Rochester Institute of Technology RIT Scholar Works
Theses
5-1-1997
Typography: Visual connections to art and architecture through the ages
Andrea Haveman
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Recommended Citation Haveman, Andrea, "Typography: Visual connections to art and architecture through the ages" (1997). Thesis. Rochester Institute of Technology. Accessed from
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A Thesis Submitted to the Faculty of the College of Imaging Arts and Sciences in Candidacy for the degree of Master of Fine Arts
Typography: Visual Connections To Art and Architecture Through The Ages
By Andrea Haveman
May 1 997 Approvals
Chief Advisor: Deborah Beardslee
Date 2(0 JIUU 199f
Associate Advisor: Bruce Meader
Date
Associate Advisor: Heinz Klinkon
Department Chairperson: Mary Ann Begland
1/ Andrea Haveman , prefer to be contacted each time a request for production is made. I can be reached at the following address:
214 Andrews Streett Apt. 1D Rochester, New York 14604 or 3 1 1 West Sunset Court Madison, Wisconsin 53705 Thank You
/ would like to thank Deborah Beardslee especially, for her advice, encouragement, and time spent overseeing this project as my chief advisor. I would also like to acknowledge the other members of my committee, Professors Bruce Meader and Heinz Klinkon for their
assistance, advice and encouragement throughout this project.
Thank you to Professor R. Roger Remington for his knowledge of
graphic design.
I would also like to thank my new friends from the Graduate Graphic Design program, whose creativity, positive spirit and work
ethic provided me with a motivating, and supportive environment
thoughout the program.
I would also like to thank my parents, Sally Haveman and Robert
Haveman whose love and guidance have always led me to pursue
my dreams. And to the rest of the Haveman and Wolfe families for
their love and support. Table of Contents
Thesis Project Definition 2
Research and Analysis 1 4
Synthesis 1 7
Ideation 22
Evaluation 31
Implementation 34
Dissemination 35
Retrospective Evaluation 36
Conclusion 37
Glossary 40
Bibliography 42
Appendices 43 Thesis Project Definition
Imitation of Historical Styles In the fall of 1996 another idea was explored for the thesis study after reviewing a booklet about Bradbury Thompson and some of his work. Of particular interest was a section on the importance of
understanding the history of type, particularly when integrating it
with historical imagery. He stressed that mere imitation of past styles
was both tedious for a designer and unoriginal for the audience.
This kind of imitation fails to contribute anything new and original to graphic design. Without the understanding of historical idioms a 'parrot' designer is forced to or imitate the styles of the past. By understanding this historical information, a graphic designer could convey a particular time in history in an original way. In addition,
it would free the designer from the task of accurate imitation and
allow a designer to contribute more of a personal style. So, as a graphic designer's understanding of history develops, and particularly the history of typography, producing design that imitates past styles or design that inappropriately integrates type with historical imagery is greatly reduced. This was the initial direction of the thesis-providing graphic design students with a tool that would provide useful historical information for combining type with historical imagery.
Proposal the end of the Preliminary By fall quarter, a preliminary proposal was written; however, the final thesis topic would change quite a bit from this 'pre' original proposal. As the thesis planning report began, the proposal was still very basic and lacked detail. Slowly, it started more defined as becoming intentions were clarified according to comments received from various people. Based on feedback
received from Professor Remington and peers in the graduate
graphic design program, necessary details were added while unnecessary or unclear concepts were removed from the thesis
statement. Thesis Project Definition continued
Visual representation Diagram During the thesis planning, designing a visual of the thesis topic was suggested by Professor Remington. This visual representation was a diagram showing the specific thesis topic and what it included. Creating this diagram was crucial. It was not until going through the process of diagramming, that a direction became evident. The diagram was a very effective tool for clarifying the ideas for this thesis topic. Having to verbally articulate and explain the diagram helped clarify the final thesis topic.
see appendix A for the Thesis Planning Report see appendix 8 for the diagram
Type and Image Integration At this point, the idea of type and image integration was still the
main concept for the thesis project. After refining and clarifying the concept, receiving feedback, and numerous revisions, the proposal
was finalized. This document was submitted to the chair of the graphic design department, Mary Ann Begland.
see appendix C
Type History and Visual Arts History After some preliminary research and discussions with both professors of graphic design, Roger Remington and Deborah Beardslee, the topic evolved in a somewhat different, but related direction to the submitted proposal. It seemed that, to understand this history in a way that would be useful to design students, it would have to include something about the visual arts of the times as well the history of type. Therefore, in addition to the history of type, the history of the visual arts became more important to the thesis topic.
was The first question is there a visual relationship between type
and the various forms of visual art throughout history? The next
was question if type did relate to various art forms throughout
history, exactly how did they relate to each other? These questions
provided the basis for the final thesis concept. And because of
my BA in studio art, this final thesis topic had evolved into one of
personal significance. Thesis Project Definition continued
The previous topic idea of how to integrate type and image became less of a focus, but still would be covered indirectly with this new concept. For example, the more information a student
learns about the visual relationships between type to various forms of visual art through history (the new thesis topic), the more that person will be able to use type in an informed manner. This
awareness would be reflected in their work with type and image
integration (the goal of the previous thesis topic).
Setting Parameters Eventually, there arose a question of what information to include and
what to exclude from this project. The potential for this thesis to be
too expansive was evident early in the research. Certain parameters had to be set in place before a focused study could continue.
Defining Terms At this point, the thesis began as a comparison between the form of
type design and the forms of the visual arts through history. This was
too broad an area to cover for the thesis project. How could this
topic be contained without changing the study completely? In order 'form' to compare forms of type to forms of visual art, the term had to be defined and had to be used consistently for both subjects. 'form' Different definitions for were explored. The best definition
for this study was from H. Gardner's, Art Through the Ages.
Form that of total organic structure, of a synthesis of all the elements
of that structure and of a manner in which these elements are
related and united to create its distinctive character.
'form' For the purposes of this study, the definition of was applied to type as follows:
Type form The synthesis of all the elements of the letters including physical
shapes, contours and proportions of the letterform shapes, and
the manner in which these elements are related and united to
create its distinctive character
The definition of form that will be used throughout this document will be applied to the visual arts as well.
Visual art form The synthesis of all the elements of a particular work and of a
manner in which the elements within the work are related and
united to create its distinctive character. Thesis Project Definition continued
In other words, what visual qualities separate the forms of letters or of visual art of one period, from the forms observed of other periods throughout history. Limiting the topic to include only the study of physical forms throughout history was the first parameter determined for this thesis project. This parameter would allow for a focused study of the relationships of type and visual art through history.
art' Different definitions for 'visual were explored as well, so that perhaps it too could be simplified in some way. What exactly does
art' 'visual include? The definition used for 'visual throughout this
thesis project is from Helen Gardner's, Art Through the Ages.
Visual art The selective communication of human experience in tangible
forms existing as matter in space.
In order to simplify 'visual into a manageable subject for the limited time of the thesis project, two disciplines were selected that
met the criteria of the definition of 'visual art'. The two disciplines were architecture and painting. Limiting the thesis to these two
disciplines was the second parameter of the project. The reason
for the selection of these two disciplines as opposed to sculpture,
woodcarvings or other forms of two or three dimensional visual art
forms, was that architecture and painting offered the richest and
most representative examples for comparison. In addition, both of these disciplines appeared consistently throughout history, while other forms such as woodcarvings or engraving may have been more popular during specific time periods.
Selecting Historical Periods A third necessary parameter was to determine which periods from history to include. The Gothic period appeared to be an hand- appropriate starting place. Although the Gothic lettering is a generated form of calligraphy and not the mechanically-generated, mass-produced typography, it was an appropriate introduction to the
"textura" printed word. It was Gothic lettering called that was used as a model byjohann Gutenberg in 1450 when he invented movable metal type. Depending on the source, the breakdown of art history is usually divided as follows: Medieval or Gothic, Renaissance, Baroque and Rococo, and Modern. Thesis Project Definition continued
Some of the fine art references included Baroque and Rococo
periods into the Renaissance era, and added the Neoclassic
period as a division to the Modern era. The periods were chosen
according to the organization of information found in the references
on art history. This was because these terms were more common than the terminology used for the categorization of type. The following is the list of the periods to be researched: Gothic Renaissance Baroque Neoclassic Modern
was Visual Arts Limited to Painting Another question could painting be expanded to include other forms of two dimensional pictorial expression such as woodcuts,
lithographic prints, stained glass, or textiles? It made sense that, to give the project continuity, it should be limited to painting only
unless an exception could be justified. The one exception was for
the Gothic period. Stained glass was used in place of painting because it was so popular during the period that it has been considered the hallmark of the entire period. In effect, stained
glass was more representative of the Gothic style than painting.
Establishing Visual Variables for Comparisons Next, a consistent method for comparison of the five periods was needed. Many descriptive terms were used in the research materials of the three disciplines. For example, descriptive words such as
direction, geometry, movement, and direction, were all adjectives used in describing typefaces, as well as architecture, and painting. Any descriptive terms that were used frequently to describe type, architecture, and painting, were recorded. For example, one of the first findings was the quality of extreme verticality found in the letters during the Gothic era. Upon further research, it was clear that this characteristic was apparent in architecture and painting as well.
The visual comparisons for this thesis project were conducted based
on these six words: Geometry Complexity Directionality Symmetry Rhythm Contrast Thesis Project Definition continued
Visual Examples Selecting The last parameter involved choosing specific visual examples to show the forms of the three disciplines (type, architecture, and painting) for each period. The choice of images to use was based
on which images best represented the style of each period.
'style' For the purposes of this thesis, the definition of is:
Style a development, a coherent grouping of forms united by a reciprocal fitness.
These examples should also clearly illustrate conclusions about the visual connections between the three disciplines. The following are some of the final images considered for the guidebook. The process by which each actual example was chosen will be discussed in the Synthesis section of this document. Thesis Project Definition continued
Visual Examples of Type
Gothic 1 200: Textura ft-
#9$ M:M
\\-
Renaissance | \ ^ 1 Enedemus Coloti I 1470: Nicolas Jenson \9 (/ aitHippobotusu G^^N-/3 Jenson ratutfutnptohit torefe ex inferno ueniffe p hxcibi dzmonibus renutu
Baroque and Rococo 1734: William Caslon ABGDEFGHIJ Caslon ABCDEFGHIJK abcdefghijklmnop Thesis Project Definition continued
Visual Examples of Type
('modern' Neoclassic type) abcdefghijklmilO 1884.GiambattistaBodoni ABOEFGmjK VWXYZ$123456
Modern (sans serif type) O Hi i H 171 11000 TS bcdefqvr j II 1 927-30: Paul Renner ABCDEFGHUKLMNO XYZ$ 1234567890 Thesis Project Definition continued
Visual Examples ofArchitecture
Gothic > HI ; mn. 1 1 1434: 1" -w ;**'/ iRt . St ' Maclou 'Mlfe1 -i,i1r. il-/ "V, :!!!/? m'fjA tin i i v A w
IfJ "Jl r 1 i.Vr
Renaissance (I) 1567: Andrea Palladio Villa Rotunda
(r) 1420-36: Filippo Brunelleschi Florence Cathedral
Baroque (I) 1638-67: Francesco Borromini
Carlo alle Quattro Fontane
(r) 1656-75: Carlo Rainaldi Santa Maria in Campitelli
10 Thesis Project Definition continued
Visual Examples ofArchitecture
Neoclassic 1 8 1 6-26: Thomas Jefferson State Capitol, Richmond, Virginia
1 852: James Rewick Smithsonian Institution, Washington, D.C.
