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journal
Leah Thomas
Learning
Activities
For the last exercise in this module i went for a very basic interpretation of the meaning of ‘shape”. The letter A is already a very basic shape within itself so it is quite easy for the mind to gather the concept of the shape, by adding the second smaller triangle it adds slight contrast and breaks up the shape, keeping it in the form of something other than just a triangle.
For this exercise i chose to showcase colour as a negative space element. Showing how negative space can be used in a very eye catching way to gain the perception of a shape or form. With using the shadow effect as the positive element it naturally gives the A its shape while leaving the rest for the imagination
Shape - Illustrator
Colour - Illustrator
AA
Texture - Illustrator
For the texture exercise i wanted to show how texture can be represented in many different ways. I used the shape of an A and filled it with smaller point size A’s to give the contrasting look and then used a sketch effect to really bring out the texture.
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Module: 1.1
Learning
Activities
Module: 1.2
For this exercise I did a lot of research to really grasp what the meaning of form is in typography, and my conclusion was that form is a technical name for ‘shape’. So by creating many forms of the letter W, i was able to show how many different variations there are within just the one letter. The shape of the letter is its form against its background.
W
Form - Illustrator Space - Illustrator
The first exercise of this module was the interpretation of space. Again i wanted to show how negative space can be used to form the perception of a shape or letter. By adding the second smaller W in the bottom corner it allows the mind to really grasp the concept of space.
Harmony - Illustrator So how do you harmonize an already symmetrical letter? By showing how the mind can create the perception with simple shapes..... By placing the different rectangular shapes in different directions, it allows you to create the perception in your mind of how the W may look as a normal typeface.
Typography Visual Journal
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Learning
Activities
For our last exercise in this module we were asked to interpret scale. So i decided to do just that, show the difference in scale, from a smaller point size to a larger one and then all the sizes in between. By blending the letters together it also adds an element of perception, giving another representation of the difference i scale and how it can be perceived.
This exercise is about balance. As soon as i put the letter S and the word balance together in my mind, i instantly thought of the Ying and Yang symbol. Basically the universal sign for balance. As the letter S is already such a balanced letter i new this would represent very easily to how i wanted to this to turn out.
Scale - Illustrator
Balance -Photoshop Hierarchy - InDesign For this exercise i wanted to show the hierarchy of different typefaces and how i would use them in day to day design. It is very common to use a thicker, bolder font for your main heading and focal points and then use a lighter font for the sub heading and body copies. By creating this i feel i am showing the hierarchy of true, simple typography.
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Module: 2.1
Learning
Activities ee e ee
ee e e e e e e e e ee e
For the second exercise of this module we were asked to interpret contrast. I new straight away i wanted to do something simple with the basic contrasting of black and white. So I created a text box with the letter E and duplicated it. I then drew a single line down the center of one of the copies and with the pathfinder tool i trimmed the letter and deleted one of the sides and changed the colour to white. I then did the same process with the other side and created a rectangle and filled it with black.
e
Module: 2.2
Contrast - Illustrator Dominance - Illustrator The first exercise of this module was the interpretation of space. Again i wanted to show how negative space can be used to form the perception of a shape or letter. I created a large rectangle and then a white W over top, I then selected the W a created outlines and selected both objects and with the pathfinder tool i selected the minus front option and it cut out the shape of the W. I enlarged the rectangle to be bigger than the artboard and added another much smaller W to the bottom of the screen to show the scale difference and open space.
Rhythm - Illustrator With this exercise of Rhythm i was inspired by the concept of music. The flow of music moving across a page. I created a windy path with the pen tool and selected the type along path type tool and wrote the letter e across the path to create the windy shape. I then duplicated the type path and changed the colour to white and offset it to give a slight drop shadow effect.
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max huber1950’s Figure 1. Borsalino Hats advertisement poster (Max Huber, 1950)
Max Huber is a Swiss graphic designer, famously known for his Italian works throughout, publishing and advertising. He was born in Baar in Switzerland in 1919 and graduated from Kunstgewerbeschule in Zurich under Hans Williman. Huber was known for his pop of colour and overlaying design work, using transparent blends and overlapping letters and shapes. His original works consist of mixed media collages, using photography, painting as well as other forms of graphic medias. During his time in his peek years he was very much a part of the movement of the International Typographic Style, which is a system that relies on typographic grid systems, margin
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settings, sans-serif typefaces and commitment to clear rational design aesthetics. Although as you can see he was also known for pushing the rules with his overlapping lettering and bright compositions.
max 1950’shuber Experimentation So with inspiration from the Borcalino poster and other of his works similar to this, I came up with this piece in Illustrator. By using a pop of bright colours and the overlapping effect of his lettering style, I was able to capture the feeling of his work. Max Huber really broke the rules when it came to randomising his colours and shapes. Overlapping lettering, and overlaying of colours made his work really stand out against the crowd. I also love his use of the transparency within his work, allowing each separate colour to come through. This is an effect I have tried very hard to
master throughout the processes of my experimentaion, using blending modes and changing of transparency settings. This piece was created with simple text boxes, making each letter a different colour and applying a multiply blending mode, then turning the opacity down to 80% to really pull the underlying colour through. I added a series of ellipses and created the tail and under strike of the black lettering with the pen tool.
