typography two knihtisk dva tipografía dos typografisk två typographie deux tipografia due typografie zwei typographie twee
typography two knihtisk dva tipografía dos typografisk två typographie deux tipografia due typografie zwei typographie twee
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The process of Typography Two
Willem Van Lancker Rhode Island School of Design Spring 2008
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Purpose Purpose
Typography Two is a continuation of the RISD Graphic Design Depar tment’s core typography program and built upon work done in Typography One. We began with basic letter and line relationships that may have been par t of Typography One. This work progressed to working with typographic structure, hierarchy, and sequencing through paragraphs, pages, and larger amounts of text in book format. We explored typographic elements and form as they relate to content and meaning. The objective of the class was to work with, understand and apply more complex issues of typographic proper ties and principles. We persisted in refining typographic relationships and details so that these, in a sense, become second nature to the designer. Bill Newkirk, professor
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Contents Contents
iii Purpose 2-3 Typography One: Reflections 4-5 Letterform Relationship: Par t One 6-9 Letterform Relationship: Par t Two 10-13 Typographer Poster 14-15 Jazz Word Design 16-19 Jazz Festival Poster Design 20-21 The Typographic Grid 22-23 Type and Color in Stamps 25 Closing Remarks
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Typography One: Reflections Project One This Page: Examples of steps one and two in the typography one reflections project. Facing Page: Example of step two in the typography one reflections project, 8.5 x 11�
This first project was to gauge and assess our own skills gained in Typography One. It also served as a primer to the course and a tool for our professor to evaluate our abilities and skills. It was our task to set five of the most impor tant aspects of typography that we learned last semester on a US Letter page. Initially we could only work with the type in a single font, creating hierarchy through character size, leading, tracking and other typographic instruments. We then proceeded to elaborate and create designs that incorporated other aspects of typographic design but still maintained a conservative legible nature.
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Letterform Relationship Project Two: Part One This Page: Studies for letterform relationships of letters S and H. Facing Page: More studies for letterform relationships. These are selected for use in stationary and other designs.
The most fundamental relationship in typography is that of two letter-forms. This project allowed us to choose two characters and create a relationship between the two. We considered the differences between capital characters and the varying elements involved in specific letters. Our first task was to examine two Roman letters of the same size, font, and weight. We were then charged to only vary the font, exploring the relationship between fonts that can coexist well together in a composition. We then varied weight, size, italic, condensed, lowercase, capitals, rotation etc. Following these variations we created relationships where the letterforms are overlapping or touching. This variation also included creating the negative of one font in another. This project allowed us to explore the relationship of two specific letterforms, they way they can interact and how they complement one another. This is the most integral and combination in typography.
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Letterform Relationship Project Two: Part Two
Continuing the development of our letterform relationships we refined the fine details of four selected compositions. Taking these compositions we introduced them into a stationary system for a fictitious company whose initials are the two letters we have been working with earlier. The stationary consisted of letterhead (8.5 x 11”), #10 envelope (9.5 x 4.125”), business car (3.5 x 2”), and mailing label (6 x 4”). Each element included the company name, full address, telephone number, and email. We were pressed to consider the stationary as a unified system, set up a grid as regards to our typographic elements and consider the relation of our type and design to the nature of the business we were promoting.
This Page: Concepts and preliminary stationary designs Following Spread: Final stationary collection. The fictitious firm was a public relations and promotions company, hence the repetitive nature of the SH design.
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Typographer Poster Project Three
In this project we were asked to select a renowned typographer and type designer and a font they designed. I selected Jan Tschichold and his font, Sabon. We then had to approach a poster design utilizing the designer’s entire font, a written abstract and a large example of a selected letterform. We were stressed to design our poster in the style of our typographer. Having Tschichold, whose life was separated into two distinct theories, one of the new typography and then back to traditional classical type design, I had the challenge of approaching my poster in both ways. This was meant to not only be a poster but a design element that would be absorbed up close. It was not necessary that all of the information be recognized for a distance.