Modern 1926: Walter Gropius Bauhaus, Dessau, Germany
1956: Mies van der Rohe
Illinois Institute of Technology, Chicago, Illinois Thesis Project Definition continued
Visual Examples of Painting
Gothic 1190 Reims Cathedral The Crucifiction
Renaissance 1495-7 Leonardo Da Vinci W The Last Supper W%
Baroque 1617 Peter Paul Rubens J >">.!*
The Rape of the Daughters \y % of Leucippus
: 1635-6 Peter Paul Rubens Village Carnival
12 Thesis Project Definition continued
Visual Examples of Painting
Neoclassic 1784 Jacques Louis David
Oath of Horati
1884-6 George Seurat Sunday Afternoon on Grande Jatte Island
Modern (I) 1931: PietMondrian Composition in Red, Yellow, and Blue
(r) 1921-5: PietMondrian Diamond Painting in Red, Yellow and Blue
13 Research and Analysis
Beginning: Broad Overview The research began as a broad overview of the topic in the middle
of December. At this early stage, the parameters discussed in the
previous section had not been established. The topic still included
the overall visual comparisons between type and the visual arts.
These were the two broad topics researched at this stage:
type through history visual art through history
By the end of January, the research had to be contained to include the study of the three disciplines according to the parameters defined in the previous section. This included the study of:
Forms of Type through history Forms of Architecture through history Forms of Painting through history
At the of the the best method of Recording Information Chronologically beginning research, organization not had been determined, so the research method adopted was to
record information chronologically. This method was chosen simply because it was in accordance with a majority of the research
materials which were also organized chronologically. Notes were recorded for each of the five periods in history.
The amount of information being gathered soon demanded a form of organization. A method of organization described in Richard Saul Wurman's Information Anxiety called 'The Five Ultimate Racks' Hat was adopted. In this book, Wurman describes five methods of organization: category, time, alphabet, location,and continuum. The first method of organization used for this thesis
project was time. Time seemed to be the most direct method to organize the information and, as mentioned above, was already in use. The information gathered was distributed into the five periods in
history. The breakdown of historical periods was attained from several sources on art history.
14 Research and Analysis continued
classified as follows: Black Classification Groups Depending on the source, type is Letter, Old Style, Transitional, Modern, and Sans Serif. In order to bring the three disciplines into one method of organization, the
was used. The chronological breakdown described for art history reason for this choice was that the terminology used for describing periods in art history are more familiar to non-designers and people
with no prior knowledge of type history.
The classifications of type related to the six periods as follows:
Art History Type History
Gothic 4 ? Gothic
Renaissance < ? Old Style
Baroque < ? Transitional
? Neoclassic < Modern
Modern < ? Sans Serif
This method of organization worked well with one exception. One
problem was that what is considered to be Modern type, came a
century before what is considered Modern art. This important disparity was noted carefully and was clarified and discussed again in the guidebook application.
Categorization Soon, another method was required to record specific information common to the three disciplines. Another method described by Wurman was use-Categorization. The six descriptive words
chosen were:
geometry complexity directionality symmetry
rhythm
contrast
After these two methods of organization were established, a matrix
was designed. A matrix would offer a direct method to cross
reference the information gathered, and would facilitate analysis
of this information. Research and Analysis continued
Image Gathering The process of image gathering was approached in the same way
as the rest of the research. The two methods of organization described by Wurman were used: time and category. Examples of type, architecture and painting were collected that possessed some of the visual qualities of the descriptive categories-geometric,
complexity, directionality, symmetry, rhythm, and contrast. As each period was studied, several images were reviewed and analyzed and filed according to the five periods in history. One example of type, architecture, and painting was selected for each period. The
selection was made based on how well it represented the particular
period, and how well it demonstrated the connections to the other
disciplines from that period. Each image was then interpreted in
relation to the list of visual characteristics. Different quotations from
the research materials were recorded into the appropriate boxes on
each matrix for each example chosen.
See appendix D Synthesis
There were many relationships found between the visual characteristics of type through history and those of architecture and painting.The following shows a list of the images chosen and an explanation for their selection.
Gothic
iBuo&tumflttua Type form-Textura Textura was chosen because it was the most widely used script during the Gothic period. It possesses qualities that related to both the architecture and painting of the period such as verticality, and a
ttiMtfimtinitf arch' 'pointed appearance resulting from its square serifs.
Architectural form-St. Mclou
This cathedral was chosen because it exemplifies the architecture of the Gothic period. The two main qualities that are directly related to type are the pointed arch and the extremely exaggerated verticality
of the church.
Painting form-The Crucifiction The example chosen to represent two dimensional visual art for the
Gothic period was a stained glass window. This was the only
exception made in the guidebook. All other examples are paintings.
In this case, the exception was made because the visual connection
between the windows and letterforms of this period were so strong.
The intricate leading of these windows created a skeletal pattern that were similar to the woven texture of the Gothic letterforms.
17 Synthesis continued
Renaissance
Type form Jenson I \f 1 Enedemus Coloti Jenson was selected because it has noticeably wider letterforms. It represented the movement from \!) (/ aitHippobotusii away G^^S*/3 was important distinction from the ratutfumptohifc verticality that the careful tore fe ex inferno uenuTe pi Gothic sense of verticality. Jenson's letters show a
haec fbi daemonibus reminc consideration given to the shapes of the letters themselves,
as well as the space around them.
Architectural form Dome of Florence Cathedral
This example was chosen because it represents the
Renaissance concern for clarity and order. This cathedral was constructed with pilasters, entablature and moldings that establish a network for a rationally ordered and
geometric interior space. The exterior was also constructed
carefully, using the cube and dome and a strict proportion
of 1 to 2 throughout.
Painting form The Last Supper This painting was selected because its structure and geometric order are clear. This painting is the ultimate example of the concern during this period for mathematically accurate form. This painting also demonstrates a careful consideration of the relationship of interior spaces. The long table is set parallel to the
picture plane with the Christ figure centered and framed by the central window. His figure is the focal point of all lines in the composition, adding to the highly ordered organization of the painting Synthesis continued
Baroque/Rococo
7ype form Caslon
ABGDEFGHIJ Caslon was chosen for the Baroque era as a contrast to what was
happening in both architectural and painting styles of that period.
ABCDEFGHIJK The increased contrast between the thick and thin strokes of Caslon
gave it a heavier texture. This was contrary to the delicate forms abcdefghijklmnop seen in architecture and painting of the day. Despite its heavy appearance, Caslon was used more regularly than all other typefaces, including being the chosen typeface for the Declaration of Independence.
Architectural form St. Carlo alle Quattro Fontane
This church was chosen to represent the architecture of the Baroque
era. It exemplifies the complexities achieved during the period. The architect, Francesco Borromini manipulates convex and concave
surfaces, making it difficult to distinguish the two surfaces. In
addition to these elastic surfaces, the ornamental detail adds to its highly complex appearance.
Painting form Rape of the Daughters of Leucippus
This painting was chosen because it demonstrates the extreme
contrast indicative of the Baroque style. In particular, the soft flesh of
the the darker and muscular women, flesh of the men, the shiny satin metal and the taut skin cloth, armor, of the horses creates strong contrasts of textures. Its dynamic relationships, and intricate detail also add to the complexity of the painting overall. Synthesis continued
Neoclassic
Type form Bodoni abcdef klmno 'modern' ghij This face was chosen because of its clean, simple ABCDEFGHIJK appearance, achieved by constructing his letters using VWXYZ$123456 interchangeable parts. This simplicity was representative of the neoclassic rejection of intricate and complex Baroque style.
Architectural form State Capital
This example was chosen for the contrast evident in its tall pilasters
(columns) and the clean crisp lines of its exterior. It also represents a shift to simplified and mathematical form.
Painting form Oath of Horati
This painting was chosen because it also shows great contrast. The sharp contrast in the folds of the clothing, and the sharp lines show a precision and simplicity of form indicative of this period.
20 Synthesis continued
Modem
Type form Futura abcdefghijklmnopqrs Futura was chosen because it possesses many of the qualities that ABCDEFGHIJKLMNO were representative of the Modern era. It is stripped of unessential elements, and reduces the alphabet to basic elementary shapes. XYZ$ 1234567890
Architectural form Bauhaus The Bauhaus building was chosen to represent the architecture of the modern era because it too reduces form to basic shapes. The
architect, Walter Gropius was concerned with designing architecture that was clear, and constructed of cubic units. These
units functioned only as part of the greater whole.
Painting form Composition in Red, Yellow, and Blue This painting by Piet Mondrian was chosen because, like the type and architecture of this era, it too was reduced to an extremely limited vocabulary. It included only the use of straight lines, and reduced all shapes to squares and rectangles. In addition, only black, white, and the primary colors-red, yellow, and blue
were used.
21 Ideation
Reference Tool for Students The concept for the guidebook was to create a reference tool for
students. Audience was an important consideration. A more distilled
version of the intricate details of type, architecture and painting was more appropriate for providing students with a broad overview. This satisfied the project's time limitation and would not be intimidating to
the newcomer.
Since the purpose of the guidebook was to provide information
on similar visual forms of type, architecture, and painting through history, the visual examples had to be easily comparable. This made the layout of the book extremely important. Different layouts were
explored in order to arrive at the most effective layout.
The sketch below shows the first idea for an effective format for the
guidebook. This layout permitted the viewer to see an example of
all three disciplines on one spread. However, the plan was not
adequate because the images were too small to recognize detail.
Being able to see detail was necessary in order for comparisons to be clear and meaningful to the viewer.
Guidebook sketch
JrO,tv ,th rHjh ghj Elq>. I,hl k/dgh gl dfeh fg!h gUh, tfh RB^tOh, dl hjlgdft. foh g;J. O&tifB *fbf&B hHSij *> glbn &M, * kgf hgu* /gW 0khj &Mj gU xgk hbn be * [bn tjfch, n?t bgflkrnghk fehfenh flgkh llcgnix N^d gmb grf gkbm xJVH c/x mgh gWjli ABCDEFGHI, Itf Mgh; wigj h,'(" (r'.-J Ifr,, l;.-ldfn-H x/kgB^gkhjfl^g^WW^/kjmnb.mb.v ghl *"" vW hgWc-cglkhc fci < ABCDEFGHI. : l-cr,;.: t-riV.-T*-.-. rxn <$Dnm cDgHmc dgldi dlkgli 5g mh I jn cgm k Kg <:Mg jkgfcn dgm gilt ck k hnvVflgni abcdefghijklmr
bfcn nA .v xig hjlttg Mritfl jhgfcn 1<4 1% kgfhgflk /gM ^ld^ ^1*) gld ^k hbr be bgfMnghk fchfcnh flgkh nkgmx hkgd gmb gx/ gkbm Hgfhj xld rkhH c/x mgh gGJgh x/ kgV gkh| 0kgh g/ftjg h'ki Igl^h /Ife mnbmb.v bvn vbJ hglnk cglkhr ghk fghfgWi flgkh IgiH hkgd gmb gx/ gkbm Wgiv, xfVW ikhgj C. mgb gPk;h *' kgfhfxf gkhjOl^hg/BtghA/^AvfrvkwT^v bvn vby hgb*'<*:tklx^fghrgnh llgkh ftkg mx hkgd jmb grf gkbm Hgtij xtfld Ikhgj clx mgh gWjh x/ kgM gkbj Bkgg. gflkjg WW fgk?i Jks mnbmbv bvn vb/ hgl:nk cgfch: vgTkkgrkhj (ghjfghfgh
gmb gv/ gkbm xMJ zU mgh gffidh */ kglijx/ Dl^Ti h
Kkjcltmbrt/sohp^ film, fj-jrj [mC^j-EmlJf*, iCU L.l>0. (/> [mi A/ (tjtnk'(5ic
[hi- nigh 1*411 ;' i.r-ni-J t*^ UkBh c"Vr WW l^jh Fjhlgi* D^lh flyn fms&tsnsa^
22 Ideation continued
This next idea provided larger visual examples for comparison.
