Visual Journal by Taylor Gray

TYPOGRAPHY 2 | TAYLOR GRAY 00183897T

LEARNING ACTIVITIES - MODULE 1.1

COLOUR [ILLUSTRATOR]

SHAPE [PHOTOSHOP]

For this first experiment, I chose to work with COLOUR in a couple of different ways. First by using a gradient effect as opposed to a flat colour and then adding a drop shadow effect.

Iâ&#x20AC;&#x2122;ve always felt that the letter A is quite strong in its silouhette. So playing off each element of its shape, I created small geometric pieces that came together in a tipi-like shape.

The gradient from blue to green places emphasis on the structure of the letter, as well as its height. The drop shadow similarly highlights structure while adding depth to the letterform.

Using the pen tool and the letter itself as a guide, I drew shapes over the letterform. By adding different shades of purple, I was able to introduce dimension to the SHAPE that challenges the viewerâ&#x20AC;&#x2122;s perception when they focus on a different panel.

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TEXTURe [PHOTOSHOP] For this experiment I wanted the TEXTURE to be dense enough so that it would fill the letter A without any outlining. I chose a flecked, dirt-like texture in black and white and created a Layer Mask in Photoshop. One layer of the texture was not enough to make the letter stand out, so I used 5 layers of the same textured pattern to add some intensity and really bring out the letter A.

LEARNING ACTIVITIES - MODULE 1.2

FORM [INDESIGN]

I concluded from the module presentations and my own research that FORM should focus on the distinct characteristics of the letter W. With such clear, strong shape particularly in a sans serif font, I felt I would be able to crop some of the W yet still be able to clearly communicate what the letter was, whether it was in upper or lowercase. I chose to do this experiment in InDesign and utilise the Frame Tool for its efficiency and precision.

SPACE [ILLUSTRATOR]

For this exercise I interpreted SPACE as a means of framing the letter W. But in challenging the simplicty of this idea, I positioned the white, uppercase W right against the blue frame and created an interesting dynamic of positive and negative space. I chose to include a lowercase w in this experiment to use up more of the space and demonstrate the relationship of size and proportion to the uppercase W, within the frame.

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UNITY [ILLUSTRATOR] To me, UNITY means working together. So to create something that visually represented this I decided to use repitition of the lowercase w to form a large, uppercase W. Creating a path out of the letter W in Illustrator, I typed out the letter until the frame was full. I had to experiment with font size and weight until the the repition was cohesive enough, creating a clear enough shape.

LEARNING ACTIVITIES - MODULE 2.1

SSSSS

SSSS SSSSSS SSSSS

BALANCE Balance [ILLUSTRATOR] For this exercise I decided to create BALANCE through the use of colour and fluidity. I chose a soft shade of purple for the background and orange for the letter to communicate ideas of tranquility and harmony, emphasising the theme of balance.

HIERARCHy Hierarchy [INDESIGN]

SCALE-PROPORTION Scale/Proportion [PHOTOSHOP]

HIERARCHY immediately brought to mind layout, headings, subheadings, body copy etc, so it only felt right that I do this exercise in InDesign.

For this exercise I used a large, uppercase S and a small, lowercase s to communicate size and SCALE in PROPORTION to one another.

I used size and opacity of the letter S to emphasise the importance of each element and guide the viewer through the visual.

Positioning of the uppercase S right against / through the yellow frame was intentional so when a drop shadow was added, it would look as though the S is popping out of the frame. This was to again emphasise the scale of the letter in proportion to the frame and lowercase s.

Introducing a gradient effect softened the orange even more and emphasised the fluidity of the letterform, but created an imbalance between the top and bottom half of the letter. By adding another S and reversing the gradient effect I was able to achieve the desired outcome of balance.

I chose to do this in Photoshop simply to familiarise myself even more with itâ&#x20AC;&#x2122;s type features as opposed to always relying on Illustrator.

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LEARNING ACTIVITIES - MODULE 2.2

DOMINANCE/EMPHASIS DOMINANCE-EMPHASIs [ILLUSTRATOR] DOMINANCE/EMPHASIS

DOMINANCE/EMPHASIS Instead of experimenting with size as a metaphor for

DOMINANCE, I chose repitition of an uppercase E to create somehwat of a pattern. Then by restricting colour to only one letterform, EMPHASIS is placed on this one letter and draws all of the focus. Rather than position the red E at the top of the pattern to make an obvious statement of dominance, I intentionally positioned it nearer the bottom. I found it quite amusing that while it is the same size as the rest of the E pattern, something as simple as colour could still dominate the pattern as a whole.

