NA
NA 2016
For All We Know
BAD BLOOD
I NT R The following album covers were inspired by the singer-songwriter, Nao, for her song Bad Blood from her debut album For All We Know. Each set of five is designed around a specific group of limitations detailed at the beginning of each chapter. Thus, this book is a progression in typography. Nao boasts a contradictory pair of qualities throughout her music. Her highpitched, melodious voice mixed with deep, alternative R&B-style beats create a surprisingly harmonious match. These airy-heart felt ballads solidify Nao’s songs as “off-center pop-funk”. I attempted to keep these unlikely sound pairings in mind as I designed the proceeding album covers. Her sound has a remarkable distinction to it. It somehow bleeds into the background yet still echoes a presence. It’s not drowned out. It’s loud and quiet at the same time. I’ll put on Nao’s album while friends are over to hang out in the apartment or chilling at the beach. They’ll comment “Oh, wow who is this?”. She has that unpretentious confidence that everyone adores. But perhaps what I love
CHA P T E R
1
1.0 Composition + Space Design five different single covers with the following parameters: - The Regular or Roman of the typeface choice - 12 point size only - type in black on white Things to play with are: composition/leading/letter spacing/upper or lower case/etc.
C NC E P T 1.1 Composition + Space Creation of borders with the repetition of the artist’s name followed by the carving out of negative space.
nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n a dnao nao nao nao nao n 20 16 nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao Bnao B l o o dnao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao naoFnao O nao R Anao L Lnao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao W E K N O Wnao nao nao nao nao n NAO nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao nao n
C NC E P T
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BAD BLOOD 2016
1.2 Composition + Space Simplicity at its best. The name of the artist takes center stage at the bottom of the “canvas�. Only the most important information is shown.
N
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1.3 Composition + Space Repetition of the words “bad” and “blood” (song’s title) in grid form to create a dynamic intersection.
b bl lood bl ood bl b oo b oo bl lood d bl lood d b b oo b oo b loo bl lood d bl lood d b loo d b b oo b oo b loo d b loo bl lood d bl lood d b loo d b loo d b b oo b oo b loo d b loo d b lo bl lood d bl lood d b loo d b loo d b loo od b bl ood bl ood b loo d b loo d b loo d b loo bl ood bl ood b loo d b loo d b loo d b loo d b oo b oo lo d l d l d d lo d blo od blo ood blo ood bl lood d bl loo bl od bl od b o b o b oo b oo d b oo b oo lo d l d l d d lo d blo od blo ood blo ood bl lood d bl loo bl od bl od b o b o b oo b oo d b oo b oo lo d l d l d d lo d blo od blo ood blo ood bl lood d bl loo bl od bl od b o b o b oo b oo d b oo b oo lo d l d l d N d lo d blo od blo ood blo ood bl lood d bl loo bl od bl od b o b o b oo b oo d b oo b oo lo d l d l d d lo d blo od blo ood blo ood bl lood d bl loo bl od bl od b o b o b oo b oo d b oo b oo lo d l d l d d lo d blo od blo ood blo ood bl lood d bl loo A bl od bl od b o b o b oo b oo d oo b oo lo d l d l d d lo d blo od blo ood blo ood bl lood d bl od bl od b o b o b oo oo b oo lo d l d l d d lo d blo od blo ood blo ood bl od bl od b o b o O oo b oo lo d l d d lo d blo od blo ood bl od bl od b o oo b oo lo d d lo d blo od bl od bl od oo b oo d lo d bl od B oo A Fo D d r B A LO 20 ll 16 W OD e K no w
C NC E P T
b d a d ba d ba d b d b ba ad b bad ba ad b bad ba ad b bad ba d b bad ba d b bad ba d b d d d d d a a a a a b b d a d ad d ba d ba d b d b ba ad b bad ba ad b bad ba ad b bad ba d b bad ba d b bad ba d b bad ba ba d b ad ba d b ad ba d b ad ba d b ad ba d b ad ba d b ad ba d b d ad ba d ad ba d ad ba d ad ba d ad ba d b ad ba d b ad ba b d ba b d ba b d ba b d ba b d a b d a b d ad ba d ad ba d ad ba d ad ba d ad ba d b ad ba d b ad ba b d ba b d ba b d ba b d ba b d a b d a b d ad ba d ad ba d ad ba d ad ba d ad ba d b ad ba d b ad ba b d ba b d ba b d ba b d ba b d a b d a b d ad ba d ad ba d ad ba d ad ba d ad ba d b ad ba d b ad ba b d ba b d ba b d ba b d ba b d a b d a b d ad ba d ad ba d ad ba d ad ba d ad ba d b ad ba d b ad ba b d ba b d ba b d ba b d ba b d a b d a b d ad ba d ad ba d ad ba d ad ba d ad ba d b ad ba d b ad ba b d ba b d ba b d ba b d ba b d a b d a b d ad ba d ad ba d ad ba d ad ba d ad ba d b ad ba d b ad ba b d ba b d ba b d ba b d ba b d a b d a b d ad ba d ad ba d ad ba d ad