TYPOGRAPHY for Illustration an illustratorâ€™s journey
Diana J Wallace
Typography for Illustration
Written, Illustrated and Published by
Diana J Wallace
table of contents typographic palette
anatomy of a letter
letter, word, line, space, 7 and contrast visual and verbal equivalences
book jacket design
TYPOGRAPHIC PALETTE For this exercise I chose my five typefaces and five different categories that will be used for the rest of my exercises and projects. Old Style Elegant and delicate
Transitional very legible with neutral qualities Sans Serif clean letters spaced out
Modern simple and easy legibility
Slab Serif/Egyptian Bolder and thicker attributes
TIMES NEW ROMAN CENTURY CENTURY GOTHIC ROCKWELL
ANATOMY OF A LETTER For this project I am describing the anatomy of a letter for a Sans Serif and a Serif typeface. I will be labeling the different parts of the letters, also known as call-outs. The designer and a description of each typefaceâ€™s historical relevance will be included along with the relevance and usage these typefaces have today.
TYPOGRAPHIC SIGN By creating oneâ€™s own typographic sign with their initials one can make two letters function as one as a cohesive whole. We are learning how different typefaces can fit and form together. I am leaning how to create my own unique identity with the characteristics of my own initials.
LETTER, WORD, LINE, SPACE, and CONTRAST I created five different compositions for varying contrasts with typeface. I chose a poem that I was familiar with of at least 10 letters and because of my familiarity with the poem I was able to create variations in contrast expressing the poemâ€™s meaning in several different ways. By varying the size, placement, and orientation of the letters this can create a nice rhythm in the typographic shapes. NO CONTRAST - no variations in the text whatsoever SIZE - the size of the text is larger in one or two words for effect WEIGHT - the thickness of the type can vary such as bolder or lighter FORM - there are variations in upper case, lower case, and italicized or roman lettering STRUCTURE - there is more than one typeface but not more than two usually
VISUAL and VERBAL EQUIVALENCIES I chose three different words and chose a typeface from my palette that best described each words content and form. I created five thumbnails for each word designed three different compositions in total. I could vary the size, placement, and orientation of the letters. However, I had to keep each word in a square box. I could repeat, omit, and overlap words but was not allowed to use drop shadows or distort the letters.
SELF -PROMOTION POSTCARD I designed my own promotional postcard utilizing my traditional and digital drawing and painting skills. I created three thumbnails to create my ideas. The card needed to contain my name, address, phone number, website, and my chosen media. I used two different images for the front and back of the postcard. I needed to use two different typefaces. I designed this card to promote my traditional skills of pencil, ink, and watercolor. as well as my Photoshop and Illustrator skills. The card also needed to have continuity in design from front to back so to create a cohesive whole.
TYPOGRAPHIC GRID The typographic grid helps create a strong structural cohesiveness and legibility to communicate oneâ€™s ideas effectively. The grid was was not created by just one individual but by many designers and different design movements throughout the centuries. However, Bauhaus initiated the current grid we used today, which is much more flexible and accurate, and is known as the modular grid. For our thumbnails I created three different designs using the grid structure. I then chose two different designs. One design used eight point text and the other design had twelve point text. I used variations in alignment, leading, line length, orientation, and spacing. I avoided any variations in weight and size.
THE POSTER I created a poster for this project. Posterâ€™s are typically viewed from farther away. Therefore, I needed to consider how eye catching my typography from a distance. The text shouldnâ€™t be less than fourteen point. I also needed to consider the different typographic hierarchy for the viewer to see and locate important information quickly. I needed to take into consideration different typographic contrasts to effectively communicate my message. I used a grid system and at least one image. I created three thumbnails with different layouts and chose one design to create my final poster. My inspiration for this poster was from famous Bahaus teacher and type designer, Herbert Bayer.
BOOK JACKET DESIGN For my book jacket design project I decided to create a character design book. I created ten thumbnail designs with numerous different solutions that included all elements of my composition. I then chose my best design for my final. My design included: The Front Cover - Title of the book and Author’s name The Spine - Title of the book, Author’s name, and Publisher’s Logo The Back Cover - Story Synopsis Front Inside Flap - Bio of the author and photo Back Inside Flap - Book Reviews The type needed to be justified on both sides of both flaps. I experimented with my five different typefaces and multiple arrangements of placements and color. I also played around in Illustrator with different sizes and positioning of my text.