visual communication
Typography 1

 

  : syllabus :: project 1 :: project 2 :: project 3 :: project 4 :: herstowski blog ::

:: email: andrea herstowski :: email: tim hossler

Documents relating to project
:- Grid_p2_print15.pdf
:- Grid_Text_p2.pdf
:- PDF Saving: | pdf |

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:: Research
:- Thinking with Type
:- Typotheque
:- Type Cultur
:- Visual Thesaurus
:- Type Base
:- bitique.co.uk
:- dailydropcap.com
:- designobserver.com
:- designworklife.com
:- formfiftyfive.com
:- friendsoftype.com
:- ilovetypography.com
:- ministryoftype.co.uk
:- thevisualdictionary.net
:- typographer.org
:- typographica.org
:- welovetypography.com

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:: Short films :: Audio
:- films by Hillman Curtis
:- sagmeister | scher | carson
:- Type Radio
:- Type Culture Movies

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::Fonts
_ Adobe Garamond
_ Archer
_ Akzidenz Grotesk
_ New ITC Baskerville
_ Bembo
_ Bell Gothic
_ Belizio
_ Bauer Bodoni
_ Clarendon
_ Didot
_ Frutiger
_ Futura
_ Gill Sans
_ Gotham
_ Goudy
_ Kabel
_ Memphis

_ Meta
_ Mrs Eaves
_ Rockwell
_ Sabon
_ Serifa
_ Swift
_ Syntax
_ Univers

_ Walbaum

 

 

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Project Two:

MODULAR GRID + HIERARCHY

In this project you will learn so see typography in two ways: 1) as visual elements in a two- dimensional composition 2) as information which represents hierarchical organization. Emphasis will be on establishing a clear visual hierarchy and exploring compositions that closely adhere to a given modular grid.

Analyze the given text. You will be asked to classify it into three levels of informational importance; dominate, sub-dominate, subordinate. Your compositions will simplify and clarify the information, encouraging the viewer to read the information in a logical and per-determined order.

You will be creating a series of typographic compositions that closely adhere to a traditional grid form (a straightforward composition that stresses organization and legibility). Use a clear vertical/horizontal structure in the organization of the information. Do not orientate type at an angle, running vertical, or into any shape or form.

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D A T E S
It is your responsibility to have everything asked of you ready before class begins. Process is 50% of your grade you can't pass the project or the course if you don't come prepared for every class. Also, if you have prints in the print lab when class begins you will be counted LATE (3 lates = 1 absence). Remember there are over 40 of you and you can't all print at the same time, coming in 15 minutes before class to print will get you into trouble.

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Mon. Sept 19
_ Introduction of project 2: working in class
_ Thinking with Type: Grids

PHASE ONE:
_ Explore 15 different compositions with clear hierarchy: 1st, 2nd, 3rd
_ Strive for all 15 compositions to look different from each other. EXPLORE variations.
_ Cut and paste, no computer computer layouts.

TECHNICAL RESTRICTIONS
Grid: 7 column. All type must lock-up into the upper left corner
Font: Gotham Reg and Gotham Bold
Text: must remain horizontal, no vertical text, no shapes

USE ALL OF THE FOLLOWING TEXT
Jan Tschichold
The New Typography
1902 – 1974
and the paragraph (one paragraph)

Ask yourself...
How does where you put text on the page affect what we see first? How does bold type affect what we read first? How does size affect what we read first? what about tracking?

Explore...
Tension: how the page is used, how the edges are used, activate the page
Grouping: how things are grouped together, use triangulation as a guide.
Alignments: vertical, horizontal (type must stay horizontal)
Coding: type that is the same size and style will be read together

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HOMEWORK
_ Finish 15 layouts cut and paste no computer.
_ Make a title page with Your Name, Phase One: Cut and Paste Investigations
_ Clip all together and hand in.
_ Strive for all 15 compositions to be different from each other.
_ They should not look like they are a set or a theme.
_ Cut and paste, no computer computer layouts.

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Wed. September 21
_ Review: Meet your Type: chapter 3 and Thinking with Type: Grids
_ Review homework, lecture, large crit
_ InDesign refresher

_ InDesign refresher: create doc, single pages, 7x10 inches, 5 columns, tools, layers (2 layers type and grid), baseline grid, master page, make modules, type, change font, change sizes, lock type to the baseline, add another page from master page, save, print with crop marks, export with cropmarks.

_ Lost in InDesign? there are plenty of on-line tutorials. Start with this Lynda.com video. Log in.

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HOMEWORK
PHASE 2 = 3 SIZES + 2 WEIGHTS + RULES
How can you visually show us the information so we can read it quickly. How does color, typographic rules help with hierarchy?

USE ALL OF THE FOLLOWING TEXT (all, only once per layout)
Jan Tschichold
The New Typography
1902 – 1974
Jan Tschichold was a German typographer, book designer and teacher, who made a major contribution to the development of typography and graphic design of 20th century. In 1923 at the Weimer Bauhaus exhibition he got introduced to the Modernist design principles and became converted. As a result, he condemned the customary kind of types together with centered composition and advocated the use of sans serifs, minimalistic geometrical constructions, and asymmetrical layouts. While paying respect to the rationalism of the time his works were practical, aesthetical and took advantage of the new printing technologies.