ba d ad ba d b ad ba d b ad ba b d ba b d ba b d ba b d ba b d a b d a b d ad ba d ad ba d ad ba d ad ba d ad ba d b ad ba d b ad ba b d ba b d ba b d ba b d ba b d a b d a d ad ba d ad ba d ad ba d ad ba d ad ba d b ad ba d ba b d ba b d ba b d ba b d ba b d a b d d ad ba d ad ba d ad ba d ad ba d ad ba d b ad ba b d ba b d ba b d ba b d ba b d a d ad ba d ad ba d ad ba d ad ba d ad ba d ba b d ba b d ba b d ba b d ba b d d ad ba d ad ba d ad ba d ad ba d ad ba b d ba b d ba b d ba b d ba d ad ba d ad ba d ad ba d ad ba d ba b d ba b d ba b d ba b d d ad ba d ad ba d ad ba d ad ba b d ba b d ba b d ba d ad ba d ad ba d ad ba d ba b d ba b d ba b d d ad ba d ad ba d ad ba b d ba b d ba d ad ba d ad ba d ba b d ba b d d ad ba d ad ba b d ba d ad ba d ba b d d ad ba d
C NC E P T
2 016
1.4 Composition + Space Inspired by the design of cross word puzzles--to the simplest degree. Matched up the O’s in artist’s name and song title.
B A D B L
A
O
O
N
O D for all we know
C NC E P T 1.5 Composition + Space Another simple design based on the continuous repetition and spacing of the singer’s name across the entirety of the album cover.
N
A
O
BAD BLOOD
N
A
2016
O
N
For All We Know
A
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CHA P T E R
2
2.0 Composition + Space + Letter Sizes Design five different single covers with the following parameters: - The Regular or Roman of the typeface choice - any single point size per design f.e. one desing - type in black on white Things to play with are composition/leading/letter spacing/upper or lower case/etc. You will need to explore the total space of your single cover. How large can you go and still make “legible type�?
2.1 Composition + Space + Letter Size Attempted to produce a more “crowded” frame whilst still keeping a clear hierarchy.
2016
BAD BLOOD for all we know BAD
NAO
C NC E P T
f
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Design introduces typing along a non-rectangular path. Like clockwork.
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BadBlood
w
2.2 Composition + Space +Letter Sizes
w
C NC E P T
2016
Attempted fitting all necessary information onto the canvas while using the largest font size possible. Overlapping and connecting type characters quickly became a motif of this design as a result.
oWe Know b a d blood
NAO
2.3 Composition +Space +Letter Sizes
F rAll
C NC E P T
2016
know
we
all
for
Blood
The design draws inspiration from the melodic flow at the beginning of the song in combination with the image of piano keys.
Bad
2.4 Composition + Space +Letter Sizes
NAO
C NC E P T
C NC E P T
for
2.5 Composition + Space +Letter Sizes
all we
Using the smallest font size from this grouping of works, the design attempts to maintain interest and hierarchy despite the size of the type.
2016
kn o w
B A D
Nao
B L O O D
CHA P T E R
3
3.0 Differences in Light + Bold Type Design five different single covers with the following parameters: - The Regular/Roman/Book of the typeface by choice in combination with “bold” and if available “light” - any single point size per design f.e. one design - type in black on white Things to play with are composition/leading/letter spacing/upper or lower case/etc.
C NC E P T
NAO
3.1 Differences in Light + Bold Type
BADBLOOD
The decorative element in the center of the cover draws upon earlier designs with the overlapping motif but, instead, renders it with a light type face and a large kearning.
b k
bl
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oa eo
rl w w
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For All We Know
2016
C NC E P T 3.2 Differences in Light + Bold Type Elongation of lines by connecting specifc type characters together.
Bad
20 1 6 for nao allwe know Blood
C NC E P T
2 0 1 6
3.3 Differences in Light + Bold Type Simplicity with hierarchy.
B
B
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NAO
for all we know
D
for nao
all bad
A reading of the text is lead by an invisible rectangle. The hierarchy of the design is thus determined by the “ring� of the rectangle.
know 2016
3.4 Differences in Light + Bold Type
we blood
C NC E P T
C NC E P T 3.5 Differences in Light + Bold Type Mirror, mirror.
2016 for all we know Bad Blood
A AN O
O
Bad Blood for all we know 2016
CHA P T E R
4
4.0 Regular, Bold + Italics Design five different single covers with the following parameters: - The Regular/Roman/Book of the typeface by choice in combination with “bold” and if available “light” - any single point size per design f.e. one design- type in black on white Things to play with are composition/leading/letter spacing/upper or lower case/bold + light +italic type/etc.
