Typography I Process Book

AMY WOO · TYPOGRAPHY I · FALL 2010 - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

processbookLIGATURES RED

GRID YELLOW

BROADSIDE GREEN

MISC BLUE

WEEKS 1- 4ligature logotype

PIn writing and typography, a ligature occurs where two or more graphemes are joined as a single glyph. Ligatures usually replace consecutive characters sharing common

components and are part of a more general class of glyphs called “contextual forms” where the specific shape of a letter depends on context such as sur-

rounding letters or proximity to the end of a line.http://en.wikipedia.org/wiki/Typographic_ligature

ASSIGNMENT SHEET - LIGATURES

LIGATURE/LOGOTYPE: REFLECTION

The ligature project was a great way to start off my first typography class. This project allowed me to recognize the beauty of letters, and the unique forms that de-fine each one - from the ascender to de-scenders, and serifs to sans serifs. I found the process to be extremely tedious, and called for pristine executions. However, at the same time, as I was tracing, inking, and photocopying, I discovered a feeling of ac-complishment as I created ligatures that were each unique in their own different ways. This feeling fuelled my desire to cre-ate and explore the ligatures I had created. This project was a wonderful way for me to understand relationship between letters and opened my eyes to different possibili-ties of combining letters. z

TYPE SPECIMENS

Meta Plus BoldUnivers 57 Condensed

Mrs Eaves BoldBodoni Bookz

LIGATURE TEMPLATES

2x2 SQUARES

24 INITIAL LIGATURES, PT1

“CLOSURE VARIATIONS IN LINE-WEIGHT FORM/COUNTER-FORM AND AMBIGUITY”

24 INITIAL LIGATURES, PT2

“Pay special attention to craft”

“Using the provided template, fill in the 3 rows of 4 boxes (12 total) with ligatures”

MORE EXPLORATION....

24 LIGATURES INKED & XEROXED, PT1 @ 2X2”

“TO MAKE LIGATURES: COMBINE 2 LETTERFORMS INSIDE EACH 2” X 2” BOX TO MAKE SOLID MARKS BY TRACING YOUR TYPE SPECIMENS IN PENCIL”

24 LIGATURES INKED & XEROXED, PT2 @ 2X2”

“FILL ONE (1) ROW OF THE GRID WITH MARKS ADDRESSING EACH OF THE FOLLOWING: SCALE, FORM/COUNTER-FORM AND AMBIGUITY.”

ODDS AND ENDS

3 STRONGEST MARKSBRAINSTORMING & EXPLORATION @ 2X2”

“SELECT THE THREE (3) MARKS THAT ARE THE STRONGEST TO PURSUE.

3 STRONGEST MARKSSOME MORE BRAINSTORMING & EXPLORATION...

“MAKE FOUR (4) DIFFERENT BOXES FOR EACH MARK.”

2 FINAL MARKSBRAINSTORMING & EXPLORATION 2 @ 2X2”

“REFINE AND REVISE AS YOU GO.”

2 FINAL MARKS2 VARIATIONS OF EACH MARK @ 4X4”

“MAKE TWO (2) VARIATIONS OF EACH MARK (4 TOTAL) IN ORDER TO FIND THE BEST SOLUTION.”

FINAL MARK #1

FINAL MARK #2

FINAL MARKREFINED, REVISED, VECTORED

WEEKS 4-9

grid exersizes project P

A typographic grid is a two-dimensional structure made up of a series of intersecting vertical and horizontal axes used to structure content. The grid serves as an armature on which a designer can organize text and images in a rational,

easy to absorb manner.h t t p : / / e n . w i k i p e d i a . o r g / w i k i / G r i d _ ( p a g e _ l a y o u t )

ASSIGNMENT SHEET - GRID PROJECT

GRID EXERCISES: REFLECTION

The grid project was a challenging yet rewarding process. It challenged the perfec-tionist in me to not be so perfect. I realised from start that I would be fighting against the clock to finish the homework pieces, and challenged myself to try not to make everything immaculate, for the sake of my saneness. It was with this project that the idea of ‘visual hierarchy’ was ingrained into my head. I enjoyed the way the project progressed, moving from extremely strict guidelines to a more liberating ending. The most frustrating part was dealing with cut-ting and pasting each letter for 1B, and re-alising how horrible it looked after hours of endless work. 2A was the point of libera-tion, and allowed for me to express my own individual style. It also was a nice way to see the different type personalities of other classmates. a

GRID LAYOUT

1A: LINES, DOTS, AND DASHES

“BY USING THE GRID AS AN UNDERLYING STRUCTURE, YOU WILL DESIGN FORMAL AND TYPOGRAPHIC COMPOSITIONS”

1A REFINED AND REVISED FINAL: LINES, DOTS, AND DASHES

“LINES AND SHAPES, COMPOSITION, SPACING, DETAIL PO-TENTIAL TO CREATE VISUAL HIERARCHY, ETC”

1A ODDS & ENDS: SKETCHES

“SETTING WORDS LETTER BY LETTER WILL GIVE YOU THE FEELING OF SETTING METAL TYPE”

1B: TRANSLATION FROM LINES, DOTS, DASHES, TO TEXTATTEMPT 1

ATTEMPT 2

“COMBINE TYPE RANGING FROM 7 TO 12 POINT. YOU CAN ONLY USE ONE FONT FAMILY PER BOX INCLUDING BOLD, ITALIC, ALL CAP, ETC.”

