
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Top: Here’s a fun illustration that was found in the Special Collection library. Right: I love the ornate details that were found in some of the rare books.
special collections classics and zines
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On Thursday, we got to take a field trip to the Special Collections Library. I was super inspired because we got to see the books we have been learning about in real life! (Not to mention, I actually got to touch a copy of William Morris’s work!) Above are just some of the works that we got to look through on Thursday!
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Image: I attended this year’s Seattle Interaction Conference.
Image: I participated in a design challenge that they offered at the conference.
seattle interaction conference
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Image: Here’s the beautiful city view of Seattle!
styles come and go. good design is a language; not a
— massimo vignelli
double-sided poster
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Image: Here’s some quick layout sketches I made while I was making my Bodoni poster.
week 1 rough sketches
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This double-sided poster project was
Originally, I wanted to create a letterform
an opportunity for me to get out of my
texture running on the side of my poster.
comfort zone. I rarely ever use a serif font
While I was doing digital iterations, I
and I decided to challenge myself and
realized that it added a block that made
dedicate a whole project to a serif font. I
it boring and even cramped. I decided
chose Bodoni because I loved the delicate
to open up my poster and add energy
serifs and elegant ball terminals. It was
by using more white space in my piece.
a challenge because like any typeface,
While my informational side doesn’t have
there are unique features to the particular
the highest presence compared to all
font that I have learn to handle. One of
the posters, I felt like it accomplished the
the biggest challenges that I faced in this
goal that I had in mind. My layout helped
project was the hierarchy of information
convey the same feeling of the typeface,
and how I wanted to present it. I used color,
Bodoni. The dynamic energy helps portray
weight, and size to help determine this in
the modern features in Bodoni. Yet the
my poster. Another challenge was learning
white space helps elevate the text, which
how to layout the information so that it
relates to the elegance that Bodoni has.
doesn’t appear to be boring. While one
Overall, this project allowed me to start
side of the poster was very informative,
thinking outside of my comfort zone,
I didn’t want my poster to appear very
which is one of the things that I have
chaotic. Instead, I wanted my piece to
been trying to work on as a designer.
have a sense of peace while looking at the poster, yet also have some life in the poster. As I started sketching out my ideas, I decided that I wanted my body copy to be offset instead of balanced. By doing so, it would create my energy to my piece.
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week 2 digital sketches
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This past weekend, I was working on some sketches for the informational side of the poster. While I feel like the experimental alphabet can be a cool element and texture for my poster, there is still a lot of work I need to play around with. As of right now, the texture is actually making the poster feel too stable and not dynamic enough. I also played around by adding a multiply effect rectangle over the texture and having a color gradient, but it actually took out more energy out of the poster. I also played around with more layout designs earlier in the week. However, I feel like the first two images demonstrate the most dynamic designs for this poster. Also, this past week, I have been doing more research about Bodoni and creating content for the poster. Because of that, I am using placeholder text for the sole purpose of playing with layout.
Right: This iteration was the turning point of my process. By bringing in the ampersand, it created more dynamic energy into the poster. Left: This was one of my early iterations of the pattern that I started to create for my experimental side of the poster.
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Right: I changed the colors on my poster to a different color palette and it printed out very nicely. Left: We tiled our posters which helped me determine the size of my type.
week 3 printing
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This past week, we learned how to tile our designs, which ultimately allowed me to look at my work to scale. This has been extremely helpful for me to see some issues that I otherwise would not be able to see until after the final print. For example, one of the things I was able to take away from
this exercise was being able to notice and perfect my type size and leading on my poster. When I tiled my piece, I was able to see that there wasn’t enough leading for the viewers to have a comfortable reading.
