Process JOURNAL
spring 2020
Exclusive! Summer Summer Shinn Shinn
5 Design Projects
3 Reviews
Get the inside scoop on the Process
A letter from the editor Welcome to my graphic design process journal for Arts 246! I’ve spent the Spring 2020 semester of college working on all of the assignments and projects shown throughout this book. I am so excited for you to look through my work but wanted to give you a little bit of background information irst. At the time this book was published, I’m a junior at the University of South Carolina majoring in Advertising with a minor in Graphic Design. I have found that my knowledge of the different adobe software has been critical when it comes to completing work for my major courses and have been able to work more eficiently than my peers who don’t have the same minor. I have loved getting to learn from some amazing professors in the school of visual art and design, including Professor Khalili. This is the second semester I have taken one of her courses and I have learned so much from her, I have to credit a lot of my growth and design skills to her. In the course I took with her last semester we created a similar kind of process book but my main goal with this one was to push myself on the design and layout of each page rather than just pasting my work on pages to lip through. When reading through this book you will come across my “reviews” section, here you can see my thoughts on our textbook, a podcast about environmental graphic design, as well as CanceledCon. In my “opinion” section you can see my weekly thoughts as I navigate the assignments and projects of the semester. It got a little weird once classes were moved online due to the COVID-19 pandemic but I think we all managed as a class. I can’t wait to see where all of the things I have learned from Arts 246 and beyond takes me in my career and I hope you enjoy my work throughout this book. Have fun!
Summer Shinn Editor-in-Chief, Process Magazine
This Season in process
Process 2
Stories Classiications
The Historic Classiications and Anatomy of Typography
Humans of New York An ExposĂŠ on Font Parings & Grid Systems
Typography Poster Indepth research into the history of Montserrat and its creator
Guilty Pleasure Zine Deep dive into our guilty pleasure font with this totally groovy Zine
Peek at our Process Get an inside look on how we design our magazine
6 10 14 18 32
Reviews 99% Invisible Episode 126- Walk this Way
Typographic Design Form and Function
CancledCon Here’s what we learned
38 40 50
Opinion Our Procces Blog Get the inside scoop on our design process and the behind the scenes of this issues stories
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Stories Stories Stories Stories Stories Stories Stories
Classifications The Historic Classiications and Anatomy of Typography The Historical Classiications assignment was the irst for Arts 246. The mains goal of this assignment was to give us a deep dive into each font. We were asked to read about each font in our textbook and identify their speciic distinctions. We made sure to pay special attention to kerning and to notice how serifs affected kerning and tracking. The six chosen fonts were Univers 57 Condensed, Serifa 45 Light, Adobe Garamond Italic, Bodoni, Adobe Garamond and Baskerville. For this assignment, we had to redraw each font in the speciic word that was given to us on the following page without tracing, draw the stress lines on the “o�, and label the font and its historical classiication. When I started this assignment I did not realize how time-consuming it was going to be and I found that I spent about 45 minutes on each word trying to get them as close to accurate as possible. I irst measured out the high of each letter and the spacing in between them. I used a pencil to outline the letters and then once I was satisied I drew over the pencil with a black pen and then illed in the letters. I found this process really relaxing but by the end, my hand was so cramped from trying to be really precise. I was really happy with the way that my work turned out, no it wasn’t a perfect match with the original fonts but I worked really hard on this assignment and I thought it was really fun overall.
This is the front page of our Classiications assignment which shows two of the fonts we had to recreate.
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A few more examples of the work put in on the Classiications assignment
CHARLIE gobstopper VIOLET blueberry pie VERUCA golden goose
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Humans of New York An Exposé on Font Parings & Grid Systems The Humans of New York assignment was meant to help us start working with a grid structure in mind and to also pair fonts correctly. The classes before we were given this assignment we talked extensively about grids and all of the different variations there are. We were given three pre-made posters to build a grid off of for our own poster. I chose the “I’m statuesque” poster to build my grid and I also chose fjalla and nunito as my two fonts. Next, I chose story 5 because I thought the little girl in the picture was so cute and I also really connected with her story. It was so youthful and happy that I knew I had to choose her for this poster. When it came to choosing the pull-out quote I struggled a little bit because there are several cute phrases in her story. After reading it countless times, I landed on “she likes to ly” because I felt like it embodied her whole story and also it added to the youthfulness of the entire poster. The image to the right is the inal poster I was so happy with how this turned out. I had a lot of fun messing with the different minor aspects of it!