The three disciplines could be easily compared in this particular spread. However, the layout did not provide enough space for
periods with vertical and horizontal images. As you can see from
the spread below, only two horizontal or two vertical images could be placed on the right-hand page.
Guidebook sketch 2
.The Kenan Baroque
and chenfe,of Hi ABCDEFGHIJKLMNOP between die para ofth* bviUnfin chane- urinkAt It) b*tt th* Roman Baroque buldlRi The Baroque Era 1600-1750 b comparable to that of a fufv*.anotherof ABCDEFGHIJKLMNOP th* fnat Baroque art formLEach b an orcan- 1 jib In th* ibtteenth and ar*f h the amn- tramh man confld*U*f-iuumd canary reveab to**ai a rightly In attitude raaunnad Itself after die doubt) and abcdefghijklmnopqrstuvwx k of the mid-in- n wu replaced by > mon pedhtn oudaoletiniont wee* uad abcdefgbijklmnopqrstwvwxyz &
Ilia term~BaR>qw"boftati applied to th* art ofthe i*nnce*mh ccntury-CeraBih-. the term waa orr&eiitty used In > dbparat,n( wuijElcr. Intto the axtraneanoa In A* in ofthb peri od.Ail thk knpBn compkidnMHn apparent nt ofchain roe*.
and Unc Newton; of th* biter Baroque palnMnf. Th* development of the xcop, the microacopa and the Baroque paJndryj In taly b more compUcaud
dan that of architecture.Oiierinj point) of view appeared at the barreling of the century. In ipke ofthb complexity, we and theie wan never fut> reconciled.The two annta who did mastto mabfch then trendi pv* the period gnfcyilt. wen Caraa(gio and Cancel However, both M ofth* dynamic and tifnlocxnt period] poueued th* deiiro to undentand realty not in th* hinry ofw*u*m euhur*. "b*a" In term* of a rational ofth* but rather by artful obiemtJon of the natural world T..l|lfl. I- Hr.fl !.'pB*i^rB-1""<
The concept of enlarging a portion of an image was explored in this third sketch. For example, the three boxes on the right-hand
page are details taken from the larger images. This idea remained a
possibility, while still others were explored.
Guidebook sketch 3
tUSiU
GoU.lt palntlnf. Th* deweJopmant ofth* Baroque painting In Idly b more compHcitrd than that of archlecture.Differing points of view appeared It the beginning of the century, ami cheie were nm-w Uity reconciled Tin two inho who dM moit to ntablnh the trendi war* Canvaggio and CarraccL However, both poueued th* dalre to uraJantand reality not h tarmi of Tdt" rational of the but rathar by careful obier- tatJon of the natural world.
23 Ideation continued
Benefits of New Layout Design In Guidebook sketch 4 (following page), two main criteria were
considered based on discoveries made from the first three sketches.
enough see details First, the visual examples should be large to clearly. Second, the grid ultimately had to accommodate large
images that were both horizontal and vertical in orientation.
Guidebook sketch 4 meets both of these requirements. In this sketch,
shortened pages. There are more space is created by adding two two benefits to this layout. The first is that when these shortened pages lay flat, the visual comparisons can be made easily by the viewer from page to page. In fact, the idea of showing a detail
from a larger image was taken from the previous Guidebook sketch
3. The second benefit is that this layout could accommodate large
images of both horizontal and vertical orientation. The large images
would be revealed as the viewer turned these shortened pages.
System of Shortened Pages The text on one of these shortened pages would describe the visual
connections to the other two disciplines. For example, the shortened page describing Gothic script would also include a description of how its form relates visually to Gothic architecture and painting. The
enlarged detail at the bottom of these pages would illustrate the points being discussed. The diagram below shows how the concept
of shortened pages works.
24 Ideation continued
Guidebook sketch 4
GothicTypography. Textura wa the dominant lettering iiyle of the gothlc periodCnhcr termi auch at th* franch ktnr de
fame and the Engbh blocUeaci and Old Engfahjre vague and mbleduigJDurin( ID Ume.textura was called Wero modemo.which li
latin lor-modem kna-lnf.Thisityle wai qufte functkwaUor all the vertical nrokm In i word
are drawn Art (.then the scribe would add the
terlfi and other strokes needed to transform the group ofvertlcab Into a wortLRoundod strokes an almost elknlnatwtand the letten
and the space) between them an condetuad
In an effort to ime jpwo on the predoui parchmancTha owrall aHect b on* of a dame black taatttlre.Rotunda wai the tallanste vento* of the textura.The letter) became rounded, and did not end In rectangle).
)DnlmiWttDittri,IKttttulittin Uiu.J&biliffifraqiuhuutuituuo iflt tatinuaUt raphantLlEt ui
mi
Gothic architecture. The Roman Baroque architect) toujhtoftan with great Ingenuity ano itibtlecy, to supply the spectator with a rich variety of iefuatlcau_Suggstloni of movement and change, ol a fluid or organic relationthlp between the parti of the buldaig are characteristic_At\a belt the Roman Baroque building b comparable to that of a fugue. another of the great Baroque art lorms.Each a an otganbm ofgreat complexity which In the end reveals Kieff a a tightly integrated
Gothic painting. The davekfHnant of the Baroque pintta ki Itar/ b mora complicated than that ol arrhltoctuie.Dlfferirn; point, of view appeared it the beginning of th* century. and thrae were never fully recont.-lleti.Tht> two artist* who did mat to tatablbn the-* utskU were Caravagglo and CuraccLHowever, both pouataed the desire to understand reality not "idea" In fc-rmi of a rational of the hut rather
by cardul obiervKloti of the natural world. Ideation continued
Final Adjustments In Guidebook sketch 5, the final adjustments were made to the
layout for this visual comparison section of the guidebook. More
continuity was added to this layout in comparison to Guidebook sketch 4. This was achieved by aligning the text on the three layered pages. The comparison section on the left page was refined to relate more to the rest of the book by keeping the large heading 'Comparisons' oriented horizontally. This heading was vertical in 'Comparisons' Guidebook sketch 4. In addition, the box labeled on
the left-hand page of the spread was adjusted to relate in size to the
shortest of the layered pages on the right side of the spread.
26 Ideation continued
Guidebook sketch 5
H* DHUe[tatMM* cabal | can 1 19 I
_aMokabrraatai1rw*j strata-abb rl idbUpaiTajtartirittnr raptol MatapenyiaamjaTl oflea**.
ntkakla*aiapaaeB riireaasra fa
asMftfttla. I rtjaejej,
tot*" tataa* ftfflttllanlkT
lattnaaiiejgtBltMalaailalaM^ rtssssasr ihrfaeaM aflat ieW>it-ie1i MaiaMfcw**n* Mri*>a akagr. f .* im 1. ultJe, n, .,bjji, BTI HIfM aaa-aj t.aal Ht flMtf earth 27 Ideation continued The concept of Cover I was to show a simple combination of the logo designed in the planning stages of the thesis project and a the grid (represented by the four squares) used for the guidebook. This design could not be used because the title changed since the logo was designed. Cover 1 28 Ideation continued The concept of Cover 2 was to simultaneously show examples of type, architecture, and painting. The goal was for the reader to immediately see these three elements interacting together. This would provide a context for the reader upon first viewing of the book. This cover was unclear, so other options were explored. Cover 2 (front and back) The concept of Cover 3 (following page) is similar to the previous idea, however the three examples (type, architecture, and painting) are all from the Modern era. The difficulty with this cover is that the element of type is seen as a texture rather than as the most important element in the book. This could cause a viewer to misinterpret the objective of the guidebook. The concept of Cover 4 uses the same concept of the 'HIJK' integration of imagery from the three disciplines. The letters are scaled to relate structurally to the structure of the architecture. 'K' Also, the angle in the letter relates to the angle of the diamond- shaped painting by Mondrian. While an attempt was made to emphasize the concept of type by enlarging the 'HIJK', it is still less noticeable than the painting image. 29 Ideatlion continued Cover 3 Cover 4 30 Evaluation Committee Response The initial evaluation process began early on in the project development with weekly meetings with Professor Deborah Beardslee, as well as four full committee meetings during which the work in progress was evaluated by Professors Deborah Beardslee, Bruce Meader, and Heinz Klinkon. Later, as revisions were made on the guidebook application, several colleagues offered informal evaluations of the guidebook. These evaluations were extremely helpful in the development of more specific content and effective design solutions. The evaluation conducted after the -first full color copy of the guidebook, was the first feedback received from the target audience (graphic design students). Evaluation Form To facilitate the evaluation process, an evaluation form was drafted, instead of questioning students verbally. The form was intended to evaluate all the different components of the guidebook. This included: the content of the book, the comparative matrix, the timeline, the book cover, image use, color use, and the overall design of the book. The first draft consisted of twelve sentences that evaluators were asked to complete by circling a response on a scale that was provided. For example: 1 I understand the concept of this - guidebook completely Not at all This first was changed draft slightly by giving the evaluator a scale that had specific choices. was It noted by Bruce Meader at a committee meeting that without this, it would be extremely difficult to assess the responses. For example, how could it be determined what was meant by a mark like the one below that was not 'completely' all' or 'not at and not directly in the center of the two choices. completely -ese: ^ j^ N0talall The scale was changed in order to provide specific choices for the evaluator. The scales on the final evaluation form looked like the one below. completely Not at all 31 Evaluation continued Participant Profile Most of these evaluation forms were given to the target audience. In all, twenty-two evaluation forms were completed. 1 expert of graphic design 2 graduate graphic design student 6 senior graphic design students 5 junior graphic design students 2 sophomore graphic design student 0 freshman graphic design student 6 person with no experience in graphic design 22 see appendix E Evaluation Feedback The conclusions drawn from these evaluation forms were that 1 ), a majority of the participants of the evaluation understood the purpose of the book and felt it is useful and interesting, and 2) the great majority felt that the guidebook provided a sufficient amount of information on the topic. The area evaluators identified as needing clarification was the cover. Many said they could not see the type imagery clearly enough. A possible solution to the unclear cover might be to make the relationship between the three disciplines stronger. As the cover is now, the element of type is very understated. This is a flaw in the design concept that needs to be reconsidered. It is especially important because this book is intended to emphasize type form and its history. This concept should be evident in the cover, so the viewer knows immediately that this is a book primarily having to do with type. Some people commented that they did not see the type at first. The Mondrian painting dominates the cover and the architecture is most likely seen next. Changing the emphasis here so that the viewer is first aware of the type in the composition is a necessary change. Need for More Entries Another comment made was that the timelines needed more information. To correct this, more entries will be included in these sections in the final guidebook application. In particular, the Neoclassic and the Modern sections need additional entries. The following page shows the final evaluation form. 32 a I have no experience in graphic design expert b I am a graphic design freshman sophomore junior senior graduate (Circle a or b) (circle one) 1 I understand the purpose of this book - - not at ail completely , T t this useful 2 In general, topic is. 