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Letterforms & Tyography

Process Book Min Jung Kang DES 115 Fall 2018


*TABLE OF CONTENT

One

Two

Three

Miniaml Letterform

Type Hierachy Studies

Book Design

*

*

*

3

9

17 1


One One


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n ami x e se c ecifi e clo ms. p h s t es fa or ueir letterf cs o i q t e s i r , t er of orm ojec ction ract n f r a r p e h t n s n lc tio Thi and fu isua mposi rm/cou v e o o to a form niqu ts of c trast, f s u m e r th on pec rfo ate e as ition, c ette g l i h t t e s th ’s, Inve ce and xtapos . rop c s, B a e ’ u f j d c e A n n g p s a in ty s ala nify, a able tic clue . clud , and b g z n i a m i r n — ,m fo ry lis og met y, trace riginal ain rec see sty g. m of y s stud ther o st rem ble to xplorin aracter o s e of Al mu d be a are y the ch tter. ion letters l t u u c o o d a le y d fr ver, d we sh peface n”, stu n each escribe a e w i pr hi ty Ho tc. An rm ich ocusing ms wit in the h e o fo t , w s h r f s ’ l t t i o “ a r C f f w reve e pa tive ss o ion that s proce d nega mposit ip of th o an hi sh ive ur c lation In t t o i s y re n po . esig e inter the d hole u w h o t l y t a i n As xplo positio e , d m gri d co e fi i un

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*Overviewing the Project 1

This project gave me a chance to have a delicate sense of typography. Through cropping the letters and look more closely to the font, it helped to study the unique characteristic of each font. Also after this project, I learned about the aspects of composition. Such as juxtaposition, contrast, form, symmetry, and balance of typography layout. I used Bodoni bold and Memphis Medium for this project. Especially, I learned lots about the Bodoni. I chose bold Bodoni for the final work of project one. I was very fascinated by the Bodoni’s ball terminal, the sharp contrast between from thick to thin strokes, and also thin, straight serif of it. I tried to try to highlight this points when I was doing my project.

4


Early Stage

I focused on division and unite. When different part of the letter meets together, it becomes a totally change form. At the early stage, I tend to concentrate on the single form which is concentrated in the middle. For this reason, I tried to spread the part of the letters but still, it seems to be one form.

*Bo

don

iB

old

&

Bo

don

iS

td R

om

an

*Tumb Nail Sketch

5


* Process

6

*Memphis Medium

*Bodoni Bold

*Bodoni Std Roman

I wanted to distinguish the feature of the character of this letter with vertical angle serifs that differed from the Bodoni.

I tried Black background and white colored font. I focused on connecting the characteristics of each text and wanted to show that there is an invisible line according to the flow of the eyes even though it is not directly connected.

I wanted to show the characteristics of the Bodoni. Bending roundly but strong contrast. Also focused on connecting O and U.


* The Final Design This is the final image. I wanted to show the big flow that goes through S, G, Q, R. I made the connection by the curves that the Bodoni have. Part of the curve meets together appears as one big image.

S G QR

*Bodoni Bold

7


T w T w o T w o T w Twoo o

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*Type Hierac hy Studies This project use s a provided se t of informatio compositional n to explore alternatives. Y ou will begin w weight of Univ ith one size an ers, and as the d assignment pro be given addit gresses, you w ional elements ill and variations problem more of type to mak complex. e the Format: 10 x 1 0 inches The organizatio nal and visual principles you clude: Symmet will explore in ry / Asymmetry , Geometric / O Rhythmic / Stat rganic, ic, Grouping / Isolation, Con Proximity, Gri trast, Texture, d, structures

Set 1 on plain p aper One size / one weight (1 One size / two 5 pt. Univers 4 weights (15 pt. 5) Univers 45 and 65) Set 2 on plain p aper Two sizes / two weights Univers 45 and (15 pt and 9 p 65)Two sizes / t two weights / and 9 pt. two styles (15 pt. Univers 45, 46 , 65, 66)use a minimum of tw Univers 45 & o fonts, eg. 15 9 pt. Univers 6 pt. 6 All 3 sets FINA