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The original image I used to create the HONY poster.
The poster I based my grid off of for this assignment
The grid I created to use for the HONY poster.
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Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz
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Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz
The Type Poster was our irst big project for Arts 246. The main goal of this project was to choose a typeface, research it and then write an essay with our indings. We were asked to ind information about the creator, show the speciic type specimens and learn its speciic classiication. Then after we had inished the whole research process we were asked to design a large poster celebrating the typeface. I chose to research Montserrat because I had used the typeface in the past and thought it was a really versatile font. I discovered that Montserrat is a geometric sans-serif typeface and was created by Julieta Ulanovsky in 2014. The designer gained inspiration from old posters and signs in the traditional Montserrat neighborhood of Buenos Aires to create this typeface. Her goal was to take the beauty of the urban typography she saw and bring it into the 21st century. I got the inspiration for the background of this poster from the geometric nature of the font itself and then the colors from the Argentinan lag. The blues are different shades of the blue seen on their lag. This poster went through several critiques and it made me very aware that I always want to make text way bigger than it should be so this project made me realize I have to pay close attention to that. In the end, I was super happy with how it turned out and I really loved getting to see my take on the font compared to the few other people in my class that also chose Montserrat.
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz
Indepth research into the history of Montserrat and its creator
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz
Typography Poster
After an inclass critique of our posters.
The original layout of the poster before any critiques.
Mother of Montserat Montserrat is a geometric sans-serif typeface created by Julieta Ulanovsky, an Argentinian designer, in 2014. Julieta Ulanovsky is a graphic designer and owner of ZkySky, a design studio which she co-founded in 1989 with Valeria Dulitzky. She studied Design at the Universidad de Buenos Aires and received a degree in Typeface Design. She currently lives and works in Montserrat. Ulanocsky makes books and fonts with urban themes like El Libro de Los Colectivos and Divino Barolo.
Montserrat, Buenos Aires Julieta Ulanovsky
Montserrat A a B b C c D d E e F f G g H h I i J j K k L l M m N n O o P p Q q R r S s T t U u V v W w Xx Yy Z z A a B b C c D d E e F f G g H h I i J j K k L l M m N n O o P p Q q R r S s T t U u V v W w Xx Yy Z z A a B b Cc D d E e F f G g H h I i J j K k L l M m N n O o P p Q q R r S s T t U u Vv Ww Xx Yy Z z A a B b Cc D d E e F f G g H h I i J j K k L l M m N n O o Pp Q q R r S s T t U u Vv Ww Xx Yy Z z A a B b Cc D d Ee F f G g H h I i J j K k L l M m N n O o Pp Q q R r S s T t U u Vv Ww Xx Yy Z z A a B b Cc D d Ee F f G g H h I i Jj K k L l M m N n O o Pp Q q R r S s T t U u Vv Ww Xx Yy Z z Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss T t Uu Vv Ww Xx Yy Zz Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9
History
Julieta Ulanovsky
Design & Development
Montserrat is a geometric sans-serif typeface
Julieta Ulanovsky is a graphic designer and
Ulanovsky said the typefaces she saw around her
created by Julieta Ulanovsky, an Argentinian
owner of ZkySky, a design studio which she
home had, “work, dedication, care, color, contrast,
designer, in 2014. Geometric typefaces are made
co-founded in 1989 with Valeria Dulitzky. She
light and life, day and night” and she wanted
from simple shapes like circles and rectangles. Ulanovsky used inspiration from old posters and
studied Design at the Universidad de Buenos Aires and received a degree in Typeface
that to come through in this new typeface. She started the Montserrat Project with the hopes to
signs in the traditional Montserrat neighborhood
Design. She currently lives and works in
save what she saw in Montserrat and “set it free”
of Buenos Aires to create this typeface. Her goal
Montserrat. Ulanovsky makes books and
under a libre license, a free or open license that
was to take the beauty of the urban typography
fonts with urban themes like El libro de los
allows other creators to use reuse the work. There
she saw around her originating in the irst half
Colectivos and Divino Barolo.