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SIMILARITY/ CONTRAST SIMILARITY-CONTRAST [ILLUSTRATOR] SIMILARITY/ CONTRAST

SIMILARITY/ CONTRAST In conveying the idea of SIMILARITY through the letter

E, I chose two similar typefaces in different weights. By making these letters 3D, I felt there was a real sense of the geometric shape of the letter. While different weights, the end result is still a boxy, rectangular shape, and this is where they are similar. I took the CONTRAST aspect of this theme quite literally and chose contrasting colours to help communicate my ideas.

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RHYTHM RHYTHm

[PHOTOSHOP] RHYTHM

RHYTHM

While patterns and repitition can involve or result in RHYTHM, to me the first thing that comes to mind is fluidity and movement. I had initially thought of illustrating the eâ&#x20AC;&#x2122;s as though they were bouncing, hence my decision to group the e in three, and repeat them in a series of colours moving up the frame. But in avoiding the rigidity of a pattern, I kept the spacing inconsistent and off-centred. The rounded-edges of the letter e resulted in a wave-like movement which tied back in with my initial interpretation of the theme.

RESEARCH & IDEATION

I’ve always enjoyed collage and am excited to incorporate this expressive form of art into Part B of this assessment. What I’m also looking forward to is engaging in both digital and “analogue” methods of putting Part B together, i.e. using both the adobe suite and manually experimenting with collage and layering, to see what I can capture in the spirit of Weingart’s work.

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WOLFGANG

In completing the Learning Activities for Module 1.2 on Form and Space, I set the letters within a frame, and engaged with the frame to represent positive and negative space. I can see similarities to some of Weingart’s pieces and will definitely use this method in the execution of Part B.

WEINGART

Known for breaking Swisse traditions of typography, Wolfgang Weingart challenges the cleanliness and structure of classic typesetting through hands-on creativity, spontaneity and experimentation. What I’m really drawn to about Weingart, especially with regards to the pieces I’ve included in this journal, is the outrageous and intricate simplicty he maintains in his approach. To look at some pieces you initially see modernity and clutter amongst a monochrome palette. But when you pick apart the pieces, there is swisse influence in his alignment, and so many contrasting mediums like layering, repitition in texture, opacity and space, all the while manipulating type elements in a way that sets his style apart.

Here I experimented with weight using a fine point sharpie, gradually shifting my hold to increase the intensity of each stroke. While simple, weight is going to be an important element in developing hierarchy within the copy of my main spread in Part B’s magazine.

The far left example of Weingart’s work demonstrates the use of positive space with a mix of sans-serif font. While he’s repeated the same letters multiple times, it doesn’t feel ordinary or over-crowded. I quite liked this idea and decided to experiment with the notion for myself in illustrator, exploring size, weight and form.

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MORE FROM WEINGART

Careless versus grid-like alignment. Simple use of spacing and colour, yet Weingart still manages to challenge visual understanding in both pieces.

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Taking inspiration from Weingartâ&#x20AC;&#x2122;s M series, I decided to experiment further with the principle of Form. Using A4 print-outs of different letters, I started framing/ cropping and intersecting pieces of paper. I would focus at random on different elements to determine whether the leftover shapes were still a recognisable letter. I was able to develop an idea of what letters have strong structure and what letters rely on certain traits to be easily identified, like the tail on the Q.

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RESEARCH & IDEATION Igarashi challenged the conventional idea of dimension and explores depth with architectural elements. His designs are intricate with detail and structured with dots and lines so finitely to a grid.

The words that immediately come to mind colour, shadows, angles, 3D, perspective.

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TAKENOBU

IGARASHI

Reaching international acclaim during the 1970’s, Japanese artist, sculptor and graphic designer Takenobu Igarashi, is best known for his multi-dimensional approach to design. What draws me to research Igarashi further and design one of my magazines around his graphic design, is the multi-faceted nature of his work. All of his creative pursuits and client work maintains architectural consistency through his exploration of dimension. His graphics are complemented by shadow, layering, colour and pattern and these are all qualities I’m excited to experiment with as I progress with Part B.

“In my opinion there are three essential things in work: passion, challenge and discovery. Without that, work gets boring; with that, work is enjoyable. And artwork that is enjoyable also results in success” I started experimenting with hand-drawn 3D letters without the proper tools to deliver accurate perspective. Drawing a rough sketch of the letter Z, I tried to reference elements of design that Igarashi used in his graphics.

I found that after the collaborate session where we looked at Igarashi that I wanted to experiment with 3D shapes for myself. I incorporated it into Learning Activity 2.2 for Similarity/ Contrast where I compared two similar typefaces in different weights to create similar rectangular box-like shapes. At the time I used bright contrasting colours to align the experiment even more so with the theme but in hindsight I feel it captures an essence of Igarashi’s design work.

DOMINANCE/EMPHASIS

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SIMILARITY/ CONTRAST

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