“WORK STRICTLY WITH THE GRID. DO NOT BREAK THE GRID. LETTERSPAC-

ING SHOULD BE DONE BY HAND!”

1B: TRANSLATION FROM LINES, DOTS, DASHES, TO TEXTREVISED AND REFINED#1

“YOU WILL CREATE ALL YOUR LINES OF TEXT LETTER BY LETTER”

1B: TRANSLATION FROM LINES, DOTS, DASHES, TO TEXTREVISED AND REFINED#2

“THE RELATIONSHIP BETWEEN LETTERS IN A WORD”

“MAKE SURE TO LETTERSPACE OUT ALL THE TYPE YOU WILL BE USING”

1B: TRANSLATION FROM LINES, DOTS, DASHES, TO TEXTFINAL

2A: EXERCISE/BRAINSTORM DAY

“THE COMPOSITIONS CAN GO IN ANY DIRECTION AND YOU DO NOT HAVE TO ADHERE TO A HORIZONTAL FORMAT”

2A: EXERCISE/BRAINSTORM DAY

2A: BREAKING THE GRIDATTEMPT 1

“CREATE 4 FORMAL COMPOSITIONS BREAKING THE GRID BUT SHOW THAT IT EXISTS”

2A: BREAKING THE GRIDREVISION

2A: MAPPING HIERARCHY

2B: BRAINSTORMING

2B: TRANSLATION TO TEXTATTEMPT 1

“TYPOGRAPHIC COMPOSITIONS WITH TEXT THAT MIMICS THE FOR-MAL COMPOSITIONS

2B: TRANSLATION TO TEXTREVISED

“FEEL FREE TO INCLUDE LINES, DOTS, DASHES, OR SHAPES OF ANY KIND INCLUDING ORGANIC.”

2B: TRANSLATION TO TEXTMAPPING HIERARCHY

2B: TRANSLATION TO TEXTFINAL

GRID PROJECT INSPIRATIONS

WEEKS 9-12typespecimenbroadsidePA broadside or occasionally broadsheet is a large sheet of paper printed on

one side only and typically used as a poster to announce some event, procla-mation or other matter. HTTP://EN.WIKIPEDIA.ORG/WIKI/BROADSIDE_(PRINTING)

ASSIGNMENT SHEET - TYPE SPECIMEN BROADSIDE

TYPE SPECIMEN BROADSIDE: REFLECTION

The type specimen broadside project was a little confusing for me - I did not re-ally understand what the point of it was. As the project progressed, I began to work with my own interpretations and used the skills learned from the ligature and grid project to create the broadsides. I appreciated the freedom that we were given, which enabled me to have a feeling of ‘comfort’. Technical-ly, I learned more about Adobe Indesign and was aware that I would have to transfer the spirit of hand-created design through to my digitally created broadsides. The broadside project was a good way to wrap up the end of type, allowing me to combine the skills learned from previous projects.

//RomanA B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9

//ItalicA B C D E F GH I J K LMN O P Q R S T U VWX Y Za b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9

//SemiboldA BCDEFGH I J K LMNOPQR S T UVWXYZa b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9

//Semibold italicA B CD E F GH I J K LMN O P Q R S T U VW X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9

//BoldA BCDEFGH I J K LMNOPQR S T U VWX Y Za b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9

//Bold italicA B CD E F GH I J K LMNO PQR S T U VW X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z0 1 2 3 4 5 6 7 8 9

p GLYPHS P . 0 4 @ & I [ ] [ ] ct c ff fj st ¢ ¡ £ ¤ ¥ ¦ § ¨ © « ® µ ¶ º ¼ ¾ ¿ Ä Æ Ð Ñ Ø Ô Ö Ù Þ ß Þ ss ä æ æ ð ÷ Ā ę Ģ į Ł Ő Œ Ťh ſ ſh ſt ƒ ˛ ‰ • ‡ † π • ₡ € ℓ ™ Ω ∂ ∆ ∏ ∑ √ ∞ ∫ ≈ ≠ ≤ ≥ ◊ fi fl * + ,$ $

gORNAMENTSh

1 2 3 A BC D G H JK L M S VZ X a c db e v h gi j k n m

CASLONAdobe

BROADSIDE: 6 BASE SKETCHES

BASED ON 2A

TRANSLATION OF 3 SKETCHES

“ADAPT YOUR SKETCHES TO THE REQUIRED CONTENT OF YOUR SPECIMEN”

MAPPING HIERARCHY GRID STRUCTURE

3 ITERATIONS “THINK ABOUT SEVERAL WAYS

TO DEAL WITH HIERARCHY”

BASED ON ONE PREVIOUS ITERATION

ITERATIONS, BROADSIDE 1

“A TYPE SPECIMEN IS A DOCUMENT THAT SHOWS THE RANGE OF A PARTICULAR TYPEFACE IN USE.”

ITERATIONS, BROADSIDE 2

“TYPE SPECIMENTS HAVE BE-COME MORE EXPERIMENTAL, AND REMAIN A CRUCIAL WAY TO PROMOTE AND EXPLAIN TYPEFACES TO TYPOGRA-PHERS”

BROADSIDE: REFINE & REVISION SKETCHES

BROADSIDE: FINAL

INSPIRATIONS

FALL2010mis·cel·la·ne·ousO D D S & E N D S P

FALL 2010 PURCHASED FONT

Typography I Process Book

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