reading 8

March 17, 2009

TEXT thinking with type

1. Tracking adjusts “overall” space while kerning unifies the letters by adjusting individual spaces (between two characters) between the letter forms. Yes, we can recognize the difference by knowing the definition, but how can we visually distinguish the two? Lupton states that in kerning, “if letters in a typeface are spaced too uniformly, they make a pattern that doesn’t look uniform enough” Does that mean that kerned letters seem more unified  than letters that are tracked? 

2. referring to pg. 94} how do hierarchies help organize information? In what ways could you create hierarchy? 

3. Do same rules apply on web and print media?  How do web text(hypertext) differ from print text? Do you believe that hypertext is more accessible and can be more expressive than print text? 

comments/thoughts…

pg. 94 } Lupton states that italic is the standard form of emphasis, but as other alternatives, bold, small caps, different font, or change in color can also create emphasis. I just want to add that “space” and text size also create emphasis. I believe that specific contents can also be stressed by increasing or decreasing the space between the letter forms. 

this quote really stood out to me… pg.67} “writing moves words from the sound world to the world of visual space, but print locks words into position in this space.”

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reading 7

March 12, 2009

LETTERS thinking with type

1. Various typefaces are introduced in the book. Were you able to recognize the differences? could you find a specific type that was more readable? and if so, how and what make them more readable in contrast to other typefaces?

2. new forms of letters were created in the nineteenth century for advertising purposes. (Big and bold faces were introduced typographic tradition slowly disappeared) Do you think this was effective? What are the main roles of the letters? are they suppose to communicate and call for an attention? or is being readable enough?

3. How would you be able to define if you’d want to italicize, add quotation marks, make the letters bold, or add no? or should we focus more on the concept? ( like.. how much the letters present or speak about the brand)

Typography Analysis

March 9, 2009

joost_schmidt_cartelexpobau

Joost Schmidt

Bauhaus, located in Germany, is an institution that focuses on fine and applied arts/crafts.  Over the years, Bauhaus changed the new “outlook” of art and design. Bauhaus was well known for introducing modernist architecture and design and how it applies to various art form.  It had a great impact on developments in art and design. 

The poster above was a poster designed for the Bauhaus exhibition held in Weimar. It was designed in 1923, which was the year when “new typography” was introduced to the Bauhaus. At first, the founders of the Bauhaus did not see typography as the central role in design. However, after the “new typography” was introduced as the most important communications medium, the instructors at Bauhaus began to design unique layouts for typographic designs. They were concerned with the “clarity of the message in its most emphatic form.” 

Since the introduction of new typography, instructors strived to develop new ways to convey messages. Instructors like Maholy-Nagy and Joost Schmidt developed “avant-garde” typesetting to create a new vision. In various experiments, they saw types forming unique shapes and its arrangements were based on contemporary themes. 

Joost Schmidt designed posters for Bahuaus exhibitions based on his experiments with avant-garde typesetting. The poster above was one of his designs for Bauhaus exhibition in Weimar in 1923. To reflect the Bauhaus’ characteristics, he tried to incorporate all forms of art practiced at the Bauhaus – architecture, typography, photography, sculpture, and painting. The poster was printed using color lithography, which is a method in which a stone or a metal plate is carved or etched. This was the very first Bauhaus poster and demonstrates characteristics of the New Typography. The essence of the New Typography was clarity, and hierarchy was the key solution to achieve clarity. 

This poster is very simple, yet the sharp angles and various geometric forms are very striking. Different components on the poster almost seem like puzzle pieces forced to form unity . An abstract composition of rectangular segments, diagonal bars, and circular forms are dynamic. The diagonal tilt helps the viewers to follow the rectangular segments to see the Bauhaus logo located inside the circular segment. Then the viewers are immediately able  to read the word, Bauhaus. The poster includes great sense of Hierarchy. Informations regarding the exhibition are divided clearly, and follows the order of importance. The information is separated into three different parts. First, we read what the poster is about (exhibition). The word Ausstellung, meaning exhibition, catches the eye because it’s the only word that floats in the white space and separates itself from the diagonal bars. While other words follow its nearest forms, “ausstellung” is not placed next to or against any forms. Then we read who the poster is about, Bauhaus. Lastly, place and dates are read. The poster emphasizes contrasts but at the same time, these contrasts create a new unity. Forms are made by joining the opposites together and these forms create a rhythmic expression. The overall design is function and modern. 

exhibition poster

exhibition poster

I rotated the canvas through photoshop to see if it’d make any difference. Visually, the diagonal tilt brings so much emphasis compared to the centered version above, and introduces us to a new grid system that was not available during that time. I think Joost Schmidt had a great impact on how the posters are designed today.He developed a new system, and a new way to communicate using typography in forms. Placing type in certain forms create more emphasis and strengthens the message.

reading 6

March 5, 2009

Drucker, Joanna. “Language in the Landscape”

1. It states that information is presented based on specific reasons and motives… 

for example… it states that the name of the street reminds us that some political body supervises the existence of the street, that it has a legal as well as functional existence. 

Before typography was introduced to me, I never knew that meanings/intentions existed in designing a specific information. Signs/treatment of letters never invoked any kind of  message/intention before learning about typography… What do you think? Do you think people actually perceive designers’ intentions and the motives just from a typographic design?

2. language provides information, evidence, feelings, context, etc.. yes, language can serve as anything…

but in such a fast-paced society, do you think language can survive over imagery? Will people be patient enough to read the message? As time goes by, do you think the value of language is descending?

3. When designers design pages and general layouts of specific contents, they choose just the right typeface for the content. Why is this so important? Would readers notice the designed elements? How do we know that the chosen typeface is the ‘right typeface’ for its content? Who judges that?

Helvetica

March 3, 2009

Notes

  • graphi design: visual communication
  • Typography is white: it’s the space between the black
  • Helvetica = rational typeface and it’s a contemporary typeface (does not have a meaning… neutral; the content should have a meaning)
  • Grid creates order
  • “creating order” is typography
  • helvetica does not have geometric figues.. its surroundings are geometric.
  • govt/corporation – uses helvetica to seem “humane” and be “approachable”
  • Paula Scher – illustrates with type

designers say that you can’t go wrong with helvetica… but what about other typefaces that look like helvetica… arial looks most like helvetica, but why isn’t arial widely accepted by the designers?

reading 5

February 26, 2009

1.If web development and other digital media continue to grow, would the print media eventually disappear? If it does, would it be a positive impact on our society?

2. on page 11… “did photography make painting and painters unnecessary?” 

photography can capture an identical scenery, but in painting, painters can capture the “mood” or the “feel” of the place through color, brush strokes, etc. which is more effective? painting or photography? 

3. I had to find another explanation of hypermediacy to fully grasp its meaning…

“Hypermediacy  is the full embracement of the medium’s features, embedding it to the content. It is often seen in a crossmedia scenario, as newspaper mimicking websites — apparently, the website is a medium that permits the user more control or interactivity, as well as a more organized plurality of features.”

the article states that digital images are more exciting, lively, and realistic than mere text on a computer screen and that a video conference will lead to a more effective communication

If digital media create a feeling of immediacy, and lead to a more effective communication, could digital images act as universal language? in the future, would it be possible to interact only through image, animation, and sound without text?

Rhetorical Image

February 26, 2009

please observe carefully… find the hidden word… 

racism/segregation

racism/segregation