lbentleysvad-gd

[lbentleysvad-gd]

Ch. 3

Ch. 3 is about how the type and letters look based on what’s around it. I really like the end of the chapter because it shows a lot of different examples of what you should do with the text vs what you shouldn’t do. It’s interesting to see how even a little change like putting two spaces between periods and words can change the look of the whole paragraph. It’s not something a lot of people would notice on it’s own, but when each example is side-by-side it is easier to tell. Sometimes, though, you have to play around with the type and break some of those rules to make whatever it is more interesting. Posters are a good example of using type in an unusual way to grab peoples attention.

[lbentleysvad-gd]

Project 2

I am working on the thumbnails. I want to do something crazy but I’m not sure how exactly to do that. I’m doodling on scrap paper to see how far I can take the design but these are some of my “safe” designs. 

[lbentleysvad-gd]

Ch. 1

ch. 1 shows the progression of writing from 3150 BCE to 2013. It looks like many written words were carved into stone but a few were painted. The languages went from using basic shapes and symbols to something that looks more like a letter today. Something I never noticed was how much design there was in older writings even from BCE. We went from more narrow writing to rounded and spaced out a bit more; probably because we didn’t have to carve everything. Math was even used to create some letters during the renaissance. Letters during this time were really ornate, but around 1500′s it started to become more simple and instead the first letter was decorated. Today we add texture to our letters to grab attention. 

[lbentleysvad-gd]

Exercise 1

So far I have been working on tracing the letters, and when I’m done I’ll go in and add the lines. This project has to be so precise that it makes it one of the hardest projects I’ve ever worked on. Working from a window for the light source made it difficult to line up the letters correctly so I ended up having to use tracing paper. I’m not sure why the letters on the bottom took up more room than the top. I tried to make sure all the letters were spaced properly, but also so that they fit the length of the line underneath. Turns out I really don’t like having to use the curved rulers, and I can never seem to find just the right curve. I end up having to use little bits of different parts of the rulers to crate one curve for one letter. The S’s and O’s are especially difficult.

[lbentleysvad-gd]

James Victore

I was surprised that one of the first things he said was that he really doesn’t follow the standard rules of Typography. He said that you should care about the message you are sending and not so much the technicality of the work. I really like this idea because I’m always hung up on the rules of type that I forget to be creative with the project. I also love how he uses different mediums to create his work. Finger paint, random pictures found, books, etc. His 3 main ways of working are to take notes, then forget about the notes and just play around with ideas, and finally to just go with what you feel is right. “Demand to be yourself” and “Think about your fee” are two of the things he said at the end of his 3′s list. That’s another thing that I didn’t expect to hear from him; was that you should think about your fees. What do you feel you should be paid for for your work. He even designed a book so that all the regular info that goes in the front is put in the middle because he was wanting it to look like an ice cream sandwich, but personally I didn’t like that idea. I do like how he was things WAY out of the box though. He is very eccentric, but in a good way and not at all what I was expecting. I plan to read his first book in the near future.

[lbentleysvad-gd]

Picture 1

I haven’t done much yet, but I did go out and buy the French curve rulers. I had seen these rulers before but never really knew what they were for. Thank goodness that I have these to help with the curved edges on the lettering.

[lbentleysvad-gd]

Ch. 2 Type

Anatomy of Typography: I learned that our alphabet has more straight lines than some other languages because the writing system it originated from was cut into stone. Curves are more difficult to carve. It would be neat to find out how other languages that use more curves started out. We added curves because of the use of reed-pens; this also helped us write faster (cursive). Everything about type is an optical illusion because not every letter follows the same dimensions. We try to make sure the letters are visually pleasing, and a lot of the times that means we need to add height, or thickness, or even the serifs length.

