Advance Typography - Assignment 2

08/10/2018 - 15/10/2018 (Week 07 - Week 08)

Isaac Lee Zahradnik (0330747)

Advance Typography

Assignment 2: Typosexual Typographic Exhibition - Collateral

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LECTURE NOTES

08/10/2018 (Week 07)

Lecture for week 7 was conducted by another group, the topic for this week's lecture was about Type Design Methodology.

INSTRUCTION

08/10/2018 (Week 07)

This week, we were briefed about our second assignment: Typosexual Typographic Exhibition - Collateral. This assignment was a continuation of our first assignment. Our task is to apply our key artwork from Assignment 1 to a poster, e-Invite, and any medium of our choice.

The key artwork that I chose is:

Figure 1.0 Idea #3

Poster Design

The first part of this assignment is to design a poster using our key artwork. The size of the poster is A3 and it should be done in either Adobe Illustrator or Adobe InDesign. We were told that we can adjust the width of the poster but we have to maintain the height. Mr. Vinod told us to also try to use the Typographic Systems that we have learnt earlier this semester. The content we are to include in our poster are as follows:

Taylor's University Design School

Graphic and Interactive Communication Design

Typographic Exhibition

Open Public Lectures

August 20, 2018

September 20, 2018

October 20, 2018

10:00 am, Lecture Theatre 10

Below here are some of the poster designs:

Figure 2.0 Poster Idea #1

I tried using the Bilateral Typographic System for my first composition.

Figure 2.1 Poster Idea #2

Figure 2.2 Poster Idea #3

After that, I thought about how I could make my composition look more interesting.

Figure 2.3 Poster Idea #4

After trying to make it look somewhat interesting, I scrapped everything and change my approach to a more simplistic modern design.

Figure 2.4 Poster Idea #5

Figure 2.5 Poster Idea #6

Figure 2.6 Poster Idea #7

Figure 2.7 Poster Idea #8

Figure 2.8 Poster Idea #9

Figure 2.9 Poster Idea #10

My chosen final composition for Poster Design is Idea #10.

Below here is the printed out version:

Figure 3.0

Figure 3.1

Other mediums

For this part of the assignment, I decided to make button badges of my key artwork. Below here are some of the designs.

Figure 3.0

The designs for the button badges seemed to simple, so I created a visual element instead of just putting words on it.

Figure 3.1

The designs that I end up choosing was:

Figure 3.2 Badge Design #1

Figure 3.3 Badge Design #2

Figure 3.4 Badge Design #3

Figure 3.5 Badge Design #4

Below here are the button badges using the designs.

Figure 3.6 Badge #1

Figure 3.7 Badge #2

Figure 3.8 Badge #3

Figure 3.9 Badge #4

FEEDBACK

Week 08: There is tactility in my artwork poster where the outlines look as if it were hand-drawn instead of computer generated where it would make a perfect curve. One of the questions I got asked was, what if I were to use an image of a person? I was also told that my initial artwork seems too rigid, and that I should try combining certain typographic systems subjected to the key artwork I made. If my work is too rigid, it will look ugly. Lastly, I should also have some sense of alignment in my artwork, and should also keep in mind of the placement of texts and text hierarchies.

REFLECTION

Experience

Week 08: It's so hard to get the composition right.

Observation

Week 08: I was very stressful with this assignment.

Findings

Week 08: Less is more seems to be true.

FURTHER READING

Week 07:

12 Overlooked & Underappreciated Typefaces by Paul Shaw.

Walbaum by Justus Erich Walbaum (1768–1846) c.1800

Figure 4.0

Schadow by Georg Trump (C.E. Weber, 1938–1952)

Figure 4.1

Trump Medieval by Georg Trump (C.E. Weber 1954–1960)

Figure 4.2

Trump Gravur (metal) by Georg Trump (1960).

Figure 4.3

Marconi by Hermann Zapf (Dr.-Ing Rudolf Hell GmbH, 1973)

Figure 4.4

Icone by Adrian Frutiger (Linotype, 1980)

Figure 4.5

Hollander by Gerard Unger (Dr.-Ing Rudolf Hell GmbH, 1983)

Figure 4.6

Utopia by Robert Slimbach (Adobe, 1989)

Figure 4.7

Dorian by Elmo van Slingerland (Dutch Type Library, 1996)

Figure 4.8

Koch Antiqua by Rudolf Koch (Klingspor, 1922)

Figure 4.9

Semplicità by Alessandro Butti (1893–1959) (Fonderia Nebiolo, 1930)

Figure 5.0

Alessandro Butti is always overshadowed by Aldo Novares. However, in his day he created several lovely modern typefaces such as Quirinus and Fluidum. And he was responsible for Semplicità, the Italian answer to Futura.

Semplicità was the most popular sans serif in Italy during the Fascist era, but it is little known outside of the country. The interwar sans serifs all have geometry at their core but they range from Euclidean severity to Art Deco frivolity. Semplicità is closer to the first pole but not as much so as Futura. It has a funky U with a sharp lower right corner; A with a low crossbar; tall ascenders that poke above the caps; an f that drops below the baseline and (like the t) only has a right-side crossbar; a with a rounded bowl (in the style of Gotham); and crotch-less a, p, d, b, q in the manner of Gill Sans; and Q with a slightly curvy tail that begins in the counter and ends on the baseline.

Pegasus by Berthold Wolpe (Monotype, 1937)

Figure 5.1

Monotype Corporation issued Albertus, a display typeface inspired by Wolpe’s work designing letters in metal. It was soon accompanied by Pegasus, a text counterpart. At first glance the two faces look very similar but closer inspection reveals many subtle differences, all presumably done by Wolpe to make Pegasus functional in small sizes.

Albertus was a hit and it continues to be available today. Wolpe helped its popularity by constantly using it on book jackets for Faber & Faber, the publishing house for which he worked from 1941 to 1975. Pegasus never gained the same fame and it disappeared from view when type shifted from metal to film. Albertus became its own text companion at that point. The last time that anyone paid serious attention to Pegasus was in 1980 when Matthew Carter designed several characters for Pegasus for use in the catalogue accompanying the Wolpe retrospective at the Victoria & Albert Museum that year.

Pegasus should be revived and paired with Albertus, just like Linotype has rightly joined Michelangelo and Sistina with Palatino (but unfortunately erased their original identities in the process). Like Albertus, as well as other German roman typefaces of the first half of the 20th century, it is full of eccentricities.

REFERENCE

https://www.printmag.com/imprint/overlooked-typefaces/