#modern typographic grids

[gigivas]

1K GIGI Prompts Collections 'Dreamy Textures: Fuzzy Fabric Typography Art' 5665 Free 10 pages out of 1000 pages

Get Free 10 pages MTMEVE00538G_142_0001 – 1K GIGI Prompts Collections – Dreamy Textures, Fuzzy Fabric Typography Art 5665 10PagesDownload 1K GIGI Prompts Collections ‘Dreamy Textures: Fuzzy Fabric Typography Art’ 5665 series provides two documents, one document is 10 pages of prompts in 1000 pages, available for free download. One document is the complete 1000 pages of prompts, this is a paid…

[debayanmukherjee]

Helvetica: A Deep Dive into the World’s Most Ubiquitous Typeface

Helvetica, a typeface synonymous with clarity and modernity, reigns supreme in the world of design. Its widespread use, from iconic brand logos to everyday signage, speaks volumes about its enduring appeal and versatility. This blog post will explore the origins, characteristics, and lasting impact of Helvetica, tracing its journey to becoming a global design phenomenon.

Swiss Origins and Design Philosophy

Helvetica emerged from the heart of Swiss graphic design in 1957, born from the collaboration of Max Miedinger and Eduard Hoffmann at the Haas Type Foundry. Switzerland, renowned for its precision and efficiency, provided a fertile ground for this revolutionary typeface to flourish. At its core, Helvetica embodies the principles of the International Typographic Style (also known as Swiss Style), which emphasized cleanliness, readability, and objectivity. This movement embraced the use of grids, sans-serif typefaces, and asymmetrical layouts to create balanced and harmonious designs.

The Making of a Masterpiece: From Neue Haas Grotesk to Helvetica

Helvetica’s journey to becoming a global icon involved a series of pivotal moments. Initially christened Neue Haas Grotesk, the typeface was a refined interpretation of the earlier Akzidenz Grotesk typeface. In 1961, Stempel, the parent company of Haas Type Foundry, strategically renamed it Helvetica, meaning “Swiss” in Latin, to broaden its appeal in the international market. This decision proved to be a masterstroke, as Helvetica rapidly gained traction worldwide.

Anatomy of Helvetica: Decoding its Visual Language

Helvetica’s enduring allure lies in its meticulously crafted letterforms and distinctive characteristics. Its simple, geometric shapes and uniform stroke widths contribute to its exceptional legibility. Key features include:

Minimal stroke contrast: The difference in thickness between the thickest and thinnest parts of a letterform is subtle.

Horizontal and vertical cut-offs: The ends of strokes are cut straight, creating a clean and crisp appearance.

Tight spacing between letters: Letters are set close together, resulting in a compact and unified look.

Large x-height: The height of lowercase letters is relatively large, further enhancing readability.

Closed apertures: The enclosed spaces within letters like ‘a’, ‘e’, and ‘o’ are relatively small.

These carefully considered details work in harmony to create a typeface that is both aesthetically pleasing and incredibly functional.

Helvetica’s Enduring Legacy: A Testament to Timeless Design

Helvetica’s influence on the world of design is undeniable. Its neutrality and versatility have made it a go-to choice for a wide range of applications, from corporate branding to transportation signage. Iconic brands like Knoll, American Airlines, and Panasonic have all harnessed the power of Helvetica to communicate their brand identities effectively. The typeface’s presence extends beyond the corporate world, finding its way into film title sequences (Goodfellas, Split, Alien) and even becoming the official typeface of the New York City subway system. Helvetica’s ability to transcend cultural boundaries and resonate with audiences worldwide is a testament to its timeless appeal. As Wim Crouwel, a renowned typographer, aptly stated, “The meaning is in the content of the text and not in the typeface, and that is why we loved Helvetica very much.”

[viviandoangrad604]

SDL Artist Research - International

Kenya Hara (Graphic Designer) - "White", 2010

Kenya Hara is a Japanese graphic designer and curator who has made a name for himself through his innovative and minimalist design approach. Hara often incorporates elements from traditional Japanese aesthetics and philosophy, which has helped him shape the design language of MUJI, a Japanese lifestyle brand, during his tenure as the art director. Throughout his career, Hara has emphasized the concept of "emptiness" in design, which encourages users to interpret and imagine things for themselves. He believes that design should not be dominant but instead should create a harmonious relationship between the user and the object.

His book: "White", has a minimalist aesthetic and a clean type grid. Elements are going in a vertical direction, which is an interpretation of traditional Japanese text. The works are simple, elegant, yet legible and effectively deliver the messages. Colours are also very simplified and were used to code a design section. I resonate a lot with the cleanliness of these designs, and I am inspired to cut down all the unnecessary details to portray a minimalist yet practical typographic experience. 

Max Ernst (Artist) - The Gramineous Bicycle Garnished with Bells the Dappled Fire Damps and the Echinoderms Bending the Spine to Look for Caresses, 1921

Born in Germany in 1891, Max Ernst's early studies spanned philosophy, psychology, and art across different cities. Embracing Surrealism's mission to express the irrational and subconscious, he pioneered techniques like automatism, infusing dreamlike elements into his work. "Frottage" involved pencil rubbings over textures, "Grattage" unveiled underlying textures by scraping paint, and "Collage" combined diverse materials for layered compositions. Ernst co-founded the "Collège de 'Pataphysique," a group championing unconventional art. Throughout his life, he continually experimented with techniques, leaving an indelible mark on Surrealism and modern art.

The Gramineous Bicycle Garnished with Bells the Dappled Fire Damps and the Echinoderms Bending the Spine to Look for Caresses, 1921

Max Ernst's fascination with microscopic imagery led him to an unconventional canvas: a teaching chart. He transformed the chart's underlying diagram, possibly depicting cell mitosis, into a captivating painting with organic forms merging with mechanical elements. An inscription adds a whimsical, suggestive layer. Ernst's work blurs natural and artificial, microscopic and mechanical, inviting viewers to explore his intriguing creation.

