Typo(graphy) -Rukmini

typo (graphy)

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typo (graphy)

1

part 2

Ty�og�aphy in Our Ever�day Enviroment

According

to Doyald Young, typeface should be legible.

This may mean that typographers and designers will be limited most of the time to conventional typefaces.

If we are lucky we may get a chance to make them unique or custom.

Doyald, who is a lover of fine detail, admits that he fusses over every pixel in his designs and typefaces. He stresses that no one letter should stand out and goes to great lengths in creating his typefaces; however, it is this attention to detail that creates good type.

But if legibility is the most important, then where does experimentation and discovery stand?

Yes, stability and legibility is indeed important, but I feel concentrating only on that limits typography to a mere practical arts and function. There may be rules to creating type, but in the end it is being created by an artist.

Artists are aesthetes by nature and designers are problem solvers by practice.

I believe a true typographer is both.

Typography is more than just practical, typography is art.

Whether you believe Helvetic is the cause of all creative destruction or you believe it’s the pinnacle of typeface success, Helvetic is everywhere and we can’t stop that. Embrace it or stay far from it, you just can’t run away it.

Don't confuse legibility with communication.

Just because something is legible doesn't mean it communicates and, more importantly, doesn't mean it communicates the right thing.

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Graphic Design is a club James Victore is a designer who is not afraid to use graphic design to its full power.

His work is not like anything you would usually see, it’s brash, bold, and most of the time controversial.

In the Artist Series with Hillman Curtis, he says that graphic design at is best is not for selling socks, or any other kind of merchandise marketing.

At its best it is for getting an important message across.

This bold truth is incredibly important because as designers we forget that we are wielding what can either be a weapon or a tool.

A sword or a spoon. We can embrace the power and so cial responsibility that comes with taking full advantage of graphic design, or we can be satisďŹ ed with designing sock ads. Both are needed, though some a little more than the other.

Use it to its fullest.

Marian Bantjes’s work inspires a sense of wonder and curiosity.

Viewers are forced to pay attention and her work invites them to work at it and understand it. She has a personal approach to her work, it borders on obsessive but gives a feel of deep visual understanding. She channels her voice and has a complex way of inviting you into it.

Marian Bantjes reached a turning point in her life in terms of the way she worked and the way she saw the world when she was forty years old. This is an important for all artists to note –it’s never too late to grow, learn and refine the ways you work.

No artist should be afraid of doing something different. After years of working in the same industry it’s easy to become jaded and not think innovatively anymore. But that is a shame. Great artists and designers like Marian Bantjes are inspiring because like her, they never stop wondering about the world. If you start to think you know everything, you limit yourself entirely. The truth to growing is wanting to learn and being able to change the way you see your world, over and over again.

Margo Chases’s drive comes from her goal of reaching perfection within her work. Although she likes designing pretty things she believes decoration and beautiful objects should have a purpose and should be used for problem solving and communication in design.

Her personal way of design is well encapsulated through the analogy she gives that graphic designers are like alchemists who make gold from packaging. According to the myth of the alchemist, they use light to create gold; but for graphic designers they use raw materials to create precious things.

This statement strongly illustrates how graphic design is neither decoration nor just beautiful things, but holds a strong power. Graphic design when wielded correctly is more than a powerful weapon and it’s better than magic.

“young man inside”.

Kit Hinrichs is a 68 year old self-proclaimed

Kit Hinrichs is 68 years old and also a self-proclaimed “young man inside”. He started up his design business called Studio Hinrichs late in his career. For most people the design industry is for young people, yet Kit has shown the world that you don’t need to be young on the outside to be part of the design business. According to him the business of design is a continuous intellectual challenge that doesn’t ever stop, has no limit, and forever continues to engage with the designer.

Artists and designers are usually young people. This common misunderstanding is what leads many people confused about what the proper age should be for an artist. There are so many older designers and artists that have a wealth of knowledge when it comes to their work and that is because of their unending curiosity of the world; anyone who has such a vision and determination to understand is a true artist. Whether you are 18 years old or 68 years old, once you are creating art there really is no difference.

No matter how old you are

once you create art there is no difference.

It’s not always while working or in school where artists find their inner voice. The ironic thing is that the art we create should be from our heart, and it should be something we are passionate about; however, in school sometimes we find ourselves making art for our peers and professors and in work we are making art for the company or client.

So now we are faced to ask the big question: who exactly are we trying to please? Our teachers, peers, boss or maybe our ego? But real art is personal to everyone, formed from their inner voice and true to the heart.

Stefan Bucher found satisfaction in his art by creating a personal project: The Daily Monster. The idea came to him from sudden inspiration and he since then he’s been drawing his characters nearly every day and putting them online, thus creating a huge supporting online audience.

In relation to Stefan’s work –who does he seem to please? I think the satisfaction he gets from creating his monster series is that he is not doing is for any other person, and he probably didn’t start doing it because he thought it would make him famous.

Rather he created the monsters out of his pure passion and will to do so. There was no one else he was trying to please, and in turn it was one of his most satisfying projects he had ever done.

week 1

cartoon shows A cut off head on every dvd box

colorful text & creative typography

Colorful typography, bubbly text and lots of serifs

manga titles

even more cut off heads

week 2

Board Games Typography for every game

week 3

Board game typography comes in all varieties, whether fat, thin, fancy or simple

Natural Ceansers Clean crisp typography communicate

week 4

week 5

Variety Teas

Tea typography comes in all varieties

Hair products wit

typography that is fuzzy, sophisticated, and goth

th attitude

hic: it’s typeface with personality

week 6

Western Typefaces Western type equates to thick letters and slab serifs

week 7

Vintag and Ga

old school logos a meets...even old

ge Car as Ads

and advertisements der typography

week 8

Gold embossing decorative scripts on different books

week 9

Tag-Type Typefaces and designs used on textiles come in all sizes, shapesand prints

week 10

week 11

Health Bars

Communicates natural, healthy, organic and yummy in its own unique way

week 12

Organic Ice-creams Vegan icecreamns have never looks better

(graphy) typo