L on bristolUse gi ven rules of an d style of Univ y lengthAny ers, with or wit hout rules

size, weight an

2 Two

9


* Early Stage Set1

For the first time I practice For the first time I practiced Set 1, I made a mistake. I didn’t consider the content of the poster. So I developed that later. I tried to practice experimental layout. So I tried lots of kinds of grids and also used diverse angle. Later I developed to read it more comfortable. I had a hard time with this project. I felt I was bad at design layouts, can’t understand the grid system. But after starting with this early stage I get a sense of that system. This was an important time for me that I got an important strength and sense of working on project 2. I’m sure it will help me a lot in my design ability.

10


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135 Walker Hall UC Davis 6 pm

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Stefan Sagmeister Andrew Blauvelt Marian Bantjes Thursday, December 17 Design Museum UC Davis 7pm

12

Thursday, December 10 135 Walker Hall UC Davis 6 pm

Stefan Sagmeister Andrew Blauvelt Marian Bantjes

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More than just a love of letters Lectures are free and open to the public

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Zuzana Licko Jonathan Hoefler Tobias Frere-Jones

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Matter/anti-matter/does it matter? Thursday, December 17 Design Museum UC Davis 7 pm Lectures are free and open to the public

*Set 1 A

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: For Set 1 A I focused in the angle of the line

: For Set 1 A I focused in the form of arrow.

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: For Set 2 A I focused on the curve line of the circle.

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I had a hard time with the Set 3. I felt I lost in the maze at first cause I was not sure how to develop Set 2 to Set 3 and also make a new layer with new rules. So for the beginning stage for Set 3, I played with Set 2 again and make a new layout for this stage.

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*Set 3 A

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: For Set 3 A I focused on the flow that starts from the top to bottom. I gave the small square to group the each information

: For Set 3 B, I focused on the movement of the circles. I used the variation of the size of the font. Tried to show the organized chaos.

15


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*Book Design “Paul Rand, Design and the Play Instinct� This project is to study about the Typography and image in grid system layout. By using the text and images supplied, developing and ytilizing a grid system in the layout of a book using the following process.

*STAGE 1. Analze the provided material. Think about how you would present the information(size, proportion, orientation) 2. Create rough thumbnail sketches, and experiment with it. 3. Decide a grid stucture to help organize and balance your text and visual materials. Layout grids for book design incorporate margins, columns, gutters and horizontal divisions that determine where text and images are placed on a page spread. 4. Determine the best font, size and leading and also the grid, the big structure for your book. 5. Refine the design using full-size tissue layout by InDesign 5. Bind the book yourself according to instructions provided.

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* Thumb Nail Sketch These images are the very early stage sketch of this project. There are lots of sketches inside. Design of the cover, layouts, and the image. Some of in the left sketches are the good layout. and to remember to use this layout in the book design. And the image in the right is the specific sketch for the book. It shows where the images and the letter go. The final book layout and grid started form this sketch The keynote of my book design is that the proportion of the book is vertical, not horizontal. So I designed each page like working on the poster design. I wanted to experience a new layout and grid in this project.

18


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* The font &Color

I chose the Sabon font for this book.

Sabon is an Old Style serif typeface designed by Jan Tschichold and released in 1967. The design was influenced by the types of Claude Garamond with the italic taking inspiration from Robert Granjon, a contemporary of Garamond’s. It’s a quintessential body text serif that is popular in book design. Jan Tschichold is the best typography I know. When I learned about Sabon font. It was really fascinating to me. Sabon is the masterpiece made by Yan Tschichold’s later years. So I chose Sabon for this book design font.

19


* The Cover Design *Early Stage Cover Design

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I picked the cover design (B) and developed. It gave more power to get attention from people. Design (B) was related to project 1 and also show the font Sabon very well. This design is inspired by Jan Tschichold.


