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Graphic Design II Meredith Price
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introduction
Introduction. This process book contains process images, reflections, and final products of Graphic Design I (Fall 2017) and Typographic Design II (Spring 2020) at the University of South Carolina. The intentions of this book are to show how I got from the initial points of ideas to final production and all the various twists and turns I took along the way.
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contents
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contents. Process Book + Reflections
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Classifications
99% Invisible / Walk this Way
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HoNY Exercise
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Typographic Poster
AIGA SC : “The Future of Print”
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Typographic Guilt Zine
Book Lecture
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Graphic Design I
Stamp Design
Flatpack 6
Process Book
Canceled Con
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Typographic Design: Form & Communication
ch 1 / The Evolution of Typography
ch 2 / The Anatomy of Typography
ch 3 / Legibility
ch 4 / The Typographic Grid
ch 5 / Syntax and Communication
ch 6 / The Typographic Message
ch 7 / The Evolution of Typographic Technology
ch 8 / Typography on Screen
ch 9 / Typography in Time and Motion
ch 10 / Case Studies in Tyopgraphic Design
ch 12 / Typographic Design Process
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Final Reflection 7
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right Univers and Serifa typefaces
1 / Classifications 1/17/20 I started the classifications exercise and I find it so therapeutic. I turn on music and just measure away. Some how 3 hours have gone by and I have only done two out of the 6 classifications. However, I definitely need to go back and fix a few spots. I have a much greater appreciation for type designers and monks who hand lettered books for ages. The minute details that sets each typeface apart is so interesting. I am excited to be looking at this in depth about typography so that when I am designing, picking a typeface to use will be more thoughtful and I will not feel overwhelmed by the sea of typefaces to choose from. Off I go to draw some more letters!
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classifications
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above classfications exercise for Adobe Garamond and Baskerville 10
classifications
99 Invisible - Walk-this-way Not until recently did I realize that “wayfinding” is a huge thing. I remember my mom would use this buzz word “wayfinding” ALL the time when she was doing her masters in interior architecture. At that point in time, I just found it annoying and would ignore her. I am surprised wayfinding and environmental design has taken this long to come back up. I am finding more and more that wayfinding is an incredibly important tool for users to navigate spaces.
You know that feeling when you walk into the space and it just speaks to you? It is so pleasing you don’t need to think about where you are going and everything is so carefully thought out and designed? This feeds into wayfinding. Roman Mars says that the best wayfinding is when it is engrained in the architecture of space. The space practically leads you through it. These spaces give me chills, now I know why. Sorry mom for ignoring you.
below The Chicago, O’Hare airport shows how wayfinding is designed into a spaces
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Roboto / Raleway
“The moment somebody makes any kind of overture,
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I’m heading their way.”
Font Size: 38 pt Line Height: 36pt Letter Spacing: -10pt
Font Size: 66 pt Line Height: 58pt Letter Spacing: 10pt
“The more contact I have with people, the better I feel: eye contact, a smile, I’ll take anything. The moment somebody makes any kind of overture, I’m heading their way. So many people ask for my
2 / HoNY Exercise
photograph. I always say ‘yes.’ It’s thrilling. Aren’t we
lucky? We’re so lucky to be here. This street is so full 1/24/20 of sweetness and people. I love this street so much This week we learned GRID. I was never taught because it leads to theTHE park. I can smell it. Look atdesign
from a grid so implementing this way of designing will affect
my beautiful workflow dog and the way I imagine a design would play out. that over there!”
I think designing on a grid makes for cleaner and thoughtful designing. I do a lot of publication design so these skills will take my designs to a new and more professional level. In addition, certain elements in Indesign like the Story function where you can check Optimal Margin Alignment is mind blowing. I always wondered if I could take a quote outside of a guide paragraph lines, and now I realize I can! I feel a new era for me approaching.
Text source: Humans of New York © This is a typographic project, I do not intend to promote the brand. All text are property of Humans of New York © 12
hoNY exercise
Font Size: 14pt Line Height: 28pt Letter Spacing: -10pt
Roboto / Raleway
“The moment somebody makes any kind of overture,
I’m heading their way.”
