Page 1

Typography Spring 2019 | Reilly Brown


Table of Contents Visual Semantics....................4. Letter, Space, Meaning.....................8 Dualities/Dichotomies.....................21 Journeys.....................33 2020.....................39 Type Specimen.....................44 Book Cover Redesign.....................49

3


4

Visual Semantics

ASSIGNMENT 1

In this assignment we were instructed to create a collage made up of 9 3x3 magazine clippings. The goal was to utilize and manipulate text in a visually appealing manner. From there, we scanned our collage and imported it into illustrator to graphically alter it using the pen tool. The intent was to create a story out of the type and style we chose. For this project, I used clippings from a fashion magazine, so, it automatically had a somewhat editorial feel. I decided to run with this and focused my project on the medias portrayal of women. I had phrases such as “beauty is eternal” and “this is she,” so I continued on that theme but decided to put a more negative spin on it. I used words like ‘shock’ and “shame’ (with the ‘s,’ ‘h’ and ‘e’ in a different color) to indicate the negative impact that the media has on women. Further, I used the words ‘forwards’ and ‘backwards’ to signify the strides we take toward progress and then regression once again. For the color palette, I wanted to mimic a high brow magazine or website, so I stuck to bold, straight lines and used only three colors, pink, black and white

5


6

7


Letter, Space, Meaning

8

ASSIGNMENT 2 For this project, we were instructed to pick two words and create ten different compositions (five per word) made soley out of that word. Choosing between either Futura or Helvetica, and being given a limited color palette of black and white, we had to be wise about how we convey the emotion behind our words through the scale and positioning of the letters. This project was intended to inspire creativity when working with typefaces and teach the power that type holds when designing.

9


10

I chose the words ‘feminine’ and ‘future.’ For feminine, I sought to capture the essence of the female body (i.e. curves, maternity), however, I also wanted to move further than the clichés that being feminine may hold (delicate, gentle etc.) So, I created the feminist symbol out of text and worked with a rendition of a lightning bold to symbolize power. I had a lot more difficulty with the word future. There were many directions I could go which somehow seemed more tricky. I decided to work with themes of positivity and prosper for a few of my compositions, working with arrows and playing with the idea of a horizon to symbolize a hopeful future. For my last composition, I went with a futuristic look.

URE FUT 11


future futu ture u f e r future e u t r u f fut re tu ure

future re utu f u tu ef re future f u ur utu t u ut re ef f

12

utu

r re future tu utu ef ur

f

f

t

ure future fu tur e fut r u tu fut future fu re future e fut re ture u u

f

future future f

FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE FUTURE

ure

re e ture future fu ur t u ut e fu r ef f ur ut fu u

u fut re future futu re

13


e r u t uf

erutuf

er ut uf erutuf future

erutuf future

erutuf future

erutuf future

erutuf future

erutuf future

future

future

future

future

future

erutuf future

erutuf

erutuf

erutuf

erutuf

erutuf

future erutuf future future future future future future future future

15 14

E FU T U R


in

m in i n efe min ine

fe ine min

in i n ef e min in

mininefem

min

efe min

ine fem

fem

in

efe

efe

ininefe em i

efe

min

inefeminin

nin

efeminine fem

min in

i

mininefemininefemininefemininefem ini inefeminin efeminine femininefe mi

mininefemininefemininefemininefemin

i

nin

ine inin fe efe m min i ni n efe

efeminine fe

inin efe

min ine fe

i n i n efe min i ne

feminin feminine

inin fem ine in

efe nin

mininefemininefemininefemininefemin

i

inine femi nine femi nine fe

m

efeminine

inefeminin

femin

femini n inine e fem em ef

inine

fe ine mi n efe inin

min fem e f em inininee inin fefem inin ef e e m f i e n mini inin ine m n i efe e fem f in e minn m inefeefem

