Typography Visual Journal by Ornella

JOURNAL

VISUAL VISUAL VISUAL

ORNELLA ARRANDALE

Learning Activities Module: 01 Exercise 1:1

Typography Visual Journal

Learning Activities Module: 01 Exercise 1:2

Ornella Arrandale Module: 01 Exercise 1:2

W w Space/IlluStrator RATIONALE:

For space exercise, I placed the letters opposite corners of the background between the 2 letters there is large gap of negative space, however the size and proportion of this composition you still have the sense of balance within the area.

W Form/IndeSIgn

unIty/photoShop

RATIONALE:

Changing the placement of the letter within the composition still enables the reader the ablity to conceive what that letter is just by the structure and form of the letter.

By placing the letters equally vertically and horizontally,creates a well balanced composition. Each element within that space has its own value, however together it creates a medolic composition.

Typography Visual Journal

Learning Activities Module: 02 Exercise 2:1

Ornella Arrandale Module: 02 Exercise 2:1

s sss sss s

Balance/indesign RATIONALE:

I wanted to create a composition using balance through Asymmetry. Creating several smaller letter to balance out the large letter, this however gives the composition a sense of balance, while creating visual interest.

S s

scale/illustrator

HierarcHy/PHotosHoP

RATIONALE:

I wanted to create a visual difference when creating the scale composition, enlarging one element and placing it towards the edge of the space, the proportion against the background equally balanced, placing a smaller version of the letter within the compositon.

For this composition I wanted to portray the relationship between the large and small fonts, emphasising the continuity of the letters from the most prominent to the least.

Typography Visual Journal

Learning Activities Module: 02 Exercise 2:2

Ornella Arrandale

E E E E

E E

E E E E E E

E E E E

E E E E E E E E

E E E E E

E E E

Module: 02 Exercise 2:2

EEEEEEEE EEEEEEEE EEEEEEEE EEEEEEEE EEEEEEEE

Rhythm/indesign

dominance/illustRatoR

contRast/PhotoshoP

RATIONALE:

To create this composition I created a controlled flow of movement and direction the characters, leading the eye from one part of the composition to the other.

To achieve dominance within this composition, I randomly changed the weight and the color of the letter, although there is a plethora of white characters within this composition, your eye is automatically drawn to the black character.

For this composition I wanted to portray the relationship between the large and small fonts, emphasising the continuity of the letters from the most prominent to the least.

Typography Visual Journal

Wolfgang Weingart 1970

â&#x20AC;&#x153;

Whats the use of being legible, when nothing inspires you to take notice of it.

Typography Visual Journal

â&#x20AC;&#x153;

Created this composition with using letterforms that sections had been subtracted from the letter and positioning the two characters asymmetrically.

Wolfgang Weingart 1970

Typography Visual Journal

Wolfgang Weingart 1970 EXPERIMENTATION

Through my research and experimentation, I was inspired by composition piece â&#x20AC;&#x153;The letter Mâ&#x20AC;?, 1965 that Wolfgang created. Through this process I cut out pieces of the letter to create a unique letterform but still keeping in mind that the individual letter is legible to the individual.

With this in mind, I will experiment further by adding the subtracted forms of the letters randomly within my publication creating a visually appealing composition.

Typography Visual Journal

Wolfgang Weingart 1970

EXPERIMENTATION

Hand drawn conceptual sketch based on inspiration piece “The letter M” 1965

Typography Visual Journal

Wolfgang Weingart 1970 EXPERIMENTATION

Hand drawn conceptual sketch based on inspiration piece “The letter M” 1965, below is how I dissected the letterforms to create this drawing.

Typography Visual Journal

Wolfgang Weingart

1970 EXPERIMENTATION

JOURNAL

VISUAL VISUAL VISUAL

This is a artwork I created for the front cover of the visual journal, I was inspired by Wolfgang work, I wanted to create a visually interesting composition the lines where inspired by his typographical experimentation of using lines overriding text, pushing the boundaries to see how far I could go to the other extreme.

ORNELLA ARRANDALE

Typography Visual Journal

Wolfgang Weingart 1970

Wolfgang cleverly used parts of letters, combining them into an intricate composition. Wolfgang experimental methods are astonishing. Its like a different language he is speaking, mismatched, conjoining vertically and horizontally creating a masterpiece using letterforms, each and every character is in harmony to each other

Typography Visual Journal

Wolfgang Weingart 1970

First thoughts that comes to my mind is explosion, the composition is dynamic. It seems though his work his favorite character is the M interesting, so the has different sizes, different thicknesses of the letter, enormous and small letter forms, overlapping, vertical, horizontal, 45 degree angle, these letters are placed everywhere, to create this magnificant explosive composition

Typography Visual Journal

Wolfgang Weingart 1970

â&#x20AC;&#x153;The letter

Mâ&#x20AC;? 1965,

experimentation

I just love the way Wolfgang used different versions of the letter M to create other forms of letters. The unique letter form looks like a created U form, bolder and more prounced,

Typography Visual Journal

drawing your eye instantly, however does not take away from the rest of the elements in the composition.

Wolfgang Weingart 1970

This composition has enormous hierarchy, then Wolfgang went a step further by adding other elements vertical and horizontal lines to the thickness of the each letter, it gives the letters a different dimension, each element is symmetrically balanced.