Font Size: 38 pt Line Height: 36pt Letter Spacing: -10pt
Font Size: 66 pt Line Height: 58pt Letter Spacing: 10pt
“The more contact I have with people, the better I feel: eye contact, a smile, I’ll take anything. The moment somebody makes any kind of overture, I’m heading their way. So many people ask for my photograph. I always say ‘yes.’ It’s thrilling. Aren’t we lucky? We’re so lucky to be here. This street is so full of sweetness and people. I love this street so much because it leads to the park. I can smell it. Look at that beautiful dog over there!”
Font Size: 14pt Line Height: 28pt Letter Spacing: -10pt
Text source: Humans of New York © This is a typographic project, I do not intend to promote the brand. All text are property of Humans of New York ©
above Task to create a poster using Humans of New York stories and images
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right Posters used for design inspiration from 100 years of Swiss Graphic Design and Swissted
3 / Typographic Poster 2/7/20 I left class yesterday with still a few options in my head about which direction I should take my typographic poster in (two of the three options is shown above). I have begun placing this option #3 into InDesign. I like this design conceptually, however, I am not too happy about the layout and it seems like sections as opposed to one cohesive image. The font I am using is AkzidenzGrotesk, which became the “standard” for san serifs and the simple, clean, form follows function typefaces. The idea behind this design is that a “Standard 1 cup” measurement is formed from the bowl of the letter “Q”. 14
typographic poster
a k z i d e n z - g r o t e s k 15
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below This sketch captures a stronger abstract representation of the typeface
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typographic poster
above The comparison of the standard “Akzidenz-Grotesk� to a standard 1 cup measurement
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typographic poster
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above Process posters for Akzidenz-Grotesk typographic poster
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tic s
This is because Akzidenz-Grotesk was an ingredient in later typefaces like Helvetica and Univers. Other design options include a simple black and white photograph of an apple, mirroring the Swiss Style of design that Akzidenz-Grotesk played a large hand in. I am considering trying this design out as well but essentially keeping the same grid. I need to go back to testing different orientations of paper with this design before continuing on in InDesign.
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We presented our first B&W draft and second color draft of our typographic posters. After receiving feedback from the past two critiques I just have a few adjustments to make. Overall I am happy with the design. I now need to fine tune, adjust colors, and make sure everything is clearly and intentionally placed. On a side note, I cut myself with a metal ruler today hand cutting an envelope and got blood on my copy of my cover letter and envelope for the job. #crafty.
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typographic poster
left Akzidenz-Grotesk Type Specimens right B& W Critique of typography poster
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right Color Final of Typographic Poster
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typographic poster
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The Future of Print
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typographic poster
AIGA SC I attended the AIGA SC event that talked about the future of print. Going to these events is so inspiring to me because it is fascinating to see professionals in their careers push boundaries in design and print production. I want to take these values into my own work. I whole-heartedly agree that print is not dead, but print needs to adjust its purpose, as things are more and more digital. Print today is more specialty. Using new print materials, textures, and increasing both the physical and visual quality is key to maintain the print industry. I would like to bring these ideas into the printing of Garnet & Black Magazine.
Screen Prints Posters printed by the Half and Half, Columbia SC
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right experimenting with the type and fusing together letterforms
4 / Typographic Guilt Zine
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typographic guilt zine
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artist book inspiration
images of Artist books from Thomas Cooper’s Special Collections Library 28
typographic guilt zine
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typographic guilt zine
right Sister Corina Kent’s work; moodboard created for inspiration. above Created using cardstock and placing cutouts upward to give the illusion of a 3-Dimensional form using light and shadow
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typographic guilt zine
left & right personified images of flubber, experimenting with movement and strong colors
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2/21/20 We are working on our zines describing our guilty pleasure typeface this week. I am using the typeface - Flubber - because I enjoy the motion and fluid blobular lines of the letterforms. When I found this font I immediately thought of Matisse and abstract solid shapes. I will be incorporating these ideas, along with Sister Corina Kent’s styles throughout the zine. This week we did a photoshoot so that we could personify the typeface through ourselves. I chose to wear monochromatic clothing with a bright red eye shadow (really lipstick) to capture the solid shapes and colors in Matisse’s work. In the photo I improvised movement because the typeface reminds me of motion, movement, and fluidity. As a dancer I think a lot about motion so I thought, why not bring those ideas into this project! I am excited with how these photos turned out and I am ready to start putting things on the screen.