Hannah Hoch (Artist) - The Bride (Pandora)

Hannah Höch, born in 1889, emerged as a pioneering German artist in the early 20th century. A vital figure within Berlin's Dada movement, she revolutionized art through innovative photomontage techniques. By cutting and arranging images, she challenged societal norms, deconstructed narratives, and critiqued cultural constructs. With a focus on feminist and political themes, Höch's work delved into gender roles, identity, consumerism, and media. Her lasting legacy lies in inspiring subsequent artists to experiment and convey ideas in new ways. Through fearless expression and boundary-pushing techniques, Höch redefined modern art and left an enduring impact.

"The Bride (Pandora)" likely exemplifies her exploration of feminist and cultural themes, inviting viewers to deconstruct societal norms and question conventional representations. With this piece, Höch's influence on modern art shines as she challenges boundaries and provokes thought through her artistry.

Paula Scher (Graphic Designer) - Bring in da noise, bring in da funk

Paula Scher, born in 1948, is a distinguished graphic designer celebrated for her innovative work. As a partner at Pentagram, she's renowned for shaping brands and creating captivating visual identities across industries. Scher's multidisciplinary approach blends typography, imagery, and color to craft dynamic designs that leave a lasting impact on the field of graphic design.

Over the years, her style has evolved into a remarkable blend of adaptability and versatility. Drawing inspiration from Russian Constructivism and Art Deco, she has truly redefined the essence of typography. From audacious and dynamic type art in 'Bring in da noise, bring in da funk' to the refined Citibank logo, she demonstrates an innate grasp of the subject's tone and rhythm. This understanding allows her to effectively communicate complex concepts in an easily comprehensible manner. Through her work, the theme and overarching idea effortlessly resonate through visuals and type. Her approach and demeanor underscore the importance of possessing a flexible and malleable style, enabling designers to adeptly tackle diverse projects.

Carol Twombly (Graphic Designer)

Carol Twombly, born in 1959 in Concord, Massachusetts, started her career as a sculpture artist at the Rhode Island School of Design. After seeing the practical appeal of the field of graphic design, she switched from sculpture to graphic design. Carol began working for Adobe Systems in 1988 and designed many fonts that Adobe is known for; Adobe Caslon, Chaparral, Charlemagne, Lithos, Myriad, Nueva, Trajan, Trajan Sans, and Viva. In 1994, she was the first woman and only the 2nd American to receive the Prix Charles Peignot award for excellence in type design. Below are the typefaces Carol created before she left Adobe and her graphic design career in 1999.

Veronika Burian - Maiola

She was born in 1973 in Prague, Czechia. She is a type designer who studied industrial design in Munich and then worked as a product designer in Vienna and Milan. She soon discovered her true passion for typography and graduated with distinction from the MA in Typeface Design course in Reading, UK, in 2003. After a few year working as a typographer at DaltonMaag in London, Veronika founded TypeTogether with José Scaglione, one of the most crucial independent type foundries.

Above is a project by Veronika, "Maiola". It was published in 2005 with Fontshop and then in 2010 with TypeTogether. The typeface was inspired by early Czech type design, mainly by Vojtěch Preissig and Oldřich Menhart. Maiola is a contemporary typeface that is mindful of its historical heritage, implementing old-style features and calligraphic reminiscences, more frankly so in the italic. It won numerous awards, including the Type Directors Club Certificate of Typographic Excellence in 2004."

[amberfaber40]

Shape Psychology in Graphic Design - Zeka Design

Shape Psychology in Graphic Design - Zeka Design

Discover the psychology of shapes in graphic design and learn the meaning behind every type of shape and what feelings they convey.

Bold Graphic Design & Branding by Laura Normand | Inspiration Grid

From hotel menus to event posters, Ian Miller knows how to create “stealable” graphics

How to teach yourself graphic design

Here's how I became a graphic designer without going to school. Follow these steps so you can become a graphic designer on your own!

9 Easy Ways To Teach Yourself Graphic Design — Jordan Prindle

As a creative entrepreneur, you will never run out of design needs. From social media graphics, blog posts, content upgrades, product packaging... design is a necessity for all new businesses. Hiring a designer for each element can get expensive, fast. Wouldn't it be

Remove the Background in 1 click

MAZE - Depression

50 Modern Serif Fonts | Fonts | Graphic Design Junction

Best Sans Serif Fonts for designers. The serif fonts are simple and modern looking fonts which are perfect for branding, logos, greeting cards, typographic quotes, book covers, websites, flyers, packaging designs and more. These professionally designed typefaces and fonts can significantly improve your design by simply included them in the project you are working on. All fonts are

Become a graphic designer

Here's how I became a graphic designer without going to school. Follow these steps so you can become a graphic designer on your own!

How To Turn Ocean Water Into Drinkable Water Using A Can And Plastic Bottle. Not Recommended Unless You've Found Your Self At A Real Pinch

Whether we're talking about politics or the animal kingdom, learning something new can require a fair amount of time and effort. Luckily, we don't always have to read lengthy scientific papers. Some people do it for us. And not only that — they narrow down everything to a few bullet points and illustrate them to help our minds remember.

Graphic Design Trends 2023

Graphic design trends for 2023 are here to challenge your perceptions and make you immerse in a completely new reality. Don't miss out!

25 typographic advertisements to inspire your next design

In this article, we look at 25 typographic advertisement examples that are unique and eye-catching. We also provide design tips for create a unique advertisement campaign.

Poster Design | Typography Effect in Illustrator

3D Bubble Text Effect

Type Tuesday: Geometric Arabic Typographic Bliss

For the past three years, Mohamed Samir has been on a mission: to show how design from the Arabic world can enrich the global scene.

BIMBAAM

25 Best Food Ad Designs That Will Make You Hungry For More (2021) - Unlimited Graphic Design Service

If you're looking for advertising inspiration, this is the article for you. Here are 25 food ad designs that you inspire your next campaign.

3D Blend Text Effect - Adobe Illustrator Tutorial!

