Cdt101a k blesing assess 1a visual journal

Visual Journal Kimberley Blesing typography influences Wolfgang Weingart swiss Style Visual Journal Kimberley Blesing typography influences Wolfgang Weingart swiss Style Visual Journal K imberley Blesing t ypography i nfluences W olfgang Weingart swiss Style Visual Journal K imberley Blesing t ypography i nfluences

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KIMBERLEY BLESING Visual Journal Visual Journal Visual Journal Visual Journal Visual

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l a u Vis al n r u o J

LEARNING

activities Colour Illustrator

For this exercise, created in Illustrator, I chose to use a gradient of three colours, and keep the gradient the same for all three ‘A’s. The colours are harmonious and tone from a darker blue through to a green and then a yellow (with a green hue).The three colours are within an analogous colour scheme but are still contrasting enough to be identified. As the three ‘A’s all used the same left hand stroke of the dominant ‘A’ I tried to ensure that the colours blended well up to the top of this stroke.

Shape lnDesign

In this exercise, created in InDesign, the A is created using separate geometric shapes that when positioned together, create the triangular outline of the capital A. By having a small gap inbetween each shape, the centre horizontal stroke and the bottom right diagonal stroke are still emphasized, ensuring that it can be recognised as an ‘A’.

Module 1 Exercise 1.1

Texture Photoshop

I did this exercise in Photoshop and created the inside texture of the letter by adding a texture effect under the bevel and emboss, effects menu. I played around with the various patterns and textures available and then when I had chosen one, I further adjusted the scale and depth to achieve the above result.

Module 1 Exercise 1.2

LEARNING

activities

Space Illustrator

Form Photoshop

Unity/Harmony Illustrator

In Illustrator, I played around with the concept of positive/ negative space and positioned two ‘W’ shapes, to create a another ‘W’ shape in the space between the two. I played around with the fonts originally so that the bottom of the W was not flat but pointed the same as its inner point. This ensured that this was reflected in the shape created by the space. I adjusted the stroke width and size of the two W to get the right shape of the space. In response to feedback - I angled the W to add more dynamics to the design.

Further visual energy is created by cropping the shapes outside

In this exercise, I had a go at using the 3D feature in Photoshop, which is something I had not used before. I played around and adjusted the W on the Z, Y and X axis. I also played with rotating the shape.

I added a bevel to the front and adjusted the lighting. I changed the rear of the shape to all come to a singular point for an interesting view. The 3D effect is very obvious and as such demonstrates the principle of form well.

In this exercise, created in Illustrator, the shapes are all connected by duplicating a W and then reflecting it underneath, connecting the bottom corners of the W. This first shape is then duplicated underneath and overlapped slightly. This design is then duplicated and positioned next to the original, overlapping again to create another pattern that goes horizontally as well as vertically. Unity is achieved with the way that the viewer will see this design as a whole pattern, rather than the individual elements. Different colours and the lowered opacity of the green, creates visual interest and does

LEARNING

activities Balance InDesign

Hierarchy lllustrator

Module 2 Exercise 2.1

Scale/Proportion Illustrator

S S SS SS SS SS For this exercise, created in InDesign, I positioned five S shapes on one side of the box with three in the centre and two in the gaps on the outside. To create balance, I placed the exact same formation on the opposite side and then reflected the shapes to create symmetry.

In this exercise, Hierarchy is represented in a number of different ways. Firstly, the central S comes first in the visual hierarchy because it is the largest, has the biggest stroke width and is the most contrasting in colour compared to the background colour. The next four S shapes that extend out from this centre shape, are the next largest, have a slightly smaller stroke width to the centre shape and are a bit less contrasting with the background colour. The last four S shapes are the smallest in size and stroke width and are the least contrasting in colour and therefore are the last to be seen in terms of visual hierarchy.

I did this exercise in Illustrator showing scale by creating a large S shape which extends outside of the box. A smaller S shape is positioned inside the bottom curve of the larger S to emphasize the size of the larger shape.

Module 2 Exercise 2.2

Dominance/Emphasis Illustrator

LEARNING

activities

Similarity/Contrast InDesign

Rhythm Photoshop

EE I did this exercise in Illustrator and created dominance and emphasis in a number of different ways. The lower case ‘e’ is dominant and the element of primary emphasis as it draws your eye when first looking at the design. This is because of its size in relation to the other E’s and its contrasting colour to both the background and the other E’s.

The sub-dominant element is the larger uppercase E. This comes secondary when looking at the design because it is lighter in colour compared to the background and larger than the other E’s. The last to draw the eye is the subordinate E, which is smallest and closest in colour to the background. I chose to display the dominant element as a lowercase E to add interest and irony to the design - it also kind of looks as though the dominant e is a character, is laughing out the uppercase E’s.

In this exercise, I am demonstrating similarity in the use of an uppercase letter, the font used and the colours.

Contrast is evident by the different weight used of the letter, the opposing direction of the letter and in turn, the colours.

