Typography Final

transcript

ART 052TYPOGRAPHY

By Bridget Fahey

ART 052TYPOGRAPHY

By Bridget Faheyiii

tion in whole or part in any form. The author is deeply grateful to Drake Universi-ty for its generous support. Book design by Bridget Fa-

hey, who wrote it in InDesign CC. Text is set in Clear Sans and Helvetica. Manufactured in the United States of Amer-ica. 13579108642 Library of

Congress Cataloging-in-Pub-lication Data not available.

ART 052TYPOGRAPHY

By Bridget Fahey

ProjectsShadow Type AnatomyExpressive TypePlacard ProjectThe Cheese MonkeysEvent Mailer

ExercisesForm and CounterformContrast ExerciseMatching TypeFront MatterHelvetica ReflectionKerning PracticeGridwork Practice

Herbert Bayer PresentationType QuizzesFinal Reflection

16284050

6264666870727492

110120142

TABLE OF CONTENTS

PROJECTS2

PROJECTS3

Shadow Type Anatomy4

Shadow Type Anatomy5

Raw Materials

On the right, the step-by-step formation of the letter-forms is depicted from raw form to somewhat refined

to final product. My first tracing of the letterforms

were jagged and followed the shapes created by the

human body exactly. As I moved on to the center and eventually the final

forms, I smoothed out the rough edges and left out

the heads to create more organic letterforms.

On the left, there are close-ups of the three main stages of creating the letterform ‘A’ as I refined its shape.

The Process

While searching for dif-ferent types and styles

of typography anato-my charts, I was most

drawn to examples that featured the piece of anatomy in a differ-ent color than the rest of the letterform. The example with the text “Anatomy of Typogra-

phy” caught my eye because of its unique

approach and funky style and I tried to rec-reate this same vibe in

my chart.

MyInspiration

Idea Development

The final product dif-fers from many of my

preliminary works and ideas. As I worked, I

realized that my letter-forms were too bold

and heavy on the page for a bold design to be effective. Instead, I fo-

cused on a delicate design to contrast the

heavy letterforms. The symmetry and geomet-ric nature of the design creates more contrast

between the letterforms and the labels for the

anatomy chart.

FinalProduct

Expressive Type16

Expressive Type17

Brain Mapping

On the left, there are the most effective de-signs from my sketch-es that I would build upon in the following set of thumbnails.

When working through the words, I focused on ‘lick’ and ‘stutter’ and experimented a

bit with ‘teehee’ before realizing that I was fo-

cusing too much on drawing forms that I

could not create solely using type.

Rough Sketches

Refined Sketches When refining my sketches of lick, I altered the proportions of the L and the ‘ick’ multiple times to emphasize the tongue-like L. The stark con-trast, however, detracted from the overall word. Rather than having the ‘k’ stand straight up, I worked on making it look as if the letters were avoiding the “tongue” or being pushed to the side by it.

While it was relatively simply to de-termine which of the ‘lick’ rough sketches I should develop further, my initial sketches for ‘stutter’ were less successful. However, when re-fining previous sketched, I built on the idea of the repeating t’s and s’s as well as the use of the connecting horizontal line through the image.

Final Product:Lick

By smashing the last three letters into each

other, I created the appearance of them trying to avoid being

licked by the ‘L.’ This, in addition tot he fact that the design itself is shifted to the right

rather than centered, created a more ani-

mated design and fur-ther emphasizes the ‘L’ pushing the other

letters.

Final Product:Stutter

In this piece, I used repetition of the ‘t’ to show the stutter. By

connecting the t’s to each other, I em-

phasized the idea of sounds running to-gether and getting

jumbled. The continu-ation of the word from

one line to the next also shows the break-ing in the word that is

created by a stutter.

Placard Project28

Placard Project29

Graphic Design will save the world right after rock and roll does.-DAVID CARSON

Never fall in love with an idea. They’re whores. If the one you’re with isn’t doing the job,

there’s always, always, always another.-CHIP KIDD

From the complete set of thumbnails, these three sketches stood out the most. For the David Carson quote, I mainly focused on creating a vertical de-sign with “world” em-phasized in the center. However, for the Chipp Kidd quote, I experi-mented more with in-creasing amounts of negative space in my designs. In the end, I decided the thumb-nail on the left was the most successful and developed it further over the course of the project.

Most Successful Thumbnails

When creating this placard, I drew in-

spiration from other vertical designs that

utilize various typefac-es and other graph-ic elements such as horizontal lines. The design in the upper

left corner helped in-spire the shapes in

and around “graphic design” in my final de-

My Inspiration

Refining Process

Final Product

I grew significantly from my original de-

sign on this project. I usually avoid the use

of color in my designs, so it was not an as-pect that I originally

considered. However, by including color, I

was able to create a more interesting and

visually appealing piece.