femininefemininefem

17 16

femininefemininefem

ininefe mi nin femininefemininefem


fe m in in e in min e fe

f e m ini ne

f e m in ine

i m fe

ni ne

ine in em

f

fe m

e in

e feminine fem inin ini ne fem

ininefemininefem efem inin inin efe m fe mi n

in in ef

fe m in

em ini ne

fem

e in

fe m

i n in e f e m ininef e m

ini n

e

in ine

18

19


ef

fe m i nin

in

e mini

Dualities/Dichotomies

m

fem

ini

i n e fem i

nin e

efem

en inimef

femin

imef

i

in n e

ef e n i n

i

ini n

20 nefem

inim

fe m ni

n efe

ASSIGNMENT 3

21


PA ST

FUT

For feminine, I worked with capturing the curves of a female form. When I was tasked with incorporating the word ‘masculine’ into the composition, I found it difficult to express masculine qualities in a way that is cohesive with what I had already created. So, instead of fighting it, I decided to start over with a few of my compositions. I played with the idea of feminine = masculine to challenge the stereotypes that femininity and masculinity often have. In my other compositions, I reflected the two words to signify that, although society views feminine and masculine as opposites, in reality, they overlap. For another composition, I played with the male and female symbols and for my last one, I put a female form inside of a box made up of the word masculine to signify the restraints society puts on women. For the word future, I was given the word past to incorporate. I played with a lot of arrows going forwards and backwards. In one of my compositions, I created somewhat of a vortex shifting from past to future and you get further into the tunnel.

T

22

URE

For this assignment, we were instructed to take our letter, space, meaning compositions and successfully incorporate an antonym. This assignment was an exercise in arranging opposing words through scale, placement and opacity in a way that connotes an emotion or feeling. I originally chose the words ‘feminine’ and ‘future.’

23


PAST

FUTURE

24

25


tsap

past

past

past past

past

past

past

past

past past past past past past past tsap

tsap

tsap

tsap

tsap

tsap

tsap past

tsap

past

tsap past

tsap past

ts a p

tsap

tsap tsap past

tsap

erutuf

erutuf

er ut uf u erutuffuture

u erutuffuture

erutufffuture

erutufffuture

erutufffuture

erutuf future

future

future

future

future

future

erutuf future

erutuf

erutuf

erutuf

erutuf

erutuf

future erutuf future future future future future future future

p a st passt past pasttppas st pp p t t a paas st ppastppaast sptapstapsat paas st p p s st pa ast st pa st past past t pas t p t a pa st p past past past pa past p pa pastture fruetufureturfeutufure fut st pa p t fu futu ture futu ture ure tu re future tur fu re futtuure future ffutur re u tu fu ture future ture e fu ture ture fu f

fu

u e f

tp

fu t

ut u

re fu

fu

pas

re

utu

a s p st p s t pas t p a a st pa t past pa t past p t p a

a st

ast a as st past a st p past paast past papstast pa pas pa st a st t p s

a pas ture futufrueturfuture f t pa e f u t u re

f futu utu tu re fu r r e re futu fu ture fu e f e r tu futu future ture fu tur

e uture future f tur e tur e f future fu utu e fu utur future e future f ture fure f f

f

f

ut ur fut ture future ure tu fu fu f e ur ture ture future ture u u fu f

fu e ur tu fu

f e r

tur e

s

future fut

p

tu future future re fu f

re futu

e

fu

re ure

ure

p

ut

tur e

f

fut f ur fu

future future ure fut re re re tu

t

fu re fu tu re

s

as st s ast ure future past p ture fututre future fufuture t pa

tu future ufuture fu re fu f ture f f e r u t u u fut re fu ture future utureture u fut fu u ut ure t u

e tur fu

fu ture future futu utu re r fu e fu future future re tu ture ture future futur t e fu fu fu

f u ut ure ture

u u r tu e f future future re tu r tu ture future future fu future fu fu re uture future fu ture

tp s p pa pas pa st ast pastst past past p as t past p past psat past tpast past t pa ast ast ptaure future futupast p ast p st p e fu ture future fut re fu as

pa t

p st p st paa a a t p a s t p ast past past p ast pa a s t p ast ast pas as p

s

27 26

st a t ast past pas pa st p p ast st past past pa t p st t s t p st past past past pas st pa ast s t pa t pa past past past p t pa st

s t pa st s t a

pas p as p st p p pa stt pa st past pas t paas t paas st pa st past pas t pa st pt

