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Design One Project Three Introduced March 21. Due April 11. Typeface Broadside/Poster Broadsides have been an aspect of typography and printing since the earliest types. Printers and Typographers would print a catalogue of their available fonts on one large sheet of paper. The introduction of a new typeface would also warrant the issue of a broadside. Printers and Typographers continue to publish broadsides, posters and periodicals to advertise available faces. The Adobe website that you use for research is a good example of this purpose. Advertising often interprets the type creatively and uses the typeface in various contexts to demonstrate its usefulness. Type designs reflect their time period and the interests and experiences of the type designer. Type may be planned to have a specific “look” and “feel” by the designer or subjective meaning may be attributed to the typeface because of the manner in which it reflects its time, the way it is used or the evolving fashion of design. Type designers often have imagery in mind while they are designing faces. Eurostile, designed by Aldo Novarese in 1962, was inpsired by images of the 60s Italian streetcar windows and televisions. An analogy is a similarity in some respect between thngs that are otherwise dissimilar. Type is not a picture but the letter o of Eurostile shares a strong visual relationship with the window of a streetcar. And more importantly, it’s design reflects the modernism of the 1960s. For this third project, you will create two posters about a specific typeface. One poster will deal with the typeface alone, cataloguing the face and providing information about the type designer. The second poster will present a visual analogy of the typeface, that combines both type and image to broaden the viewer’s knowledge and appreciation of the type. Process 1. Research the history and visual characteristics of a chosen typeface. Choose a typeface from the list provided. -Write an approximately 150 word description of the typeface that focuses on two themes: A. The historical background of the typeface and a very brief biography of the typeface designer. B. A description of distinguishing visual characteristics of the typeface–describe the typeface to the viewer. This description will appear in the typeface poster. 2. Create a visual analogy for your type. -Consider the weight, texture, refinement and historical context. -Combine text and image to create a composition that further explores the typeface by comparing it to objects, imagery, historical events, examples of use, etc. 3. Explore the type in a creative way. -Research the subject carefully and present two posters that reveal the nature of the typeface but also your interpretation. -How could you visually represent the essence of the typeface? What makes this typeface look the way that it does? Are there distinctive letterforms or parts of letterforms? Consider aspects such as serif/sans serif, kind of serif, stroke width variation, stress, relative weight, historical classification, etc. -The design should be an exchange between the historical use of the face and your own practice. -The two posters should be readable individually but should also share formal characteristics. 4. Research/Project Development -Research. Choose a typeface that you want to know more about. Use the textbook for initial research but also look further, to additional books, magazines and websites. Reference notes must be listed in your process books. -Thumbnail sketches. Draw out different layout concepts. Consider both posters simultaneously, working to develop a visual relationship between them. Create quick preliminary sketches to generate ideas and potential solutions to the problem. Don’t draw out images, type, letters. Use shapes and shades of grey to block out type and images. Concentrate on the overall relationship of the type to the space of the page. Develop ideas for consistent layout. Experiment with type, leading, size, space of the page, headlines, etc. -Choice/Refinement. Use the computer and work to actual size. Work quickly, printing out proofs and revising. Use both drawing and digital output, refining several ideas to narrow down in the next stage. -Comprehensives. Complete digital comprehensives, experimenting and working towards final. Watch for all the important typographic details. Final Presentation Use both comprehensives and critique as a basis to work up completed project. -Final presentation will be of two posters. One poster will refer to a single typeface and its designer. The second poster will focus on an image based exploration of the type. -The two posters should read individually but you must also consider how they work together as a unit. There should be a formal and visual theme uniting both posters. -Use InDesign to complete assignment. -Color Restrictions: Typeface Poster. Use black plus an additional “spot” (also referred to as PMS) color. This poster must contain text only. Graphic elements such as ruling, boxes, simplified shapes may be used but the emphasis is on the type! A complete font must be present with the entire alphabet and all related figures. Analogy Poster. No colour restrictions. Combine text and image. -Final dimensions for each poster are 16x10", mounted on black board. -Work must be covered with a stiff paper cover flap. Affix a label to the back of the mounted work, in the bottom left hand corner. Use the format specified below. 2. Printing. Plan Ahead! To print in colour, you will have to use a service bureau. -Local places include: IRC in Polk Library, Signal Graphics, Kinko’s. There are also bureaus in Appleton and surrounding communities. -Organize your files, fonts and proofs. -Test printers and work with same bureau for consistent results. Print proofs of projects to match colors. Be aware of hours of operation and lead time. Printers will back up and break down when an entire class needs to print at once. -Projects are due on the date announced. There will be no exceptions or extensions made for printing or access problems. American Typewriter Futura Serifa ITC New Baskerville ITC Galliard Stone Sans Bodoni Gill Sans Stone Serif Bauer Bodoni ITC Garamond Times New Roman ITC Bookman Garamond 3 Times New Caledonia Adobe Garamond Times Europa Caslon 3 Goudy (Old Style) Trump Mediaeval Caslon 540 Helvetica ITC Caslon 224 Neue Helvetica Centaur Janson New Century Schoolbook ITC Kabel ITC Cheltenham News Gothic Clarendon Optima Linotype Didot Palatino Folio Perpetua Franklin Gothic Plantin Your Name Frutiger Sabon Design One Assignment Three Poster One Project Three Schedule March 21 Project Two Due. Introduction of Project Three in 215. Homework: Read Typographic Primer found on the class home page. Record notes in your workbook. Research and choose a typeface to use for your posters. Develop sketches and thumbnails for posters. Minimum 50 drawings. March 23 Typographic Measurement. Work Day. March 28 Type Classification. Work Day. March 30 Work Day. Homework: Polished Comprehensives of both posters. Posters must be printed in colour for accurate proofing. April 4 Due Today: Critique of Polished Comprehensives. If you do not have proofs for critique you will be marked absent. Homework: Compose the word Handgloves in Old Style, Transitional, Modern, Slab Serif and Sans Serif type at 72pt. Label the letterform parts and point out the distinctive qualities of each historical typeface. Words must be properly letterspaced. Align all on one sheet for direct comparison. April 6 Due Today: Project 4/Part 1 Paper Due. See project assignment sheet for formatting details. Work Day. Prepare design history paper. Paper must be double spaced, 12pt type. All borrowed quotations and ideas must be cited (MLA standards). Include bibliography and b+w copy of work you critiqued. April 11 Due Today: Project Three. Submit Workbooks for grading..
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