P.Lloyd_Process Book-ARTS246

Philip Lloyd

Table of Contents

Logos & Mark Making

Pg 2......................... Intro Page

Pg 3..................... Logos + Marks in Contemporary American Sports Design

Pg 8................ Logo Development + Application in Stationery

Pg 14................ Flowering Typography

Posters & Document Layout

Pg 17....................... Type Hike Poster

Pg 22........................ Remaking Language

Pg 28-29................ Humans of New York Poster

Craft Skills

Pg 30-33.............. Title page and Grey Reading Type

Pg 34..................... Zine

Pg 37-38................... Letter Spacing

Pg 39-41............................ 9-Square

Pg 42................. Colophon

*Thoughts From That Week (TFTW)

Logos & Mark Making

ARTS245

LOGOS + MARKS IN CONTEMPORARY AMERICAN SPORTS DESIGN (Proj 5-Rebrand)

Intro and Research for Project 5

This was the final project from last semester, (Fall ‘23). It was and probably still is, my favorite exercise so far. Our task was to research, rename, and redesign an athletic team and create a Primary, Secondary and Wordmark logo. We had to pick from a preexisting sports brand, and update it. I chose the Wichita State Shockers. Whose mascot (Wu Shock) remains a mysterious character. What in the world is a Wu-shock??

The Wichita State Shockers is a University in Wichita, Kansas. My actual first impression before doing any research was that he (Wu Shock) looked like a chewed cigar, and that he was very yellow. However, he is a bundle of wheat…

Wichita State University began as Fairmont College. The name of the college came from a football manager and student in 1904 (Wheatshockers). During the time the school was named (or renamed) many students earned tuition by harvesting or “shocking” wheat. (I’ve heard/used the term shucking in reference to corn, but never shocking). The word “shocker” means a person who harvests wheat. Also “shocked” (as a verb) is used with the same meaning as harvest.

The university used a plain stalk of wheat as their symbol until around 1948. “Wushock” was named and picked later that year in a contest. There have been many, many iterations of the mascot and logo since then.

Here are moodboards that I used to narrow down my direction and hopefully show a good view into my thought process. As you can see, they are both packed full of content, I did some research on possible name changes and ultimately settled on my very first idea. The rough pencil sketch (on the right) was made the day we were assigned the project.

We were also required to define the brand archetype and list the MSCWs of our brand identity. M stands for “Must haves” I decided that the school needed a new mascot. It needed to be both friendly and fierce; intimidating but not violent.

I wanted a more modern take, that is bold and dynamic. I also had to keep some of the original aspects of the University because of rich history (such as the iconic yellow & black or their agricultural heritage).

S stands for “should haves”. I defined that it should have a possible name change to reflect the new mascot. And have a nods to agricultural roots of the school or the popular associated majors/ specialties. (Aviation is one of their specialties, i.e. “Air”edale Terriers)

C is for could haves I was interested in creating some alternative “vintage” styled branding for special occasions.

Finally, W is refers to won’t haves, I knew that it should not have any inappropriate associations. Such as outdated assumptions or stereotypes

Below is an excerpt from my research into the brand archetype that I felt was closely aligned with their values.

Archetype: The Explorer

Traits: Fears:

Thoughts From That Week

Appendix (Thinking with Type-Ellen Lupton)

The appendix basically contains a variety of fun facts pertaining to typography. One new thing that I learned was the em and en dash meaning. If I understood correctly, the size of the space is actually measured by those characters (mind-blowing). “May your thoughts be deep and your wounds be shallow.”

Later on in the reading, I resonated with a point about designers taking on many different roles. Many of which, are not typically associated with design. Such as editing (body copy or overall layout), proofreading etc., especially in an official capacity. Meaning you are the author of the change. Once a project has been completed, there are always circumstances that arise when it comes to printing.

These errors can be costly, and from experience I know that it can be hard to catch these problems until later inspection. That is why it is important to print often while working, many times things may look better or worse than they do on screen.

