CD 1
First Design: Color : Starting with your PJ1 Part3 final black and white composition explore the impact that adding color (true red) has on the overall hierarchy.
Second Design Value : Using only black and white in our compositions has limited the amount of impact they can have. explore the use of value (we will use 40% gray) on the design and how it changes the hierarchy.
P1: 3 Different Levels of hierarchy
For my finalized hierarchy composition I utilized the Gestalt theory to distinctively show the levels of hierarchy. This means that I applied the different gestalt theory principles: similarity, closure, proximity, figure/ground, and symmetry and order. Starting with similarity, my design made use of shapes that are nearly the same. Yet, the difference is they may be bigger or smaller depending on where I placed them. The variation of sizes helped me to create a starting point or emphasis for the eye. I decided on the placement based on how I wanted one's eye to travel. At first, I wanted to keep the three levels chunked together as if they were puzzle pieces that fit snuggly together. So in the beginning they were all placed in the center and within proximity. Eventually, when I revised it and made them farther in proximity I realized that it was easier to detect the different layers of hierarchy. This was because the white space between them contrasted against the black boxes which balanced the design out instead of being one big black
space.
space.
P2: Systems of Alignment
The Triple Crown
Style 1
Style 2
Style 3
Style 4
Style 5
Style 6
The True Colors of the Horse
Style 1
Style 2
Style 3
The Carriage Era
Style 1
Style 2
Style 3
Final
Axial Alignment
Radial Alignment
Grid Alignment
P3: Editorial
P4: Booklet
Semester 2
Typeography 2
Type Specimen
Description
You will explore 2 typefaces and what potential they have for design through a 12-page type specimen book.
The two typefaces chosen must pair well together. Before we had computers, designers found their new favorite typefaces through catalogs called type specimen books, which are the printed catalogs of type foundries and printers offered to advertise the range and quality of type available. These books acted as both a sales mechanism and a sampling of the range of uses for these fonts. Nowadays, many foundries still produce these books, but their formats, content and approaches are more innovative and conceptually inspiring. The technical goals of this project include: learning to manage multiple levels of hierarchy and larger quantities of text in an engaging and compelling manner; revisiting and mastering the grid; whoning skills
in concept development, hierarchy and harmony.
The two typefaces chosen must pair well together. Before we had computers, designers found their new favorite typefaces through catalogs called type specimen books, which are the printed catalogs of type foundries and printers offered to advertise the range and quality of type available. These books acted as both a sales mechanism and a sampling of the range of uses for these fonts. Nowadays, many foundries still produce these books, but their formats, content and approaches are more innovative and conceptually inspiring. The technical goals of this project include: learning to manage multiple levels of hierarchy and larger quantities of text in an engaging and compelling manner; revisiting and mastering the grid; whoning skills
in concept development, hierarchy and harmony.
Objectives
• Apply knowledge and skills learned in Typography 1
• Apply knowledge of font pairings
• Further apply knowldegd of how to manage multiple levels of hierarchy and large quantities of text in an engaging and compelling manner
• Create a custom grid system to provide structural continuity
• Explore typographic systems
• Continue exploring paper option
• Apply knowledge and skills learned in Typography 1
• Apply knowledge of font pairings
• Further apply knowldegd of how to manage multiple levels of hierarchy and large quantities of text in an engaging and compelling manner
• Create a custom grid system to provide structural continuity
• Explore typographic systems
• Continue exploring paper option
CD II
To explore concept, historical reference and the communication of ideas through the use of visual imagery and typography in a variety of combinations. To establish clear harmony and hierarchy of information on multiple levels.
DESCRIPTION
Communication happens in many ways. It can be accomplished through the use of image, typography or a combination of both. With this assignment we will explore multiple combinations and try to integrate them together. Students will create four harmonious panels, each of which employs different combinations of design elements, and which can be read as a single composite design.
PROCESS
To create your posters you will divide a 20”x 20” square into four equal (10”x10”) quadrants. You will create an educational poster that communicates ideas visually and verbally about a set of two design figures that you will select from the provided list. You will either compare or contrast (or both) these two people, looking for content and visual concepts to tie them together. Consider the subject matter you choose carefully. You could select designers based on commonality of style or time period (Jules Cheret vs. Henri de ToulouseLautrec), or contrast (Joseph Muller-Brockmann vs. Tadanori Yokoo), or consider how one designer inspired another (Wolfgang Weingart vs. Dan Friedman), or how their process or philosophies relate. The quadrants must work individually as compositions and when joined together, the pieces must also work as a larger scale design.
The four quadrants must be divided as follows: 1. Type only/mostly (95–100% type, no obvious imagery) 2. Image only/mostly (95–100% image, no obvious type) 3. Type dominant (60% type) 4. Image dominant (60% image)
TYPE : words you have typed into the software . IMAGE : any image that was placed into the design — this can be work by the designers (including type), or design that you have created to represent them LINE, SHAPE, TEXTURE, COLOR = do not enter into the % calculation The arrangement of these four quadrants is up to you—they do not need to be in any particular order—but must meet the requirements noted above.
The written content and imagery you use are up to you — you can use source images or content, write and create it yourself, or a combination of both. Regardless, engage in thorough research on your subject matter and use your moodboards for inspiration to determine what you might inform a viewer about.
CRITIQUE GOALS
To practice visual concept building by mashing up 2 topics equally - to study the form of the poster and consider how we interact with their content to determine hierarchy and flow - to consider how to use balanced asymmetry and contrast to build visual interest - to educate an audience about a topic with both written and visual content - to use and edit typography effectively and correctly - to consider how graphic design history is relevant to your own practice
Short Term Identity
