TINA
CHEN
THE PROCESS
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TA B L E O F C O N T E N T S
PROJECT
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MINIMAL LETTERFORMS Inves tig ating unique vis ual char acteri s t i c s o f the for m and function of letter for ms p. 4-13
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TYPE HIERARCHY Explore compos itional alter natives t o v i s u a l infor mation p. 14-23
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PA U L R A N D B O O K D E S I G N develop and utilize a g r id s ys tem in th e la yo u t of a book p. 24-31
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“Typography is the craft of endowing human language with a durable visual form.”
Robert Bringhurst
TITLE Minimal Letter forms T Y P E FA C E Helvetica Neue COMPOSITION Juxtaposition Contr ast Form/Counter form Symmetr y Balance
BRIEF For this project, I closely examined the form and function of letter forms. We will investigate the unique visual characteristics of a specific typeface and the aspects of composition — including juxtaposition, contrast, form/counter form, symmetr y, and balance. DELIVERABLES 11x14 Flush Bristol-mount Print
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T N IA
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I N S P I R AT I O N I was often inspired to make continuous forms by the intricate features of each of the studied typefaces, elongating the form without taking away from the characteristics of the font. It was a challenge to remain loyal the type when I was engrossed in creating beautiful, minimal patterns with the type because I would often get lost in the manipulating the forms. PROCESS I liked to lay out the entire alphabet of each typeface in front of me before I make the decision on which letters to use, and often it would just be one or two that catch my eye and I’ll begin with just them, adding on as I play with their forms. St ar ting off exploring on the computer was a fast way to r un through options quickly but it was easy to get caught up in the details too soon so I used tracing paper to tr y and detach myself from the type and focus more on the form. REFINE After testing countless versions and iterations of the combinations I found intriguing, I then moved back to using the computer to really nail down on precision. I refined several different options before finally settling on the one that inspired me the most.
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R E S U LT The resulting composition for my final print used the letters T, I, N, and A -- coincidentally containing all the letters of my first name. Using these letters and manipulating the forms inspired some potential ideas for logo usage in the future. The elongated forms of Helvetica Neue really emphasize the beautiful, minimal forms of the typeface and show off how recognizable this classic font is. Even without signifiant portions of the letters, there is still an undenyable identity for each of the letters.
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TITLE Type Hierarchal Studies PRINCIPLES Symmetr y / Asymmetr y Geometric / Organic Rhythmic / Static
BRIEF
Grouping / Isolation
This project uses provided information on a hypothetical design lecture
Contr ast
series to explore compositional alternatives by manipulating weights and
Texture
styles of the typeface ‘Univers’ as well as adding rules and blocks.
Proximity Grid str uctures
PROCESS It In order to st ar t of f simple, t he f irst s et of desig ns fo c us ed purely
GUIDELINES
on placement and compsit ion of t he infor mat ion, and t hen moved on to a s et wit h var ying weig hts. The us e of t hes e dif ferent elements help ed place var ying emphasis and hierarchy in t he infor mat ion. I not iced t hat it was challengeing to ref rain f rom using dif ferent weig hts and sizes at f irst b ecaus e it came s o naturally in my desig n inst inc ts. DELIVERABLES 10 x 10 Bristol-mounted
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I D E AT I O N Essentially starting with a blank slate, I was open to any type of grid to start my exploration. I iterated through a number of grids before finding the ones that suited my taste and purpose. Tip: Using waxed paper strips on tracing paper is one of the most genius ideas for exploring options in a fast and messfree manner. I was a huge fan of being able to easily take off pieces of type and move them around as necessary.
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REFINE After working on a few sets with the same information, I noticed my affinity towards creating symmetry and balance on the page, whether this be achieved through distributing the text equally on the page or through simply showing hierarchy through bold type and type size.
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R E S U LT Creating unity and balance in my compositions was key, but to achieve this without being boring was the real challenge. Observing the effect of the white space around the content was also important to equalize the overall composition and not overload any specific parts with heavy content while neglecting others. It was very interesting to see that type really has the ability to create very interesting forms while still be reasonable and legible.
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TITLE Paul Rand Book Design PA L E T T E
BRIEF The intention of this project was to develop and utilize a grid system to lay out supplied images and text in the form of a book. Layout grids demonstrated thoughtful use of columns, gutters, and horizontal devisions to determine the best placement for text and images. PROCESS Ideation of potential grid str uctures led the process of creating legible and interesting compositions for these information-heavy pages. Having complete freedom in type face, size, and style really allowed room for exploration of the best option for the content provided. DELIVERABLES Per fect-Bound Book 7 x 9 in
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I D E AT I O N Exploring potential grid scenarios and compositions were a large part of ideating and iterating before moving forward with any details of the book. So much information is presented on a page, images and words alike, so it is very important to have a consistent grid to organize information. Initially some of my ideas were just exploring fun possible grids, even crazy ones, but after running through the actual content helped me realize that the more efficient grids were often the most simple.
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I T E R AT E I chose a grid style that concentrated the majority of the content towards the middle of the page, creating a column-type appearance, effectively drawing the audience down the page and towards the center. To break the monotony of having only words and images, I often tried to interrupt the white space with dynamic forms that compliment the content without being distracting. To emphasize the elongated columns on most pages, I extended the blocks of color to bleed off the pages, adding coherence to the book as a whole. Due to the varying image sizes and text lengths, the real challenge in laying out some of the pages rested in finding the right composition for all the content without the page seeming either too busy or empty.
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Due to the varying image sizes and text lengths, the real challenge in laying out some of the pages rested in finding the right composition for all the content without the page seeming either too busy or empty.
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Thank you!
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Title: Minimal Letter forms Photography: Minimal Letter forms Typeface: Helvetica Neue/Adobe Garamond Course: Letter forms & Typeface Instr uctor: Gale Okumura Date: December 2014
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