Primary (Sports) Logo

Secondary Logo (Lock-up)

Secondary Logo

REAL LIFE APPLICATIONS

The final aspect of this project was showing our designs on 1 environmental product, 1 commercial product, 1 ancillary application. (Of course I made more than one for each). Also, one of my goals was to bring back to the football program which the school had shut down in 1986. One small step towards that goal would be a convincing rebrand.

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LOGO DEVELOPMENT + APPLICATION IN STATIONERY

(Project 3-Logo Dev)

This project had a much different starting point when compared to our others. I tend to take things very literally and at face value (it saves me from mental gymnastics and overthinking on occasion). Using a method such as this was an interesting way to coax out an idea. It was my first time using a “word web.” My two words were “hateful” and “bath(s)”. My genuine first thought (like genuinely during class) referred to Hate>Racism and Bath>Pool. After the end of Jim Crow, around when desegregation laws were passed; many public pools were shut down. Because they would rather have no pool, then to swim with Black people.

However, I quickly realized that was a little too heavy and would difficult to connect to a brand/logo. After having our class discussions, I ended up going with my Roman Empire Idea. Mostly because I already had some research to pull from. At the time, also tried to connect the Roman theater possibly or just the Roman baths in general. I also had an idea for some type of cleaning agent company (Hate->Corrosive and Bath->Bathtub = bathroom/tub cleaner) but I did not end up pursuing that route.

The following week, I tried to explore more solutions to my prompt ‘Hateful’ and ‘Bath’. I unintentionally taken a deep dive into the subject of Roman baths. It was definitely in my subconscious, because I was taking a course about Pompeii in ancient Rome. Baths were a central aspect of their lives. They did not use soap though (which kind of defeats the purpose of washing)

So I eventually settled on a Gladiatorial Spa. (Fun fact: The word Spa is the abbreviated from of Salus per Aquam, which means “health from water” in Latin)

The original sketch I made (below 1) had a certain quality about it that I had a real hard time replicating on the computer. Or even just redrawing by hand. Some of the other elements I planned to use as backgrounds or patterns. At this point,I had not considered the 3 main marks yet but I have come up with a name. Helvius which means golden (or blonde) in Latin. Then I also had the idea to also try to incorporate Latin for Hate (odium) and thermae/ balneum (bath).

Salus per Aquam

Salus per Aquam

Thoughts From That Week

Anatomy of Type

That weeks chapter detailed all of the elements that make up a letter form. It was interesting to learn about the specific reasons why certain classifications of typography exist. Much of the history of typography is hinged on the available technology of the time. So for a while, type was not as standardized and may have needed some jimmy rigging. Which I’m sure required a different sort of skill and intelligent, hands-on troubleshooting. I learned a few new words here and there. One I’ve never heard was Digraphs, which refer to diphthongs, and the term Oblique. Which I have seen, but I did not know there was a clear distinction between oblique and italics.

Referring to oblique as a “posture” rather than simply a slight change of the typeface itself (italics). Which are styled to resemble handwriting (in most cases) and save room. The image below was from the section on line weights. I appreciated this one because of the simplicity there is very little change of the letter forms as the weight increases. Which I feel is a problem for many typefaces because they can end up looking completely different.

Salus per Aquam

Pattern/Aux Objects

BYOS

Salus per Aquam

Pattern/Aux Objects

BYOS

Looking back on it, I realized we (or I) spent a lot of time on this project. We had to create a cohesive set of items. A logo, a letterhead design, an envelope and business card. I started to get a little fatigued and as always, I had difficulty narrowing down my ideas. After some back and forth, I settled on two, that are based on my actual original sketch. Which I drew with no photo references. I also had some wild ideas for stationery. The ancient romans did not use postage as we think of it today. So I tried thinking outside the box a little.

I customized some wax seals with icons I made, and tried to mock-up a leather envelope. I also created a “wax tablet,” which would have been used for transferring information in a semi-permanent way. They also used scrolls and such back then for official documents. I ended up finding a weathered paper texture to print on the back of my letterhead. I quickly realized after our class discussion/lecture on stationery, that I would probably have to tone down some of my ideas (as far as the historical accuracy is concerned).

