Page 1

Process Book

Laura Walters Typography I Winter 2013


Project 1:1 Form and Meaning Use the words rest/calm and motion/activity as a communication goal or intent. Using as few as five parts but no more than 25 create interesting compositions that utilize those words within a ten inch square. Do not scale provided form. You may repeat and overlap parts to create a pleasing composition. For each word, do six different studies. Use a good comprehensive dictionary to familiarize yourself with the different meanings and connotations each word can have.


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Project 1:2 Scale & Shape & Play Using the same two concepts (motion, rest) create 12 new compositions including scale changes to the geometric elements used in the previous step. Add as many new sizes as you need to communicate your message. Remember that your field size is still a 10 inch square. Consider the very large to the very small. Again like before, the shapes can touch, and overlap.


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Project 1:3 Incorporating Type Choose one composition each for rest and calm from part two. Choose a “rule� from the 20 rules of making good design in the front of your Design Elements textbook. You can choose one rule that you use on both compositions OR you can choose two rules, one for each composition. Using the Helvetica LT Standard, number, rule, and paragraph explanation from the book, incorporate the type into your compositions. Make three variations for each composition for a total of six explorations.


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Project 2 Connecting Lines and Dots to Letterforms and Language Explore and demonstrate an understanding the proportional strategies outlined in the textbook Design Elements A Graphic Style Manual including Law of Thirds, Musical Logic and Mathematical Logic. Furthermore, explore and demonstrate an understanding of the organizational studies including distinguishing, clustering, aligning, overlapping, layering and bleeding. Finally, explore and demonstrate a preliminary understanding of working with typography in a 2d space employing concepts related to composition, form and meaning such as content, format, positive and negative, and clarity and decisiveness. Using one of the three essays provided, select a keyword/four word phrase and as much of the text or as little as you need to create an interesting visually engaging composition.


CUT & PASTE


DIGITAL REVISIONS

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So here it comes, with apologies for the been-there-done-that sound of the following disclaimer: less, in fact, is more. Less in the sense of fewer words to describe your idea. (Refer to â&#x20AC;&#x153;elevator version,â&#x20AC;? above.) Less in the sense of less ambitiously framed, but not one speck less ambitious in its intellectual rigor and its craft and clarity and intent: so if youâ&#x20AC;&#x2122;re looking at the big implicaUJPOTPGUIFCJHXPSMEPGCJHQVCMJDTQBDFBOEUIFCJH VOEFmOFE audiences that inhabit it â&#x20AC;&#x201D; well, maybe you want to start with TPNFUIJOHNPSFTQFDJmD BTBNPEVMFUIBUDBOCFEFmOFEBOE then scaled, torqued, re-examined but that originates as a more TQFDJmDBOEDPOUSPMMFEPSHBOJTN-FTTXJUISFHBSEUPMFTT immediate interventions: less stuff, fewer fonts, smaller expressions. Start simply, and go from there. Thereâ&#x20AC;&#x2122;s plenty of time to get complicated later. With structure comes freedom. And freedom, letâ&#x20AC;&#x2122;s not forget, is what education is all about. It is a great time to be a student. Go out and make great things, things that help us, inform us, enlighten and change and impact the world in millions of meaningful and glorious ways. Your education will not end the day you graduate: on the contrary, what youâ&#x20AC;&#x2122;re doing is learning how to learn, and how to think, and how to visualize the ideas that percolate in your brain. So hereâ&#x20AC;&#x2122;s what you do: never stop thinking. Never stop asking questions. Never, never stop reading, looking, imagining what else can be done. And donâ&#x20AC;&#x2122;t be afraid to start small. Youâ&#x20AC;&#x2122;ll get there, eventually. And when you do? Send somebody a thank you note.

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Project 4 Understanding Type Classifications/ Research and Design You will be conducting research on typographic classification and using this content to create a poster that communicates the essence of this particular classification. In my case, Transitional Type.


THUMBNAILS


THUMBNAILS


THUMBNAILS


THUMBNAILS


THUMBNAILS


THUMBNAILS


THUMBNAILS


A A A

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nsid t is coRoi or wha ted ain du e was yl crea es, he Rom This st t from . T gam ard odd). in 1692 differen ment, bo l y en (D iona age 1] Royale , mainl Enlight own as ucat to kn m ie to tal fo of of ed VI [i imer only ience used Age zon aker Louis X e Impr onally of the t comm of Sc but the Hori y am iti th , r for trad result is mos cadem stress than in eon, ce fo Jaug typefa is XIV ety was direct Roi ch A vertical nced . After ues e Lou e soci was a ain du e Fren a Jacq al styl onou g type ter, in by ve , s th yl pr om ha ed hi 1702 ition sion Old St 4]. T The R t up by rally ore overin ars la ed. is m nt sc ne ye se s. ance Trans mmis the mage ition mittee faces ge contrast fore di . Seven was inve om [i In Fr e first was co trad m th t nt fr rms pe s be 51 ered Roman differe letterfo ance to of a co style ty weigh ur year out 17 typeface rt e al ab en g’s sist ally The for fo g in askervill Kin amatic ndwritt e of re n was pa nsition stroke. aphy intin B dr st ha an ag ugeo ypTra rved lligr ted pr , the Ja ific T ca pa cu as 57 e e. w ar a th hich 17 of ught e st Typ ient w an’s ris Sc an axis rville ta ion. H ss Pa ndje ke Gra p The es have 3]. Bas sole pa s im lo e deve n somet e [imag was hi ca aphy Styl Old , typogr that