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typographic guilt zine
above process image and experimenting with binding options
2/28/20 This week we presented in-progress dummies of our zines, both black and white. I struggled a bit with printing, as the printer and I have never been great friends. I think I have discovered how to print my zine properly now though. I just need to make sure the printer aligns the double-sided pages correctly. I am fleshing out the last touches of the zine, like putting in my dicuts and trying to keep a consistent flow throughout the spreads. I also want to create a stronger front and back cover design. I am thinking about playing with 3D cut outs and photographing them. Time will tell.
3/6/20
above in process image of experimental type page
The Zines are due! This week I finished up my flubber zine and I am now working on printing the 3 final editions and assembling them together with saddle stitches, dicuts, and a sleeve I have made to enclose the zine. I realized the cover was not striking enough so developed a new cover by cutting out pieces of cardstock paper and gluing them vertically to create a texture. I then shined a light through the channels to make the texture fuller with strong shadows. Through this whole process, I realized how easy it is to make a zine. Catch me making zines for fun now!
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Final Zine
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typographic guilt zine
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typographic guilt zine
above Personified image of the typeface included with the design
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typographic guilt zine
above The research of the typeface and the explanation of the inspiration for the style of the zine.
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typographic guilt zine
above A metaphorical image relating a jellyfish to the fluid and goopy motion of Flubber
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typographic guilt zine
above Type specimens
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typographic guilt zine
above Poem inspired by Flubber
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typographic guilt zine
above Experimental typography using Flubber
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5 / Graphic Design I Scooby Doo Anniversary Stamp This stamp was created to celebrate Scooby Doo’s 50th anniversary. The stamp was created following official guidelines. I wanted to show the most recognizable aspects of Scooby Doo: the van, Scooby Doo, and the gang.
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graphic design I
above process images of Scooby Doo Stamp 51
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graphic design I
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Personified Flat Pack I designed this flatpack as a personified image of myself. I love broccoli and veggies, as I was nicknamed “rabbit� in highschool. I also put bright red nike sneakers on my flatpack to reflect my love of funky sneakers. I combined two separate flatpack templates together to create this personalized broccoli man. I remember taking the photo of my flatpack inside my fridge late at night and my roommate waking up the next morning to see this post on my instagram very confused.
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graphic design I
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graphic design I
above Final flatpack template 57
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right development of grids for process book
6 / Process Book 3/27/20 So a large update from my last post, happy Quarantine Times! This has been the first week of fully online classes. To be honest, it does not feel much different than usual, spending most of the day online working on homework, but now I have the time for an occasional walk outside or facetime with a friend. I do have more time to properly cook for myself and get adequate sleep. I am taking in the positives, no matter how small! Along with the many books I am designing at the moment, the G&B summer issue and my Portfolio book included, we are starting the front load of developing our process books. I am quickly discovering that I do enjoy publication design more than I thought.
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right beginning development of front matter of process book; screenshot from our first group zoom meeting
It sometimes takes just as long if not more so than an illustration heavy piece because everything has to align perfectly! It’s frustrating when the amount of time put in doesn’t visually reflect it when all you’ve done is put a couple of squares on the page. I guess it is the ease you feel as a viewer and reader that makes it worthwhile in the end. The picture above is my text and image spread with my grids, after I had to remake it because somehow my InDesign file disappeared. Thankful that I saved a PDF, so life was made much easier. All in a day’s work.
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4/3/20 As we continue working on process books I have been developing my organizational system through the use of font families, colors, and placement to create a hierarchy and organizational structure. This photo shows my title page and contents of what you will find in this process book. The 3 dots that fill in the “O”s of the title resemble loading dots or an ellipses, referring to the loading of what is to come inside, like an app loading at its launch to soon reveal the game inside. It has been a difficult time, these past few days, when there’s almost no breaks between work, like I’m usually used to. I am all for working alone time, something I usually enjoy with the commotion of everyday life, but when it’s all the time it’s definitely a change. With more and more events being canceled, my internship at the Jacob’s Pillow Dance festival among them, and this isolation being consistency extended, it’s hard to remain focused. My hope is that while I may not have a structure in my life right now, I can make a structure through this process book. While this post is a little bloggy, I think it is important to address the process whether or not it happens on the page or out in our environment.