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week 4 final iteration
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This week wrapped up our poster project. It started with a one-on-one critique which helped me develop my conceptual side of the poster further. The images above show the progression of my conceptual side. My concept for this experimental side was to create a piece of artwork that studied the beautiful shapes that make up Bodoni. I cropped into parts of the letterforms to create the pattern. To further my concept, I placed the pattern into a frame. Left: My final iteration of my informational side. Right: Here’s a picture of a poster of a picture of a poster!
design is not a philosophy. it’s for
— issey miyake
typographic adulation zine
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Image: Here’s just a couple of my rough sketches I have while ideating.
week 1 rough sketches
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When I was first given this assignment, I
I will admit, one of the reasons why I
After figuring out what font I was going
spent the whole weekend just trying to
chose Gotham was because I was already
to be doing, I immediately turned to the
think of what typeface that I wanted to
familiar handling that typeface. I used this
internet and started researching about
dedicate my whole zine to. Questions
particular font all summer long, so I had
my font. I was completely shocked that
like, “What font could I possibly feel so
time to learn all the unique features of the
Gotham was originally developed for a
passionate about that I would be able
typeface. One of these things would be
menswear magazine. My research helped
to do a month long project on?�. After
that Gotham is a rather wide typeface and I
me to refine my focus onto two major
going back and forth on a handful of
learned how to account for that throughout
things: the vernacular aspect of the
typefaces including Bebas Neue, Din, Didot,
my zine. My familiarity with handling the
typeface and the versatility. Through those
I kept going back to the font, Gotham.
typeface helped me while I was designing
two key points, I was able to come up with
my spreads for the booklet.
my overarching metaphor: cooking.
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Left: Here’s a mockup image of my cover. I decided to have my cover include my die cut. Right: This was one of my initial designs for my type specimen layout.
week 2 digital sketches
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While I was reviewing the required
the tonality of the zines. They portrayed
The results were great! I loved how the
elements for the zine, I knew I wanted to
genuine emotions in the zines, which was
different weights guided the eyes down
find creative ways to incorporate them
something that I wanted to keep in mind
towards the bottom, but it invoked the
instead of just “checking� off the list. One
while I was designing. I also wanted to keep
same feelings as a traditional cookbook.
of the requirements was to include the
my visual metaphor consistent throughout
type specimens. Rather than displaying
my zine. As a result, I used my first spread
a traditional alphabet showcasing the
in my zine to introduce the specimens. I
letterforms, I wanted to show them in a fun
designed the layout in a similar style of a
and witty way. One of the biggest things
recipe book. I created a pangram which
that I took away from looking at the zines
is a sentence that included every letter of
from the Special Collections library was
the alphabet to showcase the letterforms.
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Left: Here’s a behind the scenes picture. I wanted to create a “modern farmhouse” kitchen feeling throughout my spreads. In order to do that, I bought some wall stickers to create the look for my table. Right: Here’s the 3D printer I used at FirstBuild.
week 3 process
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This past week was relatively short! We
spreads that I loved from the zines we saw
cutters that I wanted to use as props
got an open studio session to work on our
was that “pick your own gender” spread. I
for my photoshoot! The process was
projects. I took the opportunity to finalize
thought that was super fun and interactive
relatively simple — I modelled the letters in
on any of my digital sketches. The first
with the audience. I wanted to incorporate
a software and in 17 hours from now, I will
couple of images are what I think I want my
that interactive idea into my piece.
have some cookie cutters! It was a surreal
cover to be. I really want to try to make my
Since it was open studio, I went to First
feeling to watch my designs come to life.
piece as interactive as possible. One of the
Build to start 3D printing out the cookie
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week 4 final iteration
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10 | designers’ delight
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Second project down, one more to
when I first got to touch my 3D printed
go. I cannot believe how fast this past
cookie cutters were unreal. This was truly
month has flown by. It felt like it was just
the definition of having my ideas come
yesterday that we entered the Special
to life. Aside from all of this, I also had
Collections section of the library and
fun learning how to construct my book.
looked at all the various zines on the
It was definitely a challenge, but the end
table. This project really pushed me to
result of having the final product was very
explore and experiment in areas that I,
satisfying. To me, the tangible aspects of
otherwise, would never dream of even
these two end products allowed me to
approaching. I learned the process behind
appreciate the work that I produced more.
3D printing. The excitement that I felt Left: Here’s one of my final copies of my zine. The cover pocket turned out amazing! Right: Here’s an image of my typographic zines on display at the Hite Institute Library.
make it simple, but
— Don Draper
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special thanks
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Over the course of this semester, I have been able to learn and grow as a designer. Because of this, I am very grateful for the following that have allowed me to continue to grow as a designer: Meena Khalili, my design professor Luke Parker, my biggest art supporter and also my photographer Lastly, Command Z, for always being there for me at all times.