The Cheese Monkeys40

The Cheese Monkeys41

Thumbnails

My Inspiration

Besides drawing on the actual novel, The

Cheese Monkeys, I looked at covers of other books for in-

spiration. I was par-ticularly interested in covers with elements

of hand-drawn illus-trations on it such as

the second and fourth examples. I was also drawn to the interest-

ing typefaces in the first and third exam-ples which prove as simple but effective

ways to catch the viewer’s eyes.

Refining Process

Final Product

While working on this project, I struggled

with capturing the re-action I had to the

novel I had settled on an illustration without

shading of any sort .Then, I went back

and explored my orig-inal sketches and I

realized that the hand-drawn elements and the gestural qualities were an integral part

of getting my point across. From there,

I offset the blocks of color behind the sketches to further emphasize the raw

creative process.

Event Mailer50

Event Mailer51

Invitation Thumbnails

Invitation Refinement

Envelope Development

For the final design, I wanted to focus on

the floral pattern in the background and how it complements the rest

of the design. By leav-ing the inside of the de-sign plain red though, I was able to prevent the

pattern from becom-ing too overpowering. Rather than having a

long expanse of text on a dress, I moved that information to the left

panel and used the ex-tra space on the dress

to include the names of the Drake students

in charge of organizing the event.

Final Invitation Design

Even though the overall composition of the in-vitation changed quite a bit from my original

design, but the final product allowed me to keep the idea of using

the silhouette of the dress as a surface for

information. By utilizing the same pattern on

both the invitation and the envelope, I was

able to tie the two to-gether. The rectangles

on the envelope not only make the address easier to read, but also adds to the overall de-

sign of the envelope.

Final Invitation and Envelope

EXERCISES62

EXERCISES63

Form andCounterform

bridgetfahey

Night Still Comes Regular 33pt vs. Poplar Std. Black 90pt Mistral Regular 38pt vs. Oriya Sangam MN Regular 38pt

BridgetFahey FaheyBridget

Snell Roundhand Regular 78pt vs. HeadLineA Regular 40pt

FAHEYbridget

Avenir Next Condensed Ultra Light 49pt lowercasevs. Avenir Next Heavy 49pt all caps

FaheyBridget

Cochin Regular 40pt vs. Cochin Bold Italic 40pt

FaheyBridget

American Typewriter Regular 40pt vs. Avenir Next Bold Italic 40pt

Creating Contrast

MatchingTypefaces

Bridget Fahey

BREAKING

Combining Text in the Same DocumentCuptate non evenis consedi gendern ationse nem faces idebiti bustiam nust, cum nonsequiae pra quostium dolorenis dolupta volorum res eictem doles unt adit odit re.

Arcidunt emquias alit, ut audigenis sitati cuptatio. Ut estia sin re aute

commod qui consed millaut pa etur, aturia plabore pelluptas eium untesti-um eatis volupta volupta tquistes volo te sum reictaqui volorrorum quam, nobisti audia enientia corem fugiat arci o� citas consed quo blabo. Tem quiat.Di dolore qui ra conseque rem ab invelia que sitatis aut occab ipsam nonsed ut endel inis as dolendi quatur? Dandellam quist laccum la con prorio-re rerferum, et alique molecab oreicia vendi dolore cone doluptatum volorat o� cto molupta dolorest, adi omnisi

denimus et autae eum qui dus andelis sundi aut mo quam nonseque nos simi, eum quo mi, se labo. Nus miniat alicipi eniatquatent res sendell uptaque nones ipietur, voloritatem enihilique nobite consecercium eum nus quati-um, volorum andam earum et ut ad que sedi seceped es eiciis modi vendae pratquae praes nonsent lignimodic te nimil magnimus se num everum,Est aritatquid eaquis res volorest, volute et, ut voluptus doluptatur sit et volupta ectotat asperion consed quia sunt etur? Lenduciendae excepudit quatiosant, serest et vernatur a vel excernatem

Helvetica Neue is a reworking of Max Medi-enger’s original Helvetica and was released in 1983. Likewise, Adobe Garamond was released in 1989 and is based on Claude Garamond’s typeface, Garamond from the sixteenth cen-tury. Because Helvetica Neue is a sans serif font, pairing it with a classic serif font such as Adobe Garamond created strategic contrast. The shapes created by the counters in the a’s of these two typefaces share the same organic nature to bond these typefaces together.

16pt helvetica neue bold

36pt helvetica neue regular

16pt helvetica neue light

11pt adobe garamond pro regular

Bridget Fahey

BREAKING

Combining Text in the Same Document

Cuptate non evenis consedi gendern ationse nem faces idebiti bustiam nust, cum nonsequi-ae pra quostium dolorenis dolupta volorum res eictem doles unt adit odit re.