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4/10/20
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This week, as I am working on my process book, I also read the chapter on the typographic design process in the book, as well as listened to various designers on webinars and podcasts about their personal design processes. For me personally,
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isolating myself from distractions and taking myself to my sketchbook is important before I make my way into a digital platform. This goes for many things like illustrations, logo designs, and more. Sometimes it means fully fleshing out my
ideas on paper and sometimes it means just quick sketches to get it out of my head before I forget. Sometimes I problem solve and on paper because it is a faster and less committed process than designs on the screen. I am interested to see how this process will change as I broaden my area of work or shifting in nature of my projects.
left & right images from my sketchbook and thought processes
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y r r o S
WE’RE CANCELED
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CanceledCon.com CanceledCon.com CanceledCon.com
#CanceledCon This weekend I tuned into Canceled Con. This virtual event was created as a platform to share ideas, thoughts, experiences, creativity, and positivity in a world that many things are being canceled. I had the opportunity to listen to some of the most awesome creatives like Andy J. Pizza, Chris Do, Lauren Hom, Danielle Evans, and Noah Camp. One of the coolest things I learned was a ton of new features that Adobe has released with Paul Trani. His tutorials were full of mind-blowing features that Adobe offers. I had to remove myself from watching the stream and go outside because Canceled Con went on for 2 days of 12 hours. I will be going back as soon as I can to finish watching the pieces I missed. In addition to learning from these people’s work, I also had the opportunity to have my portfolio reviewed among 24 other students. This was a very helpful review because I often sit on my portfolio for hours
right Poster designed by Hoodzpah Design for Canceled Con 64
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“I don’t believe in guilty pleasures. If you like something... like it” Dave Grohl - James White Lecture
APRIL 4—5, 2020 STREAMING LIVE
PRESENTED BY:
PROUD SPONSORS:
PRESENTED BY:
PROUD SPONSORS:
RSVP AT CANCELEDCON.COM
APRIL 4—5, 2020
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Canceled con 2020
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top to bottom Chris Do, creator of Futur, and Andrew Hochradel; Canceled Con Logo; Lauren Hom, Lettering Artist
and can no longer attest to the quality and representation of it. It was enlightening to see other students and what kind of work they are doing too. I have been feeling a little down in the dumps recently, often feeling that ever pertinent “imposter syndrome” and this event truly helped to fuel the fire to create more and to bring my neurodiversity into my work (as Andy J. Pizza calls it). I enjoy hearing different people’s thoughts and how they often feel the same way I do. It’s this shared sense of struggle I can connect with and feel a community in. One of my favorite things that was said by was “Design needs to touch people in a variety of ways: on a global, community, and personal scale”. Danielle Evans said this and to me this is really important because design exists to communicate, make change, and spark a feeling in people. Without these factors, what’s the point? Never before have I felt so much a part of joy in the community of the design world and that’s why I thought this event was so cool. It was not about how much money you spent on a festival pass or how many people you knew to get in, it was about sharing ideas and community with everyone.
Student Portfolio Review work critiqued by Meena Khalili, Mitch Goldstein, Nick Longo, Victor Davila, and Diane Gibbs
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7 / Typographic Design : Form & Communication
Typography Design: Form & Communication
ch 1 / Evolution of Typography I think it is interesting how typography reflects the style and function of different art, political, and cultural movements throughout time. For example, when Bauhaus took hold in design, people were looking for simplicity and function, so typefaces were designed that way as well. With the typeface Futura was released in 1927 during the dada movement, post WW1, when
society was questioning everything. This typeface reflects that from its mix of classicism and modernity. Typography and styles have changed over time, but the general purpose has not. Typography has the ability to communicate something in so many ways, and each new typeface can help develop and enhance that meaning.