'useful - not useful 3 To me, this topic is useful not interesting boring 4 I could learn about from this book typography agree - disagree 5 The information that the book provides is sufficient insufficient of 6 The organization the book is. clear a> unclear matrix 7 The is. clear > confusing ' helpful not helpful interesting boring 8 The timeline is. clear confusing helpful not helpful interesting boring 9 The cover is. clear - unclear interesting _ boring 10 The images are. helpful not helpful interesting _ boring sections are. 11 The colors for the different appropriate inappropriate attractive unattractive helpful ^ not helpful of the book is 12 The overall design interesting boring clear _) unclear space comments in the below _ Please add any additional 33 Implementation Changes Made After conducting the evaluation and assessing the responses, the following changes were made: Col'or First, the yellow-green color seen throughout the guidebook was adjusted. Several comments were made that the color was distracting. To subdue this color, a darker, less yellow green was used. The resulting color is more in tune with the rest of the color pallet. Page Numbers Second, page numbers were added to the contents page. This will make the different sections easier to locate. Cover Third, several adjustments were made to the guidebook cover, including added emphasis on the type imagery. Small circles were 'K' added to the letter to symbolize its geometric construction. The diamond shaped painting by Mondrian was made more transparent so that it receded further into the background. These changes were made in order to place more emphasis on the concept of type. Content Besides these changes, refinements were necessary in the body text of the guidebook. Adjustments were made to some of the text alignments and corrections were made. Several entries were added to the timelines and further descriptions were added to various sections throughout the book. see appendix F 34 Dissemination Thesis Show Gallery The guidebook was displayed for two weeks in the Bevier Gallery at Rochester Institute of Technology. Here, the guidebook was available for review. This exhibit ran from April 28 until May 24. The display of the thesis project also included three large format panels explaining this thesis project and representative components of the guidebook. There was one panel dedicated to summarizing the purpose and goals of the guidebook. Archives Further plans Library for dissemination include making a copy of this thesis document available in the Wallace Memorial Library archives. All RIT students have access to these archives. Instructional Guide Another possible method of dissemination would be to assemble a booklet comprised of the images contained in the guidebook along with brief summaries and conclusions concerning the visual connections between type form, architectural form, and painting forms through each of the five historical periods. Ideally, this instructional guide would be given to students and could be an introduction to courses concerned with typography. Specifically, the packet could be given to graduate students enrolled in the design history course, as well as the typography course here at RIT. Studio Resource cost- Unfortunately, full-color reproductions of the guidebook are not effective, so only a limited number of copies will be printed. For the last method of dissemination, a copy of the guidebook could be made available as a reference tool for students in the graduate graphic design studio. It would be made available to any graduate student interested in this topic. 35 Retrospective Evaluation In retrospect, the guidebook could have been improved in several ways. Color Accuracy A relationship with a good printer should have been established earlier in the process. The printing of the guidebook application was scheduled in time for one printing to be made. This did not allow for any margin of error. Unfortunately, this led to some flaws in the version of the book displayed in the thesis show. The most critical production problem was accurate color reproduction. Final color output did not match intended color choices. Many of the colors were faded, while the most important color (the yellow- green seen in the title and in several locations throughout the book) appeared as a dull, yellowish color. Although several color tests were made, ultimately, a printer was used whose color settings were different. By choosing the printing company ahead of time, several color tests could have been made to prevent this. Project Scheduling The most important change would have been scheduling the project earlier. The thesis topic selection should have been completed by the start of the academic school year, and was not decided upon until the middle of winter quarter. If the topic for the thesis had been chosen earlier, it would have allowed more time for research and analysis, as well as for the actual design of the book. Production Costs The cost of printing the guidebook in full-color was enormous. Perhaps the amount of color could have been limited to only the comparison sections (with shortened pages). Limiting the color use to a few specific pages would have lowered the cost of this project significantly. 36 Conclusion The conclusions drawn here for each period have been assembled from an analysis of the information recorded in the comparative matrix. Two or three of the most important descriptive words from the list of six, are listed. The paragraph below the list explains why these words were selected. Gothic The visual comparisons of letterforms to the architecture during complexity (complex) Gothic times is clear. The verticality is the most outstanding similarity directionality (vertical) between the three disciplines. The complete shift from rounded forms to their virtual elimination resulted in the pointed arches in architecture and the square serifs of textura. The intricate design of the gothic windows was much like the intricate woven texture created by the strong verticals and pointed serifs of the gothic script. Renaissance The emphasis during this period was on highly rational and geometric scientific thought based on the individual. The art from many direction (horizontal) ancient civilizations was studied during the Renaissance. This led to rhythm (regular) the return of life-like representation and proportions of human form that the humanists observed in art forms of the ancient civilizations of Greece and Rome. In addition, the invention of the printed word was one of the most important of this period, and made books more widely available. During the Rennaissance, there began a movement away from the extreme verticality of the Gothic period. This new horizontality is evident throughout the visual arts during this time. In Jenson s typeface, this new horizontality was achieved by creating proportionally wider letter forms. In addition, the typeface possesses an extreme clarity and intellectual order common to both architecture and painting of the day. The new proportion of Jenson's typeface link it to the highly rational and scientific visual art that had become centered around the proportion of the human form. 37 Conclusion continued Baroque/Rococo The typography of this period echoed many of the qualities seen in complexity (complex) both architecture and painting. The Baroque and Rococo styles contrast consisted of delicate C and S curves. Many of the forms were derived from nature. Typefaces designed during this time possessed qualities parallel to the intricate style of the visual arts. For example, the typeface called Romain du Roi echoed the light and delicate feel that was indicative of the Baroque period. One typeface stood out from the rest. Caslon Old Style was in direct opposition to the fashion of the day. Contrary to the asymmetrically balanced and complex forms seen in architecture and painting, Caslon Old Style possesses a feeling of symmetry. The increased contrast between the thick and thin strokes of Caslon gives it a heavier texture than was common at the time. But despite its heavy appearance, Caslon was used more than all other typefaces of the day. In fact, Caslon was used for the writing of the Declaration of Independence. Neoclassic Contrast is an important characteristic present during this period. complexity (simple) The return to classics and rationalist thought meant a turn against contrast the intricacies and decadence of the Baroque period. A new mathematical approach was taken, with little or no decoration. The 'classic' 'modern' or face is characterized by abrupt and fine serifs, a new lighter weight, a marked contrast between the 'thicks and thins', and narrowness of body. The Bodoni typeface possesses contrasting features similar to the contrast evident in the tall pilasters (columns), and the clean crisp lines of neoclassic architecture. Contrast is seen in the paintings of the period as well. While modern typefaces such as Bodoni, may have found inspiration in the classic forms, they also looked ahead to the age of the machine and mass production in that they are constructed of units that are interchangeable. 38 Conclusion continued Modern The style during the Modern era centered around the cube and pure geometric geometry. Much of the visual art of this period has the appearance complexity (simple) of consisting mainly of 90 degree angles. Form was reduced to the most basic elements and possessed no embellishment. There were many similarities of the forms among these three disciplines during the Modern era. The cube was used as the basic unit for much of the architecture and painting during this time. Type designs were constructed with an underlying horizontal and vertical structure as well. Like architecture and painting, it was believed that type should be elementary in form without embellishment. Thus, sans serif type was declared to be the modern type. Stripped of unessential elements, sans serif type reduces the alphabet to its basic elementary shapes. Many typefaces were designed with interchangeable parts, which also reduced the vocabulary of forms to a minimum. This thesis project has proved to be extremely beneficial and self satisfying. The topic remained interesting throughout the long process. It has allowed me to broaden my knowledge of typography as well as architecture and painting. Overall, the experience of this thesis project has provided a greater appreciation of the design process. Following the design process learned in this graduate program, it became evident how valuable it is for graphic every designer. The process provides the designer with a tool and organizational method for producing the most thouroughly researched, and thoughful design solutions possible. From the research, and with the assessment of the comparative matrix, many conclusions were made. It is important to note that these conclusions reflect interpretations made after a year of study of this subject matter. Undoubtedly, these conclusions may evolve and eventually be modified as more knowledge of the subject is gained. While a tremendous amount was learned from this project, there is still so much more information related to this thesis topic to be discovered. 