The final portion of project 1 consisted of taking a theme from “The Timeless way of Building,” and developing it to relate to an everyday pattern. I chose burials. Not the most glamorous topic, but I happen to work at a cemetery. I see the commonalities of burials and how they relate to a worldly pattern-language. Cemeteries exist all over the world and people continue the traditions of burial.
Project 1 consists of several examinations of order through modular grids. Constraints include Symmetry and Asymmetry, followed by several sub-constraints.
Out of five – One from each sub-constraint grids involving symmetry along the horizontal and vertical axis’. Symmetrical Grids w/ Shades (0%, 20%, 40%, 60%, 80%, 100%), Shapes (Circles, Triangles, Squares), Rules of varying weight, Text (Univers, Baskerville, Bodoni, Garamond, Avant Garde). Each image shown is utilizing the above grids as the vehicle for placement of content…
One of five from each sub-constraint involving asymmetrical layout along the grid.
Found-Imagery was used for a paste-up involving asymmetrical layouts. Same grids…
“Concord & Contrast” using text from our Analysis of Christopher Alexander’s “The Timeless Way of Building” … (Size, Weight, Form, Direction, Weight + Direction)
The use of pattern languages is an inadvertent and conscious process used by people in the development of design. Christopher Alexander notes that these languages are “a fundamental fact about our human nature, as fundamental as the fact of speech,” and that “Each person has his own version of this common language, no doubt; but, broadly speaking, each person knows the same patterns, and the same patterns therefore keep repeating and repeating and repeating, always with infinite variety, simply because these are the patterns in the language which people use.” This has direct correlation to design and typography, where the need to develop patterns based on systems of visual organization is inevitable. For example, using modularity as a system for grids comes with a knowledge or “broad” idea of balance and structural integrity. But, we also know that modular grids revolve around the equal containment of information regarding organization. Our pattern language comes with the variety in what ways we can design these ideas, but also the information we already know and share about a common agreement regarding modular design.
It is in this that creativity can blossom since the information is already present. Without having to always reach for ideas residing in an abyssal pit, the combinations are given. We know as design students that certain typefaces work better for letterheads, paragraphs, and titles. This known knowledge is a product of a pattern language. The combination of delicate serif typefaces for book paragraphs and heavy slab typfaces for titles works as system of information exploited to make well-planned design, as we know from previous research. This iteration and investigation of ideas works to fill our pattern language even further. This is why listening, reading, watching, and seeing as much works of design is integral to the development of our learning while in school as graphic design majors.
Rough sketching. “Modification” is much easier than “Conspicuous” in that it exploits better connotations quite literally. “Conspicuous” is much more vague in its interpretation, so my ideas are becoming more abstract in their initial phase.
For a lack of more time spent, these are my investigations regarding project 4: “Constrained Systems.” Visually, both words portray a broad range of imagery. The idea behind investigation is to go beyond the vague interpretations and bring out the connotations tied to each noun and adjective. While sticking to a modular/square system of organization, I will need to explore the meaning of both words much further in order to best represent both words for the final presentation.
Work in progress of creating a new and “believable” letterform. How the hand naturally writes is a major factor to be cognizant of when generating these ideas.
“Perfect typography is certainly the most elusive of all arts. Sculpture in stone alone comes near it in obstinacy.”
— Jan Tschichold