Shapes are a Fundamental part of Graphic Design and we are surrounded by them as all the visual objects we see can be perceived as shapes or combination of shapes, and we can use these shapes to transmit different feelings to the viewer as people may not notice these shapes directly but they have an important impact on their feelings and behavior and we as graphic designers can use these elements to reinforce a message through our design. For many years many experts have studied how different shapes can affect people behavior and identify their personality as every shape has its own meaning and influence differently to the viewer’s mind, this is called the psychology of shapes and in this post, I will show you the different types of shapes, their attributes and how to use them in Graphic Design.AdvertismentGeometric Shapes MeaningSince we were kids we already have learned what are Geometric shapes as they are the simplest and most common shapes in graphic design, and they are formed by combining a specific amount of curves, points, and lines. Due to their anatomy most geometric shapes are symmetrical and we can identify them easily. Let’s see some of the most common geometric shapes we can find in graphic design.Squares and rectanglesSquares and rectangles are the most common shapes in graphic design projects and we also can see them very easily in live every day in street signs, shops signs or sheet of paper, and these types of shapes are the most common in design layouts as social media headers, social media posts or business cards. Square shapes are formed by straight lines and right angles that give viewers a sense of reliability and security and these attributes make people feel safe and contained. Common Square Shapes MeaningStrength Security Reliability Discipline TrianglesA Triangle shape is a polygon with three edges and three vertices, and it’s commonly defined as an energetic and dynamic shape, attributes that make triangles used to represent motion and direction. Depending on the position of the triangle it can have different meanings if the triangle is upright and pointing up it represents stability and balance, but if the position of the triangle is reversed it transmits risky feelings and instability. Viewers eye automatically move to the top of the triangle due to the line placement, due to this quality is very often to use skinny triangles as arrows or pointers to emphasize an important part from your design, and related to this quality if the triangle point is facing to the right it represents a moving forward symbol. Common Triangles Shapes MeaningMovement Balance Risk Stability Circles, ovals, and ellipsesCircles unlike other geometric shapes don’t have angles, this fact makes these shapes softer and milder, and commonly they have represented eternity due to they don’t have a beginning or end. In Graphic Design circles have different uses depending on their purposes, for example in Logo Design they are the most common shape used for the logo background or outline, and in web design circle shapes are used for small icons. Circular shapes are one of the most popular shapes for designers because they are very noticeable and powerful graphic elements and because they nature they represent wholeness and completion and these attributes made them very useful shapes in any design project. Common Circles shapes meaningEternity Universe Mystery Earth, Moon or Sun Pentagons, Hexagons, and OctagonsPentagons, hexagons, and octagons are the most used polygon shapes in Graphic Design considering that polygons are not very often used in design projects due they complexity, but we can see polygon shapes to represent real elements from our daily lives in form of icons or logos, for example, Street signs, sections of a beehive or bolts uses polygon shapes. These polygons due to their geometric nature are also used as puzzle pieces to create larger compositions and organize the information in your design, and are very common in infographic design.SpiralsSpiral shapes are very common in real life and natural elements as shells and flowers, and spiral shapes in graphic design are used to represent the circle of life and growth. Growth Intelligence Creativity Modernity Advertisment Natural Shapes MeaningNatural shapes or organic shapes represent elements from nature and we can see them in the real-world as animals, flowers, trees, or leaves, these shapes unlike geometric shapes aren’t formed by angles and points, they are unique you can see them in tones of different forms. Unlike geometric shapes, natural shapes have a clear meaning from the natural elements they represent as for example, a rose flower represents love or passion. Natural shapes due to their nature also make the viewer feel a connection with the natural environment. These types of shapes are often used in outdoor or ecological design compositions. Common Natural Shapes meaningOriginality Nature Organic Freshness Ecological Abstract Shapes MeaningAbstract shapes in graphic design are visual symbols that can be abstract ideas or simplified versions of an organic shape, in some cases abstract shapes can be difficult to associate with some ideas due to their abstract anatomy, and in some cases, the idea is behind a small detail of the shape. Abstract shapes can have figurative and direct meaning and these shapes are used very common in Logo Design because they are a very effective way to create a unique look at the same time to transmit an idea through design, and if you want to learn more about logo design, you can check this post where I show you the qualities for a good logo design. Abstract Shapes can have infinite meanings as they literally can represent anything in any way.AdvertismentSymbols and IconsSymbols and icons are abstract shapes that represent real-life things and can have higher symbolism, and symbols and icons are really popular in graphic design to convey messages quickly in a visual way. Icons and symbols are very popular in an infographic design to reduce the amount of text and focus the viewer’s attention on key parts of the design, but when you use icons you need to take care to don’t overuse them because it can be overwhelming to viewers eye and confuse them. Using Shapes to create Something ElseOnce we already know what shapes are and the different types of them in Graphic Design, we can go to the next level and combine all these different shapes to create new visual elements and represent real-life elements. For example, you can create a house using rectangles, squares, and triangles or by mixing different circular shapes we can create a bunch of grapes.Advertisment Conclusion and Shape Psychology InfographicIn a conclusion, we already have learned how to use shapes in graphic design and the different types of them and shapes are fundamental graphic design elements that you can learn all of them in this blog post!. Shapes play a crucial role in graphic design projects, icon design, and most important logo design, where through shapes a brand will transmit you their goals, what they do, and their philosophy, and if you want to learn more about logo design and how to use shapes correctly to create the best logo design I recommend you these 2 blog post: What makes a logo design good and 8 Different logo design types. If you found this post useful you might like to read these post about Graphic Design Inspiration.AdvertismentWritten byYaroslav IakovlevBehance Instagram Pinterest If you like this post share it on your social media!Share on facebookShare on twitterShare on pinterestShare on vkShare on telegramShare on whatsappShare on linkedinYou Might Be Interested On These ArticlesLatest PostPrevPrevious12 Duotone Gradient Inspiration for Graphic DesignNextIconic Typefaces and Typography from 1950sNextYaroslav IakovlevBehance Instagram Pinterest Youtube Linkedin Dribbble Design Trends AdvertismentYou Might Be Interested On These Articles Fundamentals In Graphic Design AdvertismentBest Resources For Graphic Designers Best Graphic Design Books

[elioratechno-24]

The Evolution of Graphic Design: From Print to Digital

Graphic design is more than just an art form; it’s a visual language that has evolved alongside human communication. From its origins in ancient printmaking to its current digital prowess, graphic design has continuously adapted to the changing needs of society. This evolution reflects the growing importance of design in our everyday lives, shaping how we interact with the world. Let’s explore how graphic design has transitioned from the physical to the digital realm and what this journey means for the future of the industry.

