Module TFD1064. Design for Communication Design Graphic design group B Project – “Artist typeface” Charlotte Marrion Student Number 1263723012 Contact details Email:Charlotte.marrion@hotmail.co.uk
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Picasso was most well known for being a painter, sculptor, ceramist and printmaker. He could be called and known as one of the most influential and greatest artists of the 20th century. He has developed a very wide range of styles throughout his work with most of it being abstract. The abstract side of Picasso’s work has a very wide range of interesting shapes through out, this would be a easy way to start and inspire my type face on by looking at the key shapes used and why. Before Picasso, painters painted what they saw . Pictures were a sort of window on the world; artists didn’t express their emotions through their paintings by distorting images, or choosing colors which were other than what they saw in front of them.
EXP o ERIM EN T Pica ss
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t r Ku
s r e t t i w h Sc
Kurt Schwitters is a German painter from 187-1948. Schwitters worked in several different genres and medias, Dada, surrealism, constructivism, sound, poetry, painting, sculpture, typography, graphic design and installation art. The work he is most famous for is called Merz Pictures which was based in collage media. nce, e u fl in r Influences jo a m a s a itters w h c S d e it c e v a h s t Hirst, n ie m a ,D Many artis g r e b n e h Rausc t r e b o R , a h c s u R d including E man. Al Hansen and Ar
EXPE
Kurt Schw itters
RIME
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g r e b n e h c s u a R
Robert
Robert Rauschenberg born October 22, 1925 – May 12, 2008. He was an American graphic artist and painter. Rauschenberg’s early work anticipated the pop art movement.
He is well known for his how he combined the 1950s to his work, in which non-traditional materials and objects were used and combined. He was also both a painter and a sculptor , a combination of both was used in his work but he also worked with photography, printmaking, papermaking, and performance.
Peter Blake
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G i D s a l o h c i N
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nd a s e n iv o l i t d a n r st 1a u l 8 l i 9 1 s i n h i r. e e t n p r a a e o r p b c s o a on t w k e a n u i v q i o d n n n h e a c G e n e e st p i D r s H o a . l o ar to Nich in Toron t on myl / s in work ation pa obic.com h im is an mediump // http:
“I think of illustration as something that generally refers to something else..a drawing to company a text,be it in an ad,a magazine or whatever else. Art, for me, is something that can exist by itself without that type of support behind it…I know this isnt proper definition,and it is contradicted by many individual examples,but that is what come to my mind when i consider the difference between the two..but I really dont think about it that much…I guess i see myself as an artist, as I’m not generally very good at working with clients.”
EXP Nicholas Di Genova ERIM EN T S
a t a d n Va
Michael Matthias.
An illustrator from Germany born in 1979. Technique used, Digital,scratchy,pencil,structures and found stuff. Michael Matthias alias Van Data working since 2004 as a self employed illustrator. What inspires you? “I prefer inspiration from many small things in everyday life, from other peoples conversations, for example, the man in the past, or from faces in the public. In any case, also from the nature: natural structures, stones, growth or saved from demolition by squatting them ruins. But also the nightlife with all its skurilen can make be very inspiring.� translated from German to English.
A T A D VAN
EXPERIMENTS
M/M
Paris .
is an Augu art and d styni ak (b esign par orn 1 tners (born hip c 9 67, C 1968 onsis , Par a v a illon ting is), e ) of M stabl a n d athia ished Mich s ael A in Pa mzal ris in ag 1992 . M/M were initially influenced by post punk aesthetics as well as the strict Swiss school of graphic design and the more emotional and sensitive Polish school. Although highly visual, expressive and fashionable, they have an intellectual approach to design. M/M’s most well known designs are handdrawn; illustrative and expressive, often applied at, and integrated in, photographs; first introduced to the public in the Yohji Yamamoto Spring/Summer 1999 catalogue. (Björk, s n ia ic s u m h ations wit r o b a ll o c d ye West); n n a a n K , io t w c e e M ir , r their art d ouis Murat o L f n n a w e lvin Klein, J o a , n o k ,C h r t a s e e d D b n e a e n r S M/M a amoto, Jil iolay, Etien nts sur B m e a m Y in u ji m c h o ja o n D Y e , , s Madonna, B rs (Nicolas Ghesquière rockuptible n I s e s (Pierre L t ( is s t e r a in e y z n r a a g ig r s a fashion de o Tisci); m :; contempo d n r a w c o m Gillick, T ic ia t R L u , , y o e in b n d A t a r t n a a a C M Stella Mc Vinoodh M le Fashion, & p e r d u r P e e , is w r s a P nez van Lam I l’art, Vogue , o n e r r a P ilippe wikipedia .) o Huyghe, Ph d n o C is, George Sarah Morr
More M/M Paris Work.