[lbentleysvad-gd]

Ch. 9

Chapter 9 focuses on branding and the packaging of products. The article compares storytelling to the question of “what happens next?”. As a designer you are trying to create something that gets and keeps people’s attention. The article also compares pirate’s skull and cross bone flag being so iconic all they had to do was show it to people and it would make them feel a particular way. That’s what you want to be able to do with your branding. Sharon Werner and Sarah Forss have been working together for 18 years; just 2 years shy of the beginning of Werner’s studio “Werner Design Works, Inc.” Because they have a small studio it is easier for them to play off each other during their work, and sometimes by the end they have trouble remembering who’s idea it was originally. Werner talks about how the clients will sometimes want to be too much apart of the design process, but she understands because they could have their whole lives into their business. They work on many different kinds of branding including: fashion, children's personal care products, and even wine. I really like their children’s products in the article. There are books that have little bits you can open to make the picture in the book bigger, and a hollowed out book with a science kit inside of it.

[lbentleysvad-gd]

Ch. 4

Typography used to be a specialized job that took years to get good at. Today, it’s a lot easier for everyone to learn and get better at because of the computer. Even this site allows me to change my text styles just from highlighting the word. Some people find it to be very helpful for type to become more acessable than it was before. Bantjes like to use contemporary styles with her texts. Lots of thick bold lines with sharp edges. MacDonald on the other hand works with more of a vintage style. He uses a lot of metal and wood pressers. Roberto Cumptich’s type is on a lot of book covers such as Me Before You by Jojo Moyes and Tell the Wolves I’m Home by Carol Brunt, but has started to do more branding for things like wine and restaurants. A lot of them said that they just sort of come up with the ideas out of no where, and they all agree that type can be whatever you want it to be.

[lbentleysvad-gd]

Ch. 8

This chapter is aobut social innovation. This is another word for "the public good" meaning the work is Pro Bono Publico. The point is to help the community.

Randall is the founder of Worldstudio. His studio tries to expose societies problems so that we can change. Because his Worldstudio Foundation is a nonprofit he had to create another organization but says that he sees them as a whole. They do “branding, interactive, and collateral to packaging and environmental graphics.” They use the nonprofit side to do the projects they feel need attention. He favorite work is the magazine Sphere (1994) where they make articles on designers that are helping with social change and awareness. They got to be in charge of the whole process. Just like other designers he looks for creativity the most. He is very passionate about social issues and wishes people would treat it just like any other job.

McKinnon is the president of GALEWiLL Design. All of their work goes towards community and society issues. He focuses on making his work mean something important. His idea with Pro Bono = free is that it shouldn’t be free. Especially when the artist is established in their field. Same as Randall; McKinnon believes people shouldn’t have to choose between making a living and helping move society forward. McKinnon’s advice for getting started is to focus on one thing, one project, one company to help. Like thinking large on a small scale; the individual is important.

[lbentleysvad-gd]

Ch. 5

Logos and trademarks: The chapter starts off by mentioning how logos and trademarks are not the same thing as 'branding'. Logos are meant to show the essence of the company all in one design. The logos themsleves don't make or break a company, but the company can make or break a logo. Mark Fox had to learn on the go making logos and his portfolio with no formal training in design. Fox says, "A symbol suggests rather than depicts." I think that is a really good way of thinking about it when you are stuck for an idea. According to Fox trademarks are a "form of 'pictorial stenography.'" Basically, trademarks are a fast and simple way of conveying emotions and messages to the masses. One of the logos he has done with Angie Wang is the logo for Four Barrel Coffee. It is clean, simple, and bold. I'm not entirely sure what it is meant to be, but I can picture many different ways this logo could work for the company. It looks like a regular 'B' at first, then I could see it as shotgun barrel in it, and finally a sleeping mask. Fox has been teaching since 1993 and teaches his students how to really create a symbol from scratch. He tries to show how you are able to make something without relying on the internet's images.