are 9 variations of the typeface each with their corrosponding itallic version.
of the twentieth century and bring it into the twenty irst. She saw that as time went on, her home was losing its original and unique design
Montserrat is the normal family, and it has
to urban changes and she wanted to create a
two sister families, Alternates and Subrayada.
typeface to represent that style. This font family was redrawn by Jacques Le Bailly at Baron von Fonthausen in 2017 and they adjusted the Regular size to be lighter and better for use in longer texts.
‘Subrayada’ translates to ‘Underlined’ in Spanish Carter, Rob, et al. Typographic Design: Form and Communication. John Wiley & Sons, Inc., 2018. Coles, Stephen. The Anatomy of Type: a Graphic Guide to 100 Typefaces. Harper Design, 2013. “Montserrat .” Google Fonts, Google. fonts.google.com/specimen/ Montserrat.
and it shows a special style of underline that is added to the typefaces found around the town of Montserrat itself. Whereas a lot of the letterforms in the Alternates family are special to itself.
The inal poster
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Guilty pleasure zine
Deep dive into our guilty pleasure font, Keep On Truckin’, with this totally groovy Zine
The Typographic Guilt Zine was our biggest and most involved project of the semester. We were asked to choose our guilty pleasure typeface and then create a zine that represented our typeface and also pair it with ine typography. I had never heard of a zine before this project and when we were taken to the Special Collection’s library in Thomas Cooper it really enlightened me on what this project was going to look like. A zine is “most commonly a small circulation publication of original or appropriated texts and images. More broadly, the term encompasses any self-published work of minority interest usually reproduced via photocopier or otherwise DIY.” (deinition in part from Wikipedia) I chose Keep on Truckin’ as my guilty pleasure typeface because
I loved the 70s hippie vibe that it has. I also didn’t realize but it is used a lot in “aesthetic” images on Pinterest and Instagram and I thought that I could ind a bunch of interesting things to describe this typeface. I had a blast working on this project and my original work looks way different than what I inished with. I think my favorite part was the photograph of me personifying the typeface because I had so much fun editing the pictures. I learned so much from this project about book design and also how to make my printer behave. Having to inish this project at home was deinitely interesting but I was really proud of the way that it turned out! Stories 19
For the experimental use of Keep On Truckin’, I chose to paint the words “Flower Child” on a sunflower because I felt like the 60s and 70s hippie movement really embodied this typeface.
Stories 20
@sister_scorpio I stumbled across Cassandra Ross’s instagram account while I was looking for inspiration on Pintrest. She is a collage and print artist with a vintage style. I fell in love with her asthetic and knew I had to encorporate her beautiful work into this Zine. Here are a few of her pieces that I thought represented this typeface well and really inspired me for this project.
These images show the process of representing Keep On Truckin’ as a human. I was so in love with the way this turned out, I chose to use this inal image as the cover for this book with some tweaks.
To replace Freddie Mercury with myself in this image, I cut myself out and then changed the color scheme to black and white. To add to the vintage feel I increased the sharpness and grain.
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Zine Spreads
The inal rendition of the cover.
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The irst spread which describes the purpose of the Zine, my inspiration and research for the project.
Zine Spreads
The specimines for Keep on Truckin’
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This spread contains my impersionaton of the font and also a description of how I thought the font would behave as a human.
Zine Spreads
This spread contains a word cloud of 60s and 70s inspired words along with my experimental use of the font.
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In this spread, I created a photo collage of images I found that I felt represnted the font really well. Also in this spread, my dicut shows through the sunower on the previous page to show the VW logo.
Zine Spreads
The left side of this spread has the poem I wrote to Keep on Truckin’ and the right side is a little graphic I made.