LLe eah Thomas
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max huber1950’s Figure 2. Max Huber poster (Max Huber, n.d.)
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technical perfection in the execution of letters
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Max Huber
max 1950’shuber Experimentation I have definitely found a love for the simplicity and composure of his work and am really enjoying the play with colour. This piece was created in Illustrator with the strong use of bold lettering and bright colours, utilising the symmetry and grid systems of his work. I wrote each letter in
their own text box and created outlines and overlayed them. I then created the rectangular shapes and my name in black and experimented with positioning.
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max huberExperimentation
Here I am trying to capture the bright colour with highlighters. Although it is a rough sketch it still shows what I’m trying to achieve.
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max Experimentationhuber
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Josef Müller1950’s - Brockmann Figure 3. Beethoven Theatre poster (Müller-Brockmann, 1955)
Josef Müller-Brockmann was born in Rapperswil, Switzerland in 1914 and studied architecture, design and history of art at the University of Zurich. He began his career as an apprentice to the designer Walter Diggelman. By the 1950s he was recognised as the leading practitioner and theorist of Swiss Style. His “Musica viva” poster series for the Zurich Tonhalle drew on the base of Constructivism to create a visual composition to the structural harmonies of the music. Müller-Brockmann was founder from 1958 to 1965, co-editor of the trilingual journal Neue Grafik (New Graphic Design) which spread the principles of Swiss Design world wide. With
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‘History of the Poster’ 1971 and ‘Grid Systems in Graphic Design’ (1981) He has contributed to many conferences and created many styles, systems and guide lines within the design world. His work has always had a distinct arrangement of typographic and pictorial elements, showing the clear identification of priorities and is basically the very first standard for the minimalistic geometric design.
Josef Müller1950’s - Brockmann Experimentation When i created this i was thinking along the lines of incorporating Max Huber’s and Josef’s work together, combining the use of the grid and his famous ‘beethoven’ poster and Max’s use of colour. My intention was to use it as a component in my front cover which is why i chose to incorporate both designers styles in the one piece. I created this in Illustrator by making a series of ellipses overlapping each other, with the pathfinder tool i divided the shapes and it formed each separate circle. I then drew a single stroke over each end of the circles and again with the
pathfinder tool i trimmed the ends off and rearranged the shapes in the same pattern as the original ‘beethoven’ piece. Once all in place i changed the colour of each panel to suit and applied a multiply blending mode to create the transparency.
Josef Müller - Brockmann
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Josef Müller1950’s - Brockmann Figure 4. The Grid System poster (Müller-Brockmann, 1955)
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Yvonne Schwemer-Scheddin:
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What do you regard as your best work? Josef Müller - Brockmann:
The white reverse sides of my posters!
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Josef Mßller1950’s - Brockmann Experimentation Again this piece was another experiment for the front cover. Using the grid system to separate areas of the lettering. I created this in Illustrator with by making the grid out of overlapping rectangles and then using the pathfinder tool and selecting divide, it separated all of the grid squares so i was able to manipulate each square separately. I then used the same technique for the V. I wanted to really emphasise on the devision of each square showing how even though each piece is out of place, with the grid system it allows the mind to piece together what looks abnormal.
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Josef Müller - Brockmann Experimentation
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Josef Müller - Brockmann Experimentation
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Experimentation Experimentation of Josef Müller Brockmann, Der Film poster.
This was my final choice for my Visual Journal cover. I decided to utilise a style i had came up with from of the representations of letters we had created during our weekly modules. This was created in Illustrator.
Visual Journal Experimentation of Josef Müller Brockmann, Der Film poster.
I trialled a lot of styles with the Visual Journal in mind. It was a great starting point for the experimentations, already having a basis and possible outcome to work towards with each new piece. These can also be a great addition and inspiration to my next Assessment. This piece was inspired by the Der Film poster created by Josef Müller - Brockmann.
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Experimentation
I created this by taking a black and white portrait of Max Huber and converting it to a vector shape in Illustrator by doing an image trace. I then created the objects and shapes with lettering and ellipses and changed the colours and blending modes to suit.
m a x huber
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References Borsalino. (1950). Borsalino Hats, advertisement Poster [Image]. Retrieved from http://www. historygraphicdesign.com/the-age-of-information/the-international-typographic-style/174- max-huber Huber, M. Max Huber Poster [Image]. Retrieved from http://veerle.duoh.com/design/article/the_work_of_ max_huber McBroom, B. (2017). Max Huber. Historygraphicdesign.com. Retrieved 10 October 2017, from http:// www.historygraphicdesign.com/the-age-of-information/the-international-typographic-style/174- max-huber Müller-Brockmann, J. (1955). Beethoven Poster [Image]. Retrieved from http://www.designishistory. com/1940/joseph-mueller-brockmann/ Müller - Brockmann, J. (1960). Der Film Poster [Image]. Retrieved from http://www.nomadcreatives.com/ wp-content/uploads/2012/05/Muller-Brockman.pdf Douglas, A. (2017). Josef Müller-Brockmann. Historygraphicdesign.com. Retrieved 11 October 2017, from http://www.historygraphicdesign.com/the-age-of-information/the-international-typographic- style/258-josef-mu-ller-brockmann
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I became a graphic designer by accident Josef Müller - Brockmann