C NC E P T 4.1 Regular, Bold + Italic
2016
BADBLOOD
Edges only.
for all we know
nao
for all we know
NAO
2016
Bad Blood
Design utilizes the edges to give the illusion that the text is wrapping around of the frame. This makes it so one side is more visible that the other.
for all we know
4.2 Regular, Bold + Italic
NAO Bad Blood
C NC E P T
C NC E P T
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4.3 Regular, Bold + Italic All of text has the same leading and kerning. The only thing that aids in hierarchy is the weight of the type itself.
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4.4 Regular, Bold + Italics Design focuses on the text in combination with the layering of circular paths.
For
A
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d o
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C NC E P T
4.5 Regular, Bold + Italics Album cover uses the thinnest type weight in an effort to simplify the design whilst still conveying that most important information.
bad blood
nao 2016
For All We Know
C NC E P T
CHA P T E R
5
5.0 Type Size Combinations Design five different single covers with the following parameters: - All possible versions of the font you are using regular/bold/light and italics by choice - any point size combination - type in black on white Things to play with are composition/leading/letter spacing/upper or lower case/bold + light +italic type/etc.
C NC E P T 5.1 Type Size Combinations Design plays with combination of various font sizes both on and “off” canvas.
NAO B A D
B L O O D
For All We Know 2016
5.2 Type Size Combinations The album’s title is squished into an invisble box frame into the top half of the frame. The rest of album information attempts to balance out the composition.
Bad
w e
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C NC E P T
nao
Blood
5.3 Type Size Combinations
N A O
Design utilizes the motif of overlapping “o� patterns and reversed type to create a unique composition.
l d ba
bood
C NC E P T
B A D
f o r a l l w e
bad dloob B L O O D
K n o w
2 016
Design emphasizes the release year of the album cover to highlight the modern R&B/hip-hop genre of Nao’s music.
2016 NAO bad b lood
5.4 Type Size Combinations
Fo rA lll W eK no w
C NC E P T
Nao
C NC E P T 5.5 Type Size Combinations Design focuses around the title of the album. All other aesthetic descisions were based off the initial composition of album cover title.
A
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2016
CHA P T E R
6
6.0 Rules + Blocks Design five different single covers with the following parameters: - All possible versions of the font you are using regular/bold/light and italics by choice - any point size combination - type in black on white - introduce the following elements: rules and solids blocks of black * 2 designs with rules only * 2 designs with blocks of black and reversed type * 1 design with both rules and blocks Look at the earlier exercises done in earlier assignmetns and play with rules and blocks and reversed type.
C NC E P T 6.1 Rules + Blocks Inspired by the beats of the song and the intonation of the artist’s name when said alound.
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For All We Know 2016 BAD BLOOD
DOOLB DAB 6102 wonK eW llA roF
C NC E P T 6.2 Rules + Blocks
NAO
610 2
Fo r A l l We K n o w
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Blocked off.
C NC E P T 6.3 Rules + Blocks Inspired by pantone color samples. “Colored” with black and white rules.
For All We Know BAD BLOOD 2016
N AO
C NC E P T
2016
6.4 Rules + Blocks Attempted a tad more chaotic design. Barcode meets music static aesthetic.
nao
bad blood For All We Know
C NC E P T 6.5 Rules + Blocks Rules only.
ow
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CHA P T E R
7
7.0 Using 2 Spot Colors in PMS + Punctuation for Music Patterns Design five different patterns/sound notations with the following parameters: - All possible versions of the font you are using regular/bold/light and italics by choice - any point size combination - replace black by two colors that you can mix, look at the color palette and the “multiply” option in “effects” These sound notations with use of periods, dahses, commas, slashes, etc. are based on repeating melodies, or rhytms, base-lines, and or drum sequences and your task is to visualize parts of the music score. Optional: add song lyrics as captions
C NC E P T 7.1 Spot Colors in PMS + Punctuation for Music Patterns Opening lyrics.
\\\\\\ [[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[
\\\\\\ \\\\\\ \\\\\\ \\\\\\ \\\\\\
[[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[ }}}}}}}} }}}}}}}} [[[[[[[[[[[[[[[ [[[[[[[[[[[[[[[ \\\\\\ [[[[[[[[[[[[[[[ }}}}}}}} }}}}}}}}
\\\\\\ \\\\\\\\\\\\ \\\\\\
:
0:09
you
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holiday
C NC E P T 7.2 Spot Colors in PMS + Punctuation for Music Patterns Nao’s lowest pitch, offset with soothing synchronizers.j
______ ________ ________ __________________ bitter
from
my
lemonade
0:33
C NC E P T 7.3 Spot Colors in PMS + Punctuation for Music Patterns “At the song’s dizzy peak, she wails “Don’t tell me I’m cool/ Cooku-ku-ku-OOOO!” breaking free from literal meaning and almost departing from the track’s framework entirely. It’s a puzzle and a come-on, an invitation that you have to understand to accept.”
