Type & Print, Year 2 Module Publication

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Briefs

Bristol School of Creative Arts, Humanities and Education BA Hons Graphic Design

Exploring & Developing Practice in Graphic Design UADAPJ-45-2

Typography and Print Project 1:

Family Monogram

Briefing Thursday January 30th. Crit Thursday February 20th.

See module brief and calendar for interim critiques and assessment details

You will create a monogram for your eldest male and eldest female relatives (one for each). Once will be selected for an embroidered application.

This project is about looking at how personal information can inform the creation and use of typography to convey history, identity and preserve a legacy.

Monograms can be personal but are also used by corporations, sports teams and fashion labels to distinguish themselves and reflect an identity, ideology or ‘brand’. The choice of letterfroms, combination, style, colour and composition are informed by the ‘personality’ of the individual or company and these traits have to be unearthed in order for the monogram to work well.

A few useful articles about monograms: http://www.markandgraham.com/resources/mark-it-guide/history.html http://tinyurl.com/b97e6rp

This is a project about connecting with your past as well as looking to the future – so the better informed you are at this stage the more successful your outcome will be.

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Bristol School of Creative Arts BA Hons Graphic Design

Exploring & Developing Practice in Graphic Design UADAPJ-45-2

Typography and Print Project 2 Main Brief:

Everything about one thing

Briefing Thursday January 30th. Final deadline Wednesday May 7th.

See module brief and calendar for interim critiques and assessment details

You will gather complete knowledge about one single thing and make that accessible for the public in the form of a book supported by a type specimen/rationale.

Choose one thing, object, word, term. The more specific, the more you can zoom in, go into details, the better.

Observe it, analyze it, take it to pieces, deconstruct it. Include and mention every detail that, in your opinion, makes it complete. Look at it from perspectives you haven’t looked from before, discover it in different ways. Work very specifically, accurately and to the point. Have the reader in mind – so what will interest and engage an audience about a potentially ordinary object/subject? How can you make the ordinary extraordinary?

Transform those results into a final outcome that contains both text and image. Compile the material in an order (not necessarily alphabetical) that underlines your system of describing the thing. Develop a strategy/language for treating your material, how to visualize and clarify/explain to the user your way of looking at the thing. Consider the relationship between text and image, the composition, grid use, use of colour, typographic treatments and hierarchy of information. Find appropriate methods/techniques/“treatments” to adapt to all of the imagery/text that provides a consistent look and feel to your final publication. Strive for excellence both with your typographic applications

and production techniques.

The form of your final outcome (size, binding, stock etc.) should be appropriate to the content and intention of your work, be fully resolved and show attention to detail in all aspects of its content, design and production.

The workshops and short projects in the first half of the module enable you to develop your technical skills and explore ways of working that contribute to the development and resolution of this brief.

Useful references: Taking Things Seriously: 75 objects with unexplained significance” by Joshua Glenn & Carol Hayes, Significant Objects by Rob Walker and Joshua Glenn, ‘Schott’s Original Miscellany’ by Ben Schott, ‘The Things’ by Norm, ‘Visible World’ and ‘The Way Things Go’ by Peter Fischli & David Weisss, ‘All the Clothes of a Woman’ by Hans-Peter Feldmann plus any and all encyclopedias you can get your hands on.

Typographers: El Lissitzky, Joseph Muller Brockmann, Wim Crouwel, Ed Fella, Jan Tschichold, Rudy VanDerlans,

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Briefs

Bristol School of Creative Arts BA Hons Graphic Design

Exploring & Developing Practice in Graphic Design UADAPJ-45-2

Typography and Print Workshop Project:

Mark, Commemorate, Remember

Briefing Thursday February 6th. Final hand-in Wednesday May 7th.

See module brief and calendar for interim critiques and assessment details

You will produce a screenprinted A3, 2 colour (spot colour) typographic poster to commemorate the First World War Centenary.

Content for this project will be supplied to you at your Indesign workshop and design must be completed prior to attending your screenprinting workshop. You will have a limited amount of time to produce your final outcome, which will push you to make rapid but considered decisions about composition, hierarchy and colour use.

Your point of reference for these designs will be the International Typographic Style pioneered by the Swiss designers of the 50s, 60s and 70s. These designers adhered strongly to formal, structural compositions that utilised a range of grid structures and simple colour schemes. Emphasis was placed on dynamic composition and hierarchy of information using san serif typefaces, letterforms and shapes rooted in architectural structure. (see references below) You will be given a grid template along with set text that must be used on your final poster.

Research propoganda posters from the period (as well as those created during WW2) and the international typographic style in preparation You will need to bring 2 sheets of folex to the Indesign workshop which you can buy from the art store and bring ÂŁ5 to your screenprinting workshop (for screens) Workshops begin on Friday 7th February. Details of these are available in the module brief and calendar. After the initial workshops, you will all have one follow up support session in order to complete your final outcome and output the folex plates necessary to produce a screenprinted poster.

