^ click for your viewing pleasure.
most of the changes I made are pretty subtle until the third spread. the first spread still needed a better connection. by rotating the mass of alphabet and annotations ninety degrees and enlarging it slighting, along with repositioning it down lower, I think now it showcases a logical relationship between the flat horizontal text with the harsh angle. I was pretty satisfied with the second spread, the only change was moving the title up to the next module to flow with the earlier page. and then the third spread. after a lot of reworking I went with mirroring the angles made by the large annotations from spread 2 as my starting point, and then filled in with the rest of the needed annotations. all the spreads are bold and sharp like Grotesque MT itself. they all seem to flow better as a set than previously.
I made some edits to incorporate my annotation style with the body copy and quote text. the reorganization of the front spread is more logical and I also connected the title to the alphabet to give it better continuity. throughout the spreads I changed the opacity of the annotations so it is more legible. I cleaned up the last two spreads so it was not as congested, now they are more straight forward.
here I attempted to bring some sort of link through out each layout by placing the title in the same position. also added a bit of color to bring an extra layer of personality to the book. the color inspiration came from the 1920s fashion. women’s wardrobe dealt with a lot of neutrals but also bright colored dresses.
with my layouts I wanted to imply contrast with having the annotations/alphabet on an angle and then the paragraphs and information either straight vertical or horizontal. the contrast relates to the letterforms because it is a loud bold typeface that has sharp cut terminals but then also a more calligraphic detail of line variations when a bowl connects to a stem.
Monica’s Garamond book inspiration was the most appealing to me. there’s play on hierarchy within the grid, and a sense of humor with the use of quotes. it exemplifies how an interesting layout can be created with only black and white and utilizing the grid with different justifications and size variations. a couple of Juanita’s rely on enlarged letters which will nicely showcase the characteristics of the typeface. Nick’s inspiration incorporate a lot of information without being overwhelming. The first two follow a grid and the last one doesn’t really seem like it does but the contrast of the large letter form to the smaller alphabet is playful and keeps the eye wondering.
_on every corner, it’s like mcdonalds
the thing about helvetica is that its prominence can be overwhelming. either people get a sense of security from seeing the typeface used in nearly every situation, or it’s bothersome since it is not always communicating the right meaning. I can agree that it provides some security just in the sense that we are so used to it and we don’t think anything of it. in the right circumstance the use of helvetica can be refreshing and more personable. it’s the push and pull of the letterforms that make it very legible and user friendly. but because it is used abundantly it is hard to get a true feeling for what helvetica truly represents. the film gave a real insight into the usage of a typeface and what positive and negative opinions experienced designers had to say about this wildly popular type.
here’s a kinetic type video i came across //
for the first 2 I used symbols from my typeface Grotesque MT to annotate the characteristics.
and then I did red paint spots to hint to the name of the typeface.
and the last one is a charcoal pencil scribble that circles around the element of the letters.
then these 2 just use shapes to highlight
revised annotations //
final annotation //
mangle and crash compositions were created through analog exploration and then scanned in and recreated in illustrator. crash, i pictured a car crash so the A was caught in the middle and being crunched. the angle implies movement to go along with automobiles. with mangle i initially was going to do a line of mangled Gs like the linking monkey game, but then positioning the Gs with the analog method i found the circular concentration was more conceptual. the word bleeds off the page to enforce the tension being seen with the Gs. glow was made digitally, by breaking up the letters and focusing on specific parts of them to create the “glow”.
Jodi and I started out by discovering some dominate wood letters to use for our hierarchies. The wood letters are larger in scale and have serifs, which is a good contrast against the rest of the quote in sans serif, Alternate Gothic. The wood letters also provided a template for tracking out the smaller type. Jodi created a design that made ‘pretty colors’ her hierarchy, and I used ‘drool’ in mine. To tie the designs together we used a central column concept, which was pretty much the only way to incorporate the oversized scale of the wood type. We choose to go with white ink on black paper for our set, giving the cards irony against the subject of the quote. But then for the experimental we both used multiple colors to more accurately portray the quote.
The first night we used the kelsey letterpress. We were not having too much luck getting all the letters solid, even after layering up tape on the trouble areas. The next night we went ahead and tried printing with the larger roll over press. This provided a much better outcome. We got a good rhythm going and cranked out a stack for each design. The first night was a learning experience but once we knew what we were doing and what we needed to do we were able to have a clean pressed finished product.