39 Glossary of Terms asymmetric Balance in a format in which the parts are unequal on either side of a vertical axis. Baroque Style of art and architecture developed in Europe from 1550-1 700. Characterized by elaborate ornamentation and a balance between disparate parts. complex Complicated form often having many parts. Contrast and ornament present. contrast Ultimate differences in visual form, size, shape, weight, etc. diagonal Movement at an angle; neither perpendicular nor parallel to the horizon. directionality Implies movement, force and thrust toward a point or area in a composition to indicate direction. form an organic structure, all the elements of that structure and the manner in which these elements are related and united to create its distinctive character. geometry Use of strict measuring instruments and mathematical principles in construction. Gothic Style of architecture and art prevalent in western and northern Europe from the 1 2th to 1 5th century. image Pictures of all kinds, ranging from simple pictographs, to painting and photography. irregular No elements are alike and there exists the greatest possible contrast between elements. Modernism The use of non-traditional innovative forms of expressionism characteristic of many styles in the arts of the 20th century. Neoclassic A revival in the 1 8th and 19th centuries in architecture and art, characterized by order, symmetry, and simplicity of style. 40 Glossary of Terms continued organic Form, which is derived from natural or organic sources, rather than from mechanical ones. regular No variation; no contrast or ornament, even increment or proportion Renaissance The humanistic revival of classical art, architecture, and literature originating in Italy in the 14th century. rhythm A system of frequency involved in form development or communication. It can be regular, irregular, progressive or a combination. simple Elements are alike and there is little or no contrast between elements. symmetry A balance in a format in which the parts are equal on either side of a vertical axis. type The transmission and communication of the alphabet and numerical information. type form The selective communication of human experience in tangible forms existing as matter in space. vertical Perpendicular, or at a right angle to the plane of the horizon. unity Aesthetic cohesiveness because the form is similar or of the same construction type form The synthesis of all the letters of a typeface and the manner in which these letters are related and united to create its distinctive character visuaisual art The selective communication of human experience in tangible forms existing as a matter in space. 41 Bibliography 1 Blumenson, John J.G. Identifying American Architecture. New York: W.W. Norton & Company, 1 981 . 2 Carter, Robert and Day, Ben and Meggs, Philip. Typographic Design: Form and Communication. New York: Van Nostrand Reinhold, 1 993. 3 Gardner, Helen. Art Through the Ages. New York: Harcourt, Brace and Company, Inc., 1 959. 4 Hartt, Frederick. Art: A History of Painting, Sculpture, and Architecture. New York: Harry N. Abrams, Inc., 1 976. 5 Johnson, Alfred F. Type Designs: Their History and Development. London: Coptic House, 1959. 6 McLean, Ruari. The Thames Hudson Manual of Typography. London: Thames and Hudson, 1 980. 7 Meggs, Philip B. A History of Graphic Design. New York: Van Nostrand Reinhold, 1 992. 8 Mundt, Ernest. Art Forms and Civilizations. Los Angeles: University of California Press, 1 952. 9 Nesbitt, Alexander. The History and Technique of Lettering. New York: Dover Publications, 1 957. 10 Taylor, John F.A. Design and Expression in the Visual Arts. New York: Dover Publications, 1 964. 1 1 Updike, D.B. Printing Types: Their History, Forms and Use. Cambridge, AAA: Harvard University Press, 1951 . 42 Appendix A Warn Thesis Planning Report Designed By Andrea Haveman November 15, 1996 Project Title Type and Image: An Interpretive Study Client Address Rochester Institute of Technology 1 Lomb Memorial Drive Rochester, New York 14623 Designer and Address Andrea Haveman 2 1 4 Andrews Street Rochester, New York 14604 716.454.0425 Situation Analysis Many students of design have come to believe that developing computer skills is the most important element of their design education. Design educators need to remind students that learning about the past is equally important to graphic designers. One area that understanding the past will help design students is type and image integration. Developing a basic understanding of the forms and structure of type and typographic styles through history will enable a designer to integrate type with image more effectively. Making visual connections between typography and art history through the ages will help students consider form when combining type with imagery in their own work, especially work that uses images from past art movements. A designer with an understanding of the history of type structure and form will use type with an increased sensitivity regardless of the subject in which type is to be integrated. Problem Statement This thesis will emphasize to design students the importance of using typographic form as a link for combing type with image. It will look to art history to demonstrate this by making visual connections between letter and typographic form through history, and changes in forms in art history during those same times. It will focus on several periods including Gothic, Renaissance, Baroque, Neoclassic and Modern. The project will focus on identifying key characteristics that best symbolize the typographic styles of each of these periods. Representative examples of works from the visual arts will be identified and interpreted in terms of these characteristics. The thesis will also look at events in history and advances in technology that directly effected typography through the ages. The final product will be an informational guidebook for students to use as a reference of this information. The guidebook will include a series of panels that will use type and emphasize its form by using images from art history that call attention to specific characteristics of each typeface used. Mission This project will focus on increasing the overall awareness of the history of type and image and their Statement relationship throughout history. The understanding of this information by design students will lead to their increased effectiveness as well as opening new doors for creativity. Goals Objectives Processes and Strategies Research To do research on the topic of To do research on several To do research from type history design history and its relationship typefaces and the designer of books. to image making. these faces. To generate a list of several typefaces and their designer. To investigate historic images from To review fine art books. the visual arts. To identify the major periods in fine art. To collect key images from the visual arts. To create a database for collection To organize research into of the information. chronological order. Definition To assess the research gathered To present the necessary To sort information in and and organize it into a useful body information for design students to organized and rational way. of content. understand. Identify the most important information. For students to recognize the need To identify reasons for students to to know and internalize this learn this information. information. To demonstrate the application of the information. To evaluate this project. To evaluate feedback and modify this project as needed. Application To develop an informational guide To organize and format information To provide a list of periods in art book. into a quick reference book. history. To identify three or four representative pieces of art that symbolize the style of each period. [Image] To identify a list of key typographers and typefaces through history. {Type} To construct a timeline showing To build a timeline with three the relationship of typography to tracks:typography image, world imagery through history. history and technology. To construct a series of To construct panels incorporating informational panels. historical typefaces with historical imagery. Dissemination To make project accessible to To view guidebook in several To deliver the guidebook to junior target audience. locations in the school. and senior studios. To disperse guidebooks to various locations in the design department. To handout guidebook to design faculty. To make panels visible to design Display panels in key locations in students and faculty. the design department. To implement the evaluation process. Evaluation To define methods to indicate To know approximately how much To develop a questionnaire. success of the project. of the information provided was understood. To provide a space for comments during the thesis show. To create a sample test of the information. Time Implementation Plan Thesis Time Plan School Calendar General Calendar November 12 Last daytime class 15 Thesis Planning Report Due Individual Review 28 Thanksgiving Do research from type history books. Generate a list of several typefaces and their designer. Review fine art books. December 2 Classes Begin Identify the major periods in fine art. Last 9 Collect key images from the Day Add/Drop visual arts. 21 Winter Break 25 Christmas Organize research into chronological order. Sort information in and organized an rational way. Identify the most important information. January / New Year's Day Identify reasons for students to learn this information. Classes Resume Committee meeting 1 Thesis Time Plan School Calendar General Calendar February 14 Valentine's Day 17 President's Day Identify a list of key typographers and typefaces through history. 21 Last Day of Class Develop a list of periods in art history. Build timeline with three tracks: typography, image, world history and technology. March 7 Begin construction of panels Spring Break 10 Daytime Classes Begin 17 Committee meeting 2 St. Patrick's Day 30 Easter April 7 18 Disperse guidebooks to various locations in the design department. 25 Committee meeting 2 Display panels in key locations in the design department. Implement the evaluation process. Mother's May Develop a questionnaire. Day Provide a space for comments dur 17 ing the thesis show. Last Daytime Class Create a sample test of the information. 24 Commencement Appendix B Methodology Diagram Technology mage: image Key developments in forms and styles in fine art through time. Appendix C Proposal I propose an interpretive graphic design thesis on the history of typography and its relationship to image making. I will develop an informational guide book for design students that will focus on the integration of type and image throughout history. The study will also provide an explanation of the need for potential designers to internalize this content. It will be an educational reference for students that will include a contents page, a bibliography, a glossary, maps, charts, and images with captions. I will utilize the Cary Library and the design archives as resources for this project. I will also design a series of panels which integrate historic imagery with type to supplement this guide book. These panels will demonstrate how the knowledge of this history provides a designer with a solid base from which to create powerful and informed new design. Appendix D ' Vi ^ - <> ) Gothic BW> iHH c.fvGfJ MAKE )lij . Q (WRfttetUi. To tvV, mc^W (ivrceicAT5URfAce t>ecoe.nov -AEA. /UPPfiAIWCe fffeMKfiS . _ of ATA l^ni * CuTr^esiiM^ DRAFT *j / 2/ 7 6/96 f*t*' f T I A: Typography Painting \ Architecture TO/SO tJ hC'U"MnO cn.^fv^iY/C* tv-tx/5A-i pj/^*"\ A^JJ geometry geometric I ' complexity simple OC-NA^VUJ* complex directionality vertical n l)IA60t*U, -> t horizontal pc,.U,4 AFf^ , 'F1IC-Jl &UJTT, T y ^ft -g^CTP-Y cisymefrfc *" fittf*"*" e^i tight, xtefjea^ ., ATA I VALVt? NH>W 7 i > V ;^L functional functionality -"%> LECil2iU-ri ! A Inon-tunctional TIV<= 5PA.C. '- fi-'V ii DRAFT *- //IA#l^ ^ yy^du &r /{jmute^U / 12/16/96 t^VIA^-VX Qi/ic^v^eUo ipteTen.vM APT Typography | Jbini^-^^0^^ Architecture X&^HiiS^--. 'it Perce.* geometry geometric * organic s/mpfe )^ complexity (ornament) compfex r.-fJ* directionality verca/ PG Ho 'j- I ftAtlfoftMujAMtsrd'&)Mthf ot^MAJjLjslf^ diagonal horizontal J^fc formality highly ordered Symmetry symmetric asymme/ric AFC ,<>! _^, rhythm fene/ic Rj, (movement) sto/fc r |> nighty functionality functional nonfunctional mass space positive mass positive DRAFT fxcX^Mo^ j^^^-v^^^ 01/21/97 \te lypograpny I Painting \ ArchitectureMrcnuetiuie V.vUACSiScV /vtait} geometry geometric ,#. 