Category Archives: Assignment 4

Assignment Four: Reflections on tutor feedback

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Sentence created using a deconstructed typeface

Reflections on tutor feedback Section 4

I think it is fair to say that this may not have ben my strongest section, possibly because I felt more constrained by the ‘conventions’ of typography. Although I may have made assumptions about there being a right way to do typography. Reflecting on my tutor’s feedback and my work I was less playful and experimental than I have been in other sections. Ironically, I actually enjoyed this section more than I thought I would and feel like I had to learn the conventions before I could start to break them or play with them.

My tutor acknowledged this, ‘you’ve clearly tried to get to grips with the conventions of typography, and where you’ve started to challenge these conventions, the results have been stronger.’

Feedback on the projects is very helpful and I can absolutely recognise the strengths and weaknesses that are highlighted. The suggestions for developments in taking some of the work forward are useful: 

  • Taking the digital work back into analogue in the visual world
  • Building on the hand drawn quality of anatomy of typeface
  • Developing the quotes in different typeface
  • Reviewing the use of typefaces and developing more options in the posters

 My tutor highlights a useful point in the typesetting/hierarchy project that my layouts ‘were functional but lacking in you’re your usual spark.’ I think this is true and is probably because I felt more constrained by what the outcomes ‘should’ look like. His observation that I am probably more interested in design that is more visually dynamic is very true. I did feel like I needed to learn some of the rules before I was confident enough to look at breaking them. Recommendations to look at the work of other designers who are more free and easy in their treatment of typography is incredibly helpful.

Feedback on the assignment is very clear and fair, and recognises that working on two designs was a good way for me to develop my ideas. The comment on the minimalist version moving more towards a different format, like a series of cards, is interesting and something I might think about with other work. It was nice to read that he felt with the minimalist version that,

 “This was an interesting idea and the relationship between the form and content are playing against each other very well.”

I am pleased that the use of white space seemed to work and recognise that as I worked more on the design there was a danger that I started to fill the space I had originally created. My tutor suggests: 

“Perhaps think about where else grey and red can be placed to add dynamic but without diluting your intentions.”

Developing the other design further by thinking about a more 80s print aesthetic is an interesting idea and something I can explore. It is encouraging to have feedback that suggests my more playful approaches and drawings work and can be an acceptable part of my design practice. It was good to know that,

“The subsequent designs do take an 80s turn, and while these designs are very simple, you have managed to capture something of the era in the colours and layouts.”

I will develop my sketchbook work further and note the research points. I had looked at vernacular and protest typography but this may not have been clear on my learning log as it is under the research section.

The concluding pointers for the final assignment are really helpful ad I will keep them in mind.

 “The final part of the course focuses on layout by exploring how to design leaflets, flyers and posters. This is an opportunity to continue to understand the ‘rules’ of graphic design, but also for you to bring some of your playfulness in how you challenge these conventions. Tackling projects with more than one starting point works for you, so keep this approach going.”

I also have some useful references to follow up (I love the idea of finding kindred spirits!):

  • Phil Baines
  • Jamie Reid
  • Aesthetic Apparatus
  • Ed Fella
  • Peter Blake’s album covers ( I had looked at some of these but am happy to follow them up further)
  • Allie Brosh
  • Richard Littler

 This was an interesting section in that in many ways it felt very familiar, I regularly write reports so working with hierarchies and different typefaces is not new to me. I definitely learnt a lot about the development and conventions of typography and think I possibly imposed some self-limiting constraints that were not necessary. It is good to see the work of other designers that is very free in its typographic treatment. Ironically, I actually quite enjoyed this section definitely got a lot from it, I was nervous it would be very technical but think I had started to find my own way of working with the conventions.

 

Assignment 4: Show Me (Part 3: Designs)

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I decided that I would work on two concepts for the final Show Me designs – a minimalist approach, and a Pop Art style.

Minimalist

I started with the Minimalist version and initially sketched out an alphabet to explore the minimum strokes that are needed to allow a letter to be legible. Fortunately, the word ‘type’ has capital letter forms that seem to lend themselves to this style – I’m not sure some of the rest work as well!

Hand drawn minimal alphabet

Minimal alphabet sketch

 

I then did a number of sketches of both the word ‘type’ and the possible layout.

