A tipografia Suiรงa de Weingart
FBAUP Licenciatura Disciplina Docente Discente Ano letivo Projeto Duração Dimensões Software Palavras-chave
Faculdade de Belas Artes Universidade do Porto Design de Comunicação Design II (3.º ano; 1.º semestre) João Cruz Marina Pinto 2015-16 #2 – A Tipografia Suíça do Weingart 30 de setembro de 2015 a 30 de outubro de 2015 210 × 297 (mm) Adobe Illustrator tipografia; texto; espaço; forma; signo; sintaxe.
como objetivo explorar, sintaticamente e semanparágrafo. Esta abordagem é feita individualmente mas, por vezes, existem mensagens reforçadas através da paginação dupla. Na abordagem à primeira frase, “Everything that can be said, can be said clearly.”, de Ludwig Wittgenstein, escolhi aplicar os tipos de letra: Baskerville Old Face, Lato, Amita, Lombok, Intro, Sans, Oswald, Ugo, Arial, Fonarto XT, Lobster, Lobster Two e Nexa Rust Slab Black Shadow. Tendo em consideração as diferentes características dos mesmos, decidi explorar dois caminhos: um que demonstrasse clareza, e outro que fosse ao encontro da ginástica mental que se faz quando não há clareza no discurso. Para o provérbio chinês “I hear and I forget, I see and I remember, I do and I understand”, utilizei os tipos de letra: Arial, Chewy, PH (100 Condensed), , Nexa Rust Script L 0 e FresIntro, chezza. Este provérbio é uma cadeia de ações evolutivas, estando todas elas dependentes do sujeito, e, sendo o mais importante, “do to understand”. Por essa mesma razão, decidi destacar, na maioria das composições, estes elementos, bem como fazer uso de metáforas visuais que destacam o movimento circular, cíclico. Relativamente ao parágrafo sobre o texto do Weingart, escolhi utilizar os tipos: Arial, Oswald, Bree Serif, Myriad Pro, Intro, Aroly, Monoleft, Slim Joe e Lobster Two. O parágrafo é um resumo das ideias principais presentes no texto de Weingart. Abordei-o de diferentes formas, mas todas elas com o intuito de, apesar de ser um texto pesado, tornar a sua presença subtil na página. Para cumprir este objetracking e entrelinhamento, blocos de texto ortogonais e oblíquos, de metáforas, como o triângulo, e ainda aproveitei as características do tipo de letra Aroly para enfatizar a ideia de
Uso de uma fonte tipográfica, sem variações de corpo.
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Uso de uma fonte tipográfica, com variações de corpo.
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I forget, I remember, I understand. I forget, I remember, I understand. I forget, I remember, I understand. I forget, I remember, I understand. I forget, I remember, I understand. I forget, I remember, I understand. I forget, I remember, I understand. I forget, I remember, I understand. I forget, I remember, I understand. I forget, I remember, I understand. I forget, I remember, I understand. I forget, I remember, I understand. I forget, I remember, I understand. I forget, I remember, I understand.
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Is a triangular relationship between the idea of the design, the typographic elements and the printing technique. For the relationship to be accomplished, it is required visual organization, purity, logical precision, structure and having always the right angle as a base. In order to strengthen the relationship, we need silences, unprinted pieces of paper, to establish a connection with the image and use the syntactic dimension as well as the semantic. We need, for the effect, strong, flexible and active personalities engaged in this relAtionship. The only limit is creativity.
Typography is a triangular relationship between the idea of the design, the typographic elements and the printing technique. For the relationship to be accomplished, it is required visual organization, purity, logical precision, structure and having always the right angle as a base. In order to strengthen the relationship, we need silences, unprinted pieces of paper, to establish a connection with the image and use the syntactic dimension as well as the semantic. We need, for the effect, strong, flexible and active personalities engaged in this relationship. The only limit is creativity.
i l e n c e
We need, for the effect, strong, flexible and active personalities engaged in this relationship. The only limit is creativity.
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For the relationship to be accomplished, it is required visual organization, purity, logical precision, structure and having always the right angle as a base.
Typography is a triangular relationship between the idea of the design, the typographic elements and the printing technique.
STRUCTURE
Typography
Conjugação de duas fontes tipográficas de famílias distintas.
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TYP Is a triangular relationship between the idea of the design, the typographic elements and the printing technique. For the relationship to be accomplished, it is required visual organization, purity, logical precision, structure and having always the right angle as a base.
OGRA In order to strengthen the relationship, we need silences, unprinted pieces of paper, to establish a connection with the image and use the syntactic dimension as well as the semantic. We need, for the effect, strong, flexible and active personalities engaged in this relationship. The only limit is creativity.
P HY
Typo Is a triangular relationship between the idea of the design, the typographic elements and the printing technique. For the relationship to be accomplished, it is required visual organization, purity, logical precision, structure and having always the right angle as a base.
In order to strengthen the relationship, we need silences, unprinted pieces of paper, to establish a connection with the image and use the syntactic dimension as well as the semantic. We need, for the effect, strong, flexible and active personalities engaged in this relationship. The only limit is creativity.
GRAPHY
Typography Is a triangular relationship between the idea of the design, the t�ographic elements and the printing technique.
purity For the relationship to be accomplished, it is required visual organ�ation, purity, logical precision, structure and having always the right angle as a base.
Silences In order to strengthen the relationship, we need silences, unprinted pieces of paper, to establish a connection with the image and use the syntactic dimension as well as the semantic.
FLEXIBLE We need, for the effect, strong, fl�ible and active personalities engaged in this relationship. �e only limit is creativity.