_ You can use one of these fonts: Gotham, Univers or Helvetica for your exporations
_ Explore 15 NEW compositions
_ Strive for all 15 to be different from each other.
_ 3 sizes of type only (you can go small 5pt you can go HUGE (i mean huge) explore a range).
_ 2 weights only
_ typographic color (type style, tracking, leading...)
_ add typographic rules (tip: keep rules going the same direction and with purpose)
_ Make/Print a title page with Your Name, Phase Two: 3 Sizes + 2 Weights + Rules

*FOR MONDAY
Print them all out Black and White with the GRID. We need to see the grid to make sure you are using it correctly.


AVOID decoration! You are only using these elements to HELP with hierarchy. Avoid checker boards, diagonal structures, think horizontal pull, vertical pull.

Ask yourself...

How does where you put text on the page affect what we see first? How does bold type affect what we read first? How does size affect what we read first? what about tracking?

Explore...
Tension: how the page is used, how the edges are used, activate the page
Grouping: how things are grouped together, use triangulation as a guide.
Alignments: vertical, horizontal (type must stay horizontal)
Coding: type that is the same size and style will be read together

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Mon. September 26

PHASE 3: 3 SIZES + 2 WEIGHTS + COLOR + RULES
How can you visually show us the information so we can read it quickly. How does color, typographic rules help with hierarchy?

_ Explore 15 NEW compositions
_ Strive for all 15 to be different from each other.
_ 3 sizes of type only (you can go small 5pt you can go HUGE explore a range).
_ 2 weights only
_ typographic color (type style, tracking, leading...)
_ add typographic rules (tip: keep rules going the same direction and with purpose)
_ add color no more than 2 colors + tints

_ Make/Print a title page with Your Name, Phase Three: 3 Sizes + 2 Weights + Rules + Color

AVOID decoration! You are only using these elements to HELP with hierarchy. Avoid checker boards, diagonal structures, think horizontal pull, vertical pull.

Explore...
Tension: how the page is used, how the edges are used, activate the page
Grouping: how things are grouped together, use triangulation as a guide.
Alignments: vertical, horizontal (type must stay horizontal)
Coding: type that is the same size and style will be read together

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -HOMEWORK
_ Finish 15 compositions of PHASE 3
_ Print in COLOR, without the grid showing but you need to show the edge of the page
_ Which 5 do you think are the most successful? Why? (mark them in some way)

DO NOT wait to print to just before class (think of how many of you and how many you need to print). If you are waiting for prints when class starts you will be marked LATE. (3 lates = 1 absence)

Make a title page and clip your work together to hand-in.

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Wed. Sept 28
_ crit 15 Phase 3
_ refine pargraph text on Jan Tschichold layouts
_ paragraph text settings
_ kern 1's and any other bad letterspacing
_ en dash between dates
_ working in class

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FINISHING UP PROJECT 2
_ Phase 4: Refine 5 layouts, refine hierarchy, use of rules, color, paragraph settings, en dash between dates (how to set a beautiful paragraph -- change justification settings, change hyphenation...)
_ Print out 5 final layouts in color with just the line defining the page visible.
_ Make a front and back cover (more stiff than reg paper) (two) 8.5 x 11
_ Bring all you work Phase 1 (cut and paste), Phase 2, Phase 3
_ Design and print out a title page and project description
_ Bring $1 (one dollar)
_ POST on Behance: post the final 5 layouts on behance. (save them as jpgs or png files). Think abou the best way to present the project online.

* We will have wires for you you and you will spiral bind your own process book so make sure you have everything for the process book and a cover and you $1 and we can to it together on MONDAY.

STUFF YOU NEED TO DO TO START PROJECT 3
_ Bring the book Letter Fountain to class
_ Print out assigned font (see below)
_ Research font and font designer (see below)
_ Blog some answers (see below)

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PRINT

Use your assigned font (you may need to be on a school computer)

Create three 8.5x11 b/w printouts: You will need to print out
1 sheet with all caps
,
1 sheet of all lowercase,

1 sheet of punctuation and numbers.
Make the characters as large as you can at least 72 point.

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RESEARCH AND BLOG

FONT INFO

Identify the following information about your font
_ Sans Serif or Serif
_ Name of the Designer
_ Other fonts the Designer has designed
_ Date it was designed
_ Classification (not just Sans Serif or Serif)
_ List all the family members in your font: Roman, Italic, Bold...(small caps)

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RESEARCH
Since we are "appropriating" text do not post the text on your blog. Do make sure you keep a simple bibliography of your sources so that you can go back to them if needed)

History of the font. Research, combine articles and edit at least 700-1000 words about the origins of your font. Can be specifically about your font, or about the classification or both.

History of the world. What was happening in the world the year/decade your font was designed, is it at all a reflection of the times? (no word min or max, not included in 1000 words or 500 words, is its own thing). No word limit.

Biography of your font designer: Research, combine articles and edit at least 500 - 700 words about the font designer. Include when and where they were born, died, list other fonts they designed

Bibliography: must included a bibliography, use at least 4 resources and only 2 of those can be on-line.

HINT
most TYPOGRAPHY books are in Watson not Spencer. GO TO THE LIBRARY.