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Finally, the last spread has an old book cover that I edited to use the Keep on Truckin’ font and my colophon and sources.
Peek at our Process Get an inside look on how we design our magazine Our inal project for Arts 246 was this process journal to highlight our work, blog posts, and opinions over the past semester. After taking Arts 102 last semester, with Professor Khalili, I felt extremely prepared to begin creating this process book as we had done a similar thing in 102. I really loved making the journal last semester but felt way more conident to design something more interesting that not only showed off my work but the book itself showcased my abilities. I got the idea to theme this book as a fashion magazine while sitting in my room trying to ind things to do during the COVID-19 pandemic. I came across a stack of old magazines my mom had kept and started lipping through them and it hit me to make my process journal look like one of the magazines. I knew the image from the photoshoot for my zine would be the perfect cover image and just started brainstorming ways to pull it off. I chose to divide the book up by projects
Stories 32
as “stories” the blog posts about the textbook, podcasts, and live streams as “reviews” and blogs about my process as “opinions”. I thought this was a fun way to divide up the book as well as tie in the magazine theme. It has deinitely been a challenge to get the same kind of opinions and critique on this book due to classes being moved online but I think we managed by using various online platforms. As I’m writing this I’m unsure of what the book is going to look and feel like when it is in my hand after being printed but I am really excited to see!
The original layout of the table of contents page.
Almost every single spread in this book had at least one variation. Once I had all of the information on each page I had to play with the overall layout of each page to make sure the spacing looked right. I also think the critique from Professor Khalili and my classmates really helped me to tone down the pink blocks and the black geometric pattern I have running throughout the book. These images are some of the previous layouts I had made.
The original layout I had made for the blog posts about our text book
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The original layout I had made for of Classiications assignment
The original layout I had made for our Humans of New York Poster project
Reviews Reviews Reviews Reviews Reviews Reviews Reviews
99%
Invisible Episode 126- Walk this Way I found the 99% Invisible podcast to be super interesting because I had no idea an environmental graphic designer was even a profession. Hearing the details that went into making the new international terminal at the Atlanta airport was crazy because I never realized they put that much effort into making an airport more functional. I’d love to go to the Atlanta airport sometime to see how it looks and feels in real life. Before listening to this, I would have assumed that the work of an environmental graphic designer would have been the same as an interior designer but you can deinitely tell they are different.
99% Invisible Podcast logo
An image from the International Terminal at Hartsield-Jackson International Airport in Atlanta, Georgia
Reviews 39
Typographic Design: Form and Function
Reviews 40
Chapter 1: Evolution of Typography The irst thing that really struck me about chapter one was the detail that humans were able to create with stone etched lettering. It is crazy to me that people were able to create such intricate type on a stone! It was also really interesting to see how the style of type has changed over the years. Originally it was very structured and had an elegant style but then later things moved into more fun and whimsical looking. The use of type became a prevalent way to add to a photo and in some cases, the type itself became the main design idea.
Image from Typographic Design: Form and Function
Chapter 2: The Anatomy of Typography This chapter talked a lot about the speciic parts of letterforms which is something that we have been going over in class recently. Before learning about the speciic components of letterforms I never really took into consideration the complexity of a lot of fonts. After reading this chapter and also from the irst exercise we did in class I can deinitely appreciate the small details each typeface has to offer. I also found it really interesting to look at the speciic different types of serif and sans serif fonts because I hadn’t really ever seen them compared in that way. Lastly, I learned a lot from the “how to measure type on-screen” section of the chapter. I remember last semester when we were creating our process books I was really struggling with type size and how the computer alters the way something would look printed.
Image from Typographic Design: Form and Function
Chapter 3: Legibility This chapter talks about how typographic legibility is oftentimes overlooked and misunderstood. It also goes into spacing and how the proper spacing between letters is imperative to its readability. This spacing doesn’t just mean between letters in the same word but also between rows of a type also known as leading. Line length is also important when it comes to readability and it’s a general rule to have nine to eleven words per line for prime readability. Text and font-weight can also impact legibility because if a text is too bold or too thin it can become hard for the reader to read. Then it talked about legibility and color and went into detail about how text must be in contrast to its background for it to be easily legible to the reader.