pa s p t s p t a s a p p s t pa st ppast past pa st p as st t

p


Masculine 28

29


m

i

nim

fe

efen

i n efemi

nin e e

f

femin

m ini

i

in n e

imefe n i n i m e

nefem

in fen

i

efem

ulinemasculinemasculinemasculinemasculinemasculinemasculine

efe

femini

n

mini

fe m

ini n

30 ni

ulinemasculinemasculinemasculinemasculinemasc

emasculinemasculinemasculinemasculinemasculinemasculinemasc

masculinemasculinemasculinemasculinemasculin

31


PROJECT 1

cu line masc

Journeys

sam iluc n e m

samenil uc niluc e sa m sa

inine fem ne ni

32

as cu

feminine inine f e m em i ef

feminin feminine

efeminine

asculinem

ininefe mi nin

33


For this assignment, we were each assigned a different travel destination to design a 9x9 information poster based on. To begin, we created 4 compositions in black and white as an exercise in grid systems. From there, we were able to add color. I received Morocco as my destination. I knew I wanted to pick a moroccan inspired font (I chose Cuisine OC), so I picked a simple sans-serif to tone it down (Mr Eaves XL Mod OT). Since we were unable to use graphics, I wanted to make sure that I captured the shapes and colors of Morocco in other ways. When I first began adding colors, I used my mood board and color dropped shades of blue and orange to use. I played around with bolding and enlarging certain key words and phrases to address a hierarchy and to fill up unneeded negative space. For one of my compositions, I wanted to play with an arch to signify an arched doorway, however, as I played around, it ended up looking like a sun. So, I decided to work with a gradient in all of my compositions to emulate a sunset. I feel like this worked because the changing colors guide the eye through the composition. For some of my compositions, I designed the price circle in a way that mimics a setting sun as well.

34

Culture, History & Progress in

From $6,150

Departs Nov. 3, 2018, April 21, Sept. 22 and Oct. 31, 2019 Itinerary 12 days Travelers 25

A land of legend and intrigue, Morocco lies close to Europe, yet its place on the African continent has made it a multicultural crossroads for goods, ideas and peoples. On this 12-day journey, discover the rich, artistic influences of Moorish and European cultures, meeting with locals and experts to delve deep into this colorful nation.

35


From $6,150

Nov. 3, 2018, April 21, Sept. 22 and Oct. 31, 2019

days

travelers

A land of legend and intrigue, Morocco lies close to Europe, yet its place on the African continent has made it a multicultural crossroads for goods, ideas and peoples. On this 12-day journey, discover the rich, artistic influences of Moorish and European cultures, meeting with locals and experts to delve deep into this colorful nation.

36

Culture, History & Progress in

Culture, History & Progress in

From $6,150

Itinerary 12 days Departs Nov. 3, 2018, April 21, Sept. 22 and Oct. 31, 2019 Travelers 25

A land of legend and intrigue, Morocco lies close to Europe, yet its place on the African continent has made it a multicultural crossroads for goods, ideas and peoples. On this 12-day journey, discover the rich, artistic influences of Moorish and European cultures, meeting with locals and experts to

37


PROJECT 2

Culture, History & Progress of

TRAVELERS 25 DEPARTS 11.3.18, 4.21.19, 9.22.19 & 10.31.19 ITINERARY 12 days

A land of legend & inrigue

Morocco lies close to Europe, yet its place on the African continent has made it a multicultural crossroads for goods, ideas and peoples. On this 12-day journey, discover the rich, artistic influences of Moorish and European cultures, meeting with locals and experts to delve deep into this colorful nation.

38

2020 Calendar

From $6,150

39


For this assignment we were assigned a famous designer and then instructed to design a two creative yet functioning 13x19 calendar inspired by their work. We were required to include aspects of of their designs while still maintaining our personal style. I was assigned A.M. Cassandre, a French painter, poster designer and typeface designer in the 1920s and 30s. His design style is distinctly art deco and he took inspiration from cubism and surrealism.

40

For the first calendar, I decided it would be interesting to buy transparent colored paper and cut out interesting shapes, overlap them and scan them. I then put a basic calendar over the scan, however I found that the images competed and it looked too busy. So, I decided to wrap the numbers of the days around each scanned shape so the layers played off each other better. For my second calendar, I wanted to implement the leading lines of my second inspiration image. I put the numbers of the months on each line which leads to my heading. For each of my 2020 headings, I recreated his font: Bifur. Overall I am happy with my calendars. I feel like they capture the essence of A.M. Cassandre but they remain †rue to my style. I aimed to create calendars that I would actually use for myself and I feel like I succeeded. If I were to do it over again however, I would have cut out the shapes more deliberately so that each month could be housed inside a shape. For my second calendar, I would have played more with colors and possibly a graphic element like the flowers in the inspiration photo.