The Dawn of Print: Where It All Began Graphic design’s roots lie deep in the history of printmaking. The invention of the printing press in the 15th century was a turning point that allowed for the mass production of books, posters, and other printed materials. Early graphic designers were often artists and craftsmen who meticulously designed typefaces, illustrations, and layouts by hand. These designs were then transferred onto wooden blocks, engraved plates, or movable type to be printed on paper. This labor-intensive process laid the foundation for modern graphic design, emphasizing the importance of typography and layout. Print design was not just about aesthetics; it was a means of communication. Designers played a crucial role in shaping public opinion, spreading information, and influencing culture. The rise of newspapers, magazines, and advertising in the 19th century further solidified the role of graphic design in society. Designers were tasked with creating compelling visuals that could capture the reader’s attention and convey a message effectively. This era saw the birth of many design principles that are still in use today, such as balance, contrast, and hierarchy.

The Shift to Modernism: Clean Lines and Simple Forms The 20th century brought about a shift in design philosophy with the rise of modernism. Influenced by movements such as Bauhaus and De Stijl, graphic designers began to embrace simplicity, functionality, and minimalism. Gone were the ornate designs of the past; in their place were clean lines, geometric shapes, and sans-serif typefaces. This new approach to design was all about clarity and efficiency, reflecting the fast-paced, industrialized world of the time. Modernism also brought a more scientific approach to design. Designers began to use grids to create structured layouts and developed new typographic styles that prioritized readability. The International Typographic Style, also known as Swiss Design, emerged as a dominant force, with its emphasis on alignment, spacing, and visual hierarchy. This period was pivotal in shaping the graphic design standards that we still follow today.

The Digital Revolution: A New Era of Design The advent of computers in the late 20th century marked the beginning of a new era in graphic design. With the introduction of graphic design software like Adobe Photoshop, Illustrator, and InDesign, designers gained access to powerful tools that allowed them to create, edit, and manipulate digital images with unprecedented ease. The transition from traditional print methods to digital design was revolutionary, enabling designers to experiment with new styles, techniques, and mediums. Digital design opened up a world of possibilities, from web design and multimedia to motion graphics and interactive media. The internet became a new canvas for designers, requiring them to think beyond static images and consider user experience, interactivity, and responsiveness. This shift also democratized graphic design, making it accessible to a wider audience. With the rise of DIY design platforms, anyone with a computer and an internet connection could try their hand at graphic design.

The Rise of UX/UI: Designing for Interaction As the digital landscape continued to evolve, so did the role of graphic designers. No longer confined to creating static visuals, designers began to focus on the user experience (UX) and user interface (UI) design. This new frontier in design required a deep understanding of how people interact with digital products, from websites and apps to software and games. UX/UI design is all about creating intuitive, user-friendly interfaces that enhance the overall experience. Designers now had to consider not just how a design looked, but how it worked. This involved studying user behavior, conducting usability tests, and refining designs based on feedback. The goal was to create seamless, enjoyable experiences that met the needs of users while maintaining a strong visual identity. This shift in focus has made UX/UI design one of the most sought-after skills in the graphic design industry today.

The Future of Graphic Design: Embracing New Technologies As we look to the future, it’s clear that graphic design will continue to evolve alongside technology. Emerging technologies like artificial intelligence (AI), virtual reality (VR), and augmented reality (AR) are already beginning to influence the way designers work. AI-powered tools are helping designers automate repetitive tasks, while VR and AR are creating new opportunities for immersive, interactive experiences. The integration of these technologies into graphic design will likely lead to even more innovative and dynamic designs. However, the core principles of graphic design—such as composition, color theory, and typography—will remain as important as ever. As designers continue to explore new mediums and push the boundaries of creativity, they will also need to stay grounded in these fundamental principles to ensure their work remains effective and impactful.

Conclusion: The Ever-Evolving Role of Graphic Designers The evolution of graphic design from print to digital is a testament to the adaptability and creativity of designers. Each phase of this journey has brought new challenges and opportunities, pushing the boundaries of what design can achieve. As we move forward, graphic designers will continue to play a crucial role in shaping how we communicate, interact, and experience the world around us. Whether through print, digital, or emerging technologies, the essence of graphic design remains the same: to create meaningful, impactful visuals that resonate with people.

[paulrennie]

Things I Like • Old New York • c1850

The modern city emerged simultaneously in Paris, London and New York during the middle part of the 19C. In NYC, the perpendicular street grid and wide avenues created an environment where buildings with flat-frontages could carry typographic titles as place-markers and place-makers - You can see clearly how architecture, typography and advertising all begin to integrate in this image.

The pig, in the forefront, is there to keep the streets clean. The modern city depends upon power, light, water, waste management and transport systems. It's not just buildings; it's services and communications too.

[dlinarts245-03]

ARTS 245 Blog 1 (8/30)

Reading:

It was very interesting to read about the development of lettering and typography throughout the years, from the creation of the printing press in Europe to modern times. I also liked the examples of different typefaces throughout the chapters to physically see the similarities and differences between each typeface and the history of typefaces in general.

The section on the creation of italics was interesting too, as I didn't know the origins of italics to be a casual cursive writing system and is cheaper to produced, but it does make sense. Creation of the grid-based typography is from trying to linking letters to the anatomy of man, which I think is funny as the two ideas is vastly different.

I also like the "revolution" and change of ideas on typography throughout the years, like Baskerville abandoning mechanical typography and towards manual typography, or avant-garde typographers fleshing out and pushing typography to its limits. This have been an interesting read in understanding the development of type and lettering.

Progress:

I printed out a picture of Chris Pratt, did the line drawing and negative drawing of him last weekend, and it was pretty fun to do. I choose Christ Pratt as the person I am doing for this project because the picture I am using is so funny to me as he is glistening in the photo with light in his eyes and it is also the same picture that was used when it was announced that Chris Pratt would be Mario in the Mario Movie.