The next chapter from this week discussed legibility, Which normally refers to the ability to read things clearly. Typically, you would hear it dealing with grammatical errors or when referring to handwriting (mine is terrible). However, I have never really considered legibility in the context of typography.

There are complex relationships between each letterform. Those relationships can drastically change depending on the

size, weight, color, value, spacing , and placement. and placement.

AVANT GARDE

AVANT GARDE

AVANT GARDE

AVANT GARDE

AVANT GARDE

AVANT GARDE

AVANT GARDE

AVANT GARDE

AVANT GARDE

AVANT GARDE

AVANT GARDE

“A letter may not be considered apart from its kinsmen; it is a mere abstract and arbitrary form far remote from the original picture or symbol out of which it grew, and has no particular significance until it is employed to form part of a word.”

- Frederic Goudy

Final Letterhead design (which I physically cut out)

I couldn’t fully decide, so I went with these two as my finals with a Primary and Secondary (top-bottom).

The text could also function on its own.

Thoughts From That Week

The Typographic Grid

This chapter discussed the use of grids. Grids are something that we have talked about several times. However, I think the application of a grid can sometimes be contradicting. As designers, we should always start out with a grid. But we are constantly being urged to break outside of it. However, grids allow for a precise and easy-to-follow breakdown of information. Therefore, they play an important role in design.

To the right is an example of grids (albeit very experimental). I found it while reading my Art History textbook. It is graffiti(o) drawn by some ancient individual. I found it very interesting how modern it seems to be. I feel like I’ve seen something similar on a t-shirt or something. The text is laid out in a way that is interesting. And surprisingly the letters stay fairly proportionate throughout the length of the “snake.” It is pretty impressive considering it was done by hand.

Final envelope design (mockup)

Syntax and Communication

(This weeks reading was a little boring if I were being honest). However, effective syntax ensures that the design elements are arranged logically and intuitively. Which should guide the viewer’s eye and help them interpret the intended message.

Syntax could be described as a language. Which is a great analogy, because it requires the synthesis of information. It all relies on balance.

Syntax can also be broken down into parts, such as word, line, column, spacing, hierarchy and pattern (specifically as a sequence or formula; not necessarily a visual pattern i.e. wallpaper pattern). The communication aspect of design should be able to both evoke emotions and convey information. In addition, a good design can also persuade and/ or provoke action in the viewer.

“The word unit is a constellation of individual letterforms, suggesting a union and forming a cohesive whole.”

The architect Crescens incorporated his signature into the picture of a ship in a graffito found in the peristyle of the House of Triptolemus (VII.7.5).

D97a The snake-game

Figure 4.9 An architect’s signature

Figure 4.10 The snake-game Cicero Florus Via Marina, 6, 80045 Pompeii NA, Italy +(39 2) 26 83 01 02 nosoap@helvius.com

Final business card designs

ARTS245 FLOWERING TYPOGRAPHY

(Project 3-Fletter)

Name these

Yellow Snow

Name these

Magnolia

Sun ower Seed

Yellow Snow Sun ower Seed Regular peach tree

Yellow Snow

Regular peach tree

Sunflower Seed

Regular peach (tree)

Salmonella Lavish

Salmonella Lavish

Salmonella Lavish

I almost broke out in hives because the color palette was in RGB…;) So, I went back and color-matched them with CMYK and gave them funny (to me) names. (I still ended up using a RGB color.)

Below are some reference images I used and the final image is above. This project was deceptively simple. It turned out to be a lot harder than I expected, because it required us to simplify an already simple object. While at the same time, making it fit inside a very rigid shape.

I chose a Magnolia as my flower, and a big feature of a Magnolia are its large waxy leaves. However, trying to incorporate the leaves was difficult to do without overshadowing the flower aspect. But the leaves also help make the flower more recognizable (in my opinion). Another problem I had was figuring out how to translate line art from the sketches to a filled-in shape. Overall I enjoyed this project, as always I could have used a little more time.