Min Jung Kang / DES 115 / Fall 2018

* The Layouts Design

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Tried to play around as I can. With the layout in the 16x8 format, I tried to think I am making the poster for each. Used. different size of the font, different grid, font family. used color to give a focus

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The Modulor is a system based on a mathematical key. Taking account of the human scale, it is a method of achieving harmony and order in a given work.

This monochrome, Persimmons, by Mu Ch’i, a thirteenth century Zen priest and painter,

Mu Ch’i

The Modulor

is a splendid example of a painting in which the artist plays with contrasts (the male and female principle in Chinese and Japanese

“I demand of art,”

painting): rough and smooth, empty and full, one and many, line and mass, black and white, tint and shade, up and down. It is a study in the metamorphosis of a fruit, as well as of a painting. (The artist, incidentally, never used any color but black.)

says Le Corbusier

The reader may find a parallel, at least in spirit, between this painting and the preceding one by Picasso. Both employ a single color, and exploit this limitation to achieve as much variety as possible, and both undoubtedly were painted very rapidly, a condition often conducive to

The Photogram

utmost simplification and improvisation.

“the role of the challenger…of play and interplay, In his book, The Modulor, Le Corbusier describes his invention as “a measuring tool [the proportions] based on the human body [6-foot man] and on mathematics [the golden section]. A man-with-arm-upraised provides, at the determining points of his occupation of space—foot, solar plexus, head, tips of fingers of the upraised arm—three intervals which give rise to a series of golden sections, called the Fibonacci series.”9 [1, 1, 2, 3, 5, 8, 13, etc.]

play being the very manifestation of the spirit.

The Modulor is a discipline which offers endless variations and opportunities for play. Le Corbusier’s awareness of these potentialities is evident from the numerous references to the game and play in his book, such as

1

3

“All this work on proportioning and measures is the outcome of a passion, disinterested and detached, an exercise, a game.” Further, he goes on to say, “for if you want to play modulor…”10 In comparison to most so-called systems of proportion, the Modulor is perhaps the least confining. The variations, as will be seen from this illustration, are practically inexhaustible (and this example utilizes only a very limited number of possibilities). This drawing is one of a limitless number of so-called Panel Exercises, played for pleasure or for some real application in order to discover a most satisfactory or beautiful configuration. If, however, the system should present difficulties which happen to run counter to one’s intuitive judgment, Le Corbusier himself provides the answer:

The idea of the photogram or cameraless photography goes back as far as the 19th century with Fox Talbot’s photogenic drawings. In our time the pioneers of photography without use of a camera were Christian Schad, Man Ray, Moholy Nagy, and Kurt Schwitters. Among the first to apply this technique in advertising was the constructivist El Lissitzky. Later, Picasso experimented with the photogram. In advertising, the photogram has yet to be fully exploited.

Although the effectiveness of the photogram depends chiefly on straight-forward mechanical methods (light on sensitized paper), it offers the designer ample opportunity for aesthetic, manual control. In a sense, it is not a picture of the object but the object itself; and, as in stroboscopic photography,

“I still reserve the right at any time to doubt the solutions furnished by the Modulor, keeping intact my freedom which must depend solely on my feelings rather than on my reason.’’11

it makes picturization of continuous movement possible as in this photogram of an abacus, by the author. Although some of its effects may be approximated with pen, brush, or scissors, the quality inherent in the subtle light modulations can be achieved, perhaps, only by means of the photogram.

15

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23


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The k ind of grid e ects in mploy their tr ed by Japan the vir aditio ese nal ho tues o uses c f dete rminin ombin rooms es g the in the si ze of house etc., a variou , floors nd cre s , wall ating s, furn the st iture, yle an d app earan ce of the ho use.

