Issuu on Google+

A COLLECTION OF THOUGHTS CREATIONS SOLUTIONS PROCESS


SI ERV C R GN C R I E W A DERA D S S I N T DE ERV S I I E W GN C R


V W

5 15 15 1 15


S EQUENCING

5

Research a process and create a sequence using photography and iconography that they create. The objective will be to balance all the elements as a cohesive whole.

CR AD S

Sequencing How To Shave ( Facial Hair ) was a subject matter that presented not only an area for play, but clean and informative designing.

Knowing duo-tone photographs would hold the final piece together, finding a blue gray tone that would reflect the crisp elements I intended was vital. Although icons and text would be minimal on each card, variants in typeface. and color on the page would unify each piece together.


1. HOW TO SHAVE

Preparation

W  S F with hot water for a moment or two. Allow skin to absorb and retain moisture during the process to avoid rash. Keep a fresh hand towel and clean bowl of water to use during the process.

3. HOW TO SHAVE

2. HOW TO SHAVE

Shaving

B S

Apply Shaving Cream

ing av m Sh Crea

by drawing the razor blade either with or against the direction of hair growth. Every so often cleanse out the razor blade for optimal results.

A S C {or product of your choice} generously to areas needed. Gently massage product into hairs in order to reduce irritation.

4. HOW TO SHAVE

After Shave

5. HOW TO SHAVE

Keeping Results

lotion

R S C W H F and be sure to soak face with wet towel once again. Apply post-shave gel to freshly shaved area {or product of your choice}.

T M Y S it is vital to keep hands and face clean at all times. To avoid Scaring or acne keep your freshly shaved face Away from grease and grime.


OW TO SHA

4. INSTEAD OF DRAWING DETAILED FACES THE POSITION WAS THE MAJORITY OF MY INITIAL

FROM THE START I BEGAN WITH CREDIT CARD PENCILED OUTLINES TO SKETCH ROUNDED EDGES


[ HOW TO SHAVE ] BEING DISPLACED FROM THE BOX WAS A LAST MINUTE DECISION TO CREATE A BIGGER SEPARATION


MY ICONS BECAME UNIFORM THROUGH BOLD BLACK AND WHITE CHARACTERISTICS AND CIRCULAR THEMES

IT WAS IMPORTANT TO HAVE ALL OF HIS EYES AT THE SAME LEVEL / PERSPECTIVE TO KEEP IMAGES UNIFORM


MY INITIAL SKETCHES WERE THAT OF A MID-CHEST SHOT PLACED ABOVE A CIRCULAR DISK

I FOUND MY SELF WANTING TO USE DASHED LINES TO GUIDE THE READER THROUGH THE INFORMATION BUT IT WASN’T NEEDED IN THE END


OBSERVATIONS

1

INT ERV IEW

Design a complex typographic book based on observations and an interview. The design should twist the conventional hierarchy of a page and reveal levels of information.

After a very flowing and unrestricted conversation with my interviewee occurred, I wanted the body copy to be just as unpredictable as our topics.

Pulling out shapes from observations in the conversation lead to these shapes identifying not only the topics then, but how to manipulate the copy.


to

to hi ng yt

sa

y

an

F

in l.

N

t

el

If

I th did em n’ t

re

al ly

ha

ve

il st ut ,b . ch sed en as Fr arr b em

I got to go to France once with my mom. I didn’t speak French at all at the time. She would try to get me to go ask

C

E

MANIPULATING TEXT BOXES TO A SHAPE GAVE ME THE ABILITY TO RESEMBLE BEGINNING FORMS OF TYPES AS IMAGE


I

was bornreheand moved to Colorado when IW ell, was five. till w. no

It ’s funn y, the second Iregot youhetell people re rfom you’ Colorado, and they just think that you live in

I didn ’t live in the mountains at all. It wasn ’t a small town,really but a boring Iguess. It ’sbig,butboring. It ’snotanything like Chicago. r The e’ s likereeththousand people, EVEN THOUGH THE USE OF IMAGERY WAS RESTRICTED I SCANNED IN MY INTERVIEWEE TO GAIN SOME INSPIRATION

but the re’ s nothing to do .

THE ORDER OF RANDOM TOPIC INFORMATION WAS BASED ON THE FLOW AND PAUSE OF EACH TOPIC AND EMOTION


I WANTED TO CONCEAL HIS IDENTITY SO THAT IT WOULDN’T DISTRACT FROM THE COPY


Whenever I go to diners it’s the worst.