Image from Typographic Design: Form and Function
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Image from Typographic Design: Form and Function
Chapter 4: The Typographic Grid This chapter of the book talks about the grid and how to effectively use it. We have talked a lot about the grid in class so most of this chapter was a review. However, it was really interesting to look at all of the different ways you can set up your grid. I think for me, I’m really drawn to using multicolumn grids for some reason. I think that it helps me the most to layout where I want to place things and make sure they are all even. It was also really cool to look at the way grids are used on-screen with websites. I had never thought about all of the different ways a website is linked and tied to itself so seeing the different tree structures really made sense.
Chapter 5: Syntax and Communication In this chapter, it really tied together all of the parts that the book had discussed before; space, visual hierarchy, and grid systems. It was really interesting to look at the different ways words and letter forms can be dissected and interpreted. I loved looking at the section about typographic space and looking at all of the different examples and layouts the book showed. I hadn’t really ever understood ABA format until reading this chapter but now it makes complete sense. I will deinitely want to use that technique in my future projects. It was really interesting to look through all of the images in this chapter and I was really inspired by a few of them!
Images from Typographic Design: Form and Function
Images from Typographic Design: Form and Function
Chapter 6: The Typographic Message This chapter reminded me a lot of our irst project, the typography poster, because it talks alot about how words can be used as illustrations. I really enjoyed looking at all of the examples the book gave and seeing all the different and unique ways that words and type can create designs. It was also really interesting to see the different examples of how letters and words can be transformed into unrecognizable objects as well. The section on function and expression was very eye catching to me because I hadn’t really thought about these everyday things as design, speciically the nutrition label on food. It was really cool to think about those things in a different light.
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Chapter 7: The Evolution of Typographic Technology It was so interesting to see the very speciic evolution that typographic technology has gone through. I would really love to go to a printing location that used a press and hand set the type because I think it would be so interesting to get to see the details behind it. Over my college career I have taken several classes that put a large emphasis on the students understanding the evolution of type and printing and I ind that I really like learning about it and that each professor takes a different perspective. It’s also very obvious that the printing press and its evolution have affected so many different enterprises. I thought the images in this chapter were also really helpful to see the visual evolution as well.
Image from Typographic Design: Form and Function
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Chapter 8: Typography in Time and Motion This chapter is about using design to create motion within a piece and I found it very interesting. The section about using background as a form of illusion and movement was very cool and I really loved the examples the book gave. I thought the little bit of history on the origin or type in motion was interesting and I never realized that it originated from ilm title sequences. I really loved looking at all of the examples in this chapter and they were all really inspiring. I speciically really liked the example on page 161 with the word generate because it was so eye catching and the colors worked really well together.
Images from Typographic Design: Form and Function
Chapter 9: Case Studies in Typographic Design This chapter gave speciic case studies which described typographic design problems in professional practice. The labyrinth poster really struck me as I was reading through this chapter because it is so intricate. The labyrinth that is placed on the posters has a double meaning, one for the name of the book store and the other is that the designer stated “reading is like entering a labyrinth�. I really liked that he used deeper meaning to tie into the bookstore name and the posters themselves are so visually appealing but do have different styles. The Alzheimer Netherlands posters also stuck out to me with the bright color contrast, even though I can’t read the words I can understand the designers purpose from looking at the images which I thought worked really well for this speciic use.
Image from Typographic Design: Form and Function
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Chapter 10: Typographic Design Education This chapter gave tons of examples of projects around typographic design and I really enjoyed looking through them. I really liked how the chapter stated that “an effective curriculum is composed of perceptual and conceptual development, technical training, and process for solving multifaceted design problems”. I thought that was a really well stated deinition and I really agreed with what it said. I think my favorite piece was the “Sequential typographic forms in space” because it is so visually appealing to me and I loved the different versions out of the same project. I also really liked the calendar deconstruction project and I would deinitely be interested in trying it for myself.
