Typography 2 Assessment 1, Part A
by Clairance Sommerlad Student Number 00144687T
“In-Session” exercises for modules 1.1 - 2.2
Flipping the lower-case ‘a’ upside down was at first an accident, but it created a shape that fitted perfectly to the triangular upper-case ‘A’. I like the negative space that is created when you place all the a’s close together. I see a winged creature, several faces, and either a large-breasted or a largebiceped person.
A
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a
Module 1.1 Exercise: shape, InDesign
a aA A I played with several colour variations and finally settled on the white/other combo. The difference created by the addition or subtraction of a single colour is fascinating. Without the white background, the letters look clumsy, staggered. With the white background, the letters become three-dimensional, almost floating on the page.
Module 1.1 Exercise: colour, Illustrator
I was inspired by Weingart’s traditional method of cutting and pasting physical letters, so instead of using Photoshop’s filters and blending tools, I duplicated and manipulated multiple letters until I achieved a textured affect.
Module 1.1 Exercise: texture, Photoshop
w w w w
The letter ‘w’ is formed by four diagonal lines, so I tilted four W’s and used them to form a larger w.
Module 1.2 Exercise: form, InDesign
Clustered together, edges touching in what should be a cluttered way, the W’s instead sit harmoniously, and form an even pattern.
w w w wwwww w Module 1.2 Exercise: unity/harmony, Illustrator
At what point does W’s shape become unrecognizable? I explored this question by using the twirl filter in increasing amounts, until the shape was completely deformed.
Module 1.2 Exercise: shape, Photoshop
S
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S S
S
Module 2.1 Exercise: scale, InDesign
S S
S S
S S
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S S
S
S
S
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ssssssssScale. My intention was to create a straight line of S’s that grew increasingly larger. However, tilting the first S slightly put the whole line on a wave - an effect I really like because it makes the changing scale look almost like a rippling motion.
SSSSSSSSSSSSSSSSSSSS SSSSSSSSSSSSSSSSSS sssssssssSsssssssssss SSSSSSSSSSSSSSSS SSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSS SSSSSSSSSSSSSSSSSSSSSSSSSSSSSSSS SSSSSSSSSSSSSSSSS Module 2.1 Exercise: hierarchy, Illustrator
There are so many ways to show hierarchy that I decided to get cheeky: each line shortens in length from the top down, but the thicknesses are kind of sporadic. This reminds me of lasagna and its “hierarchy” of ingredients:
I have attempted to show balance by stretching two letters to the edges of the frame yet fitting their smaller counterparts in the spaces their overlapping has created. Though the page is full, everything fits and has space. I only used 90% opacity as I think the overlap further communicates balance.
Module 2.1 Exercise: balance, Photoshop
EEEEEEEEE eeeeeeeee EEEEEEEEE
ee
ee
Module 2.2 Exercise: similarity and contrast, InDesign
At first I flipped the ‘e’ upside down, the obvious contrast, but then I saw the similarity to quotation makes. I added a body of “text” to further exemplify this similarity, and used the upper-lowerupper case pattern for additional contrast.
EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE
E
EEEEEEEEEEEE EEEEEEEEEEEE
EEEEEEEEEEEE EEEEEEEEEEEE
EEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE I picked this particular typeface as my original intention was to extend the middle bar of the ‘E’. However the two E’s side by side reminded me of buckles or links. So, instead, the whole letter dominates the page, and the emphasis on the E’s structure - at least to my eye - draws attention to the buckle/link/chain similarity.
Module 2.2 Exercise: dominance and emphasis, Illustrator
I had spent some time admiring Jurriaan Schrofer before creating this... If an E was bopping along to the beat, what would it do? Probably move around in a pattern similar to this...
Module 2.2 Exercise: rhythm, Photoshop
Publication Layout Concepts
“Slim” page designs (ie for mobile devices) or, a layout for a single page with two separate stories/articles. The box around ‘title’ is only to show spacing.
Attempting to get more adventurous in my thinking... Eyes start at the middle top for the title, run down diagonally along the page for the images, and then return to the regular left-right for the text. This is a lot of eyemovement, but I think it makes the page feel bigger and more interesting.
The layout is relatively simple, but this is to leave room for big images and bold typefaces. I am imagining the typeface of the pull out quotes to be somewhat similar to those of Neville Brody.
This layout is again imagefocused, but I have taken a page (ahem) out of Eastern typelayout and the first block of text begins on the right. I can see such a layout being useful for an article on Anime or other Eastern art.
Trying to get more adventurous... Text starts in the top left and continues clockwise around the page. Triangles would consistently point towards the image, unlike in this sketch...
I have tried to make this layout “too big�: overlapping title and images, text lines cut short to fit. But I have kept the actual elements (five different in total) and layout simple, in the hopes that the layout remains legible and engaging.
Inspiration
A graphi c des igne r emb odi es the art of storytelling through the imp lem entat ion of writ ten communicat ion between people. Do what you do best.”
Jurriaan Schrofer
“An artist, like a singe r of pure poetry, is autonomous in his art. An industria l design er is the author of tools...and his art is a secret of a craft. all Schrofer images credit http://typejournal.ru/en/articles/Jurriaan-Schrofer
Neville Brody
http://www.designboom.com/design/interview-with-graphic-designer-neville-brody-10-10-2014/
“Fonts convey an emotion without actually having to say the words.�
https://www.dezeen.com/2009/10/08/arena-homme-by-neville-brody/
HARD cover and this image credit http://www.csun. edu/~pjd77408/DrD/Art461/LecturesAll/Lectures/PublicationDesign/DigitalTimes/Digital-Publication.html quote from https://www.theguardian.com/culture/2009/jun/27/ neville-brodys-fave-film-fonts-openings
http://www.typeroom.eu/article/east-meets-west-stunning-typography-takenobu-igarashi?page=1
“...there are three essential things in work: passion, challenge, and discovery. Without them, work gets boring; with them work is enjoyable.�
Takenobu Igarashi
quote from http://squaredust.com/passion-challenge-and-discovery-quote/ http://grainedit.com/2011/06/23/takenobu-igarashi-early-design-work/
“What’s the use of being legible, when quote from https://chriskeno.github.io/wolfgang-weingart-essay/ wolfgang-weingart-essay.html
Wolfgang Weingart http://eyeondesign.aiga.org/museum-of-design-zurich-unveils-the-weingart-archive/
nothing inspires you to take notice of it?” CDT101A Typography 2, Presentation “2.1.B Weingart”, page 15
fin