Process Journal

Page 1

TYPOGRAPHY ONE PROCESS JOURNAL JOYCE CHEN






TA B L E O F C O N T E N T S

theory

08

field studies

34

double-sided poster

54

typographic adulation zine

66



more less

— ellen lupton



THEORY


10 || T Y P O G R A P H Y O NE

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.


12 || TY P O G R A P H Y O NE

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


14 || TY P O G R A P H Y O NE

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.


16 || T Y P O G R A P H Y O NE

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.


18 || T Y P O G R A P H Y O NE

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.


20 || T Y P O G R A P H Y O NE

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


22 || T Y P O G R A P H Y O NE

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


24 || TY P O G R A P H Y O NE

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


25

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.


26 || T Y P O G R A P H Y O NE

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,


28 || T Y P O G R A P H Y O NE

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


29

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.


30 || T Y P O G R A P H Y ONE

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.


32 || T Y P O G R A P H Y O NE

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.


33

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


38 || T Y P O G R A P H Y O NE

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


39

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


40 || T Y P O G R A P H Y O NE

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.


42 || T Y P O G R A P H Y O NE

Image: Letters on letters on letters.

typesetting printmaking studio


43

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.


44 || T Y P O G R A P H Y O NE

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.


46 || T Y P O G R A P H Y O NE

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


47

Image: The print we made at Brad Vetter’s studio. Photo Credit: Meena Khalili


48 || T Y P O G R A P H Y O NE

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


49

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!


50 || T Y P O G R A P H Y O NE

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


51

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


56 || T Y P O G R A P H Y O NE

Image: Here’s some quick layout sketches I made while I was making my Bodoni poster.

week 1 rough sketches


57

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.


58 || T Y P O G R A P H Y O NE

week 2 digital sketches


59

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.


60 || T Y P O G R A P H Y O NE

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


61

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.


62 || T Y P O G R A P H Y O NE

week 4 final iteration


63

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


68 || T Y P O G R A P H Y O NE

Image: Here’s just a couple of my rough sketches I have while ideating.

week 1 rough sketches


69

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.


70 || T Y P O G R A P H Y O NE

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


71

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.


72 || T Y P O G R A P H Y O NE

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


73

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


75

10 | designers’ delight

11

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.




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