Above and on the next page, are sketches that I made for this project. The goal was to flesh out the flower within my letter form. We were required to make at least that many.

Thoughts From That Week

This week’s reading emphasized the importance of spacing. Particularly in reference to individual lines of text and even between letters. The amount of space can strongly affect the overall feel, theme, and legibility of a design. I never considered the benefit of spacing when referring to things like logotypes. The proximity is crucial to making the word logo appear as one unit.

We also read over the value of alignment. I have found a new appreciation for the different types of alignment (right, left, center, justified, vertical, etc.) Each one provides an unexpected change to the overall feel of a block of text. Some things are intuitive and just feel right, like right aligning a caption underneath an image. Other alignment options are harder to get correct because they strongly affect readability.

I

added this to show a small detail that you would not see normally. That little sprout coming from the center of the flower is another distinct aspect of a magnolia that I wanted to incorporate. But we could not use more than a single color.

Posters &Doc. Layout

ARTS246

NATIONAL PARK SERVICE TYPE HIKE POSTER + POSTCARD (Project-5 AR Poster)

This was our most recent project. It was a little daunting in my opinion. But I had some vision for what the poster could become, hopefully my skill could match that. I completed a good amount of research into the national park that I chose to work with. The Sequoia national park is one that is dominated by the large redwoods.

I am faced with the challenge of giving the viewer some notion of scale and grandeur and trees. Without just obviously using a tree trunk. I added some sketches that I liked here.

Some of my first thoughts included the General Sherman tree. Which is probably one of the oldest and most popular tree in the redwood forests. I was going to do something like super impose his likeness into a tree trunk. Or take inspiration from these old logging photos. The direction I went in was quite different from what I originally planned.

Above are a selection of ideas I threw together after research. Following our critiques, I found that I needed ABOVE ALL ELSE to pay attention to spelling. S-E-Q-U-O-I-A

Our requirements for this project included: 1 poster, 1 postcard, and 1 “digital specimen poster” or AR aspect that would mess with an app that can be downloaded called Artivive. The poster dimensions were 16x24, which is an odd size and created some issues for me when printing. The printing is always the hardest part.

On the right is a still from my animation I made for my Artivive type specimen. I had to include all the letters of the alphabet and its creator. Fun fact it was created in 2010 by Santiago Orozco. It is a very attractive font in my opinion. And by the end of the project, it seemed like everyone had begun to use it.

I enjoyed looking at everyones work, and I felt a small sense of pride after mine was completed. Even though I ran into some issues sending it to print.

Thoughts From That Week

Typography in Time + Motion

This weeks reading is about the history and significance of typography in motion which to me is an interesting connection. Type has so much “expressive potential” it is our job to find it. The text highlights its use in things like film title sequences and digital media. One intriguing notion is the phrase “manipulation of time.” The text talks about how it enhances typographic design in several ways like Sequence/Pace, Mood (or Emotion), Hierarchy, Symbolic Meaning, and a few others.

By controlling the sequence and pace of the message, designers can create a specific rhythm and engage the viewer. They can determine the order in which events or information are presented, and use foreshadowing or flashbacks to manipulate time and create anticipation or surprise. The pace at which a sequence unfolds can evoke emotion on its own. Type meshed with sound and/or images allow designers to explore and express ideas in a different or engaging way. This is very applicable to our latest project where we are having to create an experience of sorts with our design. Hierarchy is one of the most important tools of a designer, it can be used to manipulate the “time” as you will in a design. Hierarchy can establish emphasis and can control the viewers experience. Lastly the symbolism behind every “sequence” is important. Designers can hide callbacks and associations in their work that may be hidden to some or very obvious to others. It is a much more nuanced but effective technique in conveying ideas.

Earlier this week, I took a deep dive on the etymology of the word Sequoia and its various spellings in the written Cherokee, or Tsalagi language. Like Sequoyah who was the name of the man who created the language, or Sogwoli, or Ssiquoya, and Sikwayi. Their written language is what is called a “syllabary” so the characters correspond to a group of syllable organized by vowels.