ch 2 / Anatomy of Typefaces After reading chapter 2 about the anatomy of typefaces, I find the nuances between different typefaces very interesting. I enjoyed the explanation of aspects of typefaces, like the different styles of serifs, or weights of the stroke that create thick and thin contrast, that help to identify a font from others. These aspects are important for narrowing down font choices stylistically. Kerning
and tracking of letters and the leading between lines is something that is so important that most viewers don’t even realize. It is one of those subconscious things that you know is uncomfortable to read, but you can’t quite place why. Paying attention to good kerning is definitely something I need to work on for headlines and large sizes of text. below image showing the anatomy of letterforms in ch 2 (Typographic Design Form and Communication, 6th Edition, 2015)
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ch 3 / Legibility A huge challenge of designers, especially in relation to elements like the typographic poster, is to present information and copy in an interesting way to grab attention, but to still maintain legibility within that. Chapter 3 of typographic design does a good job at showing examples of things not to do and explains what should be adjusted to improve legibility. It helps to have clear examples. The book suggest, “typographers and designers have a definite
below the comparison of legibility and recongizability of letters from the upper and lower half tof the letterforms (Typographic Design Form and Communication, 6th Edition, 2015)
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responsibility to their readers to communicate as clearly and appropriately as possible� (49). You can only design so far outside of the rules before something becomes illegible. Sometimes it is walking a fine line and sometimes it is a little more obscure. Nevertheless, it is important to approach elements with thoughtfulness and decisiveness on what is truly the meaning and importance of each of the elements.
Typography Design: Form & Communication
ch 4 / The Typographic Grid The use of the grid for layout is useful in creating a relationship between different elements on the page. The alignment of the different elements creates an invisible form in the positive or negative spaces. Multicolumn grids in particular are helpful because they allow flexibility and the ability to layer different elements. It is an interesting juxtaposition that the more
complex a grid is, the more flexibility the designer has. This is so because there are more organizational possibilities available to you. However, it is important to find the balance between variety of pages but unity among them. I personally enjoy the look of modular grids the structure it provides.
below examples of different varieties of grids discussed in ch 4 (Typographic Design Form and Communication, 6th Edition, 2015)
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ch 5 / Syntax and Communication
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This chapter talked about the placement of objects in space on a page and how they can show relationship between each other. The placement of design elements on a page creates visual hierarchy and different functions when they interact. The impact of visual hierarchy is so important to break up the space and define the most important parts. I found the ABA form most interesting because it’s a form
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many designers use, but viewer’s don’t know the name. They only subconsciously appreciate the pleasing structure (this was also me before reading this). The book compared this structure to music’s structure and rhythm, and its ability for variation within it. This structure creates interesting dynamics on a page.
ch 6 / The Typographic Message & ch 7 / Evolution of Typographic Technology My favorite thing is when designers use typography so creatively and thoughtfully that the design creates an experience, like the families (figure 6-15) and the unity piece (6-24). The placement, sizing, and proximity of letters to other create a visual representation of the idea represented. The ping pong poem (61) creates a visceral experience, just by the placement of the type.
Typography Design: Form & Communication
Technology drastically affects design as the book lays out the progression from letterpresses to digital font files to web and app design. Responsive design is a very important aspect for the future of design and today because design needs to be versatile, as technology changes and grows. Designs need to be applicable to a variety of platforms.
above this poster demonstrates the ABA structure discussed in ch 5 (designer David Colley, Typographic Design Form and Communication, 6th Edition, 2015) 73
ch 8 / Typography on Screen Defining typography for a screen is such a huge portion for graphic design these days as many things are becoming digital and users find information online. I find it interesting that some fonts, or pixel fonts, are designed for best practices on the screen and that the nuances of certain fonts cannot be seen well enough on a screen. These fonts are designed to the pixel, measuring the perfect height and resolution for a screen. Now that most fonts are available for web use (despite whether or not
below Case study of website of Museum of Design in Zurich
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they should be) it is hard to imagine being limited to just a handful of default fonts before the @font-face feature. Viewers read and interact with the web and screen very different than they would with a printed book, so typography, readability, and legibility, must be adjusted to support that. Web pages must have things like visual breaks, simplicity, and contrast in typographic elements, while all maintaining to some sort of grid, whether it be adaptable or fixed.