The things that sucked this week is that the picture I printed out of Chris Pratt was not 4x4 in., it was like 3.8x3.8 in. It probably because I used a Word Document to print out four 4x4 in. images of Chris Pratt, and I added some spacing between the pictures so the pictures aren't so close together. My guess is that Word shrink down the images when printing because the images probably didn't fit on the page because of all the spacing between each images, even though digitally there was two 4x4 images on each page.

I found that out the problem when cutting one of the pictures I had, so I printed out another one that was 4.19x4.19, because I thought the images would shrink again, but it actually came out 4.19x4.19, which I could just cut off the excess part of the images (as I cut myself when I finished with it). I redid my negative drawing with the new dimension and combined aspects like the eye, eyebrow and nose together so that I am not working with too much small parts when cutting up cardstock. I learned a lot of what to do and what not to do this week.

[grad702-2024-amanda]

Session 1.3

SDL : Case Study / Dopa by The Colour Club

( https://bestawards.co.nz/graphic/small-brand-identity/the-colour-club/dopa/ )

"Our direction was informed by the popular Japanese motif of transformation and the name DOPA, a shortened form of the chemical ‘dopamine’. In this case these became an allegory for the chemically transformative experience of eating good food. During our research phase we discovered the idiom 起死回生 (kishi kaisei), meaning ‘wake from death, return to life’, which helped inform a distinct typographic style. We then commissioned artist Andrew Yee to develop a series of manga inspired illustrations and patterns. The art direction for photography and menu design was kept clean and minimal to allow the other brand elements space to breath. Finally, we developed a colour palette informed by the interior design, as well as a suite of striking contemporary signage, keeping the space feeling cohesive and unique."

once again combines both traditional prints / elements with a simple modern grid layout and typography

takes the traditional 'Asian menu' concept of the numbers and utilises it within the menu for clarity and callback

overlapping image and type within the menu, rules are established through the clearly gridded copy – to be 'broken' by the images and create interest

i really enjoy the employment of an idiom as a building block of the brand identity – something to maybe think about for my own project

[baileytomkinsviscomblog]

Process Book - Completed

The approach I took with my process book emphasized function over decoration. The design was minimal, and the language style was informative and professional. I implemented a basic three-colour coding system for each project, using small blue, yellow, and green sections in the corner of each page.

For the title page and introductory pages, I chose a large, bold font. Despite its simplicity, I am pleased with the modern aesthetic and the reduced legibility, which I believe adds an interesting edge. The back cover image features my side profile with an echo effect, a blue hue, and a creased paper texture. The echoing effect is intended to represent how the reader is stepping into my layered thought process. The textured paper look with the blue hue gives the design a handmade feel, with the imperfections symbolizing the trial and error aspect of the process book. The blue adds vibrancy compared to the dullness of black and white.

The cover page follows the same design style as my other typographic pages, with an added echo circle effect within the black words, mirroring the concept of the cover image. Breaking up the words with colour created an interesting effect that subtly and stylishly improved legibility.

There were a few mistakes with the process book, including the misplacement of the spine section and various spelling errors that I only noticed after printing; however, I've since corrected them for the digital submission.

Despite these mistakes, I am happy with my first process book. The information and images fit nicely within the grids, and the font choice is pleasing and readable. Next time, I plan to explore more creative design approaches, feature more images and less text, and give the language a more personal feel.

[digitalwithme]

CSS

Cascading Style Sheets, or CSS, is a cornerstone technology in web development, wielding immense power and versatility in shaping the visual presentation of web pages. From defining layout structures to fine-tuning the minutest details of typography and color schemes, CSS empowers developers to create stunning and immersive digital experiences. Let's delve into the depths of CSS and explore its key features, functionalities, and the role it plays in modern web design.

Understanding CSS:

At its core, CSS is a style sheet language used to describe the presentation of a document written in a markup language like HTML. It works by selecting HTML elements and applying styles to them, defining how they should appear on the screen or other media. CSS allows developers to separate content from presentation, enabling greater flexibility and maintainability in web development projects.

Key Features and Functionality:

Selectors and Declarations: CSS employs selectors to target specific HTML elements and declarations to define the styles applied to those elements. Selectors can be based on element types, classes, IDs, attributes, or even hierarchical relationships within the HTML document.

Box Model: The CSS box model conceptualizes every HTML element as a rectangular box with content, padding, border, and margin areas. Developers can manipulate these properties to control the size, spacing, and positioning of elements on the page.

Layout and Flexibility: CSS offers various layout techniques, including floats, positioning, and the more modern Flexbox and Grid layouts. These tools empower developers to create responsive and adaptive designs that adapt to different screen sizes and devices seamlessly.

Typography and Fonts: With CSS, developers can customize typography by specifying font families, sizes, weights, styles, and spacing. CSS3 introduces advanced features like web fonts, text shadows, and text effects, further enhancing typographic creativity.

Colors and Gradients: CSS provides extensive capabilities for color manipulation, including specifying colors using hexadecimal, RGB, HSL, or named values. Additionally, CSS3 introduces gradient properties, allowing for the creation of smooth color transitions and dynamic backgrounds.

Transitions and Animations: CSS transitions and animations enable the creation of fluid and interactive user experiences. Developers can define animations for properties like opacity, position, and size, adding visual interest and engagement to web interfaces.

Media Queries: Media queries enable developers to apply different styles based on the characteristics of the device or viewport, such as screen size, resolution, or orientation. This facilitates the creation of responsive designs that adapt to various browsing contexts.

The Role of CSS in Modern Web Design:

In the ever-evolving landscape of web design, CSS plays a pivotal role in shaping the visual identity and user experience of websites and applications. Its versatility and expressive power empower designers and developers to bring their creative visions to life, while its modular and scalable nature promotes code maintainability and efficiency.

From simple layouts to complex animations, CSS offers a rich toolkit for crafting immersive digital experiences that captivate and engage audiences. By mastering the intricacies of CSS and staying abreast of emerging trends and best practices, web professionals can unlock the full potential of this indispensable technology and push the boundaries of what's possible in web design.