I sincerely tried to incorporate this aspect into my design but I may use it as a secondary element. Some of the characters are uniquely beautiful and some closely resemble our own letters. I downloaded several fonts that supported the alphabet (some made by native designers) and tried to manipulate them, but I did not get very far. This is technically our “last project.”

The reading was very fitting for the next task at hand (at the time), which was to create a motion aspect for our designs.

“Sikwayi”

“Sequoia”

ARTS245 REMAKING LANGUAGE PROJECT

(Project-4 Letter Creator)

Here the letters that I sketched out and created. Some are more rough than others. I did a majority of the initial letter sketches on my iPad, which was difficult because I was on the way to therapy appointments. Every time I hit a bump the shapes would distort.

Anyhow, I enjoyed messing around with the letters. Because it allowed me to really get in and explore the curves of the typography. It is hard not to make them “beautiful” for lack of a better term. Letters are not specifically designed for aesthetic purposes but simply to record verbal language. That being said they should be functional and easy(ish) to read. These are the ones I did not continue working on, but I felt like they were pretty good too. The serif ones were a lot more interesting and fun to work with. But it is very easy to make something that has been done before. There are only so many letters, and written language has been around long enough that it is almost impossible to make something new.

Thoughts From That Week

Hie rarchy

This week’s reading was about hierarchy. Which can be purely visual (with text) or deal specifically with the layout and where they are placed in a space. Hierarchy is especially important when it comes to websites because they are meant to be scrolled from top to bottom. Hierarchy is also about creating emphasis. It allows for a controlled direction of attention, where the designer is in the driver’s seat. Something that I never considered was designing a website that was printer-friendly. It may be a very old-fashioned way of thinking, but occasionally I do need to print a website out. Usually, they do not print out very well.

I really enjoyed he first part of this project, but the rest was a struggle for me. We were required to create 3 spreads to showcase our letter. Several times I lost interest or motivation to continue to reiterate the design. I was trying (a little too hard) to make my layout different from every one else’s. I avoided looking for inspiration in other places also. This may have shot me in the foot, because my final design felt rushed and a little plain.

The elements that I really liked were the color palette and the letter texture that I created, and even though it didn’t make it into the final. I may used it elsewhere. The whole purpose was to used the letter I created in a different way. By orienting it straight up and down, while changing the tint (not opacity).

My favorite spread is the middle spread (page 3). Which includes the pangram and what I feel is a visually appealing layout.

Cochin italic bold 48pt

lowercase s,d,i,v in italic bold

Thoughts From That Week

Anatomy of Angles

lowercase s,d,i,v in italic bold

Cochin italic bold 48pt 275 pt

In the next chapter from this week, I liked the breakdown of the different type classifications, (which reinforced what we discussed in class), such as Old style, Transitional, Modern, Egyptian (Slab serif), and Sans serif. It was very applicable to this project. I can now appreciate the amount of work involved in creating a typeface. Even though I have only created a single letter there was quite a bit of time and thought put into it.

“Helvetica isn’t fat. She has big bones.”

Gill Sans 48pt, Q, S (Regular), p (semibold italic)

The two letters that I carried to the end of the project. (One Serif and one Sans)

Cochin: (or Les Cochins)

This typeface was created in 1912 by a Frenchman George Peignot in the Paris type foundry G. PEIGNOT ET FILS.

The typeface itself is named after the French engraver

Charles-Nicolas Cochin. Cochin is characterized by its elegant, calligraphic style. With some distinctive serifs and

Fun Fact:

Cochin is used in the Harry Potter covers produced by Bloomsbury Publishing and The Spiderwick Chronicles (written by Holly

Sphinx of black quartz, judge my vow.

Showcasing in 48pt Bold, Bold italic, italic, and Regular. (from top to bottom)

It was designed by the English sculptor and typeface designer Eric Gill in the late 1920s and early 1930s. Gill Sans was commissioned by Stanley Morison, who was a prominent typographer and adviser to the Monotype Corporation. Morison recognized Gill’s talent and the need for a new typeface that would be both contemporary and versatile. Gill Sans is characterized by its clean, sans-serif design with a “humanistic” touch.