Learning outcomes Along with furthering your knowledge of Indesign, this project will help you develop use of type and grids to create a range of outcomes with a focus on colour separations that looks at the technical and financial implications of print decisions - in this case screenprinting.

Useful References Swiss Typographers and Poster Designers: Armin Hoffman, Joseph Muller Brockmann, Wim Crouwel, Emil Ruder, Hans Hartmann, Hans Neuberg, Max Bill

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Bristol School of Creative Arts, Humanities and Education BA Hons Graphic Design

Exploring & Developing Practice in Graphic Design UADAPJ-45-2

Typography and Print Project 3:

Complex Simplicity

Briefing Thursday February 20th. Final crit Thursday March 13th.

See module brief and calendar for interim critiques and assessment details

You are required to create an infographic with personal information that helps merge typically unrelated content and form.

The Wikipedia definition of information graphics goes as follows: ‘Information graphics or infographics are visual representations of information, data or knowledge. These graphics are used where complex information needs to be explained quickly and clearly, such as in signs, maps, journalism, technical writing, and education. They are also used extensively as tools by computer scientists, mathematicians, and statisticians to ease the process of developing and communicating conceptual information.’

Information graphics are at the heart of the way we communicate, either through simple use of images and diagrams, the written word or unspoken communication. Through the use of representation, designers are able to communicate complex ideas within an understandable frame of reference of ‘mental categories’ that we all share.

This project tasks you with producing an infographic of something that has a personal connection to you which uses infographic techniques to present the information.

Select a period of time from your life in which you were involved in a series of events. The time period and the events are up to you. You are tasked to explore how to tell the story on a single surface, and how personal information can be shaped by using a public graphic language. Both the period of time covered and the events that occurred within it should be evident in the design.

Use type, graphic elements, photographs, illustrations – anything you wish, as log as the information is clearly communicated in a method suitable and appropriate to the content. You can incorporate 3D elements,

motion graphics, tactile methods, etc.

The focus here is on ensuring that the subject you choose and the content you gather is comprehensive to enable the clearest re-presentation of the information for the viewer.

This project gives you the chance to explore text, composition and structure. You should use the classroom exercises and masterclasses to develop, and resolve this work.

This should be presented at the critique on Thursday March 13th, and also at the final assessment on Wednesday May 7th

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Influences, Sagmeister & Walsh

Sagmeister & Walsh

I want to push for more typographic play like this in my third year.

Type and Print, Module File

I wasn’t so much influenced by the designs that Sagmeister and Walsh produce (Though I do really love them for how totally insane they are, as well as their work).

I’ve been more influenced by what I’ve interpreted as free-form playfulness and that’s what I’ve been practicing with when it came to type layouts.

So this meant being sort of messy at times and figuring out what mixes well with my current styles and not constructing too much order to everything I do.

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Influences, Sagmeister & Walsh

Taken on board some of his sayings, helps when things get a little tough.

bly proba elp, I uge h nging the s re a h ce ha ny fa fun c ks we e boo too much make fun Thes o little und t had a nside aro i books cover... e on th

The c part ontent i n th in th is Mak es M e design book p laye whe e of m U d n r kitch e I tied comfort y “Mono a big mys able t e ony n el u � writ ten sing Til f to item type pie o l till t c he v over an roll with s in my e d ov ery e t h e e nd. r rig sent ht ence

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Influences, Sagmeister & Walsh

Again following with the theme of freedom and an additional Self Expression no holds barred.

Something I’m quite prone to is not holding back and this makes me happy knowing that sometimes I can get away with it.

Type and Print, Module File

This I wasn’t expecting.

The promotional stationary they made for their company appears to consist on the idea of “Safety” I say this because...

Condoms and Bubble Wrap.

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Influences, typographicposters.com

typographicposters .com

Type and Print, Module File

This website hosts a plethora of designers and their work, a lot of the time I turn to this site for inspiration whenever I enter a statemate.

It’s come in handy when I need reminding that I should design free and have fun!

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Influences, les produits de l’epicerie

Les Produits de l’epicerie

Colours are something I struggle with so this agency has become a great inspiration for me when it comes to getting confident and stepping out of the “grey area” so to speak.

Type and Print, Module File

I’ve been following this french design agency for the last year or so, I’ first came across them on typographicposters. com and was instantly captivated by their pattern-esque quality to the way they layout typography.

I’ve already sent an e-mail asking for a potentional internship because I would love to get involved in this style.

Their work has played a big part in how I play with overlay coloured typography and the way words and colours mix together

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Influences, les produits de l’epicerie

These 2 pieces are my favourite, incorporating the style of both Symmetry and Asymetry and colour overlays to draw attention to specific portions.