[lbentleysvad-gd]

Ch. 11 - Understanding Change

This chapter is about understanding and being a part of change. Graphic designers who collaborate with others in different fields is always a good idea, but it helps even more if the graphic designer themselves know how to do more than one thing. Richard Saul Wurman is an architect and the cofounder of TED; as in TED talks. Wurman is interested in learning more and he wanted to make something that could help others learn more as well. In the smaller section called “Crossing Diciplines” they say; “Crossing diciplines is not an exception to the rule - it is the rule.” You won’t have all the possible opportunities if you can only do one thing. Just like in other chapters they say that you should be apart of the change in the graphic design industry. Petrula Vrontikis is someone who can easily switch between working in traditional and “transmedia”. She often has to switch back and forth. Erik Gautries has had to learn even more fields. He has worked with branding, printings, exhibits, videos, web design, and others. All work fields change with over time and you have to keep up in order to keep going.

[lbentleysvad-gd]

project 3: mood board

These pictures are of my own projects. Most are recent except for the cake; that was made years ago, but I liked the finished project so much I wanted to include it in this project. The large pink book was the second book I ever made, and it could have been done better. I still keep it because it reminds me of what I was able to make, and because it’s such a different style. It is a single sheet binding in a very large format. The picture in the middle and to the left are some extra items I’m holding onto for future use. And the cords are hanging on to my desk with velcro. I naturally gravitate towards cooler colors so when I work on projects I try to move out of my comfort zone. Unfortunately, that doesn’t always work, and there are times when I get finished with a craft and it looks like my usual style, but that doesn’t make them bad projects. I just try to use my hobby to try new things.

[lbentleysvad-gd]

Ch. 6

This chapter was about books and their jackets. It starts out talking about how there are different genres of book publishing. One is trade and the commercial types; another is professional, and of course there is the textbook kind. There are also smaller specialized areas for each type of genres. Ex: militate bio., pop fiction, and how-to/DIY books to name just a few. There is also the classical vs. the contemporary style of books, and mass production vs. a smaller scale publisher. The mass market has more publications out monthly if not bimonthly, and generally uses hard sell tactics. You might notice the bigger/elaborate title or author’s name to get your attention. Paperbacks use illustration and a strictformat for their typography. Some people want to stay in this work because it is a specialty, but others want to leave due to the fact that it is so specific. Kosofsky is someone who enjoys the specificities of his work. His work focuses on Jewish liturgy and the Hebrew Bible imagery. He started with old school metal type, but now works with current tech. He doesn’t believe you can make a living on just designing for books alone. You need to be more well rounded and learn how to do other things. For example he works with font work, compositor, and non-latin alphabets.Carabetta also works on different, but similar things along with books such as calendars, notebooks, post cards, and journals to name a few. “Covers are critical because they are the last but of marketing that a book can do, on its own, when it is on display tables in stores.” He also works with E-books and celebrated their 1,000 th book published. I really like his design of his Restaurants to Check Out’s cover because it looks like a restaurant check/tab, and his Books to Check Out cover because it is in the style of an old school due date slip you used to use when checking out library books. They caught my eye and have a relatable feeling to them. Regardless of if the designer works for themselves or for a company they all agree that having knowledge of more than one type of design is best, and that you can’t really get the job done with a limited skill set despite your personal design style.

[lbentleysvad-gd]

Ch. 3

“Partners on partnering”

Karlsson and Wilker are two people who work together and use each other as a “checks and balances” kind of way. They help each other see from an outside point of view. When they are hiring they mainly look for a person who has a flexible mind. Someone that can see things in different ways.

Buschkul works in an similar way. Prefering their small 3 people work environment over a larger staff. They see themselves as having “flexible structure”, but when they hire they look for more talent in addition to other things. They also don’t see themselves having a “house style” so they can work on a lotof different projects comfortably (I imagine).

D’Orofrio and Belen have been working together for the better part of a decade. Since they had both stared out selftaught they felt it was important to learn about graphic design so they started a web page. And in order to help them pay for their personal work they also have another website for books. These books are all about graphic designes, and while some of them are regular finds others are hard-to-find books that are lesser known.

They all agree thatyou have to have a “flexible” mind and that it’s important to work with others if for nothing else than to have an outsiders perspective on the work.

[lbentleysvad-gd]

Project 2 Poster

[lbentleysvad-gd]

Project 2: Poster