Arcidunt emquias alit, ut audige-nis sitati cuptatio. Ut estia sin

re aute commod qui consed millaut pa etur, aturia plabore pelluptas eium untestium eatis volupta volupta tquistes volo te sum reictaqui volor-rorum quam, nobisti audia enientia corem fugiat arci o� citas consed quo blabo. Tem quiat.Di dolore qui ra conseque rem ab invelia que sitatis aut occab ipsam nonsed ut endel inis as dolendi qua-tur? Dandellam quist laccum la con proriore rerferum, et alique molecab oreicia vendi dolore cone doluptatum

volorat o� cto molupta dolorest, adi omnisi denimus et autae eum qui dus andelis sundi aut mo quam nonseque nos simi, eum quo mi, se labo. Nus miniat alicipi eniatquatent res sendell uptaque nones ipietur, voloritatem enihilique nobite consecercium eum nus quatium, volorum andam earum et ut ad que sedi seceped es eiciis modi vendae pratquae praes nonsent lignimodic te nimil magnimus se num everum,Est aritatquid eaquis res volorest, volute et, ut voluptus doluptatur sit et volupta ectotat aspe-rion consed quia sunt etur? Lenduc-

Rockwell was created in 1933 by Frank Hinman Pierpon and compliments Robert Slimbach’s typeface from 1990, Minion Pro. Despite the fact that they are both serif typefaces, because rockwell is a slab serif versus minion pro’s more traditional serif, they still create contrast between themselves. Another aspect that contributes to their relationship is the fact that their x-heights match.

16pt rockwell extra bold

35pt rockwell bold

16pt rockwell regular

11pt minion pro regular

Bridget Fahey

BREAKING

Combining Text in the Same DocumentCuptate non evenis consedi gendern ationse nem faces idebiti bustiam nust, cum nonsequi-ae pra quostium dolorenis dolupta volorum res eictem doles unt adit odit re.

Arcidunt emquias alit, ut audi-genis sitati cuptatio. Ut estia

sin re aute commod qui consed millaut pa etur, aturia plabore pelluptas eium untestium eatis volupta volupta tquistes volo te sum reictaqui volorrorum quam, nobisti audia enientia corem fugiat arci offi citas consed quo blabo. Tem quiat.Di dolore qui ra conseque rem ab invelia que sitatis aut occab ipsam nonsed ut endel inis as dolendi quatur? Dandellam quist laccum la con proriore rerferum, et alique

molecab oreicia vendi dolore cone doluptatum volorat offi cto molupta dolorest, adi omnisi den-imus et autae eum qui dus andel-is sundi aut mo quam nonseque nos simi, eum quo mi, se labo. Nus miniat alicipi eniatquatent res sendell uptaque nones ipietur, voloritatem enihilique nobite consecercium eum nus quatium, volorum andam earum et ut ad que sedi seceped es eiciis modi vendae pratquae praes nonsent lignimodic te nimil magnimus se num everum,Est aritatquid eaquis

Both Avenir and Didot were created by Adrian Frutiger in 1988 and 1991 respectively. Because they were created by the same designer, they have the same style which is clear in part by the matching x-heights. Despite these similarities, the contrast between the serif typeface, Didot and the sans serif typeface, Avenir allows them to work together without seeming too similar.

17pt didot bold

35pt didot bold

16pt didot regular

11pt avenir light

Front Matter

HelveticaReflection

Bridget FaheyArt 051 TypographyHelvetica.

Despite the fact that there is an infi nite number of fonts in the world, designers, brands, and even governments have declared Helvetica to be their default font for everything from street signs to T-shirts to corporate logos. Companies use Helvetica almost as much as middle school girls use Comic Sans. Obviously, Helvetica is a beautiful and well-designed typeface, but this fi lm shows the full extent to which it has been stereotyped as the ‘perfect’ font. This fi lm describes it well as a “neutral” type. As designer Erik Spiekermann describes it, “Helvetica is like air; it’s just there. We have no choice. We have to breathe so we have to use Helvetica.” While it does it’s job as a neutral typeface, it fails to capture the viewer or express the emotion of its words. As a designer, I wonder how other designers came to choose Helvetica over a typeface chosen specifi cally to match the words it contains. In the short time since viewing this fi lm, I’ve begun to notice Helvetica everywhere in my everyday life. It’s one of those phenomena where once you start noticing it you simply can’t stop. What is interest-ing though is that when I pointed out a sign noting its use of Helvetica to a friend, she simply asked, “oh, is that like a font or something?” This further proves the point a designer made in the fi lm as he noted that Helvetica is used so often that people fail to notice it. Helvetica goes unnoticed due to the unique combi-nation of overuse and complete neutrality of the typeface. Therefore, a new typeface with anything less than this level of neutrality would fail. If people were to switch all Helvetica with a poorly designed type-face, it would cause an uproar not only among the design community, but also among the rest of society as they begin to see and actively notice the repetition of a single typeface. In this fi lm, I was fascinated to learn about the process behind designing typefaces. I have a ten-dency to focus on the way a font interacts with the rest of my design rather than taking the time to notice the different aspects of the font itself and the effort it requires to perfect a typeface. Originally, I had as-sumed that typefaces were designed in alphabetical order or perhaps the designer would begin with his/her favorite letter. I failed to recognize the importance of beginning with letters that would lend themselves to providing information about other letters such as h, o, and p. I was intrigued to see some of this pro-cess especially since I reap the benefi ts of type design each day. It was also interesting to see the design of Helvetica taken apart and analyzed based on the negative spaces it creates within words. One designer I was particularly curious about was David Carson. His use of experimental typog-raphy seemed to be the exact opposite of Helvetica. By breaking the traditional rules of typography, he was able to create new and intriguing works. Not all of them were successful or even intentional as he joked about in the fi lm, but what is important is that he did something different. Rather than using the neat and neutral Helvetica, he used Zapf Dingbats for an article and experimented with grunge typography. Carson observes, “there’s a very thin line between simple and clean and powerful, and simple and clean and boring.” I agree with this statement and I think that as beautifully designed Helvetica is, its overuse has pushed it to the side of simple and clean and boring.