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Influences, Herb Lubalin

Herb LUbalin

This is his Monograph, chock full of his work and once I get my hands on a copy when Unit Editions is back in stock it will prove to be a brilliant source of inspiration.

Type and Print, Module File

Probably just a coincidence...

See what I mean great inspiration for ideas though?

For my monogram project, I referred back to my professional practice module where I was in an interview with Ged Palmer.

He spoke of some of his favourite letter artists and one he mentioned fondly before handing me his book was Herb Lubalin.

Passing away in 1981 he was considered the best hand lettering artist to have ever lived, and still do this day is revered for his work.

Next loan that comes in and I’m nabbing myself a copy of his book, it’s really pretty...

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Influences, Herb Lubalin

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Research, 2D & 3D Infographic

2D & 3D Infographics This was one of the pieces that gave me the idea to step outside of something purely digitized and designed on software.

I drafted up some ideas for a 3D model that would be express the concept of Over Consumption.

The following designs were helpful when it came to thinking of a way to then integrate the final design of my model of Over Consumption into a poster format infographic.

The particular infographic on the right there is what was the most influential for me, gave me general ideas for layouts, areas where I could position the model and the mini graphics.

In order to keep the miniimages simple I designed them entirely in inDesign using basic shapes and the pathfinder tool.

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Research, 2D & 3D Infographic

I considered a photoshopped infographic that utlised photographic images bent into a 3D model but time was of the essence and I didn’t have the time to waste on something that might not work.

On top of that I’d have to get my head around CC’s 3D tools.

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Research, 2D & 3D Infographic

This designs uses colour and line to form a flow of direction to objects of importance, which sparked the idea for lines in my infographic that almost looked like udders pointed to parts of my infographic design.

Type and Print, Module File

I thought this one was pretty and kinda interesting, detailing locations of meteorite impacts across the globe, larger the circle bigger the impact radius.

Numbers alongside the location names around the circle lead to number of impacts from 1900 to 2000.

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Research, 2D & 3D Infographic

Type and Print, Module File

What caught my eye with this infographic piece was the waveyness and colours, giving it a semblance to a liquid.

The track record kept from day 1 almost played a part in my final design but I instead decided to keep it simple to a display of weekly intake.

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Research, Book Cover & Spreads

Book Covers & Spreads Spent one evening wandering around the bookcoverarchive. com lookng for inspiration for my cover designs.

These 4 I found the most interesting, Norbert Wieners book helped me decide on the larger primary type face to use.

George Orwells 1984 cover design to some small degree helped with how I wanted to lay out the designs on my cover, the framing around the typography I liked the most.

The others provided more of a colour scheme style, some rugged and manly but also sporting something of a friendly humorous tone.

Background colour for the cover design is already decided because of the stocks I’ve acquired from GF Smiths which I cover in my type strategy booklet.

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Book Cover & Spreads Research

This spread here utilizes an entirely justified type set for paragraphs, I’ve been a bit finicky with using these since they have a tendency to spread out words between lines, much like it’s doing here and it never looks pretty unless their is good intention for it.

Whereas justfications of paragraphs like this have the appropriate spacing between words, nothing is randomized depending on how many words are on each line and it quite simply looks nicer.

Sure the paragraphs on the left look architecturally sound but in terms of reading it’s just a nuisance on the eyes, I prefer to keep a consistent speed when reading any book.

Type and Print, Module File

Large type sets from my primary type face were fun to play with in the design of my publication.

I got a little carried away on some spreads with my playfulness, I had adopted some messy poster design principals to keep the reader interested only to find out that it isn’t always neccesary.

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Book Cover & Spreads Research

I was quite fond of how the header was centre aligned at the top in large, aesthetically it works but is definetely a challenge to get right completely, coming from experience I mean.

Type and Print, Module File

I liked how this particular spread utilized a little playfulness by overlaying text and symbols over an image to enhance a quality of elegance, made it prettier.

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End Note

This module has been spent mostly trying to find a typography style that I enjoy as well as applying for more internships.

Managed to score one with Ice House Design in Bristol which will be a new experience for me.

It’s certainly not been easy as the deadlines have tightened but even then the only thing that managed to totally stress me out was the Visual Culture essay, not entirely sure if I’ve even passed that yet but regardless it’s done now and there is little I can do to change the outcome whatever it may be.

If there is one thing I’ve taken away from this module is something I learned right at the start when were were going over Stefan Sagmeisters “Things I Have Learned in My Life so Far” is that things will look shit to begin with, what matters is the process and not trying to make things great right this second.

Cock up till the mock ups work and then see where it goes from there.

Also it’s fun when I get to goof around and do silly stuff like this...

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