“Jeopardy!”, quiz game.

Gill believed in combining the clarity of geometric sans-serif typefaces with the warmth and elegance of traditional serif fonts. The result was a typeface with open counters, distinctive letter forms, and a harmonious balance between straight and curved lines. It has been used in numerous corporate logos, government signage, and branding campaigns. Some well-known examples include, the British Railways logo and the logo.

ARTS246

FONT PAIRING POSTER EXERCISE

(Project 2-HuNY)

Evolution of Typography

The reading for that week included a timeline that spanned 1000’s of years, and gives details of important turning points in the history of typography. And while it was not super applicable to this project, it was still very poignant. The importance of typography has waxed and waned as time has passed. Imagine if they had not written things down in ancient times; we would not know anything about them at all. Typography has gone from very complex, to very simple/rudimentary and back again. From hieroglyphics to Helvetica the purpose is still (essentially) the same. That purpose being the clear conveyance of information, and the recording of history.

Typography was more traditionally utilitarian by nature. But in more modern times it has taken on the role of art. Also, typography itself has been affected by the various art movements throughout the years. In ways that are both expected and surprising. Something that I enjoy doing is connecting my classes together. I am taking a course about Pompeii (which was covered in volcanic ash). So much of what we know about their daily lives and the eruption itself was (obviously) written down. And because much of it was destroyed, the integrity of the “type” is crucial to the survival of Pompeii’s story.

Montserrat + Roboto

Hind + Inconsolata

Play fair display + Fauna One

Nixie One + Libre Baskerville

amatic sc regular +

Raleway + Roboto

Nunito Sans + Space Mono

Volkhov+ Open Sans

Fjalla One + Nunito Sans

STORY 5

For this project, we had to select an image from a predetermined list (fonts as well), and pair it with a story from the person pictured. It was hard for me to avoid overthinking every part of this project. Even though the focus was supposed to be the type, I spent more time trying to create a narrative. Anyhow, I chose the image above for my poster because I liked the playful nature of the story. The photo has so much personality, and I liked her confident smile. She reminds me of my niece for some reason. I was surprised that a few of my classmates also chose this photo as well; her story was probably the shortest. The thematic elements I chose, lean towards a comic book. Mostly because she was describing heroes from her imagination.

“When you’re four you can do awesome tricks. You can do a tumble and a cartwheel. Actually I can’t do a cartwheel, but my sister can do that. She’s five years old and likes to play with me but I haven’t met her and I don’t know her name because she’s imaginary. She likes to fly. Her job is so save the day every time the bad guys try to steal the word. She is friends with Water Girl, and Fire Girl, and Wind Girl, and Shark Girl. Shark Girl has the power of sharks. She can save the world every single time. All she has to do is put out her hands and think really hard about sharks.”

I spent a lot of time on both aspects of the poster. However, I would say that the type is the more challenging of the two. It is difficult to gauge how far to go when it comes to type. Because it can appear either “amateur” or “genius” very easily.

Working on larger-scale projects requires you to keep your final goal in mind at all times. It is also very difficult to make things that stand out clearly while still staying subtle. Especially to those who don’t understand. But that is our challenge as designers.

Craft & Hand Skills

“The natural tendency of the hand is not to repeat itself, even in a series of figural repetitions. Thus once a su cient repertoire of runs is learned, this tendency inherently ensures a richness to the sound. The hand searches its territory for sequences, which process replaces a faithfulness to the score, and that makes jazz.”

-quote from “Ways of the Hand” by David Sudnow

ARTS246

GRID STRUCTURE + GREY READING FOUND TYPE (Project 2-Grid&Type)

I made sure to orient them how they were intended to be “read” when I scanned them into my computer.

Tryreadingalineoftextwithoutspacingtoseehowimportantithasbecome.

