Static and Flow
a typographic conversation
Static and Flow
a typographic conversation by Lucia Vaughan Static and Flow: A Typographic Conversation Lucia Vaughan 2014 A&D 332 Visual Communications Design 1 Visual Communications Design Department of Art & Design School of Visual and Performing Arts Purdue University West Lafayette, IN A publication of Visual Communications Design, School of Visual & Performing Arts All content is copyright in the name of Lucia N. Vaughan, 2014.
For my grandfather, Alva Newton Dilley. Happy belated birthday.
Table of Contents
Introduction
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Typeface Index
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Hand-Drawn Sketches
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Computer-Rendered Sketches
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Penultimate Decision
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Final Design
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Introduction
If I have learned anything from my experience with this project, it’s that letters, while giving life to our language, have a language of their own. It’s a body language of sorts, with twists and swirls, leaps and dives, stillness and repose alike. I was assigned to reconcile two letterforms into one unique, balanced form, and I found that to do so, I had to interpret the conversation between them. I never thought I would see curves, line widths, and serifs as communication in of themselves, and yet there I was, allowing each to guide the way to a successful design.
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Throughout my drafting process, I persistently had the feeling that my letters, ‘S’ and ‘E,’ were speaking to me, not only in the way of conversation, but also as a declaration of identity. In order to establish a harmonious relationship, their identities had to agree with one another. At first glance, one might wonder how they could ever agree, as their figures fundamentally conflict with one another; ‘S’ is made of beautiful, flowing curves while ‘E’ is of stately, inflexible stalks. But after many long nights of trial, error, and negotiation, they finally came together as one.
What follows is a definitive outline of my process.
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Typeface Index
Baskerville
SE SE SE SE se se se se Bodoni
SE SE SE SE se se se se Caslon
SE SE SE SE se se se se Futura
SE SE se se Garamond
SE SE SE se se se 10
Gill
SE SE SE SE se se se se Helvetica
SE SE SE SE se se se se Optima
SE SE SE SE se se se se Times New Roman
SE SE SE SE se se se se Univers
SE SE SE SE se se se se 11
Hand-Drawn Sketches
My first task in approaching these letterforms was pure experimentation. This was primarily a self-serving enterprise in which I ignored whatever messages the forms were sending me in order to let my hand flow free of restrictions. I played with negative space and found that, while it often allowed me to fit the letters together easily, the result could just as easily become too convoluted and indecipherable. I tried addition next, building upon the structure of one letter with the other. While this succeeded in creating some intriguing new shapes, many had a feeling of emptiness about them, lacking the solidarity and commanding presence I wanted for my design. I did not become discouraged by this process, but instead became inspired to stretch my design imagination further, outside of my usual, knee-jerk intuition.
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One will notice that I began in ink pen and ended in pencil. I tried both for the sake of exploration, and discovered that while pencil is quick and convenient, I still favor the pen. As an editorial cartoonist, I have become quite accustomed to the technique required to produce quick, clean ink drawings. My familiarity with the medium allowed the most uninhibited thought, and therefore, slightly better sketches. I also found that my ink sketches provided a particular clarity to the original idea, which made revisiting these primary sketches more useful.
Although I took a liking to many of the variations, I knew by the language of the forms that only a few had the potential to move on to the next round of development, and that even fewer, still, had the potential to be ‘the one.’
I pushed forward.
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ComputerRendered Sketches
Now that I was making the transition from the lawless world of paper to the more practical computer world, it was time to define the relationship between ‘S’ and ‘E.’ Thankfully, now that the task of translation was before me, I had a limited number of typefaces to choose from, which acted, together, as a typographic Rosetta Stone.
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My first and most helpful realization was that the matter of consolidating the forms was not about upholding the sacredness of their whole selves, but allowing their most important qualities to shine through and intermingle. I decided that these were the middle curve of the ‘S’ and the serifs of the ‘E.’ Besides further exploration with negative space, addition, subtraction, and overlapping, I used this principle to guide my development.