You have to jump in and catch up, and I’m always worried that my arms are going to get caught in the door.

Can I get the omelet … Can I just get like a side of pancakes also though… with like Hash browns ... and like potatoes!

Jammed in.

I have an irrational fear of those turn styles with the bars or leaving the revolving doors.

d sugar. I use am an d to Cre p

You have to jump in and catch up, and I’m always worried that my arms are going to get caught in the door.

ed it w as g

___. Can I ___ ge __

vinc

d.

_ ___ __

. With lik e_

F

__

I got to go to France once with my mom. I didn’t speak French at all at the time. She would try to get me to go ask people questions when I was there, if we were lost or anything. Everyone in Paris speaks English anyway.

C

11

lso______

5

N

_________ . a ith W

he tt

irlfriend was con

Jammed in.

4

my g

15

l

n the

You have to jump in and catch up, and I’m always worried that my arms are going to get caught in the door.

... no one understood his jokes really.

ut

I have an irrational fear of those turn styles with the bars or leaving the revolving doors.

they mix together. At this point its amazing, and it’s like drinking three beers.

ut Eq ua

B it.

really wheat beer, but there’s a point where

I was so tired this morning. I’ve been trying to cut out coffee, but then I failed. Cause I was so tired. It’s probably my first cup since yesterday. I’m really bad at this. Yesterday was my first cup for five days.

in

Jammed in.

cer . So I switche

D

You start off tasting a

T

I like breakfast for dinner lunch and breakfast. Anything. Any type of thing that can be considered a breakfast food.

I have an irrational fear of those turn styles with the bars or leaving the revolving doors.

e can

F

I guess being from Colorado helps, the brewery capitol of the U.S. There are more breweries in Colorado than any other state, I think there are one hundred and two or one hundred and fifty two or something like that.

reakfast.

m ive

L

C

Left Hand Milk Stout is my favorite beer. I’ve gone through different phases. I started off with wheat beers and IPAs, but now I’m like malty and thick. Mixed beers like a black and tan are so good!

E

b

And I’ve been here four years.

C I’m pretty okay at French. Yeah, started in high school and took a little in college. Ruined the flow, but I think its more natural that way too. That was my intention. I got to a point where I could understand it fluently, but couldn’t speak it that well. Read it okay, I guess. I had a professor who would never speak English, and he would make these lame dad jokes in French. No one would laugh cause

g to ng oi

L

lly

ea

tr

n’

id

Id

ve

ha

to

y

sa

R

ng

hi

yt

an

to

emi th n F

ut

,b

ch

re n

st

.I

ill

E

d.

se

as

rr

ba

em

A

f

el t

What purpose does that play in our evolution?

Why are you eating your kids?

I think that’s so weird, that there are some animals

you just have to separate.

SOMETIMES BREAK THE

IT IS RULES

VITAL TO TO EXPLORE

8

14


TYPOGRAPHIC VISUALIZATION Investigate a 20th century designer whose focus is predominantly typography. Create a graphic visualization that describes the designer, their style and work, typographic visualization qualities, influences, and historic reference.

DE SI GN ER

Although my original sketches had no intention in mimicking Jan Tshichiold’s style, after investigating his ideals and information, it seemed more appropriate because of his design reflections.

This poster sets out to inform not only Tschichold over his life time, but key quotations, and changes in his viewpoints on design, as well as his rejection of his own words.


rn April 2nd, chold was bo

Johannes Tzschi

eved that Tschichold beli

should typographers ist idealsts an m hu e ac br em ievemen wisdom and ach

Zapff. Tzschichold and Maria Jan was the son of Franz sign painter in lettering artist and His father was a engraving, in calligraphy, wood ann Leipzig. He took classes g under Walkter Tienm bindin g bookin etching, and h from 1921 to and Hermann Delitsc from 1919 to 1921 fur graphische Staatliche Akademie 1923 at the Leipzig Production). Graphic Arts and Book for my (Acade Kunste as a traditional g, he first worked for Leipzig After formal trainin advertisements mainly calligrapher designing ce Futura, first the designer of typefa trade fairs. Renner, when they were Tschichold in 1926 with t contac made r arranged “Bolsheviks”. Renne both accused of being Berufsschule the Munich Grafische Tschichold to teach at Graphic Arts). (Vocational School for