Typography Design: Form & Communication
ch 9 / Typography in Time and Motion Dynamic typography is very important when type comes into play on screen for motion design, film, and tv. Type has so much potential because there is a plethora of new potential it can have in time and sequence. Spatial placement of text and timing of movement within space influences the hierarchy of content. Factors like rhythm, pace, transitions, speed,
and duration come into play. Lastly, type in motion has the ability to create new forms of expression and interactivity with users. I think the technology we have to use typography as an interactive element creates a new level of immersion especially in art exhibits, shows, and events. This activity brings a new meaning to type and has the ability engage all ages of users.
right image showing a title sequence incorporating typography and graphics on screen ch 9 (Designer Saul Bass, Typographic Design Form and Communication, 6th Edition, 2015)
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ch 10 / Case Studies in Typographic Motion
process book
I enjoyed this chapter because it went into detail about different works that employed typographic design elements. I particularly liked the case study on Buenos Aires Underground (Subte) system. Maps, especially subway maps, can become confusing very fast because when you are underground, you cannot put yourself in relation to different landmarks or parks that you may see above ground. Instead, you have to rely on the simplicity of a subway map to trust that it will lead you in the right direction and get you to where you want to go. Subway maps have to find the balance between
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accurate placements of different stops with the clarity of the information. For example, this Subte system map uses only horizontal, vertical, and 45 degree angled lines to show the route of the train. While the actual pathway of the subway is most likely not a straight shot, representing it that way allows for an easier digestion of the information presented. Many other cities do not have a clear presentation of their public transportation, and I will use that as my excuse as to why I get lost on public transit easily.
below map of Subte, Buenos Aires
Typography Design: Form & Communication
ch 12 / Typographic Design Process This chapter was interesting because it had case studies of different designers’ processes and how they reached their solutions. The book says that “the creative process is a struggle with the unknown” and can have millions of different methods to reach the final destination. The “problem-solving process is a journey that requires courage, patience, and confidence in finding one’s way through uncertain terrain”. I think this idea is very important because as I have developed my skills in design over time, my process to the final destination has gotten slower, but has also gotten stronger. By taking the time to define, gather, ideate, and realize through sketchbooks, process books, and client feedback, design work becomes more original, effective, and pertinent to the problem. One must constantly go back to the defining characteristics of the problem to check to make sure that the design meets those check marks.
left digital process images for a logo design ch 12 (Designer: Guilherme Villar); The typeface Ludd defined on a grid (Typographic Design Form and Communication, 6th Edition, 2015)
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8 / Reflection. Halfway through the semester, right after midterms and during Spring Break, we received news that we would not be returning to school for the rest of the semester. This was of course due to the COVID-19 pandemic. Ever since that moment, it’s been a constant navigation and influx of cancellations for things that I have been preparing weeks, months, and years for. While this is not how I would have liked my final moments at the process book
University of South Carolina to go, it has given me time to reflect and show how much the communities I am a part of mean to me. I would like to thank COVID-19 for allowing me to reflect, notice, and giving me the time to grieve over the loss of my life for the past 5 years. I’ve learned a lot this semester about the designer I am turning into. I am glad I took this as a senior because I have become much more comfortable in taking risks and just going for it and committing to an idea than where I was at 2 years ago. I remember spending days hunched over stressed about coming up with the next big idea and never fully allowing myself to open up and just try something. Now, I often plan better but just take an idea and go for it. I am much happier with my results now. In addition, this course has taught me that my analytical brain loves the precise measurements and specifications that graphic designers must attend to. You can break the rules, but only after you know the rules front and back.
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final reflection
My mom always used to say, “We’re left handed so we’re more creative. You’re right handed so that means you’re more analytical”. While I know she didn’t mean this in a derogative way, it always stuck with me. As an artist I never could seem to be free. I have never thought of myself as a creative person. The thought of creating some sort of massive exhibit on an abstract concept scares the heck out of me. However, I have realized now that graphic design is a passion for me and it allows me to have creativity sometimes, but sometimes it can be so specific and plain and I also thoroughly enjoy that. My analytical brain is happy. This course has taught me that. I was exposed to so many new things that I wish I had more time at USC to learn more. This process book has allowed me to reflect on the work I have made within a 2 year span and it’s exciting to see how much I have changed and grown. I am so thankful for the opportunities this school has given me. Thank you UofSC for being my home and helping me to develop the community that I’ve been searching for.
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process book
Grids Used
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Publication Design Meredith Price Spring 2020 University of South Carolina
Professors Meena Khalili - Typographic Design Stephanie Nace - Graphic Design I
Typography Headers & Art Univers 65 Bold Font Size: 35 pt SubHeaders Univers 65 Bold Font Size: 11pt Body Copy Univers 55 Roman Font Size: 10pt
Research & Images Typographic Design Form and Communication, 6th Edition, 2015.
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