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It is in conce ivable cut pa to con per w sider M ithout; eleme atisse’s in som nt—th compo e way, e joy of sitions “cuttin linkin workin g pap with g them g er doll with si to the derive s. ” But mple play d from c th o lors a e grea creatin some n te d g a wo st sati the fu colore sfactio rk of n of d pap ends. art wit n, perh er— w h ordin aps, is ith so simple ary sc issors means, and such sa tisfyin g

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The T atami, a stra by 6 fe w ma t appro et and ximate 2 inch es thic ly 3 or sta k, is th ndard e mod from house which ule grows. the pla Edwa n of th rd S. M Japan e ese H o rs e , omes, in his descri as foll book, bes th ows: “ e mat The a his ro system rchite oms to ct inv accom ariably of ma moda plans ts; an te a ce d since rtain size, a numb these ny ind m er a ts icatio have a n on th definit of ma e plan e ts a ro o f o the nu m is to its dim mber conta ension in giv s also e follow s a . t once The m ing nu ats are mbers laid in : two, half, si the three, x, eigh four-a t, ten, nd-on twelve and so e, fourt on.’’1 een, si 3 This xteen, “plan illustra ” of a tion sh four-a ows th nd-on Once e e-half the ou mat ro ter dim om. are de e n si o ns of termin th e d, the e hou the Ja se mats, panese togeth system er wit comp of slid lete fl h in e xibilit g doo numb y in th rs, giv er of ro e e arra oms. A ngeme nt and perfec t exam and fu ple of nction , of dis form ciplin e and play.

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Picasso The earth colors of Africa, the ice of the polar regions, the bamboo of Japan, are among the many challenging materials with which artists and artisans create their idols, their utensils, and their houses— all natural limitations which provide their own built-in disciplines which, in turn, contribute to the creative solution.

Albers Much of the painting of Josef Albers is based on this geometric pattern. The pattern is not used, however, in the same manner as the masons’ lattice. Here it is the painting itself. It represents a strict, immutable arrangement (theme) in which the artist, by juxtaposing colors (variations) plays the fascinating game of deceiving the eye. The squares as we see them here appear to recede into the picture plane. However, by skillful manipulation of colors, the painting flattens out and is thus seen as a two dimensional picture. The many variations based on this and similar designs attest to the fascination the artist finds from the interplay of a great variety of color schemes and an extremely limited geometric format.

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24

raint and ce of rest e, for importan ork. Her imate the w st s o’ re ss de Pica ot un flat y phase of and one One cann h an t us os br m e s in al the use of th playfulnes ment and strained na re a or e es t to one se face, th mplemen e child’s example, co th a of as g t used drawin rves as ering is no ing. It se color. The tt aw Le dr e. e ges of th are all on hat emer gral part lettering al pun. W as an inte ess e—a visu ing, but d playfuln rbal imag an the draw ve ity a d nu inge rland an mplest, aling the both a ga s in the si itself, reve problem of game deal with is a kind to ty ili tist, his ab l manner. of the ar eaningfu ct, and m most dire

Some years ago in Kyoto I was fortunate enough to witness a young Japanese craftsman make the chasen you see here. It is a whisk used in the tea ceremony and is cut from a single piece of bamboo with a simple tool resembling a penknife. Both the material and manufacturing process (about one-half hour) are the quintessence of discipline, simplicity and restraint. The invention of such an article could not possibly have been achieved by anyone lacking the ability to improvise and the patience to play with a specific material: to see the myriad possibilities and discover the ideal form.

so s a ic

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Similar ly, this ability head in to do m a bicyc uch wit le seat h little— Picasso and han ’s wizar to find dle bar dry, his a bull’s s—is an skill as h umor, h other as a punst is er and childlik pect of limited ab e sponta ility to , often n im eity, his surprisi provise ng mea and inve ns. nt with

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Letterforms & Tyography

Process Book

25

Process Book  

Letterform &Typography Min Jung Kang Des 115 FQ 2018 Instructor: Gale Okumura

Process Book  

Letterform &Typography Min Jung Kang Des 115 FQ 2018 Instructor: Gale Okumura

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