s of visions and idea Ivan shared the signers artist-turned-de contemporary in modern rest inte an and maintained also le of his life. He art for the who ective between non-obj drew parallels made phy; he always gra typo and art them. He een betw ces the differen from his ished himself further distingu of his by profusions contemporaries , re he even said writings as whe

uced a 1929 Tschichold prod Between 1926 and Bayer in 1925. In ” similar to Herbert “universal alphabet , Saskia, and 1931 in ted Transito crea ld icho Tsch , addition mond, Janson, typefaces such as Gara t legible”. Zeus. “The classical mos are undoubtedly the Basketville, and Bell

ichold’s t energized Tsch d the The tension tha writings reflecte mer early works and e between Wei ggl stru r ade bro dencies. Seeing ten ern mod culture and sibility pos as tion olu nly the Russian Rev inning, he ope for a new beg his interest in demonstrated by Russian design e to changing his nam

t Bauhaus visited the firs s he After 1923, he imar. Afterward exhibition in We nalist and ctio fun s hau incorporated Bau constructivist design Russian work. theories into his

Iwan Tschichold.

became Die Neue Typographie, published in 1928, n. Tschichold’s first book modernist graphic desig rtant documents of lated one of the most impo Gestaltung (later trans e hisch grap Typo publish etrical symm By 1935, he would that it adm d inger graphy). He woul harb a Typo ic as ars metr appe Asym h to whic at least a few virtues, phy as a typography did have the use of photogra s. He also discussed are based on the h whic of his later persuasion rules own ography has its design element: “ Phot hy”. of the New Typograp same principles as those

r in to the disorde n a response aphy had bee and Tschichold The New Typogr early 1920’s aphy during the ary or ogr ess typ nec an ger ope lon Eur no her progress was in exploring had felt that furt far as he could rland he had gone as work in Switze possible that n, most of his itio not add In s. were usually the new frontier and his clients igning books, des y. of ed aph sist con New Typogr the ard tow ic het overly sympat

he found In the 1940’s ak vanguard of After the outbre ld himself at the icho ography. of WWII, Tsch a renewal of typ his er nsid evident in began to reco was This New ct the Books in guin Pen and even reje ciples as at k wor 7 until Typography prin s-serif London from 194 san ted well as use of 9 where he crea ce efa 194 typ A “ ic . typefaces set of typograph d , fixe ible a leg Penguin has first to be the for d a dar and stan s. nay, readable, ly not Rule tain Composition san-serif is cer typeface the most legible ntity, when set in qua le… let alone readab y has Good typograph ible”. leg to be per fectly to the d He then returne symmetrical traditional and he had t typography tha reject a so vehemently decade earlier.

tions of 1933 ry on March 5th elec When the Naxi victo e arrested, and his wife Edith wer et occurred, Tschichold ks”. ural Bolshevi Sovi Cult led: labe n bee having the arrest r apartment fueled s. posters found in thei post to resign from their and they were forced

entire and use the phers and the of past typogra sources of phic design as heritage of gra inspiration.

[

.

ways lecturing”

“““‘” I am al

1935

23 At the age of voice he became the ography of the New Typ raphie). og (Die neue Typ

1928

TSCHICHOLD

Publications include: ographische hie," Berlin 1928; "Typ ift in Bildern," "Die neue Typograp ; "Geschichte der Schr 1935 e Basl ng," Gestaltu und Skizzieren, nde, Schreibübungen Schreibkunst," Basle 1941; Schriftku der ern ; "Schatzkamm Basle 1942, Berlin 1952 nsburg 1953; buch der Schrift," Rave hie," Ravensburg Basle 1946; "Meister grap hen durch gute Typo "Erfreuliche Drucksac Buchseite und des Maßverhältnisse der über Fragen 1960, "Willkürfreie ätze Aufs 1962; "Ausgewählte Satzspiegels," Basle hy," Basle 1975; es und der Typograp ; der Gestalt des Buch 1977 n und Werk," Dresden "Jan Tscichold, Lebe in 1991. iften 1925–1974", Berl "Jan Tschichold. Schr

1902.

sion, t not be expres pography mus unication ty m of m m co t ai ec he “T sion, but perf es pr ex les from lfse cip l in least of al working pr ng ill. Taking over ro sk w t by no ed is ev rs hi he ac her typograp ot or es tim previous but sensible”.

w that the Tschichold kne aphy lay in cure for typogr s, asymmetrical abandoning rule of exclusive use the and s, setting . He explored ces efa sans serif typ e, pag a out laying ideal ways of and size of the using the shape which the on is bas a page for . be established margins would

t-garde figures larly with pivotal avan

He corresponded regu

working as Tschichold continued

zky, Schwitters, Alber

of his day such as Lissit

l he passed on August

er in Switzerland unti a designer and writ

ly-Nagy.

r, Bill, Drexel, and Moho

s, Baumeister, Baye

11, 1974 at Berzona

near Locarno.