41


42

43


PROJECT 3 1 2 3 4 5 6 7 8 9 10

9

10

11

17

21

27 28

29 3

26

27

28

31

62 72 8

25

30

25 26

25 26 27 28 2

24

29

32 42 52

4

23

28

32

22

27

23 24

22

22

26

20

25

19

24

18

23

21 22

16

22

19 20

15

21

17 18

14

20

15 16

19

91 01 11 21 31 41 51 61 71 81 92 02 12

13 14

13

18 19 2

02 12

11 12

12

29

93 03 1

0

29 30 31

12345678 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30

28 29 30 31 22 23 24 25 26 27 16 17 18 19 20 21 10 11 12 13 14 15 123456789

2

3

4

5

7

8

9

10

11

9 8 7 6

5 4 3 2 1

44

30 31

29

30

28

28

29

27

23

24

25

26

27

25

26

22

16

21

24

31

21

15

20

23

22

30

20

14

19

29

28

19

13

18

10

1

6

12

17

27

18

7

42 32

6 52

17

56

13

20 19 18

22

0 93

16

34

12 11

17 16 15 14

2 21

82

15

12

10 89

12 02

72 62

14

2 19 18 17 16 15 14 3 21 11 01 91

52 42 32 22

31 29 30

13

34

8

14

28 26 27

12

12

7 56

12 13

25 23 24

21 22

11

10 11 789 456 123

19 20 17 18 15 16

Type Specimen

8

18

11 12 13 14 15 16 17

7

17

10

6

16

678 9 10

78

89

5

15

56

67

4

14

123 45

34

45

3

13

12

3

2

12

12

11

1

45


For this assignment we were assigned a famous typeface designer and instructed to create an 11x17 pamphlet about our typeface. We first researched our typeface and collected information that lent itself to the designing of the pamphlet itself. I was assigned the typeface Didot, used primarily for magazine headlines. So, I decided to go for an editorial feel. I knew I wanted to stick to a muted color scheme with high contrast to play into the high fashion magazine vibe. I played with black and white to give an elegant and clean look. I then decided to add a very light pink to add depth and a little bit more creative freedom. I worked with asterisks, ampersands and quotation marks to give add a playfulness and a bit of fluidity to break from the harsh angles throughout my pamphlet. For the backside of my pamphlet I chose a quote from Miuccia Prada and formatted it in the silhouette of a dress to continue the editorial look.

46

47


48

49


Book Cover

PROJECT 4

50

For this project, we were asked to redesign an 8.5 x 11 book cover of our choosing. This assignment was extremely intriguing to me and I knew almost instantly that I wanted to work with a children’s book. Ultimately, I choose the book Goodnight Moon. It is a short poem written by Margaret Wise Brown in which the narrator says goodnight to objects around the house. The original book cover feels dated and not playful enough for a children’s book so I thought it would be a good cover to redesign. It depicts a green room with a window, fireplace and painting. The font is a marker font for the title with a sans serif for the attributes. Although it is colorful, it lacks the youthfulness and whimsy that would intrigue a child. In sketching, I was inspired by the geometric yet playful children’s books of Paul Rand. His illustrations are simple and one-dimensional but they are also engaging and distinctive to him.

51


From the beginning of this project, I had a pretty strong sense of direction. From the beginning, I thought it would be fun to play with a blocky and geometric font, Flegrei, and play with the form of the letter ‘O’ to emulate a moon. I wanted my cover to look like children building blocks with a simple, forms and little dimension. I chose a variety of fun colors that serve as the depth and interest in an otherwise flat design. My first design came pretty quick, however I wanted to push myself. So, I printed it out, cut out the shapes, and scanned it. This gave it an even more playful and imperfect look that really resonated with me.

52

53


Profile for reilly.brown

Typography Process Book  

Typography Process Book  

Advertisement