In conclusion, CSS stands as a cornerstone of modern web development, offering unparalleled control and flexibility in styling web content. Its robust features, combined with its ability to adapt to diverse design requirements, make it an indispensable tool for creating visually stunning and user-friendly websites and applications. As the web continues to evolve, CSS will undoubtedly remain at the forefront of innovation, driving the next generation of digital experiences forward.

Web Development Company in Dehradun

[minju221]

Reflective statement

draft 200- 300 words

I researched design conventions we learnt in class, such as Dadaism and Poetic style of listing, which I used to design my texts' composition. These helped me to design while following existing design practices. Reflecting on this, I could look further into various forms of design conventions including historic and more modern examples. Applying this to the research for the animated typography, I am currently looking into both old and new examples of typographic movement. 

My design process included physical sketches of typographic ideation and playing with the letters to communicate my message. It also consisted of repetitive experiments and developments on InDesign where there was a lot of trial and error with different typefaces and fonts, colour, scale, and composition. My next steps would be to extend this experiment and try more of other completely different strategies. For example, there could be more refinement of the scale of the letters such as pushing more subtlety into those designs. There could also be explorations of other background options other than crumpled paper. Such as these, in my next steps I would my design explorations and try a range of conventions that stand outside my comfort zone. I did a few print tests for the feedback, and it was helpful as I could see my design in a physical printed form off the computer, which is very different. In the future, I will do more print tests throughout my progress to see them in a clearer perspective and help me with my design decisions.  

I had to focus on both developing my design visually, while making sure that it is responsive to the brief and conveys my own personal connection in Aotearoa today. Sometimes it was difficult to decide which design iterations were more successful than others at conveying this message while being visually interesting. It was also hard to judge my designs while looking at them for too long and becoming used to them. While it was easy to experiment with posters by making a lot of variations, it was a lot of more difficult to judge which design works best. To help with this in the future, I would ask for frequent feedback from peers and fresher pairs of eyes and perspective to gain advice on how the design seems at first glance/ impression. This could be helped with more print testing and reflecting on other people’s feedback.  

I thoroughly recorded my experiments and developments on my blog to show my decision making around the design elements that lead to my final posters. My blog shows my engagement through the thoughtful annotations that demonstrate a very good understanding of what is working and what is not within my own designs.  

My introduction reads well and gives a good overview of my journey into design. My rationale gave a solid insight into the design of the posters and throughout the design process it could be expanded with more conversation around specific design decisions.  

Finally, a challenge I faced was balancing the workload with my other subjects. I can improve this by keep developing, experimenting, and spending time on my design, and getting in the habit of doing a lot of short periods of work rather than procrastinating and leaving a large amount of work to do later. This also includes regularly checking in with my peers and lecturers for feedback. I think I need to do further design research and become more knowledgeable about design conventions and practices such as grids, colour, composition, and hierarchy. Through this, I can make the elements of my posters purposeful and follow existing design conventions properly. This will also include more research into Adobe programmes and learning more skills on InDesign and applying more technical and digital techniques.  

[smillinerarts246]

Week 11

The reading this week introduced the challenges of modern typographic education and then proceeded to outline different influential projects used to teach students the nuances, meaning, and interrelationships of type. It was interesting to see multiple projects featured that I have done during my time in the GD+I program here and reading about their significance to typographic education as a whole. I remember being less than thrilled with some of the assignments, but afterwards, having a clearer, deeper understanding of concepts. For example, we were assigned the visual organization and grid structures project where we had to make 3 grids by hand which showed the differences between weights of type. It was definitely a detailed process but it forced me to learn how different applications of type appear to the eye.

I have split my focus this week between the TypeHike project and the process book project. I was feeling stuck at the beginning of the week because I felt that my designs for my Carlsbad Caverns poster were incomplete and no longer exciting. I would sit at my computer and stare at the design for amounts of time I am not proud to admit, trying to figure out what was missing. I finally had a breakthrough after I jumped in and started experimenting with variations. I added in what looks like the mouth of a cave, which opens to reveal the cave-like letters I designed initially. I think I am very close to the final piece with this variation and am excited to work to coordinate it with my type specimen and postcards. I have also been brainstorming for my process book. I am excited to approach this process book with more freedom and awareness than the one I did for ARTS102. My idea is to produce a book which is a square shape (7 in x 7 in), and which is centered around the idea of the fluidity of my design process. I have come to learn in my classes that each new project I take on has a different workflow – a changing element which I am excited to discover with each new assignment. So my goal for my design right now is to draw out a different shape for each typography assignment I have done representing the shape my process took. I would like to keep the design meaningful, yet still simple to let my projects shine.

[rachel1489]

Helvetica

rough notes

-”Helvetica is like being asked what you think about off white paint it's just there.” (2.10)

-New york city transit signage Massimo Vignelli 1966 (3.20)

-”its like music its not the notes, its the space you put between the notes that makes the music.” (3.30)

-1950s post war idealism attempt to rebuild which becomes the emergence of swiss style with designers such as Karl Gerstner 1957, Armin Hoffman 1959, Max Huber 1957 were experimenting with modernism design. 

-1957 helvetica emerges as there felt need for rational typefaces for things such as signs/cooperate identity and this could be done in a legible way. (8)

-using  few typefaces to have clear designs and using grids to have order (10.10)

-Helvetica was neutral and that was liked/prefered by some designers.

-Matthew Carter type designer (14.10) horizontal terminals. Original name of Die Neue Haas Grotesk.

-Eduard Hoffman wanted to make a modern version of german 19th century sans serif to make it clean. This was created by Max Miedinger who created helvetica.

-Alfred Hoffman Former Director of Haas Type Foundry (19.00)

-Mike Parker Director of Typographic Development Mergenthaler Linotype USA 1961-1981

-Helvetica is all about the interrelationship of the negative shape the shapes between and within characters.

-haas was a salesman who traveled around switzerland. (21.30)

-stemple hass controlled by lino type

-Otmar Hoefer Director of Font marketing, Linotype 

-Bruno Steinert Former managing Director, Linotype

-stemple suggested the name of helvetia which is the latin name for switzerland.making it the swiss typeface.