TO CREATE HIERARCHY IMPORTANCE WAS BASED ON SIZING AND COLOR ON THE PAGE


FITTING LARGE AMOUNTS OF COPY CREATED A CHALLENGE. INFORMATION WAS BASED ON KEY QUOTATIONS / TIME PERIOD / AND CHANGE IN DESIGN

//////////////////////////////////////////


Johannes Tzschichold was born April Publications include: "Die neue Typographie", Berlin 1928; "Typographische Gestaltung", Basle 1935; "Geschichte der Schrift in Bildern", Basle 1941; Schriftkunde, Schreibübungen und Skizzieren«, Basle 1942, Berlin 1952; "Schatzkammern der Schreibkunst", Basle 1946; "Meisterbuch der Schrift", Ravensburg 1953; "Erfreuliche

Ivan shared the visions and ideas of contemporary artistturned-designers and maintained an interest in modern art for the whole of his life. He also drew parallels between non-objective art and typography; he always affirmed the differences The tension thatHe energized between them. further

Tschichold’s early works and writings reflected the broader struggle between Weimer culture and modern tendencies. Seeing the Russian Revolution as possibility for a new beginning, he At the age of 23 openly demonstrated his interest in he became the voice

of the New

Jan was the son of Franz Tzschichold and Maria Zapff. His father was a lettering artist and sign painter in Leipzig. He took classes in calligraphy, wood engraving, etching, and booking binding under Walkter Tienmann from 1919 to 1921 and Hermann Delitsch from 1921 to 1923 at the Leipzig Staatliche Akademie fur graphische Kunste (Academy for Graphic

I

am

always

Between 1926 and 1929 Tschichold produced a “universal alphabet” similar to Herbert Bayer in 1925. In addition, Tschichold created Transito in 1931, Saskia, and Zeus. “The classical typefaces such as After Garamond, Janson, Baskerville, and Bell 1923, he visited the first are undoubtedly theexhibition most legible.”in Weimar. Bauhaus

Afterwards he incorporated Bauhaus functionalist and Russian Tschichold know that the constructivist design theories into cure for typography lay in abandoning rules, asymmetrical settings, and the exclusive use of sans serif typefaces. He ideal ways of The New Typographyexplored had been a response laying outtypography a page, using to the disorder in European the shape and size of had the during the early 1920’s and Tschichold

Iwan

Tschichold’s first book published in 1928, Die Neue Typographie, became one of the most important documents of modernist graphic design. By 1935, he would publish Typographische Gestaltung (later translated to Asymmetric Typography). He would admit When the Naxi victory on March 5th elections of 1933 occurred, Tschichold and his wife Edith were arrested, having been labeled: Cultural Bolsheviks.”.

Tschichold believed that

typographers should embrace humanist ideals

felt that further progress was no longer necessary or possible that he had gone as far as he could in exploring the new frontiers. In addition, most of his work in After the outbreak In the 1940’s Switzerland consisted of designing books, of WWII, Tschichold Tschichold began to reconsider and his clients were usually not overly found himself at and even reject the New sympathetic toward the New Typography. the vanguard Typography principles as well as use of sans-serif typefaces. “ A typeface has first to be legible, nay, readable, and a san-serif is certainly not the most legible typeface when set in quantity, let alone readable… Good typography has to be perfectly legible….”

of a renewal of traditional typography. This was especially evident in his work at Penguin

“the aim of typography must not be expression, least of all self-expression, but perfect communication achieved by skill. Taking over working principles from He corresponded regularly with pivotal avant-garde figures of his day such as Lissitzky, Schwitters, Albers, Baumeister, Bayer, Bill, Drexel, previous times or other typographers is not wrong and Moholy-Nagy. but sensible…” and use the wisdom and achievements of past

IT FELT LIKE AT TIMES THE TEXT WAS BLENDING. REMOVING THE BLACK AND TILTING THE TEXT


Berthold Akzidenz Grotesk Bold Berthold Akzidenz Grotesk Italic Berthold Akzidenz Grotesk Italic



Process Book