3UJ-I I 5TATA! P6 {, i, 7 ^/l*AjV07Vh>4<'v'.-J * AJytUiJ&ruXM. i organic fi complexity simple (ornament) OVrvClTva,, ^ fiCtAic>^/' complex /VTvTpg t,67 t-l directionality vertical yi_ diagonal I2M horizontal jtvifA pc 111 formality highly ordered symmetric AXiA Symmetry ATA full3 asymmetric 9 at* wnefc I rnytnm rtAfAy^ 9 /? (movement) J^M^VjJm- lAotacAa*^-^ ^AlW^Jfi*-Jt r i- b/gMy functionality functional non-functional mass space positive Jfi^JL" tAefcGS (14 mass positive DRAFT 01/21/97 (C\(oO-l^ ^ tMT, yrYUE. m*mw\ Typography A Painting | Architecture Jenson Ald2 \ ^H^jVf j t**fVS V\ T |eometry geometric ,txZiM-- oPfcidb,^ organic ,r^g. ...zyf-.M&Qa.^. 1 <\TA >fc complexity simple -tt'/' ffr.70 | fViyW-fv <^/nvjr (ornament) $k*Iu>Z/2eA4 I M , A^fW-i t^.fo^uxfewi i,> COTVvf^Y- complex 4ta directionality vertical pg . -7 fti diagonal JIM*-.* \ sv horizontal (4 l^^T^ZS^"" i^n^u ArA formality highly ordered ^Z^ ArA PG. 1%. emotive ATA vG 1VI symmetric Symmetry r?<3.7lrt> ATA " } (rrjU^-e^e., I \ asymmetric s" (movement) I 9 (.U^vtVvv-C 5/Ol/C I ! ATA tpk functionality functional \ t7^6 "i JU^Ui," m P& . non-functional mass space positive moss positive DRAFT 01/21/97 Gothic 1200-1400 Typography Painting (pictorial art) Architecture feiOuni Giotto, Madonna and OiiU bniuwiei, Cathedral of Qnrtres St Remi Reims, Cnafklion 'bowing" geometric geometry 3b ...buteven these appear la 3b ...Ihemjaaic, diamderizedby an almost entire hove been composed around a A Quality olthe Ugh Gothic absence ofernes. skeleton not ofbanes but of interior ...p327 abstractgeometric figures. It can- 9 Duerer, ...shows how to seems likely thallbe designers of struct Texlurgeometrically. . . stainedglass windowsproceeded in osimior manner. organic simple 9 ... is used almost sole complexity lettering 3b...but the remaining [sur os an extreme exam- ly ornament, faces] have been covered with a ale at letters as design. (ornament) network ofarticulating colonettes,otches,pinnadesjosetle the bestname tor Ibis particular sand other decoiative stonework. s'texhn"'texlum,' style or ... p329 which means a worn fabric or complex supplant- thytiimic,ver- directionality vertical 9 ... verticalsgraduady 3b provides o . horizontals as the dominant ticolrepetition ofthe High Goihic diagonal In outer to soaaramte horizontals as much as possble, the distance between tines was gradually reduced... horizontal 9 fimV examples of die most for highly ordered mal orthe Gothicbands, die upright formality andangular Jaxtura orlettrede I ? forme ... became the standardfor die bibles and service bookspre pared for die use ofthe church. We may cad dmgroup rigid, because, given die formality ofthe design mere cctMbe ittie scope far Symmetry symmetric asymmetric ...far ...Viepulse ol rhythm rhythm regular 9 example, die n is mere 8 its 3b ...drapery folds... carefully ly tmi's, and mem Ihree 1% seems tasier, its tightnessinmties ;.p324 placedin contact, so dial die com an amdely. . .andinalcales die bination such ashm is transcendent character oldie . . .identicalunits having been so Gothic quest for certainty. pl99 aligned that they ore seen hi loo rapid asequence la be discriminat ed as individual volumes ofspace. p327 irregular functionality highly functional 9 From the point ofview oflegh Mity all the loiters were notsub} the n is merely two i's, and them three i's, placedin contact, so that the combination such as una is obscure. . MlegdjStymnol 1 1 the chiefaim ofthe medieval non-functional ...Ihebuthess space positive .lal ...the 3b mass 9 . . letters, black face, and 8 upflted floatplanes eliminates die shortascenders and descenders make objects appear above rather needier Romanesque wok and enabledhm toprodoce a closely than behind one another; the permns die cansbuctian of a skele packedpage with a large propor shapes aver emphasized toward talstructure that's sel-consstent tion ofblock to while... the top of die visual held, prevent them born receding into on ilasian . .plSI . .permits almost complete disso lution oldie mosses and mass positive heavy thick bearing wai...p329 Renaissance 1400-1600 Typography Painting Architecture Jenson .Aldus Leonardo Do Vinci, lustSuffer MhiohmM geometric rela- geometry 7 ...organic unity ofhorizontal, 3 ...organized according to rules 3 ...Simplemathematical vertical, diagonal, and diwlnr jk ofrationahly.p67 ,. tionsbips...p313 forms. p90 < t organic complexity simple (ornament) ' r i :omplex | directionality vertical 5 note how the placement ol weight whim die old style 0 i 1 creates a diagonal am. p28 diagonal 7 ...organic of , i 1 unity horizontal, vertical, diagonal, and areolar farms. p90 > 1 ? 1 lorizonlal I formality t ighly ordered 8 ...Sdenlibc.p67 .m 8 ...plan, rational. pU4 1 i 1 order, 8 ...strictprinciple ofaxis and t 3 ... greater emphasis on reason symmetry. p67 1 than Ifte emotion of the observer. 1 P31S fi I smotive symmetry symmetric i 1 I 8 . . .static quatty olRenaissance as. 3 ... dassk detail symmetricpro I space. p69 portion. p3l7 < Iasymmetric 8 the space...foreshadowedby regular ...ihylhmic rhythm renaissance pointing. . .is statidbe 3 coherence. p317 < beholder need onlystandstill and ( observe. p!86 This lack ofa ihythmic pattern meats dieseb centeced,criticul attitude a!Renaissance men, who ( | wants only la observe and la [irregular know.p20l contrast high contrast 1\'ow contrast mass sfxice positive ( 1 1 r < I mass positive | Baroque 1600-1750 Typography Painting Architecture Caslon Old Style Peter Paul Rubens, Village Carnival AAaderno-Bemini, St Peter's geometry geometric 3 Fluid organic relationship between the pans ol the budding are characteristic. p398. Iorganic complexity simple 9... The lower-case lebers have 3...typical ol die Baroque love of 3 Planning andspatial organiza tion readied unprecedented cam- _ slightly bracketed serifs thiaugb camplerity ' (ornament) out. pksty.p398 complex directionality vertical 9 Ibis type is a rebogressive style 3...solidity and repeated vertical 3 Longitudinal at axial church > to a great based of the trees and the house. p407 aa plan...pdOQ 1 extent, being largely an Dutch type ofthe last ball olthe seventeenth centuiy; in 1 diagonal die precision cutting and die if peipendicularity. pl30 horizontal formality / ighly ordered > a>. 3 Marshalled by marvelous con trol andprecision p400 < i emotive sym- symmetry symmetric Obs. Page layouts show a . metricalan. < ( l ? i t asymmetric rhythm regular 9 One or more of tie characters 8 Only through empodietic of 3...see also how this intricate each of sizes are movements suggested is ordered die rhythmic i in font die larger l I the by die ( f array by not web related to the rest ol the painter can Ibe meaning, which is repetition...pdOO alphabet; this ladin then being fundamentally not a factbut a distracting, gives a page of Caslon process, be grasped. pl8i a certain irregularity thatis inter esting to the eye. pi32 With the beginning ofIbe l > Baroque. . .comas a revival of irregular rhythmic pattern. legi- contrast ligh contrast 5 Ibe tellers are pleasantly ( 1 1 ) ble...pS3 t ow contrast mass space positive < I < I m oss positive (''modern" Neoclassicism1750-1900 type) Typography Painting (naturalism) Architecture ftoosm Georges classicism naturalism Sosterafle Seurat, SundayAfternoon on Sronde Jatte Island {Smithsonian} {Marshall Fields} geometry geometric ? Ibe tendency wash approach 3 Seurat hunsfoimed the impies- 3 The use of bee, asymmetrical < ass ol design problems with a fixed A sionistillusion olnntutol appear plans dosely related tame natural set olproportions and measure ance into a precise organizaliaa environmentp773 ments.. ,p!22 composed olpeople and objects dial are solid and arranged with mathematical regularity. ..pool < <> organic complexity simple 7...the bardeis and tiieorno- _ meats ofthe eadier decorative * > (ornament) style...were cast aside far a sever economy offarm and efbdency of fatal p!25. 4 zomplex directionality vertical 5 By the 1700s, the impact ol 3. ..die pattern is based on the . writing dedined, end Ibis axis -x. verticals ofdie figures and dees, 4 t i became completely vertical in may die horizontals in the typefaces. p28 shadows. . .die diagonals in the diagonal { | shoreline...p667. 9...Ibis whole effect of die bnoi dossical or modern types is one of 4 t compression, contrast, and vertical Horizontal ity... pl2l 9 The tendency was to approach a inteiiectu- formality f ighly ordered all design problems with a bxed 3...Ibis is calculating, 3 carefully orgaaized. . . p773 _. olart.p668 ( > ( I set ofproportions and measure fi ments.. .p!22 9... die dossicalrevival, [intra- ducedla sbange stiffness and pseudoseverily. . . the result ofa i sterile, mathematical approach to emotive letters. pW3 symmetry symmetric 3 Asymmetric plans... p773 I 4 > j 4 1 4 1 4i asymmetric regularity- slandanbzo- rhythm regular 9 This the 3 ...each so placed in space to 3 Here the ihytimicalhcalmenl units- ( t ( t ban of was a concept ofdie 4 ? set up a ihylbmic movementIn 4 1 of the opening voids... p773 ( > emerging indostiial era of the depdi as wed as bam side to side. machine. p!25. pU8. ( t rreaular con- 9. . .here are compression, contrast nigh contrast bast, vertically, hairline serifs, and ( ( 1 a mastmeticulous finish, pi 93. ( I 7 The thin strokes ol'his letter- farms were trimmed to the same weight as the haidine serifs, creat ing a brilliant sharpness and a daz ( > zling conbosl thatbad notbeen /ow contrast seen befaie.pl25. mass space positive 9 Bodoniseparated his lines 4 > widely, achieving a lightpage effect. p!39. 7 lightness was increased by using a smaller xbeigbt and longer ascenders and descenders. < t mcjss positive Modernism 1 900- Typography Painting Architecture Adrian Frutiger, Ibiiveis Pie! Mondrian, Walter Gropius, .Mies Von Der Rohe, Composition m Red, Mow, and Blue Bauhaus Illinois Institute of Techm jeomelric 7 geometricsansseal The styles, 3. . and geometric geometry .sbnptidty < t mathematically cmshucted with m order...p709 awfhog instalments...p336 41 < 1 organic aid- simptic- oma- simple . .sans complexity 6. tend to look more 3...but for adits extieme / ... complete absence of larni, or featureless...andrequire _ by the painting is ment. (Bauhaus) p780 . ' > ^ ' f , (ornament) mora effort to lead. p70 complex...p709 3...sbnpfdly ofMondrian. HID p782 4 zomplex andhori- vertical . directionality 7. . composed ofhorizontal and 3...emphasis of vertical * vertical tines...p279 a zonlul. (Iff) p782 4 t I > < 1 1 diagonal 4 t < \ 4i horizontal ordered . / ? even weight...interchangeable 3. and dehhitioa. . ,p708 3. .anlibistorical.iBaubattsl formality ighly ..darity components. p780 ( t 1 1 ( > aa 3...new order. (IID p78l 41 i dmolive ele- . .unrelated,aisconlinuous symmetry symmetric ?. . .heroicasymmetrical balance. 3. ments.(Bouhaus) p780 ( t 3...bxed andsymmetric type of design. (IIT) p781 ( 1 4 1 41 I asymmetric rhythm regular ( t 4 1 ( j rregular contrast ligh contrast ( t I > 1 < > cm contrast mass space positive i < t m oss positive Appendix E Typography: Visual Connections Evaluation Form Andrea Haveman to Art and Architecture Prof. Deborah Beardsiee Through Time May 9, 1997 a I have no experience in graphic design jCb )I am a graphic design frcahman sophomore junior senior graduate ^xpert \^^S' (Circle a or b) (circle one) understand - -m not at all 1 I the purpose of this book completely (7^) - 2 In this topic is useful -m not useful general, \*y 3 To me, this topic is useful /aQ. -m not useful interesting'n| ( J boring could about _ 4 I learn typography from this book. & disagree that the - 5 The information book provides is sufficient /\~} r insufficient 6 The organization of the book is dear unclear r\j , 7 The matrix is.. dear t - (^l?>.'