One obstacle I encountered during this time was determining a form that was both visually exciting and readable. Occasionally I would come upon a design that had a simple, beautiful structure, but was difficult to read (i.e. make out the letters). This is much like trying to explain a complicated situation with a haiku; it might sound nice, but it may be met with confusion and misunderstanding at the lack of detail. On the other hand, I would sometimes create a very readable design that was too simple to catch and hold attention. Another issue was finding balance. It was important for my final form to be comprised of the two letterforms equally, without a noticeable hierarchy between the two. It should be able to be read as either ‘S’ and ‘E’ or ‘E’ and ‘S’ without trouble. I created a few designs that, while visually appealing and readable, had one letter dominating the other, which would not do in the end.
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se
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ee ss
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s 39
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Penultimate Decision
I was now very familiar with the letterforms at this point in my process. So familiar, in fact, that they began to develop personalities before my eyes. As I tracked their conversation, I noticed that the curve of the ‘S’ denoted a languid, more flexible air. It was more open to manipulation and would politely concede when coaxed into one position or another. However, its lively form often drew the center of attention despite its demure persona. Its wildly diverse line weights instilled a feeling of freedom and energy, like a young soul brimming with life. The ‘E,’ on the other hand, had a more logical, stern personality that was much less open to manipulation. Although the lowercase ‘E’ had potential to contain as much lively energy as the ‘S,’ it was not flexible enough to withstand changes within the form without losing its integrity.
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The letterforms really began to come to terms with one another when I discovered the great ‘taming’ power the ‘E’ had over the ‘S,’ containing its wild form to work closely within the frame. Their serifs also share a similar curve, providing a common trait over which the two forms could connect. This was an important discovery in that I could now see the forms begin to meet halfway. It dawned on me that my letters were the perfect example of the expression, “opposites attract.” Though they appeared to be irreconcilable at the beginning of the project, now they were getting along like close friends, nearly reaching an ideal harmony with one another.
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With a promising group of designs under my belt, it was time to determine the closing statement of the forms,
the summation of my hard work.
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Final Design
Even someone not attuned to the language of letterforms can see the clear, eloquent conversation being held in my final design. Remember that it is not a language of words, but of movement. See how the ‘E’ wraps the ‘S’ in a tight embrace, hugging every curve from apex to terminal. It allows the defining curve of the ‘S’ to shine through without interrupting its winding trail of thought with its jutting center serif. Neither form dominates the other, each voice coexisting in its own right.
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I chose to italicize the forms in order to emphasize the free, flowing personality of the ‘S’ that is subsequently restrained by the framework of the ‘E.’ This combination strategy successfully brings out the most important aspects of the forms, establishing readability as well as visual dynamism.
After many long months of trails and tribulations, my final design has accomplished what I set out to do, and I have learned many valuable skills that I will carry with me throughout my design career and future in typography. ‘S,’ ‘E,’ and I will part as well-acquainted friends.
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Acknowledgements
Cathy Aper Xerox Sevices, West Lafayette, Indiana
Scot Benham Haywood Printing Co. Inc., Lafayette, Indiana
K. Lynia Coates Designer, BoilerCopyMaker, West Lafayette, Indiana
Dennis Ichiyama Professor, Purdue University
Wendy Olmstead Visiting Faculty, Purdue University
Brandon Steinhardt Partner in Crime, Purdue University
Mike and Deborah Vaughan Parents, Coos Bay, Oregon
Purdue VCD Class of 2016 Designers, Purdue University
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Colophon
Paper Cougar Natural 80# cover & 70# text
Typefaces Baskerville: Bold Italic, 20 pt. Times New Roman: Regular, 10 pt. Times New Roman: Bold Italic, 12 pt. Gill Sans: Italic, 16 pt.
Bindery Haywood Printing Lafayette, Indiana
Binding Perfect bound
Printing Xerox Services Purdue University West Lafayette, Indiana
Printer iGen4 Diamond Edition
Edition Six copies
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Lucia was born in the early summer of ‘94, and grew up in the woodland outskirts of Coos Bay, Oregon. She is currently a third year Purdue Boilermaker studying Visual Communications Design with minors in Communication and Religious Studies. After graduation, Lucia intends to pursue a career in advertising and graphic storytelling. Her passions include typography, Swiss design, melted cheese, and witty conversation. She is currently employed as an editorial cartoonist and graphic designer for the Purdue Exponent.