Kerning Practice

KerningPractice

POOR KERNINGIN EVERYDAY LIFE

On the left is a pho-to of an invitation for an event on Drake’s

campus called Spring Fling. Due to the

unique shape of the letter A in this type-face, an awkwardly

large space was cre-ated between the F

and the A.

KerningPractice

This is a sign found outside of a church in

downtown Chicago. Because the letters are put up by hand,

it is difficult to perfect the kerning. In this

case, the kerning is off in several places and the first S in “masses”

is upside-down.

KerningPractice

This laptop case was designed to imitate

old newspaper styles. While it may be inten-

tional as part of the design, the kerning on most of the headlines is noticeably off. This

particular headline pictured on the left

features the poorest kerning.

KerningPractice

This is a sign that was found outside of a parking complex in downtown Chicago.

Not only is the base-line crooked, but the spacing between the

R and the O espe-cially is far too large.

KerningPractice

Pictured on the left is a piece of art hang-

ing in Ogilvie Station. While the kerning in “Illinois” is relatively well done especially

for hand lettering, the kerning of “Chicago”

as well as the uneven x-height is extremely

KerningPractice

Gridwork Practice

LAYOUT 1 LAYOUT 2

Gridwork: Typographic Diseases

LAYOUT 3 LAYOUT 4

For my overall layout on this project, i want-ed to create a strong vertical design using the horizontal type. I

also wanted to create a relationship between

each of the subtitles by making “typo” in a

different color.

Layout 5

Grids in Everyday Life

TargetReturn Counter

Ross HallApartments

ChicagoSkyscraper

LunchablesDisplay

iPhone 4Home Screen

HERBERT BAYERPRESENTATION

Bayer’s Biography

Design Work

Typefaces Designed by Bayer

Further Information

TYPE QUIZZES120

TYPE QUIZZES121

Baskerville

Commerce Lean

Silencio Sans

Univers

Jensen

Bank Gothic

ITC Officina Serif

Mrs Eaves

Futura

FINALREFLECTION

Over the course of this class, I have become much more conscious of typogra-phy both in my work and in the world around me. I have seen how easily a type-face can make or break a design. Not only does the interaction of the typeface and the design play an im-portant role, the interaction of the different typefaces and the contrast they cre-ate between each other is a vital piece of each design.

Throughout this semester, I have found that my most successful designs are de-rived from a combination of hand drawn elements and digitally designed pieces. By combining the two as-pects of my design, I was able to create a more per-sonal style. However, I have found that my usage of col-or is a weak point for me. I generally prefer to work in black and white with an ac-cent color, but adding col-or to my designs changed them and allowed them to grow. I think that exploring and working more with col-or will strengthen my de-signs.

In my opinion, the most enjoyable project was the placard project. This proj-ect allowed me to fully ex-plore the delicate balance of using a variety of type-faces while still ensuring that they work together cohesively. On the other hand, the expressive type project was least enjoyable for me. Ultimately, I ended up pleased with my pieces, but the process to get to my final products was simply more difficult for this proj-ect than the other projects. However, it also allowed me to push myself further.

I would have liked to learn more about hand-drawn typography. While the ma-jority of students may have hand-drawn some of the typography in their work, it was never a requirement in any of the projects. I think that encouraging students to draw their own typogra-phy would be beneficial and allow them to see typogra-phy as a more integral part of their work.

Drake UniversityArt 051 Typography

Spring 2015

Typography Final

Documents