!!!!!!!!!!!!!!! ! !!!!!! !!!!!!!!! !!!!!!!!!!!!!!!!!!!!! !!!!!!! !!!!!! !
! !!!!!!!!!!!!!!!!! ! ! ! ! ! !!!!!!!! !!!!!!!!!!!!! !! ! !!!!!!!!!!!!!! ! ! ! ! !! !! !
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ! ! ! ! ! !!! !!!!!!! ! ! !! ! !!!!!!!
- Pitchfork Review
!! ! !!!!!!!!!!! ! ! ! !!!!! !!!!!!!!!!!!!!!!!!! !!!!!!!!!!! !!! !! ! ! ! ! !! ! ! !!!!!!!!!!!!!!
Coo-coo-coo-coo-coo-coo-ooh-ooh
C NC E P T 7.4 Spot Colors in PMS + Punctuation for Music Patterns Vocals and beats in harmony.
^ ^^
^ ^^
^ ^^
^ ^^
^
^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^ ^^ ^^ ^^ ^^ ^^
^^^^^^^^^^^^^^^^^^^^^^^ ^ ^ ^ ^
^
^
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^
remember
^
to
^ ^
^ ^^
not
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choose
^
^
C NC E P T 7.5 Spot Colors in PMS + Punctuation for Music Patterns
]] {
Transition.
exposing the
{ ]] ]]
sun
]
!
on
you
CHA P T E R
8
8.0 Typography + Punctuation Patterns Design five different front covers for your single cover with the following parameters: - Combine your best typographic covers from assignment #6 with the patterns you created in assignment #7 or create new designs inspired by those exercises - any point size combination - design in CMYK [full color], you can use all values of colors and black Keep in mind these 5 covers should represent your song in all aspects, color, shape and form should be used in combination of typography to enhance all meaning. Aim to make these last five designs the best of the whole collection. Look at the exercises done in earlier assignments and play with all elements.
“Some of that waywardness is located in her voice: supple, evasive, and dipping into word sounds like fingers into a full paint can.” - Pitchfork Review
oWe Know b a d blood
NAO
8.1 Typography + Punctuation Patterns
F rAll
C NC E P T
C NC E P T
2016
8.2 Typgraphy + Punctuation Patterns A familiar design. Different color.
Bad Blood
______ ________ ________ __________________
For All We Know
NAO
C NC E P T
f
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8.3 Typography + Punctuation Patterns
a
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!!!!!!!!!!!!!!!!!!!!!!!!!!! ! ! ! ! ! !!!!!! !!!!!!!!! !!!!!!!!!!!!!! ! ! ! ! !! !! !
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1
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6
! !!!!!! !! !!!!!! !!!!!! ! !!!!!!!!!!!!!!!!!! !!!!!!! !!!!!!! !!!!
B
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!!!!!!!!!!!!!!!!!!!!!!!! !!!! !!!!!! ! ! ! ! ! ! !!! !!!!!!! !!! !!!!!!!!
A handful of warm textured sounds.
!!! !!!!!!!!!! ! ! ! !!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!! !!! !! ! ! ! ! !! ! ! !!!!!!!!!!!!!!
for all we know
NAO
{2016}
Bad Blood
An oldie but a goodie. Now colored.
NAO Bad Blood NAO
8.4 Typography + Punctuation Patterns
for all we know
C NC E P T
C NC E P T 8.5 Typography + Punctuation Patterns A colored favorite.
Bad
20 1 6 for nao allwe know Blood
C N C L U S I ON Okay. Typography is a lot harder than I thought it would be--as is anything that is worthwhile doing. That is not to say that this experience has convinced me to stop pursuing graphic design but, rather, quite the opposite. I came into this class voluntarily as a fine art student (a photographer, if you will). With everyone and their mother branding themeselves as bonefide photographers amongst the slew of double-taps, I can confidently say--albeit unfortunately--that it is not enough to just be a photographer in this day and age. Having this in mind, I decided to pursue my interests in typography and graphic design. Word and image often go hand-in-hand. Although there were many times throughout the process of designing the album covers and this-here book that I wanted to yell at my computer screen, in retrospect, I am deeply appreciative of the overall experience. Despite the many restrictions, the playful quality of typography is what I enjoyed the most. The patience required to perfect every aspect of the printed design is one I will forever grapple with yet simultaneoulsy attempt to imbue with every artistic endeavour from here on out. It’s this technical precision mixed with creative experimentation that aligns itself similarly to photography. Would I call myself a graphic designer? No. I am an artist. But I will never stop designing.
A progression in typography Risley Cline Summer 2017 DMA 25