RESEARCH
EXHIBITIONS ‘Graphic Design: Now in Production’ (Walker Art Center, 2011) Ecstatic Alphabets / Heaps of Language’ (MoMA, 2012). Kelly 1:1’ (Casco Projects, Utrecht, 2002) ‘Two or Three Things I Know About Provo’ (W139, Amsterdam, 2011) Typografie (2013–now).
ABOUT Experimental Jetset are a Graphic Design company based in Amsterdam and have been open since 1997 Marieke Stolk, Erwin Brinkers and Danny van den Dungen. Their work is to consist of “turning language into objects”
From looking at Experimental Jetset I like their work but I dont think I want to use them for my magazine. There work is good however I dont think it suits my artist as their very clean cut whereas my artist is experimental and works with collage and illustation to create his pieces.
EXPERIMENTAL JETSET
WORDS ARE POWERFUL. CHOOSE THEM WELL.
WHY NOT ASSOCIATES Why Not Associates are a multi disciplinary, british design studio who have a world wide recognition They like to take risks and push boundaries as great works lasts forever. I really liked their work on ‘words choose them well’ as they showed how simple it is to make a difference by just changing one word these where done in quick gifs and shown around London underground. I will consider these to follow further with as I find a lot of there pieces interesting and there also relevant in the design industry today,
I like Joe cruz’s work because his simple use of strong colour and imagery. He is a visual artist.His work consists of Design, art, fashion and graphics. His work is distinctive, I would know one of hi pieces if I seen it as the colour pallette he uses is mostly the same although he does use. Theres two images of his work which differentiates one although it uses a lot more block colour im still aware of who has done it through just visualising it whereas the first image at the top is harder to know straight off but if you look at the yellow background and the purple their both quite similar so this is one of the ways in working out his pieces as both backgrounds look as if theyve been done using the same medium just different colours.
JOE CRUZ
Joe Cruz is an artist and illustrator based in London, UK. Working across a wide range of fields, with a specific focus on art, fashion and music. His work employs hands on methods and low-tech materials. Revolving around appropriation, mark making and colour.
Raphael is a self-taught visual artist living in Brussels,Belgium. He was inspired by Ray Gun magazine which made he want to learn graphic design & illustration. David Carson, Vault 49 & Michael Cina’s body of works showed him what could e created through digital arts. He’s been working in illustration since 2004 before I luckily joined the Colagene illustration agency and since then worked for magazines(Votre beauté, Grazia, Company, Figaro madame, advertising agencies and other projects (Square Enix, Docler media.His works been published in Taschen books 100 Illustrators, Portraits now, on the web and many other publications.
Raphaël Vicenzi
I found Raphaels work through Pinterest this led me onto finding his website ‘MyDeadPony’ I have found little information on him however I love his work. The two main things he focuses on are Illustration and collages. I think he executes both well, however, his collages are what interest me and I think suit this brief better. He uses digital techniques to make his collages and his end products are always quite clean cut hes still experimenting with his collages and infact looking for an open position in a company.
He is usually inspired by fashion editorials, graphic design, street photography, black metal, the smell of printed ink, brutal typography, ripped posters, shoegaze, abstract art and so much more...
GEORGIA HAWKINS I found Georgia Hawkins on Pinterest I really like her use of collages none of the images she uses are her own however, she experiments within her work I also followed her on Instagram from doing this I can see her work is purely based on collages and she doesnt work any different way. This is good however gives me limitations if I want to use her within my work she is also unknown therefore I can only find visuals on her unless I asked her anything on Instagrm but then I dont know if I would get a response. She is similar to Raphael Vicenzi whos work I like however he doesnt use patterns where as Georgia does. Although I’m not going to use Georgia Hawkins as she is so unknown she is one of my favourite artists I have found along the way of doing this project. If she worked with type more she would’ve been my chosen artist. However, I love how she includes patterns into her work and even though I am at this point choosing Raphael Vicenzi I like to work with patterns therefore I want to include some within my work.
Erik Spiekermann German type designer and graphic designer par excellence, born in 1947 in Stadthagen. He set up MetaDesign in Berlin in 1979. In 1988 he set up FontShop, home of the FontFont collection. He holds an honorary professorship at the Academy of Arts in Bremen, is board member of ATypI and the German Design Council, and president of the ISTD (International Society of Typographic Designers). In July 2000, Erik left MetaDesign Berlin. He now lives and works in Berlin, London and San Francisco, designing publications, complex design systems and more typefaces. He collaborated on the publication of the comprehensive FontBook. Author of Stop Stealing Sheep & Find Out How Type Works (2nd edition) (Adobe Press, Second Edition, 2002, First Edition, 1993). He taught typography at the Art Academy in Bremen, and is guest-lecturer at several schools around the world.