. I.S) Q) confusing helpful (^ a- > not helpful interestlng a- & -m boring timeline - Q> 8 The is dear . - confusing -m not helpful dloH^li-^^. ,_ s__ interesting ^2_*b- - boring 9 The cover is dear -4a*. - unclear interesting #. &- _ boring 10 The images are helpful Q- - not helpful interesling f^ - boring different sections are. appropriate a 11 The colors for the fm/ - uiappropriate attractive a C^~~ - unattractive helpful JL - not helpful 12 The overall design of the book is interesting /^- boring clear unclear & .at Please add any additional comments in the space below. fa^A/pFWV) cor- r^hsevu ^zrvufo f^aO^ *>* A' y-\ i /7 \ JO i, ymin: *n}o T J Typography: Visual Connections Evaluation Form Andrea Haveman to Art and Architecture Prof. Deborah Beardslee Through Time May 9, 1997 a I have no experience in graphic design b I am a graphic design freshman sophomore junior senior graduate^) expert -'" (Circle a or b) (circle one) 1 I understand the purpose of this book. not at all npletely & 2 In this general, topic is useful - not useful 3 this topic To me, is useful Q-. not useful interesting a- boring 4 I could about learn typography from this book. - disagree -^ 5 The information that the book provides is *>. sufficient ^ insufficient 6 The organization of the book is clear & unclear 7 The matrix is clear & confusing helpful -Q- not helpful interesting -& boring 8 The timeline is. clear (^ *j* * confusing helpful m f] not helpful interestinging f%^~ boring cover 9 The is. -Q- unclear interesting ,%. boring -& images are. 10 The helpful G- not helpful interesting f%^. boring colors 11 The for the different sections are. appropriate f> \ inappropriate attractive A V ,.- unattractive helpful not helpful ^ 12 overall design of the book is The interesting (**X boring clear ^. unclear Please add any additional comments in the space below_ Typography: Visual Connections Evaluation Form Andrea Haveman to Art and Architecture Prof. Deborah Beardslee Through Time May 9, 1997 a I have no experience in graphic design b I am a graphic design fre.hman Phbmoi senior graduate J expert (Circle a or b) (cjrele one 1 I understand the purpose of this book not at all completely (?) 2 In this topic is general, U8eful f$ - not useful 3 To me , this topic is uaeful , Q - not useful interesting & - boring 4 I could learn about aQ1? typography from this book agree disagree 5 The information that the book provides is sufficient a-1-^ - insufficient 6 The organization of the book is dear (~f\ unclear 7 The matrix is. .{_\> ^iV.lS) clear & - confusing helpful ^1 - not helpful interesting & -^ boring 8 The timeline is. clear -^ confusing helpful - not helpful & <*- interesting e- - boring 9 The cover is. clear - unclear ra interesting & _ boring 10 The images are hdpfui _ & -^ not helpful interesting I A boring 11 The colors for the different sections are appropnale m inappropriate & attractive .-(- I - unattractive helpful 9 o - not helpful 12 The overall design of the book is interesting boring clear unclear Please add any additional comments in the space bplnw 71 ( r le\ 0$ . J f<> ^Jjnmiii^auJ^ f.a<. h ind rfhvryl Lu)kt./\ ffqdkf 4Ul pn^cA h&oW- Xn hn )\,>G,k -h n n- J J ij. , J - II i Typography: Visual Connections Evaluation Form Andrea Haveman to Art and Architecture Prof. Deborah Beardslee Through Time May 9, 1997 a I have no experience in graphic design am a graduate expert S7\D y graphic design freshman Bophomore juntos; senior (^___^-^(Circle a or b) (circle one) 1 I understand the purpose of this book. complete!<3- not at all topic 2 In general, this is useful a not useful 3 To this topic me, is useful & not useful interesting& boring 4 I could learn about typography from this book. & - disagree 5 The information that the book provides is sufficient insufficient 6 The organization of the book is clear o- unclear 7 The matrix is clear & confusing helpful i^l -* not helpful interesting f* x - boring 8 The timeline is. clear confusing helpful not helpful interesting a fo a _ _ boring cover 9 The is. clear m unclear interesting n . boring images are. 10 The helpful not helpful interesting boring 11 The colors for the different sections are. appropriate ' inappropriate aLlractiv *5 unattractive helpful not helpful 12 The overall design of the book is. interestin boring clear unclear hplnw. .'^...ri^AA Please add any additional comments in the space J-VWicag^ tWo VUt oAU f ! Typography: Visual Connections Evaluation Form Andrea Haveman to Art and Architecture Prof. Deborah Beardslee Through Time May 9, 1997 a I have no experience in graphic design senior' b I am a graphic senior graduate expert design freshman sophomore junior [( J]g (Circle(a)>r b) (circle one) V^_^ 1 I understand the purpose of * not at all this book completely a 2 In general, this topic is useful not useful 3 To this topic is me, uaeful . 0 not useful interesting boring 4 I could learn about typography from this book disagree 5 The information that the book provides is insufficient 6 The organization of the book is ciea 7 The matrix is. (fp l3:.l5.) * confusing not helpful timeline is 8 The ciear confusing helpful not helpful interesting 9 The cover is dear interesting are. 10 The images not helpful 11 The colors for the different sections are. inappropriate unattractive not helpful 12 The overall design of the book is interesting a* unclear hftlnw. Please add any additional comments in the space /s(jas&AJ( /A? ^y^rjL^ /g^; g^w^ Typography: Visual Connections Evaluation Form Andrea Haveman to Art and Architecture Prof. Deborah Beardslee Through Time May 9, 1997 a I have no experience in graphic design b I am a graphic design freshman sophomore junior graduate expert ^senior)' iPst-nlA a \w \\\ fr*li**.laa> rsnasl (Circle a or b) (circle one) 1 I understand the purpose of this book completely C^ - ~* not at all 2 In general, this topic is useful (Q- _ not useful this topic useful . not useful 3 To me, is . Q interesting Q _ boring could about this book agree - disagree 4 I learn typography from . rO 5 The information that the book provides is sufficient a ai_ - insufficient 6 The organization of the book is dear 9- uncle 7 The matrix is. Wtlr.l.S.). clear - confusing helpful - not helpful interesting - boring 8 The timeline is. clear - ^ confusing helpful - not helpful interesting - boring 9 The cover is dear & - unclear interesting 9 _# boring 10 The images are. helpful not helpful interesting boring 11 The colors for the different sections are. appropriate -4> inappropriate attractive unattractive helpful e _ not helpful 12 The overall design of the book is. interesting 1 - ~U boring clear _ unclear Please add any additional comments in the space below_ Sbtg tyJ/puJ &Ua2s fj/U -htchh*. a*/ rfnw^pqM&s. CLl. Typography: Visual Connections Evaluation Form Andrea Haveman to Art and Architecture Prof. Deborah Beardslee Through Time May 9, 1997 a I have no experience in graphic design /senior^graduate expert (lDS I am a graphic design freshman sophomore junior '-:"' * (Circle a orb) (circle one) understand the purpose of T not " a" 1 I this book completely /ty 2 In general, this topic is useful C> not useful 3 To me, this topic is useful Qi - not useful interesting e u t -~ boring -+ disagree 4 I could learn about typography from this book. agree /^)~ 5 The information that the book provides is sufficient (O t T insufficient 6 The organization of the book is dear unclear & ^iV.'Sj) -Q- - 7 The matrix is. .(> dear confusing helpful -- -* not helpful interesting - boring 8 The timeline is dear & confusing helpful &- - not hdpful interesting & boring 9 The cover is dear -&- _ unclear interesting & _# boring 10 The images are helpful f^. not hdpful interesting & _ boring 11 The colors for the different sections are appropriate - inappropriate attractive unattractive helpful Q. - not hdpful 12 The overall design of the book is interesting e- boring clear unclear ^ _# space below_ Please add any additional comments in the Typography: Visual Connections Evaluation Form Andrea Haveman to Art and Architecture Prof. Deborah Beardslee Through Time May 9, 1997 a I have no experience in graphic design ' b I am a graphic design freshman sophomore (^junior) senior graduate expert (Circle a or b) (circle one) 1 I understand the purpose of this ~~l) . . nol al n book rrmrhHs^ (J>) 2 In general, this topic is U8efui not useful 3 To me, this topic is usefui - not useful a- _ interesting ~& boring 4 I could learn about typography from this book. agree G- disagree 5 The information that the book provides is sufficient (\)- insufficient 6 The organization of the book is dear A m unclear 7 matrix is.. The (pp.fcA*?). clear - dear ^ confusing helpful (&- - nol helpful interesting <&/ - boring 8 The timeline is. clear C*^ confusing helpful - not helpful : >- interesting -* boring 9 The cover is. clear - unclear /aU, interesting _ boring are. 10 The images helpful not helpful /#!-. interesting - boring colors for the sections are. [*- 11 The different appropriate - inappropriate attractive ( - unattractive helpful - not helpful 12 The overall design of the book is interesting (^. - boring clear (+\ _# unclear hftlnw. Yov mi&hy Please add any additional comments in the space ^^ x& -r\[y\t of Of^ SEXYI^g TO LA-Ac?LSAJ a I have no experience in graphic design D 1 am a graphic design graduate expert freshman sophomore junior {jseuiorj (Circle a or b) (circle one) 1 I understand the purpose of this book completely not at all 2 In this topic general, is. useful -m not useful 3 To this topic me, is UBefu, _ not useful interesting [ 4KV - boring 4 I could learn about typography from this book. agree & 5 The information that the book provides is sufficient fr insufficient 6 The organization of the book is dear /^ > unclear 7 The matrix is. (.pg-.lSr.i5J). dearclear r. a - confusing - helpful pj -* not helpful ) interesting | - boring 8 The timeline is. clear f~m^ m - confusing helpful f*\ y -m not helpful \Jf* as- interesting - boring 9 The cover is. clear - unclear interesting [") _ boring 10 The images are. helpful f1^- not helpful interesting t*^ boring 11 The colors for the different sections are. iate(3-. appropriate - inappropriate attractive - -O - unattractive helpful ^_ -* not helpful 12 The overall design of the book is fa?- interesting boring unclear UgT1^ C\&&/~ Please add any additional comments in the space below. fli Sf_.T7liVL| t^Cf JQQJ' ]l _ Typography: Visual Connections Evaluation Form Andrea Haveman to Art and Architecture Prof. Deborah Beardslee Through Time May 9, 1997 a I have no experience in graphic design junior'" D 1 am a graphic design freshman sophomore senior graduate expert "" (Circle a or b) (circle one) understand 1 I the purpose of this a -m not at all book. completely . ,/?) 2 In general, this topic is useful not useful 3 To me, this topic is. useful not useful .^-> interesting -& boring 4 I could learn about from this typography book. agree a disagree 5 The information that the book provides is sufficient insufficient 6 organization of The the book is. clear unclear & 7 The matrix is. .