-Hermann Zapf Type Designer

-Michael Bierut Graphic designer (25.30)

-Life Magazine 1953 visual bad habits of typeface

-Leslie Savan  Media Writer government and cooperations love helvetica because on one hand it makes them seem neutral and efficient and on the other its the smoothness of the letters that makes them come off as more accessible, transparent, and accountable which are the key buzz words which these corporations are looking for. (28)

-Tax forms use helvetica, the EPA (environmental protection agency) use helvetica as they want to look clean and official.

-Jonothan Hoefler and Tobias Frere-Jones helvetica is not limited to one thing it can be used for everything which is why it's become so popular. (29.50)

-Gotham Typeface Tobias Frere-Jones 2002 (32)

-its the ultimate typeface

-Erik Spiekermann Typomaniac typography is an extension of words (35.20)

-Helvetica was good at the time but has now become the default typeface.

Erik Spiekermann - ”its like air you have to use it”

-1970 reaction against bland sameness (45.30)

Paula Scher - graphic designer/painter that works with type. (46) (48.30) 

-post modernism designers where wanting to get away from the clean lines and slickness

-life images of type (53.40)

-Massimo Vignelli 60s company Unimark looking and this unified composition. Looking at expressive, subjective, and irrational new way of designing. (54)

-70s psychedelic type

-80s confused by postmodernism against helvetica

-David Carson breaking the system exciting/emotional to do subjective and interpretive designs (56)

-raygun magazine experimental designs 

-Don't confuse legibility with communication (58.45)

-rise of grunge typography for roughly 5 years

-typography was broken 

-Erwin Brinkers, Marieke Stolk, and Danny van den Dungen

-modernism in subversive modernist movements such as dadaism, futurism, and surrealism they went against something.

David Carson - American graphic designer and Emigr

-Michael C. Place using ordinary everyday things to get an emotional response (1.06.00)

Max Miedinger creator of Helvetica type

-Manuel Krebs and Demetri Bruni they like restrictions influenced by graphic designers like Brody Carson and then later Joseph work 60s swiss structured design and reduced and refined elements (1.11.00)

Questions

Would you use helvetica in your designs?

Helvetica when it was first created was a revolutionary typeface. I don’t find that there is anything particularly exciting about it. However I can acknowledge that when it was first created it was what everybody had wanted/dreamed of due to its sleek legible qualities, hence why it quickly became a universal typeface. This is still a key point in new design today. So it could be useful for designs that require simple clean cut type. I would consider using helvetica for certain designs but I would tend to lean towards a more artistic, striking typefaces depending on the purpose of the design.

Would you use helvetica for one context (type of work/audience) but not another? Why or why not?  

I may lean towards using Helvetica for certain purposes e.g advertising if I wanted a familiar, neutral, and legible look that the viewers/audience would already be comfortable with.

[kadefry-desn512]

Book cover analysis (20th century type)

"20th Century Type" is a comprehensive exploration of not just typeface, but the evolution that has occurred and shaped the history of graphic typography throughout the 20th century. Covering the many movements, designers, world events, and technological advancements which led to the influence and shaping of modern type to the present time period, all through periods of Dada, Punk, modernism, art deco, etc. The book presents many significant design pieces throughout the time period, the story behind their creation, and context within relation to the world at the time, with links to the effect each piece had on the industry of design as a growing industry.

The book cover itself explores the use of a historical form of type: grid-like lines leading to the text, which reads "20th century type." "Type" is enlarged, directing attention to the obvious context of what the book will explore. The text is printed in Architype Stedelijk, a significant Dutch 20th-century typeface developed by Wim Crouwel throughout the late 20th century. Crouwel is a typographer known for his rigid, modernist design ideas. On the surface, the type seems industrial, printed by machine rather than by the hand of man. However, it is an entirely hand-drawn typeface reflecting a modern machinist era. The type itself gives off an early digital, and now seemingly retro-futuristic feel, with the type bending not at 90-degree angles but connected diagonally to reflect early computer screen low-resolution type, which limits the clarity of the text to little curves and simpler, less decorative type. The lines leading us to the type are, in fact, the grid pattern used to measure and create the typeface, with each line horizontal or vertical leading to each corner and bend of each letter.

Grid-like sans-serif typeface with designs on lines

Machine-like print appearance

Leading lines are used to direct attention to the type and type alone

Negative space is used around the type to keep attention on type, with no distracting media around it

Early digital robotic feel of type

The simplicity of curves and lack of them limits the clarity and readability within the text, especially around curvy types, for example, the "2" in 20.

Rigid modernist typeface

Example 1

Arguably the most significant and used typeface of the 20th century across the world is Helvetica, which emerged throughout the 1950s as a sans-serif font. With many variations, weights, and italic forms, it is ubiquitous, found on virtually everything from marketing materials to publishing, logos, and beyond. Its modern, readable appearance makes it extremely attractive for various design purposes.

This particular poster showcases the versatility of the Helvetica typeface by exploring different weights and sizes of the text. The use of varying text sizes creates an interesting visual effect, leading the viewer's eyes back from the main focal point—the largest Helvetica—and giving the impression of a three-dimensional space where the text appears to recede with each word acting as leading lines.

Furthermore, the poster itself employs a minimal colour palette and utilises negative space effectively. This negative space does not detract from the text; instead, it emphasises Helvetica, allowing viewers to clearly differentiate between the various weights of the typeface. With Helvetica already being one of the most legible typefaces, this poster exemplifies clear and readable design.

Clear and readable presentation of the Helvetica typeface

Exploration of multiple variations of the typeface

Creation of a focal point through the three-dimensional effect of text placement

Reflects the modernism era with clean and readable design.

Example 2

During the early 20s, Dada made its way throughout the design industry as a significant anti-design/avant-garde movement. Within the movement, we saw the rejection of formality and traditional design notions. It embraced chaos, irrationality, and absurdity, hoping to deconstruct contemporary ideas of design at the time and establish new norms, which immensely contrasted the sensitive times of war and political unrest. This piece, in particular, explores just that: absolute chaos, everything pressed and layered in collage. Even though text fills the screen, the only text the viewer can retain is the contrasting red text in the background: "Dada'' scattered around the frame in a sans-serif font. In the foreground, irrational and incoherent text is collaged and fit in place, printed manually on a press.