In this exercise, created in Photoshop, I chose to try a very different idea. I created this ‘e’ out of a photo of a paint stroke that I had painted, that used a variety of tones. The paint stroke was manipulated in Photoshop using the Warp tool to take the shape of a lowercase ‘e’. Painting is a very rhythmic movement, especially when painting curves and in the ‘swishing’ of the brush. This image encapsulates these movements, highlighted by the varying tones used in the paint, and the raw edges of the e. I further tried to portray rhythm by angling the e and positioning it slightly off centre.

WOLF gang EXPERIMENTATION

“his work possessed a

SpOnTAnEitY

and DELIBERATE

CaReLE s SNeSs” Philip Burton Wolfgang Weingart is an internationally recognized graphic designer well known for his typography work.

His work can often be characterized as starting as Swiss Typography, but he was experimental and never stuck by the rules. His style, while very unique and original, has since been talked about as the beginning of ‘New Wave’ design. This is a style of typography that involves breaking the common typography rules. It is characterized by using different typefaces, unusual lettering positioning, and inconsistent letter spacing. It is clear to see that Weingart was possibly influenced by

punk. He never stuck to the grid. His work was less structured, often playing around with positioning and layers and bleeding off the page.

Weingart’s process preceded the technology we have today. Alot of his work was created by printing, cutting up and rearranging his designs. His work involved alot of photocopying and half tone printing to all effects. Collage techniques were also used.

Weingart taught typography for 37 years always encouraging his students to not adopt particular styles but to experiment and develop their own unique work.

WEINGART

RESEARCH/ INSPIRATION

“I took ‘Swiss Typography’ as my starting point, but then I blew it apart, never forcing any style upon my students. I never intended to create a “style.”

– Wolfgang Weingart

EXPERIMENTATION

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WOLFGANG WEINGART

David Carson came to discover graphic design only later in life, with it being a second career.

He had a degree in sociology but after attending a two-week summer workshop in graphic design, he became hooked and is now one of the most influential graphic designers of his time.

Carson is a keen surfer and a graphic designer with his own self named studio. His work for the magazine ‘Ray Gun’ in the late 80’s and 1990’s brought a fresh new approach to typographical and page design.

David Carson refers to his own style as being ‘ experimental, intuitive and personal’ (Butler, 2014). He never had any formal training in graphic design so never knew about grids and formulas etc. Carson’s designs therefore originated from simply what made sense to him. His process, especially for editorial designs, is to read the brief or the article and to reinforce visually what the article is trying to say/convey to the audience. He expresses, ‘I want the work to connect with people on an emotional level, which is where I feel it’s most effective and lasting.’ (Butler, 2014).

A key influence in Carson’s approach to design was his exposure to Swiss designer, Hans Rudolflutz. Other influences are simply his childhood, growing up in the experimental and open minded culture of southern California.

FORM UL DAVID a

CARSON

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RESEARCH/ EXPERIMENTATION

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EXPERIMENTATION

RESEARCH/ EXPERIMENTATION

“experimental intuitive A N D PERSONAL”

DAVID CARSON DESCRIBING HIS STYLE, 2014

Carson’s work with Ray Gun magazine is where he gained most recognition. A characteristic of his work with Ray Gun was ‘dirty’ type, which is often illegible and adheres to no typographical rules. Ray Gun had ‘no grid, formula or format’ (Butler, 2014). In his work with the magazine he had to experiment with columns of type, spacing, and varying fonts for titles and body copy.

publication design

REFERENCE Wolfgang Weingart

list

Information sources: Burton, P. (2013). Wolfgang Weingart. Retrieved from: http://www.aiga.org/medalist-wolfgang-weingart Famous Graphic Designers. (n.d.) Wolfgang Weingart. Retrieved from: http://www.famousgraphicdesigners. org/wolfgang-weingart Downs, T. (n.d.). Wolfgang Weingart and New Wave Design. Retrieved from: https://troycjdownes.wordpress. com/2013/06/13/wolfgang-weingart-and-new-wave-design/ Image sources: Watson, D (2014). Wolfgang Weingart, Museum of Design Zurich. Retrieved from: http://www.typetoken.net/ publication/wolfgang-weingart-weingart-typography-museum-of-design-zurich-%E2%80%94-my-way-to-typography-lars-muller-publishers/

David Carson

Information sources: Design is History. (n.d.). David Carson. Retrieved from: http://www.designishistory.com/1980/david-carson/ Westgate, A. (2007) An Interview with David Carson. Retrieved from: https://layersmagazine.com/an-interview-with-david-carson.html Butler, A. (2014). Interview with Graphic Designer David Carson. Retrieved from: https://www.designboom. com/design/interview-with-graphic-designer-david-carson-09-22-2013/ Image sources: Research/ Experimentation Pages - images retrieved from: http://www.davidcarsondesign.com/ Publication Design (page left) images sourced from: http://www.davidcarsondesign.com/t/tag/raygun/ All photography elements taken by K. Blesing (2016 -2017).