Image from Typographic Design: Form and Function
Canceled Con A Live-Streamed Event Canceled Con was a free event that was created due to the cancelations of several major design conferences caused by Covid-19. It was a two-day live stream with special quests, portfolio reviews, and giveaways. It was a really great idea to bring the design community together through this tough time and I really enjoyed watching some of the broadcast.
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James White I had never heard of James White before listening to his talk on CancledCon but when I went to go watch the live stream he was just starting so I igured I would listen to him. I got really intrigued by his 80s and vintage video game aesthetic and I loved looking at all of his work and also his outlook on design. I also thought it was so cool that he made zines to show off his work and to show basically his growth from when he was drawing things as a kid and then taking those old ideas and turning them into new ones now. Seeing that he makes zines was really cool to me because it made me feel connected since that was a major project of ours this semester. I just started following his instagram account @SignalNoise and I’m really interested in seeing what he’s going to be doing next!
Examples of James White’s Zines
Opinion Opinion Opinion opinion Opinion opinion opinion
Our Process Blog I found the 99% Invisible podcast to be super interesting because I had no idea an environmental graphic designer was even a profession. Hearing the details that went into making the new international terminal at the Atlanta airport was crazy because I never realized they put that much effort into making an airport more functional. I’d love to go to the Atlanta airport sometime to see how it looks and feels in real life. Before listening to this, I would have assumed that the work of an environmental graphic designer would have been the same as an interior designer but you can deinitely tell they are different.
1/17 ClassiďŹ cations Assignment
I think this irst assignment of classiications is going to be really fun because I’ve never really looked this deeply into fonts. At irst I was not really sure what kind of writing utensil I wanted to use for this but I eventually settled on outlining in pencil and then illing in with a black pen because I wanted to make sure I had crisp edges. The italic font I think is going to be the hardest just by making sure I get the lean of the letters correct and I think the sans serif font will be the easiest because there is less to mess up.
1/24 Humans Of New York Project
This past week we created the Humans of New York poster in class and also got the outline for the Typography Poster, our new project. I really liked making the Humans of New York poster and enjoyed getting to use a different poster to create a grid off of it. For this new project, I think I have decided to choose Montserrat as the typeface I am going to use. I really like how many variations there are and after doing a little bit of research on it the background on it is very interesting to me. I have been doing some sketches to decide how I want to layout this poster.
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1/31 Typography Poster This past week we have been working on our typography poster. For this project, I chose the Montserrat font family and I have been really enjoying researching and laying out the design for this poster. The background and history of this font were pretty interesting considering how new it is in comparison to most fonts. I’m really happy with my design so far and can’t wait to get to show it during the in-progress critique next week. I’ve already written most of the essay but am still struggling a little with inding research from two book sources. Since this is such a new font, there isn’t a ton out there that is not just online.
Final poster with the grid I used
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2/07 Typography Poster Cont. This past week we had two in-class critiques which really helped me to put the inishing touches on my typography poster! I originally had my design basically lipped from the way I inished it up. I was really struggling with the layout and where to place the title and my specimens of the font. With the irst critique, I decided to lip the layout as I said before and changed the orientation of the specimens. Then with the second critique, I added the number specimens and also changed the color of the headlines to match one of the darker colors from my background. I also added more leading to my body copy to help match the space between the specimens. I am really happy with the way that it turned out!
My other layout option for this poster design
2/14 Guilty Type Zine This week we got the new creative brief for our Zine project which I really think is going to be fun to put together. For my guilty pleasure font, I was really stuck between two fonts that I think are really cute. I eventually chose “Keep on Truckin’” which is a retro-style bubble font that I actually see on a lot of Pinterest graphics. I’ve already started compiling images to make some collages for the Zine. For my “photoshoot” I’ve order hippie glasses and a headband to use as props but I really am not sure what I am going to wear yet!
An example of the font that I had come across on Pintrest
Part of my inspiration for the photoshoot to turn my font into a human.