This Page: Top, final horizontal poster design. Bottom left and right, initial concept designs.
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This Page: Final Jan Tschichold Sabon poster design, 13 x 19�.
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Jazz Word Design Project Four
Using only the word “Jazz,” we made a set of 25 studies exploring the word as it relates to the surface. It was crucial that we attempted to get the truth of Jazz and express its feeling and meaning. We explored beginning with one word to the page - small to huge where the words do not fit on the page. Then we moved toward mixing different fonts, colors, and styles. We made use of white space, counter forms and “improvised” the rhythm and contrast. Working with such a large number of studies allowed us to really explore several variations in our design. This experimentation and process is a crucial element of the design method and led to a successful poster at the culmination of the project.
This Page: Studies for Jazz, varying in color and design.
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Jazz Festival Poster Project Four
Selecting one of the “Jazz” compositions, to be used as the word/image for the poster, we included text for the JVC Newpor t Jazz Festival 2008. The text included the festival dates and ar tists playing. This projected reflected real world design projects where a client gives the designer a distinct copy to utilized and express in the poster work.
This Page: Studies and concepts for Jazz Festival poster. Facing Page: Final Jazz Festival poster designs, 20 x 30”.
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JVC NEWPORT Jazz Festival 2008
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JVC NEWPORT JAZZ FESTIVAL 2008
August 8 - 10 Fort Adams State Park Newport, RI Friday, August 8 Dianne Reevess Quartet Nnenna Freelon and the Cout Basie Orchestra
Saturday, August 9 Joshua Redman Quartet Branford Marsalis Dave Brubeck Kenny Werner Quartet Chico Hamilton Mingus Orchestra Abdullah Ibrahim Anat Cohen Quartet Ben Riley Septet Sunday, August 10 Marcus Miller Band Dizzy Gillespie Big Band Paquito D’Rivera’s Band Harry Allen and Trio da Paz Donald Harrison Quintet Steve Turre Susan Tedeschi Al Green B.B. King
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The Typographic Grid Project Five
The grid is the most impor tant organizational elements in typographic design. We were presented with a newspaper adver tisement for Ruggieri’s Market in Cranston, RI. Though we were making improvements, it was impor tant for us to maintain the “feel� of a newspaper adver tisement throughout. We designed four versions of this grid. The first used one text font all set in the same regular style. This version stressed hierarchy by the use of white space and grid layout. The second and their versions were variations of this design, introducing two sizes and varying font styles (bold, italic, light). The four th and final variation had no limitations, introducing typographic rules and any adjustments we wished to include.
This Page: Final designs, versions one through four, clockwise from top left.
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Type and Color in Stamps Project Six
April is National Poetry Month in the United States. To recognize this we designed a series of four stamps distinguishing famous American poets and selections from their poems. We were sure to keep some consistency in the series, tying them all together as a real group released by the US Postal Service. The stamps consisted of only type and aspects of color and all had to include “National Poetry Month 2008,” “USA,” and “43c.”
This Page: Concepts and final stamp designs. Facing Page: Enlarged reproductions of stamp designs.
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Closing Statement Closing Statement
Typography Two allowed me to continue to hone my skills in typography as well as push myself into new directions in my design. This semester I experimented with aspects of design that I had never worked with before. Our final project this semester, which is currently in process at the time this was printed, was the design of “Alice’s Adventures in Wonderland” by Lewis Carroll. This project entailed designing and constructing the book from cover to cover. This was a great culmination of all of the skills gained in typography two this year. With this book we were able to utilize elements of letterform relationships, color, typographic composition, and book design.
Colophon Colophon
Willem Van Lancker Typography Two Rhode Island School of Design Spring 2008 Professor : Bill Newkirk All type in this book was set in Gill Sans Light and Bold, 75/90pt., 20/24pt., 12/16pt. and 8/12pt. The cover character was set in Bodoni SvtyTwo ITC TT Bold. The book was printed on 80lb laser matte.