Typography Visual Journal

1950

â&#x20AC;&#x153;

Emil Ruder

A printed work which cannot be read, becomes a product without a purpose

Emil Ruder published this book, Typographie A Manual for Design, capturing his ideas methods and approach.

Typography Visual Journal

The front cover gives you an indication of his works and principles and practices. Known for his use of grid system in Swiss Style design.

Emil Ruder 1950

EXPERIMENTATION

This experimentation was inspired by the front cover of Emil Ruder book Typographie. I tried to create an asymmetrical balance within the composition, the way I did this is by distributing the unequal visual weight on

Typography Visual Journal

each side of the composition. One side of the composition has a dominant letter, which is balanced by less focal elements.

Emil Ruder 1950

I picked these piece from Emil Ruder as they are inspirational pieces. The first one where he has the artwork that takes up the majority of the area, then he cleverly balance the composition with different weights

and size of copy. The second poster is beautifully composed very minimalistic, not much text, however fabulously balanced. The scale of the objects do not override the content, initially your eye is

Typography Visual Journal

drawn to the smaller black circle, then it moves to the left to read the content, then proceeding to the larger circle then back to the content on the right, its a very well executed piece of design by Emil Ruder.

Emil Ruder 1950

Typography Visual Journal

Emil Ruder 1950

Two posters of Emil Ruder, his hierarchy and grid it to perfection, each and every work he does, the asymetrical balance is to precision.

Typography Visual Journal

Emil Ruder 1950

Grid system Emil Ruder used to format his layout in his book Typographie, its interesting seeing how he layout out his heading and body copy.

Typography Visual Journal

Emil Ruder 1950

EXPERIMENTATION Exhibition: Victorian Art Centre, Melbourne.

Circles AT THE EXHIBITION CENTRE.

Circles that have turned into irregular shapes. This show is an unbelievable exhibition, showcasing designers from all over the world.

Date: 10.07.17 Time: 9am-6.30pm

red square Story of the Red and White square illustration,

The story of the red and white square illustration bought to you by the Victorian Art Centre, 100 St Kilda Road Melbourne.

These 2 posters that I created, I used a grid to layout the content in asymmetrical manner, all the elements are constructed with the principles of design in mind, so the visual and text is clear to the reader.

Typography Visual Journal

Date: 5th May 2017 Time: 10am - 5pm

Emil Ruder 1950

EXPERIMENTATION

EMIL ruder

For this experiemention I was playing around with Emil Ruder name, maybe to use for the front cover or within the spread. I tried to create an asymmetrical

Typography Visual Journal

balance within the composition, the way I did this is by distributing the unequal visual weight on each side of the composition.

Emil Ruder 1950

EXPERIMENTATION

MIL

RUDER

MIL

RUDER These experimentations were to see how far I could push the boundaries even though both concepts are identical in the sense of design, one composition is more dominent than the other. By changing the size of the the first concept and

Typography Visual Journal

increasing the background has created a different composition, aesthetically the first concept is visually appealing compared to the second one. The second one is just to much to comprehend and visually its harder on the eye.

Emil Ruder 1950

EXPERIMENTATION

MIL

MI L

RUDER RUDER Typography Visual Journal

Emil Ruder 1950

EXPERIMENTATION

1961 Issue 5 Cover Design

1961 Issue 2 Cover Design

Emil Ruder, designed a plethora of these periodical publications in 1961 for publishing company Zollikofer & Co. AG, Switzerland. There is a series of 10 publications, each cover have a different typographic variations with different themes, however using the typeface Univers.

Typography Visual Journal

Emil Ruder 1950

EXPERIMENTATION

These experimentation was inspired by the publications the Emil Ruder designed for Zollikofer & Co. AG, Switzerland. His intermittent design used different type size and weight to continue his rhythmic theme, in my experimentation I used same type size and weight, however when I go into vectorizing these concepts I may change that. I also used his rhythmic technique but rather going from large to small characters, in the grid for every change of line I missed a cell, this would allow

Typography Visual Journal

my experiment to have movement going forward, then when I came to a point I would go backwards. The end result without having no expectations of my outcome I had created what represents as the letter R. For one experiment I used the word â&#x20AC;&#x153;Typographieâ&#x20AC;? which is from name of his published book, the other his last name. Working on these concepts further I believe they would be a fantastic piece for the front cover of the publication

References

http://www.typetoken.net/publication/wolfgang-weingart-weingart-typography-museum-of-design-zurich-%E2%80%94-my-way-to-typography-lars-muller-publishers/ http://eyeondesign.aiga.org/museum-of-design-zurich-unveils-the-weingart-archive/

http://thinkingform.com/2014/03/20/typographie-by-emil-ruder/

http://www.designers-books.com/typography-emil-ruder-1967/

http://guity-novin.blogspot.com.au/2011/07/chapter-42-swiss-grade-style-and-dutch. html#Five2 http://www.designer-daily.com/book-review-typography-by-emil-ruder-1037

http://www.historygraphicdesign.com/the-age-of-information/the-international-typographic-style/255-emil-ruder http://www.tm-research-archive.ch/issue/1961-2/

Typography Visual Journal