2/21 Guilty Type Zine Cont. This past week we have begun working on our Zine project and I am in love with what I’ve created so far. I honestly had a ton of fun with the photo shoot we did and the pictures turned out great! I was kind of nervous having to turn myself into this font but I ended up loving the way that the image turned out! I also have really been inspired by the project and it’s been so fun getting to put together things about this font and getting to research more about the 60s and 70s which this font was inspired by.
My rendition of Keep on Truckin’ as a human.
2/28 Guilty Type Zine Cont. This past week I have put in a ton of work on my Zine. I have really enjoyed this project and from the past two critiques, I think I have a really solid design. I’ve really tried to make this Zine look as though it was made in the 1960s or 70s and I think I’ve done a good job of accomplishing that. I loved getting to play around with the layouts and looking at colors because I really enjoy the color palette I’ve chosen for this project. From the two critiques, I think I’ve really implemented the suggestions I was given and deinitely saw the weak points in my design which I think I have improved.
The inal cover for my Zine
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3/06 Guilty Type Zine Cont. This past week I inished up my Zine and I am so happy with the end product! I’ve really loved the deep dive I took into this typeface and getting to play around with different designs. I think adding the old, stained paper overlay to all of my pages really amped up the vintage feel I wanted to convey. I am also super happy with the changes I made to the cover and I deinitely see how my original cover was weak. I have realized after designing this Zine and also the Process Book from last semester that I really love InDesign and I have been bringing my knowledge of it into my other classes which have been really beneicial!
This was my favorite spread from the entire Zine.
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3/27 Guilty Type Zine Cont. This past week I printed my Zine’s and bound them with the sewing method which I thought was super fun and I was really proud of myself that I had remembered how to do it! I really really love the way that my Zine turned out and I’m so glad I picked a font that I could have so much fun with. The rest of the week I worked on the grids exercise for our process journal which I am hoping turned out well. I’m really bad about using grids and planning ahead and I like to just throw stuff on the page and move it around until I get something I like. This exercise was a little hard for me because of that and I’m not crazy in love with the outcome but I think I can take the base of the grids I created and do more with them once I start the journal.
The inal product of my Zines after I had sewn them together.
4/03 Process Book This past week I have started to work on my process book which will show all the work I’ve done throughout this semester in Arts246. I was brainstorming ideas to kind of “theme” my book around and got the idea to make it resemble a fashion magazine. So my goal for the overall feel of this book is a classic and clean look and I am having so much fun laying out the pages for the book. I have been inspired by several different fashion magazines like Marie Claire and Vogue. Which funnily enough is the name of the font I chose for my headlines. I hope that it will all tie together well and that the theme will keep the book interesting to read.
The irst layout of my table of contents.
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These magazine covers were a major inspiration for this whole book.
4/03 Process Book This past week I got deeper into designing my process book and I’m actually really happy with where I am at right now. I have to work on writing all of the little explanations for each project and also reining the sections about my blog posts and chapter reviews. I’m excited to get feedback from the class on the work I have done so far on my book and I have also really enjoyed looking at everyone else’s work so far. I have been inspired by several of my classmates’ work and I have looked at implementing some of their grid designs and things into my book. I also really enjoyed watching Canceled Con last weekend and I feel like I learned a good amount.
A spread I really love from this entire book.
4/24 Last Week of Class I have absolutely loved Arts 246 this semester and even with all of the bumps in the road from the pandemic, Professor Khalili has done her very best to keep teaching. I have learned so much this semester mostly about InDesign but also my personal design aesthetic as well. I realized that I really like creating layouts for books and I hope to bring my knowledge into my future endeavors. I have an internship with Lowe’s this summer and I am so excited to take what I’ve learned in my graphic design classes and apply it to my projects at Lowe’s. Lastly, I want to say thank you to Professor Khalili for these past two semesters. I have loved learning from her and she is one of the best professors I have had at the University of South Carolina.
The inal version of the front and back cover of my process journal
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This process book was designed and written by Summer Shinn at the University of South Carolina in Professor Meena Khalili’s ARTS 246 Typographic Design class Spring 2020. This book was printed and put together by Blurb. The two typefaces used in this book are called Vogue and Montserrat in regular, medium and itallic. Point sizes 9,10, 21, 77, and 150.
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