In October 2003, he received the third Gerrit Noordzij Prize, which is given every other year to a designer who has played an important role in the field of type design and typography. It is an initiative of the postgraduate course in Type&Media at the Hague Royal Academy of Art with the Meermanno Museum (The Hague).
Frederic made Goudy Old Style is a font created in 1915 that is suitable for headlines and body text things which make this text unique is the ear on the ‘g’ and the uppercase ‘Q’ has a strong calligra[hic quality along with this the ‘i’ and the ‘j’’ also have diamond shaped dots
Frederic made Goudy Old Style Goudy Old Style, Italic Goudy Cursive Morris Fuller Benton made Goudy Bold (1916) Goudy Title (1918), Goudy Bold Italic (1919) Goudy Catalog (1919) and Goudy Catalog Italic (1921), Goudy Extra Bold + Italic this was to update the fonts and make them a family.
Frederic Goudy
This typeface is nice and simple therefore could be used for body text within my magazine the only thing is I’m not too certain about the diamond full stop or colon even the exclamation marks just seem too much to use. I would rather use a font that is newer therefore it’ll be clearer as well as they will have took inspiration from older typefaces therefore its more likely to be improved on this.
William Caslon Here I have found a poster created by Nichole Grieser which expalains William Caslon as a designer. William is the oldest typeface designer I have looked into, He worked to help modernize books. After 1734 when he published he roman and italic typefaces this spread around Europe and then across to America leading one of his typefaces to be used to print the declaration of independance.
Here you can see what William created in 1742 from what you’d expect compared to fonts now days this has been done by hand whereas today everything is done digitally whether at first it was created by hand. Comparing the type in 1742 and the type Adobe Caslon in 1990 its much more smooth and legible whereas Williams type maybe could get confused with a ‘h’ however I think its important to see how type has grew throughout the years and how it has developed. Even though the font is so old it’s still had an impact as its still been developed throughout the years and been improved with the use of technonology
Ed Benguiat Ed Benguiat has designed over 600 fonts for the design industry such as Tiffany, Bookman, Edwardian Script and Benguiat.
ITC Benguiat is a font which everyone knows but may not know the name of however, in Stranger Things a series on Netflix Ed’s font is used in the opening credits.
The New York Times logo is considered to be one of the greatest, most influencial logo typefaces in the histgory of graphic design it has been changed over the years and in 1967 Ed Benguiat worked closely with Tom Bodkin, creative director of the times. He said ‘It is a highly recognizable representation of our brand,” he said. “While it has been transformed over the years into a cleaner, more modern presentation, it references a long and distinguished history.’ From researching into Ed’s work he has made some of the most iconic fonts today, From the fonts I have looked at he isn’t afraid to be daring and be dree while making them which is what makes him one of the most influencial typographic designers and why he has such successful fonts. I like him as a designer however if using Raphael for my work I dont think that Ed’s fonts would be suited to my designer therefore I will not use any of his fonts for this project.
Throughout this project I am going to be working with type therefore its important I understand the anatomy of type
Alignment In general, text should be given a flush left alignment since that is how people are used to reading. Consider centering or right aligning (flush right) text for only headings or captions. Justifying text should be used sparingly, since too much of it will make your layout look rigid. In addition, you should try to avoid justifying text in a small column width. The result can create noticeably short lines and irregular word spacing.
Typeface and Font
Typeface Classifications
A typeface comprises a family of fonts such as Garamond Regular, Garamond Italic, Garamond Bold, etc. A font is a specific weight or style within a typeface family, such as Garamond Italic.
Serif and sans serif are the two most common typeface classifications. Serif typefaces have a more traditional look. Sans serf typefaces became popularly in the late 19th century and are considered to be more modern.
Layout Grid
Measure
A layout grid is a structured yet flexible system able to help designers achieve coherency in organizing text and images on the page. Composed of guides and columns, the grid forms the foundation of a good typographic layout, so it’s important to use it in every design project. Using a layout grid system also enables the work to be split among several designers simultaneously. This ensures that they produce the same level of quality end result displaying both consistency and visual harmony.
This term refers to the actual length of lines of text in either a paragraph or column. Typically people tend to refer to it as ‘column width’. Measure is an important factor to get right, since it is crucial to the readability of the text and how your eyes follow it. If made too wide the text could be difficult to read since the eye has to travel a lot further after reading each line. When the measure is too narrow, it can be tiring to read as the eye is constantly moving back and forth.
Leading Leading refers to the space between lines of type in a body of text. It plays a major role in providing readability. Correctly spaced lines improve the overall appearance of the text and make it easier for the reader to follow. Several factors affect leading including typeface, type size, weight, case, tracking, etc. The longer the measure, the more leading is required. Whereas the larger the type size, the less leading is needed. The origins of the word ‘leading’ come from the early days of printing and setting blocks of type. Strips of lead were inserted between the lines depending on space requirements.