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A A A

REVISIONS

l Transitiona est.1692 Baskerville

In France 1702, Jacques Jaugeon, a maker of educational board games, created what is considered the first Transitional style typeface for Louis XVI [image 1] (Dodd). The Romain du Roi or King’s Roman was commissioned by Louis XIV for the Imprimerie Royale in 1692. This style was dramatically different from the Old Style society was traditionally used to, mainly different from the past handwritten letterforms [image 4]. This was a direct result of the Age of Enlightenment, which was an age of resistance to traditions. The Romain du Roi is most commonly known as Grandjean’s Type. Jaugeon was part of a committee set up by the French Academy of Science to develop The Paris Scientific TypTransitional style typefaces generally have a vertical stress, but the can sometimes have an axis of a curved stroke. The weight contrast is more pronounced than in Old Style [image 3]. Baskerville taught calligraphy for four years before discovering type. After that, typography was his sole passion. He started printing in about 1751. Seven years later, in 1757, the Baskerville typeface was invented.

Baskerville

A

Transitional

est.

High contrast between thick and thin letterstroke

Bb

Serif Slightly slanted

Horizontal foot serif

High contrast between thick and thin letterstroke

Bb

Serif Slightly slanted

Horizontal foot serif

Transitional

High contrast between thick and thin letterstroke

Bb

Serif Slightly slanted

Horizontal foot serif

In France 1702, Jacques Jaugeon, a maker of educational board games, created what is considered the first Transitional style typeface for Louis XVI [image 1] (Dodd). The Romain du Roi or King’s Roman was commissioned by Louis XIV for the Imprimerie Royale in 1692. This style was dramatically different from the Old Style society was traditionally used to, mainly different from the past handwritten letterforms [image 4]. This was a direct result of the Age of Enlightenment, which was an age of resistance to traditions. The Romain du Roi is most commonly known as Grandjean’s Type. Jaugeon was part of a committee set up by the French Academy of Science to develop The Paris Scientific TypTransitional style typefaces generally have a vertical stress, but the can sometimes have an axis of a curved stroke. The weight contrast is more pronounced than in Old Style [image 3]. Baskerville taught calligraphy for four years before discovering type. After that, typography was his sole passion. He started printing in about 1751. Seven years later, in 1757, the Baskerville typeface was invented.

est.1692

In France 1702, Jacques Jaugeon, a maker of educational board games, created what is considered the first Transitional style typeface for Louis XVI [image 1] (Dodd). The Romain du Roi or King’s Roman was commissioned by Louis XIV for the Imprimerie Royale in 1692. This style was dramatically different from the Old Style society was traditionally used to, mainly different from the past handwritten letterforms [image 4]. This was a direct result of the Age of Enlightenment, which was an age of resistance to traditions. The Romain du Roi is most commonly known as Grandjean’s Type. Jaugeon was part of a committee set up by the French Academy of Science to develop The Paris Scientific TypTransitional style typefaces generally have a vertical stress, but the can sometimes have an axis of a curved stroke. The weight contrast is more pronounced than in Old Style [image 3]. Baskerville taught calligraphy for four years before discovering type. After that, typography was his sole passion. He started printing in about 1751. Seven years later, in 1757, the Baskerville typeface was invented.


FINAL

High contrast between thick and thin letterstroke

Bb

Serif Slightly slanted

Horizontal foot serif

A

Transitional

est.1702

In France 1702, Jacques Jaugeon, a maker of educational board games, created what is considered the first Transitional style typeface for Louis XVI. The Romain du Roi or Kingâ&#x20AC;&#x2122;s Roman was commissioned by Louis XIV for the Imprimerie Royale in 1692. This style was dramatically different from the Old Style society was traditionally used to, mainly different from the past handwritten letterforms. This was a direct result of the Age of Enlightenment, which was an age of resistance to traditions. The Romain du Roi is most commonly known as Grandjeanâ&#x20AC;&#x2122;s Type. Transitional style typefaces have high contrast between thick and thin strokes. The serifs are slightly slanted with a horizontal foot serif. The weight contrast is more pronounced than in Old Style. John Baskerville taught calligraphy for four years before discovering type. After that, typography was his sole passion. He started printing in about 1751. Seven years later, in 1757, the Baskerville typeface was invented.


Typography I Process Book  

Process book for Winter 2013 for Typography I.

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