(.fc^lV. 1$) clear a -* confusing helpful -* xy not helpful interesting -e> - boring 8 The timeline is. clear ^ - confusing helpful **- - not helpful m interesting m /e^\^ m * boring 9 The cover is dear . ._ ' Q + J m unclear interesting t t (^J) boring 10 The images are. ^^ helpful not helpful interesting boring 11 The colors for the different sections are. appropriate - xy - inappropriate attractive m- - unattractive helpful _ &- not helpful - 12 The overall design of the book is - interesting ^J boring clear * * " I "i- * unclear Please add any additional comments in the space below.. Typography: Visual Connections Evaluation Form Andrea Haveman to Art and Architecture Prof. Deborah Beardslee Through Time May 9, 1997 a I have no experience in graphic design lb) I am a graphic design freshman sophomore (junioV senior graduate expert (Circle a or b) (circle one) 1 I understand the purpose of this book - not at all completely /T") this topic - not useful 2 In general, is useful . (O) 3 this topic is. not useful To me, useful & interesting - boring 4 I could learn about from this book agree - disagree typography (Q 5 The information that the book provides is sufficient (a\ insufficient 6 The organization of the book is dear /> unclear 7 The matrix is. ciear , -^ (pp ftrlS.) (C*) confusing helpful O - not helpful interesting ( a-^ - boring 8 The timeline is dear fc\. confusing helpful ff^- not helpful lnteresting <- boring 9 The cover is dear ~m unclear interesting _ _# boring 10 The images are hdpful (^- -* not helpful f %\ interesting - boring 11 The colors for the different sections are appropriate Q- - inappropriate attractive "( unattractive helpful #J ( -* not helpful of 12 The overall design the book is interesting /aX - boring clear & _ unclear Please add any additional comments in the space below_ H- Typography: Visual Connections Evaluation Form Andrea Haveman to Art and Architecture Prof. Deborah Beardslee Through Time May 9, 1997 a I have no experience in graphic design b I am a graphic design freshman sophomore (junior/ senior graduate expert (Circle a or b) (circle one) 1 I understand the purpose of this book -m not at all completely (^^} In this topic is. -* not useful 2 general, useful 0 this topic not useful 3 To me, is useful & interesting & -at boring 4 I could learn about typography from this book. agree jZH - disagree information that the book provides - insufficient 5 The is sufficient & organization of the unclear 6 The book is <9- m 7 The matrix is. foh r.l5J clear confusing helpful : -*> not helpful interesting tS> - boring timeline is. clear 8 The { -) confusing helpful - not helpful tyr /J- interesting -* boring cover 9 The is dear O - unclear interesting9 _# boring are. 10 The images helpful /+i- interesting - boring colors for the different sections are - 11 The appropriate/*^ inappropriate attractive helpful & - not helpful 12 The overall design of the book is interesting/^^ boring unclear t^" Please add any additional comments in the space below. jLjoa h/v {4- ikiauleL he- f\.-lprv( 4-e> ivxrluds P^^ ^uw.tWj-s / v\ ~H^l -f^bl<>- 0-P ro/1-r-ie^-r-s f+ rs a. -fjxi'c t book.. J 'I I'trTa ~Hk&. cxg /ooj^re-d^ p es / //ff-P/ry^-f a I have no experience in graphic design am a graphic senior graduate expert b I design freshman sophomore^ junior) (Circle a or b) (circle one) understand of e- - not at all 1 I the purpose this book completely useful 2 In general, this topic is useful e- not 3 To me, this topic is eful not useful *- - boring interesting ty 4 I could learn about typography from this book agree er 5 The information that the book provides is sufficient /a^X- insufficient organization of the unclear 6 The book is dear /^N r matrix 7 The is. .(wl13t!S) clear C"l^' confusing helpful \_p not helpful interesting ( * boring 8 The timeline is. confusing not hdpful interesting / *\ ,a , boring 9 The cover is dear unclear ^ interesting Qr boring 10 The images are. helpful - not hdpful interesting 4ft- * boring 11 The colors for the different sections are. appropriate <- inappropriate attractive - unattractive helpful -9- - not helpful 12 The overall design of the book is interesting boring clear unclear Please add any additional comments in the space below_ Typography: Visual Connections Evaluation Form Andrea Haveman to Art and Architecture Prof. Deborah Beardslee Through Time May 9, 1997 a I have no experience in graphic design expert I am a graphic design freshman sophomore /junior) senior graduate (Cirde a or b) (circle one) V ^ understand - a a . not at all 1 I the purpose of this book completely ^ 2 In general, this topic is useful o _ . nol useful 3 To me, this topic is useful a p)- not useful interesting ( *3~ boring could about disagree 4 I learn typography from this book. agree 5 The information that the book provides is sufficient &- insufficient 6 The organization of the book is dear /j> unclear :^11>.' 7 The matrix is. wj dear .(> Q confusing helpful &\ nol helpful interesting m ( *\ > * m boring 8 The timeline is dear /^_ confusing helpful * u>j 1 1 , a m m not hdpful interesting *1*J *> a boring 9 The cover is dear Q- m m m unclear interesting (*V- w f boring 10 The images are helpful Q_ nol hdpful interesting [ J- boring 11 The colors for the different sections are. appropriate ()- inappropriate attractive [*)- i unattractive helpful e- not hdpful 12 The overall design of the book is interesting . __ boring clear ft t i t t unclear Please add any additional comments in the space below. . 77u hc>i)\C /note rKWnjqh \\ mas \im\ i\m osnsiimmn. Ajiri f\ Typography: Visual Connections Evaluation Form Andrea Haveman to Art and Architecture Prof. Deborah Beardslee Through Time May 9, 1997 (a) I have no experience in graphic design graduate expert b I am a graphic design freshman sophomore junior senior (Circle a or b) (circle one) not at all 1 I understand the purpose of this book completely r^- useful 2 In general, this topic is useful /ZX- not 3 To me, this topic is useful a not useful interesting Q- boring disagree 4 I could learn about typography from this book. agree &- 5 The information that the book provides is sufficient @- - insufficient 6 The organization of the book is dear /\ unclear 7 The matrix is. clear C*T" confusing helpful a not helpful interesting a boring 8 The timeline is dear &- -at confusing helpful (3- - not hdpful interesting (m - boring 9 The cover is dear - unclear _* boring . I. Ke Cc^-in ^^'^,0%il/^^l/ 10 The images are +:. rW#.-. . helpful Q- not helpful f-U.|\, interestinging \2t~ boring are. 11 The colors for the different sections appropriate (aJ- - inappropriate attractive (*$ - unattractive helpful (^L. not hdpful 12 The overall design of the book is interesting QX boring clear 9- _*t> unclear \flj> comments space below ^LlH^d Please add any additional in the f^ /^71-Hw, fU.O^M fn Typography: Visual Connections Evaluation Form Andrea Haveman to Art and Architecture Prof. Deborah Beardslee Through Time May 9, 1997 a I have no experience in graphic design (J)* expert I am a graphic design freshman /^sophomore junior senior graduate (Circle a or b) \oirclej understand the purpose of - not at all 1 I this book completely /D 2 In general, this topic is U8efui - not useful e 3 To this topic is -m not useful me, U8efui , (Q interesting - &- -m boring 4 I could learn about typography from this book. & disagree 5 The information that the book provides is sufficient 9- - insufficient organization of the unclear 6 The book is clear d- 7 The matrix is dear - confusing helpful not helpful interesting f * h - boring 8 The timeline is dear ,/p- -m confusing helpful ^^T" - not helpful interesting C^ - boring cover is. clear 9 The & -+ unclear interesting #_ >- _** boring 10 The images are. helpful -* not helpful %- interesting & - boring colors for the different sections are. appropriate * 11 The > inappropriate attractive t^*^r unattractive helpful -&> not helpful 12 The overall design of the book is interesting ("CX. boring unclear Please add any additional comments in the space below. thnjAuA- ~fkc bit-Key arts* fA a I have no experience in graphic design b I am a graphic design freshman (^sophomorejjijunior senior graduate expert (Circle a or b) (circle one) /"a^ -m not al all 1 I understand the purpose of this book completely . -m not useful 2 In general, this topic is useful e 3 To me, this topic is ful - not useful interesting a- - boring disagree 4 I could learn about typography from this book. agree 5 The information that the book provides is sufficient (^5 insufficient 6 The organization of the book is dear f a. unclear 7 The matrix is. .(iv^iV.'.S) dear confusing helpful -^ not helpful interesting <-G> - boring 8 The timeline is dear & -* confusing helpful * -m not helpful interesting / m-X .* boring /C> 9 The cover is dear _ unclear interesting /- boring 10 The images are. helpful * - not helpful interesting & - boring 11 The colors for the different sections are appropriate *- & inappropriate attractive /i ) - unattractive helpful not & - helpful 12 The overall design of the book is interesting f*y. * boring clear & t t unclear J~~ space below. i^-lj- OJrTuec \Jl'H^ Typography: Visual Connections Evaluation Form Andrea Haveman to Art and Architecture Prof. Deborah Beardslee Through Time May 9, 1997 | . aj I have no experience in graphic design senior graduate expert I am a graphic design . freshman sophomore junior (Circle a or b) (circle one) 1 I understand the purpose of this book. - not at all completely & 2 In general, this topic is useful - not useful 3 To me, this topic is U8efUi \m _ not useful interesting Y - boring could about 4 I learn typography from this book agree * disagree 5 The information that the book provides is sufficient \L insufficient 6 The organization of the book is dear v_ unclear 7 The matrix is. clear - confusing helpful & ^- - not helpful interesting Ik - boring 8 The timeline is. clear \^- confusing helpful ^_ - not helpful interesting V- -v boring cover 9 The is dear ^ - unclear \ interesting /jf _ boring 10 The images are hdpfui y_ not helpful interesting jL boring /fr 11 The colors for the different sections are. appropriate - inappropriate attractive N^ unattractive helpful - not helpful overall design of the book is - 12 The interesting ^ boring clear unclear ^ - Please add any additional comments in the space below. Typography: Visual Connections Evaluation Form Andrea Haveman to Art and Architecture Prof. Deborah Beardslee Through Time May 9, 1997 () I have no experience in graphic design graduate expert b I am a graphic design freshman sophomore junior senior (Circle a or b) (circle one) _ not at all 1 I understand the purpose of this book completely a *)- not useful 2 In general, this topic is. useful -& not useful 3 To me, this topic is useful -a> interesting a C*i - boring - disagree could learn about from this book agree 4 I typography ^ -* insufficient 5 The information that the book provides is sufficient -A 6 The organization of the book is. clear unclear ^a 7 The matrix is clear -d-r confusing \J helpful not helpful interesting -r boring dear - 8 The timeline is -&h confusing helpful a O - not helpful interesting a iw - boring uncle; 9 The cover is clear -L. interesting *_ _TTl ..a* boring 10 The images are. helpful a (^ajl not helpful interesting a a ) - boring 11 The colors for the different sections are appropriate a r inappropriate _/2 attractive 4ft &- - unattractive helpful 4ft- & not helpful 12 The overall design of the book is interesting a '--)- -* boring clear ^ N t _* unclear -' ''Hi'd additional comments in the space below. -VWl )05( D_ Please add any Typography: Visual Connections Evaluation Form Andrea Haveman to Art and Architecture Prof. Deborah Beardslee Through Time May 9, 1997 Jaj I have no experience in graphic design b I am a graphic design freshman sophomore junior senior graduate expert (Circle a or b) (circle one) - 1 I understand the purpose of this book. a ft T not at all completely ^ 2 In general, this topic is useful -&- a not useful 3 To me, this topic is useful -& not useful interesting (J boring 4 could about & I learn typography from this book. agree * 9 disagree information that the provides -a - 5 The book is sufficient & insufficient 6 The organization of the book is dear ^ unclear 7 The matrix is. clear m ^ confusing helpful fvJ not helpful interesting 4S boring 8 The timeline is. clear con I -^ fusing helpful (m\ not helpful interesting i.U\ boring 9 The cover is. clear unclear > Q>j interesting ( m\ m boring are. 10 The images helpful Q**\ not helpful interesting ^ .aft , % boring 11 The colors for the different sections are. appropriate ^ inappropriate attractive -- * .ft unattractive helpful * > . i m not helpful ^ overall design of the book is. - m 12 The interesting ^s^J * boring clear V* } f m unclear Please add any additional comments in the space below_ Appendix F 2 <3 5 9. 3 E U * 1 ~S "8 S s i .- ZZ ^ S f TT si is I i a 1 1 ^ N a s Z E z z z 3 1 I III ii- a * t ^ o E - B O = O C g, s B < i i < ii O -3 s- S B 3 a 3 a ' 2 . 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