I hate glue sticks… especially the purple ones. Anyhow this project went well with the reading this time around. I sort of enjoyed this project, even though it was not a clean as would have liked. I started by piling random books I found good type in on my bed. Then I scanned them into my computer.

I mostly enjoyed searching for the larger text that really stood out. But the smaller type also played a role in crafting a cohesive project. The piece in the center with the “5” in the middle was probably my favorite and I tried to loosely base the layout on the golden grid/section we read about the previous week.

Thoughts From That Week

TEXT + TYPOGRAPHY

This time around we were discussing the text aspect of typography. Which is the most visual part of designing with type. Because much of the content we consume, (such as this blog post) is filled with text. The reading stressed, that the spacing is just as important as the type. Because it affects readability and style. It was interesting to learn where the term leading and kerning originated. They both refer to physical spaces that were used with old printing presses to increase legibility. Typography/type/print allows for a sense of permanence that is not the same as with writing. In the sense that there are almost always copies of a document made in a computer or physically printed. Versus one-offs of a hand written manuscript. I also intrigued by how the text differentiated the linearity of “digital media” comparing Microsoft Word to Quark Xpress (which I hate) or InDesign (less but still hate). Where the writing process starts at the top of the page and ends at the bottoms. As opposed to building blocks of text in programs (like with InDesign.)

There is a difference between seeing and reading. The book talks about a “digital divide”, where people tend to be in “search mode” rather than digesting information. Only searching for a keyword or phrase pertaining to them. As the reading says, our attention has become a commodity and we should not squander it.

“How texts are used becomes more important than what they mean.”

ARTS246

DESIGN(ER) HISTORY ZINE

(Project 4-Zine)

Gail

Anderson

-

Very interesting design style. Combines a lot of mediums, and collaborates. Not just one singular type of work done. Wide range, very colorful and very simple dark also.

Pigeonholed

Jan Tschicholdthought this would be a woman... Very different from my other choice. He is a very serious type designer, German. More focused on typography. Graphic Desing historian and “Purist”

We had begun this project quickly after completing the Logo Development project. We were tasked with creating a Zine. Our focus is on the history of a graphic designer. I chose Gail Anderson. I sort of felt “pigeonholed” because there weren’t very many options.

I felt an obligation to choose someone who looked like me. Even though there weren’t very many to choose from in the list we were given. I also feel for those designers because they were/are undoubtedly in my same position. Feeling pigeonholed into designing (and/or only getting recognition) by making socially conscious designs. Plus having to constantly educate the public of injustices of the past and present.

The Lady (Woman) Without a Name.

Anyhow, for this project, I have to remind myself to focus on the type. I struggle with balancing or relying on images to tell the story of a design. Now that I think about it, this current project ties in perfectly with the reading (see TFTW). Above is a moodboard I made (normally I would only create one if we were required, but this time I made it on my own) It helped me in the end also in deciding who I wanted to use for my topic.

I cut and folded the zine pattern so many times. Eventually I got better and its still not quite muscle memory yet but I’ll get there. The image to the right is showing that folding and refolding process. The final layout is on the next page.

Thoughts From That Week

The Typographic Message

It can be easy for a message to get lost. But when done effectively in design, Typographic messages can have a long standing effect on an audience. These messages require a combination of logic and intuition. Many times they are visuals created from the words themselves. In everyday life you can say something that can invoke strong emotion, or even indifference.

Typography seeks to do so in interesting ways that are less fleeting that a spoken sentence. The text said that typography can be verbal, visual, and vocal. It can be read, viewed, and heard, making it a dynamic communication medium I liked the idea that typography can operate in different ways. We can go as far as to even assign abstracted emotions onto type (because that is human nature). The text gave an examples such as how

a

single letter isolated can evoke a feeling of loneliness. Or when using several repeated letters, it can give you the feeling of dynamism or movement. Especially with spelled out sounds such as “CHOOO-CHOOOOOOOO!”

Here is a “found object” alphabet created by Gail Anderson and a collaborator. I used it in some aspects of my first page in the Zine.