I wanted to keep the cover sparse with a minimum of information. It features the title, symbols for the 3 sections and a bar code. I decided I would limit my palette to black, white and red, and I would use sanserif typefaces. I did a search for some minimal typefaces and looked at my existing collection. I then chose to use three typefaces – Infinity, Source Sans Pro, and Futura PT.

After looking at my sketches, and asking for some feedback from my family, I decided I preferred the version with the word ‘type’ descending across the page. Using InDesign I created the cover and began laying out the pages. This proved quite challenging in terms of how to provide the information and keep a simple layout with lots of white space. As a result I have gone with two double pages to keep the design consistent. I also elected to use a square format because it worked well with the cover typeface. I created three versions:

Version 1: I used a basic grid to set out the information, and added red to draw out particular elements and create breaks in the layout. Having initially tried the last page arranged vertically, I couldn’t get it to looked balanced so I moved to horizontal rows instead. I used Infinity for the large question mark because it echoed the cover typeface. I also created the visuals for the last page. I found several possible cats but decided on an outline version as it worked better with the rest of the format. I then adapted it in Illustrator to create more of a question mark tail.

(Click on cover image for slideshow)

Version 2: based on the first version but I changed the question mark typeface and went bolder with the red. I added tints behind the main body text, as well as more space between the headings and paragraph text on the final page.

Version 3: I reduced some of the red on the second page and changed the format on page four reducing the size of the question mark and putting the header across the top.

Pop Art

I used the same development process as for the minimalist version; some sketching and background research. I was particularly struck by Peter Blake’s ‘Dazzle Alphabet’ and looked at how I might create something with that influence.

Peter Blake images and Dazzle Alphabet © Peter Blake

Using Adobe Draw I sketched out an idea for the cover, I used this method because it is fast and I find this works well when I’m thinking things through. It is also really easy to use fill colour so I can see the composition develop quickly. I had originally thought I would use this as a base drawing, which I would then tidy up in Illustrator/InDesign.

However, I remembered some earlier feedback from my tutor about the final design losing some of the urgency and freedom of my original sketches. I decided to be brave and use this original digital drawing as the cover, this felt risky because its messy but it seemed to work with the Pop Art theme and I wanted to challenge myself to develop it. This proved quite difficult particularly having started with the minimal design, as soon as I used a grid structure in InDesign the layout started to tighten up again and there was a mismatch between the inside pages and the cover.

At this point I was close to dropping the idea and trying something else, but after researching some typefaces I thought I should carry on and keep developing it. I liked the contradictions of something being handwritten but now infinitely repeatable being used; it felt in keeping with the critiques underlying much of Pop Art about consumerism and mass production. I went on to develop three versions:

Version 1: uses bold block colours and lines drawn with the mouse so they are evidently hand drawn.  I decided on typefaces that echoed comics/80s advertising type text – Brush Hand New, From Where You Are and Lato. I also introduced repeating motifs, which was also a feature of Pop Art. I wasn’t sure this version pushed the concept far enough so decided to make changes.

Version 2: I changed the block colours on the inside pages and added a ‘whaam’ type motif with the 2000yrs. I also added black strokes to some of the typography to add to the popular culture type feel. This looked better but I thought the colours were still not quite right.

Version 3: For this version I went red on pages two and three, which I think works better with the splash motif. I also made the archetypal structures in the background a little more prominent.

I think overall the minimalist version is probably the most successful and I have a preference for its clean structure. I made a minor change to the last question mark (back to Infinity typeface), and removed the orphan from the quote on page one. I see this as the final version.

However, I am really glad I experimented with the other version, it is more fun and vibrant and in a style that is definitely out of my comfort zone. With each version I felt I was getting braver and I think this was important in terms of recognising some possible self-limiting assumptions I carry. It is hard to shrug off the notion of what ‘proper’ design looks like and be less constrained and more playful. I think I am starting to get better at experimenting and taking a risk on an approach that might not work out.

 

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Assignment 4: Show me (Part 2: Type behaving badly)

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he word type wih the letters cut out so they are hinged

When I was researching protest typography for my Pinterest board I was really intrigued by the idea of typography and power. Having read an article by Co.Design and its focus on power and the role of DIY typography I found the work of Emily Schofield’s and her Situationist Typography.

