Thursday, September 19

Research for Quote: Project Three

My partner for project three is Alyx Jacobs. We narrowed it down to two quotes. Both quotes are great, it's just that one is by a graphic designer, Paul Rand, and the other is a quote from the show "Mad Men" by the character Don Draper.

"Everything is design. Everything." -Paul Rand

         Paul Rand was an American art director and graphic designer. He is best known for his corporate logo designs which include IMB, UPS, Enron, Westinghouse, ABC, and Steve Job's NeXT. He was one of the first American commercial artists to embrace and practice the Swiss Style of graphic design. He went to the Pratt Institute, Parsons The New School for Design, and Yale University. He was inducted into the New York Art Directors Club Hall of Fame in 1972. 
         He's most well known for his corporate designs which most are still in use. His strength was his salesman ability. After this revision of the IMB logo in 1960, he continued to work for the company and designed their packaging, marketing materials, and anything related really up until the late 1990's. 
Rand remained vital as he ages, continuing to produce important corporate identities into the eighties and nineties with rumored $100,000 price per single solution. The most notable of his later works was his collaboration with Steve Jobs for the NeXT Computer corporate identity; Rand's simple black box breaks the company name into two lives, producing a visual harmony that endeared the logogram to Jobs. Steve Jobs was pleased and named him, simply, "the greatest living graphic designer," just prior to Rand's death in 1996. 

"Simple yet significant." -Don Draper

        Don Draper is a fictional character played by Jon Hamm on the television series Mad Men. Draper was Creative Director of Manhattan advertising firm Sterling Cooper. He then became a founding partner at a new firm, Sterling Cooper Draper Pryce, after he and his superiors abandoned their old agency in advance of an unwanted acquisition.  
         Draper's character is based on Draper Daniels, creative head of the Leo Burnett advertising agency in Chicago in the 1950's, who created the Marlboro Man campaign. However some of Don's advertising techniques and professional accomplishments are based on those of Rosser Reeves, who rose to chair of the Ted Bates agency. Comcast listed the character Don Draper among TV's Most Intriguing Characters.

Wednesday, September 18

Typography Reading Notes

Interconnection Pages 26-27

  • large scale- draws attention first
  • smaller text- "letterforms" within "margins"
  • writer > designer > reader (translate elements into messages)
  • typography main function is to get idea across, then aesthetic 
  • garage scale reference (aesthetic used to communicate meaning of text)
Connotation Pages 33-35

  • denote- have literal meaning
  • connote additional meanings by evoking associations
  • examples: 
  • American Typewriter- education
  • Bickham Script- elegance
  • Cooper Black- low-budget offer
  • Masthead: a sailing metaphor for the top of the front of the page of a periodical, newspaper, or website that contains name and dace of publication. 
  • Setting words in typefaces that have no obvious connection to or perhaps conflict with word meaning.
  • context- set of conditions and circumstances present at any given time, in any given place, including the motives and abilities makers and readers, the material nature of the artifacts, and particulars of delivery. 
Formal Systems Pages 39-47

  • formal system- gradual weights across a family of fonts or page organization
  • form- refers to shape, texture, color, structure, and any other attribute that constitutes the physical character of objects and elements
  • attributes of letterforms: type size, weight, color, speed, and so on- as separate and concrete entities 
  • spacing of letterforms form a relationship and make us perceive text as "heavier or larger"
  • relational equation: point size in relation to x-height
  • serif typeface with large x-height is quite readable at eight point size because it was designed for longer text. 
  • scripts barely reads at eight point
  • positive space (figure) & negative space (ground)
  • typographers approach type as dark or light shapes (figure)  places against lighter or darker surfaces (ground)
  • fluid exchange between letterform characteristics as they are in relation to spaces around them
  • relation logic- a formal system that governs the whole
  • counters: similarly shaped open spaces in letters
  • formal systems- proportion and variation
  • each character within proportional typeface is constructed relative to other characters (example capital B, P, R are proportionally equal) 
  • balance character individuality with formal unity
  • stroke-width: thickness or weight
  • width: expands, which changes the height to width ratio
  • when in italics > a double story letterform becomes a single story
  • altered details change overall appearances
  • typeface design is related to personal appearance as it is the sum of many details
  • structure- similar to skeletal system in that it holds together and helps govern the relationship among parts
Type Size Pages 232- 233

  • point size in days of metal typesetting included the topmost to the bottom-most parts of characters, accommodating ascenders, uppercase letters, and diacritical marks 
  • Ernest Hoch proposed that the nominal size of a typeface be measured by the height of capital letters, which is more comparable to visual size than the body point size (named H-height)
  • size now with technology is determined in relation to structure

Monday, September 16

Progress on Gestalt

Process from Work Day: Project Two

Further exploration on rounded typeface- Helvetica rounded.  

Further exploration on Futura design. 

Further exploration on Clarendon design. 

After showing Marty my progression from the top three pages, we picked the strongest pieces and I pulled them onto a new sheet to clean them up and explore them further.

Final for Color Harmonies & Relationship Manipulators