Early Life

Her childhood was spent in the Bronx (New York). Born to Jamaican immigrants, she was the first person in her family to graduate with a college degree.

One of her most notable designs is a stamp. Which was commissioned by the US Postal service. It was made for the Emancipation Proclamation’s 150th anniversary (ca. 2013). It is only the second stamp created by a black designer.

“It’s both the I’ve ever done . ”

and smallest thing

HISTORY OF

Her design work is often characterized by its creativity, and attention to detail. Editorial design (such as for Rolling Stone) employs her signature style. It combines bold typography, vivid colors and playful imagery.

She manages to skillfully insert humor in many of her works. She has even written a book titled Graphic Wit (co-author Steven Heller). It discusses some approaches for designers to use, that should evoke emotion. Ideally; a versatile designers goal is to span a wide range. From bittersweet nostalgia, to outright laughter. Which can be both an enormous challenge and a huge strength for designers.

Maybe even within the same design.

Gail Anderson is also an accomplished educator. She has taught gra ph ic design and typography at the School of Visual Arts i n New York City. And continues to l ead in the i r design p rogram.

ARTS246

EXERCISE: LETTER SPACING

(Project 1-Trace)

This was a difficult process, disguised as a very simple one. The French curves are helpful, but they never work the same way twice. The lines can turn out choppy and awkward. It also took a lot more time than I expected.

Thoughts From That Week

Ian Spalter: Why Designers Should Work Like Comedians

We had to find a podcast and watch/listen to the insights of a designer.

Ian Spalter has had an interesting career, and has worked for several major brands. Much of his more recent experience stems from working at Instagram as a lead designer. His starting point is the distinction between Design and Data. He shows how they are how they are seemingly unrelated but also connected. Design needs good data to be effective. In our case, (since we aren’t very experienced) data shows up in the form of feedback. It can be positive, negative, or in some cases completely useless and inconclusive (like data itself).

He also compared comedians and designers. It is a much more in-depth process than I expected. The similarities lie in the amount of iterations required to make something look (or sound) right. Comedy and design also require you to define your audience. Some things aren’t funny or applicable to some people. And the feedback received, can be in the form of laughs (or other types for design, like emotional connection). That feedback is crucial to the success of the project.

ARTS245 9 SQUARE SERIES

(Project 1-Craft skills)

Least but not last (yeah you read that right)

This was the first project of ARTS245. I worked so hard on this and I cannot find the original for the life of me. I hated doing this project, so that might have something to do with it. I wouldn’t be surprised if I threw it away. Anyhow, I tried to outline some process images on the next few pages. This project was very frustrating for several reasons. Mostly because it feels like I paid to do arts and crafts.

I could not shake the feeling that I missed an opportunity to pick someone else, but I made a choice and had to stick with it. Anyhow, his name is Marcus Samuelson and he is a celebrity chef. He has been on a few TV shows and also owns/operates several restaurants.

We were required to make:

1. Original BW of the face,

2. A black line drawing of the original image

3. Outline the negative portions only

4. An outline of the positive and negative areas of the image onto color paper, Cut these out and mix them together to form a high-contrast color image

5. Follow the process for letter D, but use colors that are low in contrast

6. Follow the process for letter D, but use papers that have an interesting texture

7.Xerox experimentation of the original image

8. Xerox the original image and hand color.

9. A conceptual interpretation of the image in any media.

My goal with the experimental Xerox was to showcase how in the original photo he was cutting some vegetables. I printed the original at a lower contrast and then put back into the printer to print over it. Using the image of the knife and table. It took like 30 tries to get it just right. The last square is probably my favorite, it is a play on the flags of Ethiopia (where he is originally from) and Sweden (where his adopted parents raised him).

Philip Lloyd 22

Contact: philcommerce4@gmail.com

pelloyd@sc.edu (803) 908-1014

UofSC Spring 2024 Professor Nace

ARTS246

IBM Plex Serif (10pt, 8pt)

Nobel (72 pt, 24pt, 12 pt, 8pt, 6pt)

Was all of this work worth it?