The main part of this composition is the manually printed text, a long and lengthy process in which seemingly never repeats the same typeface. Fonts are irregular, a random combination of sans-serif, serif, decorative, and handwritten fonts. Along with this, even the baseline is chaotic; the text is never straight, it curves, bends, and alternates in size, filling the entire poster, acting in a way where it says everything but nothing at all.

In terms of colour, it uses red and black, the red heavily contrasting the black on the white background. The red somehow becomes the main focus even when it's in the background with layers of text above it, showing how important it is to focus on contrasting colours when there's a restriction.

Abstract irrational design

Contrasting red on black, the red being the main focal colour

A mix of san serif, serif, and handwritten typefaces, total irrationality

The text alternates in size and baselines irrationally

Example 3

During the early 50s, graphical design began to move forward with the utilisation of printed material, which forced growth competitively and demanded differentiation in the world of a newly saturated industry, in order not to be left behind. In effect, we saw a gradual increase of more radical and abstract forms of design, especially centred around advertising typography.

This design, originally created in 1960 for Alfieri & Lacroix printing company, explores this increase of radical design seen developed throughout the 50s. The design itself looks into the layering, warping, and colour of text in an abstract form, having no real focal point. In fact, it seems to never have an end; your eyes follow around the page endlessly until it meets the crossroad of another word, seemingly unreadable and illegible. This questions why it was created, perhaps to be intended for marketing, to create confusion, to make the consumer want to find out what company is behind this poster?

In terms of the typography itself, the sans-serif text warps and twists over oneself, overlapping with colour fluidly, becoming white where text touches and alternating through red and blue. This attempts to represent the flexibility of film paper through a printing machine with the words "Alfieri & Lacroix."

Abstract radial design to cope with the shift in the design industry

Text curves, bends, and warps, leaving it practically unreadable

No focal point, leading you around the page

Sans-serif font which reflects the period in time of simplicity and modernism

Minimal three colours which means attention is supported with the abstract composition.

Relation to my work:

In terms of my own design, I'd like to explore how abstract I can get without it becoming illegible and unreadable like this example. This is because without the infinite use of colour due to the brief only allowing two, I will have to choose two deeply contrasting colours, e.g., black and red. In effect, this means I will have to rely more on the physical composition to create attention, which means exploring a more abstract and surrealist poster design.

I'll look at exploring a more abstract design to combat the colour restrictions, push the limbo between what is considered legible and illegible, and look at heavily contrasting colours or complimenting them.

Look at exploring a more abstract design to combat the colour restrictions

Push the limbo between what is considered legible and illegible

Look at heavily contracting colours, or complimenting

Explore a wide range of typefaces not just one or two

[plloydarts246]

Reading and Reflection 5

The Typographic Grid

This chapter discussed the use of grids. We have talked about it several times. However, I think the application of a grid can sometimes be contradicting. As designers, we should always start out with a grid. But we are constantly being urged to break outside of it. Grids allow for a precise and easy-to-follow breakdown of information. So they have an important role in design.

Below are two examples of grids. The first one is from my Art History class, showing graffiti drawn by some ancient individual. I found it very interesting how modern it seems to be, I feel like I've seen something similar on a t-shirt or something. The text is laid out in a way that is interesting. And surprisingly the letters stay proportionate throughout the length of the "snake." It is pretty impressive considering it was done by hand. Underneath that image is one from the reading, this is a very creative use of a grid. By employing actual boxes, it creates an practical structure to follow. I think its genius.

"Grids serve as the underlying structure for modeling and archiving human thought, interactions, and events."

As always, I have had difficulty narrowing down my ideas. I have settled on two, that are based on my actual original sketch. Which I drew with no photo references. Above are some wild ideas for stationery. The ancient romans did not use postage as we think of it today. So I tried thinking outside the box a little. I customized some wax seals with icons I made, and tried to mockup a leather envelope. The one on the right is a wax tablet, which would have been used for transferring information in a semi-permanent way. They also used scrolls and such back then for official documents. So I may try to make some sort of weathered paper texture to print on the back of my letterhead. Going forward, I may also work on some sort of word logo as well. After our class discussion/lecture on stationery. I will probably tone down some of my stationery ideas (as far as the historical accuracy is concerned). 

[emyersarts246-003]

Project 1: Music Festival Design System

Week 3 - Typographic Design: Form and Communication by Rob Carter

Chapter 2: The Anatomy of Typography

Some of the earliest typography was constructed from a basic grid structure. They also followed a structure to unify them. This structure was composed of the beard line, baseline, x-height, meanline, and capline.

Beard line: lowest line where descenders hit

Baseline: line that all letters rest on

X-height: the distance of the letter form from baseline to meanline

Meanline: line that the top off all letters hits

Capline: highest line where ascenders hit

Within the guide, there are several names used to denote the “anatomy” of letters, or the different terms for their characteristics. This includes the apex, arm, ascender, bowl, counter, crossbar, descender, ear, eye, fillet, hairline, leg, link, loop, serifs, shoulder, spine, spur, stem, stroke, tail, and terminal.

These two guides allow for style liberties. Type is able to be manipulated by changing proportions of the letter’s height, weight, width, stress, and posture in relation to each other. When all of the letters are of the same proportion, it creates a visual unity. This is what we call the typographic font. These fonts have gone through stylistic phases throughout history starting with Old Style, Italic, Transitional, Modern, Egyptian, Grotesque, Neo-grotesque, Humanist, and Geometric.

The main focal element of the poster design for this project is the name. This means that the font/style has to be visually striking, memorable, and fit the theme. Remembering the different elements of typography and how they affect mood is very helpful for this. I want to create an intricate design that is still legible and has the feel of the theme I chose. To do this, I would like to create a font with a thinner weight, capital letters, and embellishments as design liberties. I sketched many different type styles and then digitized a few of the better ones to see what they would look like if they were more polished. After I did this I then chose a few that I really liked and I am now working on redeveloping and refining them. I am also beginning to think about what I want the poster design to be. I have been taking photos of the course of this project that I can hopefully use and manipulate to fit the style.