EXPERIM
M/M Paris
EN T S
t a m r o F Non
is a contemporary London-based Anglo-Scandinavian graphic design team specialising in design projects for the publishing and music industries. The firm was founded by Kjell Ekhorn and Jon Forss in 2000. They have worked for The leaf label and also closely with Lo recordings, whom they have designed a vast majority of well over 60 releases with. They created artwork for Stateless for both their album and singles.
Why are you called Non-Format? The name comes from an article that appeared in the US design magazine, Emigre. The article discussed the history of data storage and the inherent obsolescence of a long line of storage devices. It also made the claim that even the mighty DVD, which is 4capable of storing words, pictures, movies etc, would one day be replaced by a ‘mythical non-format’. We loved the notion of being a non-format, almost as much as we loved the notion of being mythical. What is Non-Format’s design philosophy? Simplicity. We like to keep things simple. Once we’ve sorted out the hierarchy of what we want to communicate, we tend to design things using very few layers, especially if one of those layers is incredibly detailed and aesthetically busy. When starting a new project, where do you look for inspiration? We draw inspiration from many varied sources but we would never want to be too strongly influenced by any single designer. It’s important not to look too closely at what other designers are doing. In fact, it’s a good idea to avoid looking at all.
Created by Non-format Make A Fuss – Vallery – Special edition posters produced as part of Non-Format’s solo exhibition at Vallery, Barcelona, Spain
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Jackson
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1, 1 t s ugu al A – i 2 t 1 n 9 e 1 u nfl 28, i y n ct r a a a r s u t a s n b Ja ,w a ( k e c k h c o t l is l lo h n l o i r o P e o P r f u n on n g s o s fi w k c k o r a c n o J a j k J Paul known as and a ma was well . e er ), 1956 can paint ement. H p painting ri ri ov Ame sionist m style of d s expre ly defined e u q i n u
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k c o l l o P n o s Jack
R E P X E
Davi dC
arso n
David Carson (born September 8, 1954) is an American graphic designer, art director and surfer. He is best known for his innovative magazine design, and use of experimental typography. He was the art director for the magazine Ray Gun, in which he employed much of the typographic and layout style for which he is known. In particular, his widely imitated aesthetic defined the so-called “grunge typography� era.
Here parts of the letters were just taken away altogether. This goes with the idea of how much of a letter can you actually take away until it becomes un readable.
These experiments are more mishaping and ripped alot messier then my other experiments. I like them but feel they could get too chaotic to read.
EXPErRsonIMENTS David Ca
I took letters from different magazines and newspapers and cut and tore them into differnt directions. They were put back together fragmented and mishaping to get the idea or Carsons very grungey random placed letters.
Use of repetetive overlayering on letters.
Lower case experiment of David Carsons Typeface.
Upper Case experiment of the typeface.
k c o l l o P JaTcypkson eface Desig
The letters seem to vary too much in how they are style, the start off very brush stroked and neater and then start to change to more of a splattered paint effect. I think the top set of letters stand out more too, because the strokes are a lot bolder and fully stroked unlike some of the ones after it which seem to have broken strokes with a lot more white spaces. I need to make the letters all similar and take away this splattered effect as it seems to take away the strength from the letters.
Example in the artists name.
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Here is the more refined version of the font. I used the brush tool on illustrator to go over the lines which weren’t as defined and smooth as they should have been, I also rubbed out and got rid of some of the messy bits of the letters again making the etter smoother and stand out more.
Typeface Redefined
Colour
Bold
Different Point sizes of the letter A
n o s r a C d i ign Dav s e D e c a f e p Ty
a v o n e G i D s a l o h c Ni Typeface Design Typeface Refined
Final Solution
Example of Pollock Font in sentences
Typography is performed by typesetters
in traditional typography, text is
Final Solution
Example of Carson Font in sentences
Typography is performed by typesetters
in traditional typography, text is
Finished Solution
Regular
Example of Genova Font in sentences
in traditional typography Typography is performed by typesetters
Sample Sheet
Bold
Extra Colour
Colour
r e v o C u a e r u B t Fon