“Typography is a tool of communication and it has to abide by these rules to be efficient,” explains the graphic designer, “so on what level can a letterform express protest? Can it break out of its supposed structures?” Initially, the designer experimented with many forms in print, playfully obscuring and dissolving letter but her move to digital type brought a broader application: “Can it be a typeface that actually acts, that doesn’t work? That’s what the digital can do, you can create action in a typeface.” Projects of protest

Schofield created an online programme that took a word you typed in and then morphed and disrupted it. This got me thinking about type behaving badly and how I might develop an alternative design. Rather than work digitally I started by cutting up the word ‘type’ and arranging it differently.

I then thought about cutting out the letters but in some ways that would simply produce a similar effect to reversed out text online. So rather than cutting the letters out completely I decided to try them being hinged. That got me thinking about what might sit behind. Initially, I was going to use a flat colour or possibly some texture. Then I thought I might put the word ‘type’ repeating behind. Thinking about the origins of typography in the West I eventually decided to use a copy of some pages of the Gutenberg bible.

I used a slab letter typeface (Myriad Pro) and decided to put the hinges in different places so the letters all sat at different angles. I made a prototype with just paper (version 1), I then repeated it with a heavier weight card (version 2). I then offset the letters, defying the rule of type being orderly and conforming to the rules.

I really liked the results but was a bit stuck on how I might use them as part of a design for the assignment. While they photograph reasonably well their sculptural nature doesn’t really translate to the 2 D page or monitor view. Maybe this is anti-type and no-one else gets to read it! Time to move on.

Assignment 4: Show Me (Part One – development)

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Mindmap show research for a typographic design assignment

Brief:

Design the font for use on the cover of a magazine called type and write a short article for the magazine using a range of typefaces, with typographic illustrations, drawing on all that you have learned in this section. The article should include sections on:

  • What makes a typeface interesting
  • How a typeface is constructed
  • Question marks
Mindmap show research for a typographic design assignment

Show Me mindmap

I began with my usual process of creating a mind map. A brainstorm of all the things that came to mind as I was thinking about the assignment. This raised a number of points:

  • The physicality of the production of type and how much of the history remains in the terminology we use
  • Its variety and the fact that typefaces are constantly evolving and morphing
  • A formalised anatomy and underlying rules for how best to work with type
  • How typography has been integrated into different artistic movements
  • Its role in conveying messages and therefore having a notion of ‘audience’

Three ideas emerged in terms of where I might take the design:

  • A minimalist approach
  • A Pop art/collage style
  • An approach based on the materiality of type and its origins

I had also been sketching, just playing with different approaches and layouts. I think it’s fair to say I’m not the most accomplished at hand drawn type but it helped me evolve the designs I would focus on.

I used a couple of online tools to try and help develop a typeface. One was based on my handwriting, which I deliberately exaggerated:

Example of a handrwitten typeface

Handwritten typeface

This was fun to develop but I don’t think it was ever going to be a serious option for my designs. I tried FontArk but found it difficult to use and it kept crashing.

I also went back to some of my earlier research, and examples in my visual diaries around Pop Art and minimalism. I continued collecting for my Pinterest boards and following feedback from my tutor for Assignment 3 I have started using my ‘Swipe File’ board as a more eclectic collection place, just pinning things that catch my eye rather than being organised into a particular theme.

I found a number of online resources like ‘Thinking with Type,’ that were really useful in terms of understanding type construction and design ideas. Alongside this I watched YouTube tutorials and did a lot of reading around the subject. I found ‘The Typographic Workbook’ particularly helpful.

I was starting to formulate my design ideas but realised I needed the text for the articles so I knew what I was working with in terms of content. I may not have followed the brief precisely but I decided to go with the aspects of typography that interested me. The first was around how typographic design needs to focus on both the micro and macro levels. This is important in relation to how we read and the fact that we don’t read letter by letter but scan and pause allowing time to process the visual information when we pause.

In terms of construction I suspect that was supposed to be about ascenders, decsenders, ligatures etc., but I was fascinated by the more fundamental construction. Western capital letters are based on five archetypal structures that apparently have remained unchanged for nearly 2000 yrs. This was intriguing and I could see how it might be incorporated into a design.

Alphabet laid out to show the five underlying structures

The five archetypal structures

I found a really useful thread on Quora about the origins of the question mark and this suggested some of the visuals I might include.

The research stage helped highlight a number of choices that I would need to make  as I approached my designs:

  • Tone
  • Style – serif or sanserif
  • Readability and legibility
  • Relationships and layout

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