Text Rag This occurs when typesetting a body of text that has a flush left or flush right alignment. This creates a rag effect or uneven opposing side to each line. A bad rag can distract a reader since it is unsettling to the eye. A good rag presents a visually pleasing balance without any lines that are too short or too long, without any apparent holes or disturbing shapes.
Kerning
Widows and Orphans
Kerning refers to making adjustments to the spacing between individual characters within a word. In comparison, tracking is the spacing of a group of characters.
These dangling bits of text can make the story harder to read, destroy continuity for the reader and make layouts look unbalanced. A ‘widow’ is a very small line or single word left alone at the end of a paragraph. In comparison, an ‘orphan’ is a word or short line that appears at the beginning or end of a column. Since both create awkward rags they should be avoided.
Ligatures
Glyphs
This typographic element is used when two characters either collide or appear too close together and need to be replaced. Ligatures are combinations of letters that are joined together – some of them are functional, while others are used for decorative reasons. They are more commonly used with serif faces although sometimes with sans serifs. The most common example is ‘Œ’ or ‘œ’.
A glyph is essentially a single representation of a typographic character in a font or typeface. This includes all available letters, numbers and special characters
I looked at BASIC books in order to see a breakdown of layout and typography I took some pictures of pages I thought where insightful and will help me when coming to produce the layouts for my magazine. The second screenshot shows symetrical variations from looking into this I have learnt how to use columns to my advantage in order to help organise information and create balance on my pages. The image on the bottom left shows a variation of grids throughout this project its key that I use grids to clearly communicate information. Allignment is also important as this can help make text more legible I will especially use this with headers such as center allignment and left allignment most likely if below will be body text.
Layout
These are a few examples of layout I could use within my magazine. I particularly like the second top image as it shows a variation of images, a clear headline followed by body text and then the use of three columns over both pages which is clearly structed. I also like the idea of using a full bleed image over one page and just having text on the page next to it or using a full bleed image to cover two pages and if there was information only be a little amount using one grid to cover it.
Myriad pro | Robert Slibach & Carol Twombly
‘The outcome of the face was almost inevitable, with the rules and standards that we set for it: perfectly straight stems, flat endings, and the flat character shapes with a certain amount of proportion to the letters. It’s very uniform—just a real practical kind of face. It doesn’t break much new ground from a design standpoint, but its strength is that it’s very flexible for sans-serif typography. You can create many different voices, particularly in the width, that really change the character of the face quite a bit.’ - Adobe Myriad pro is the type Raphael (MYDEADPONY) uses on his website. its a simple basic font which I think would work well for the body, However I’m not certain if it would work for the headlines yet. The font designers where Robert Slimbach and Carol Twombly who worked together in order to create a typeface that was generic something that didnt show either designers personality too much.
Morris Fuller Benton (Franklin gothic)
This typeface was designed in 1902. Franklin Gothic is a timeless addition to every font collection, and its applications are innumerable. The design is clean and easily legible and its weight strikes a balanced harmony, making it perfect for both serious and lighthearted content, and everything in between. I like the idea of using this font for headline text in my magazine however that depends on if I can download it if not I will use FF Meta by Eric Spiekmann and use the family of fonts for my headlines and body text.
Grafik Grafik was a london based magazine on graphic design and visual culture. The first issue of the magazine was publsihed in 2003 the last issue was in 2011 published by Pyramid as after this the magazine was ceased but made a under the editorial direction of former editors Caroline Roberts and Angharad Lewis, with a new editorial team and published in London by Protein. comeback online in 2014 From looking at Grafik magazines I have noticed the use a grid system of two or three coloumns per page. Some of these are set differently however throughout looking through the magazine you can clearly see their system.
This is another page I found in the BASIC books during my research that I found quite helpful as some of these things I didnt consider such as folio numbers even though this is a minor part of the magazine most magazines use them and if forgotten about this could mean having to move some of my layout in the end if not considered throughout the whole process of making the magazine.
Layout
Resolution Resolution needs to be considered when working with images as depending on whether my magazine will be a physical pritned publication or and online publication theres a big difference in the resolution I should be using. If working to publish the magazine online I will use 72dpi as this provides a clear image however no one could steal the image and efit over it or make it a larger scale without having some pixelation. If printing my magazine physically then I will work with 300dpi if I cant find an image which is 300 dpi the lowest I will use is 150dpi I will avoid this if possible but if need be 150dpi should be fine as long as I’m not using it for a full bleed page.
Typefaces
Tyefaces also normally belong to a family such as Helvetica has Italic, Light, bold etc. When working on my magazine it is a good idea to consider using a typeface which has a family as there colour be a quote I use which I can then use bold to highlight it as well as if something may be in brackets I can consider doing this in italic. As long as I use a typeface which is legible the writing should be clear throughout however to furthermore develop my pages this could help in breaking text up and highlighting key areas.