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darn a typi should not have
In writing my haiku i wanted to come up with something that graphic designers could relate to. We are exploring kerning, a necessary and extremely important, yet painstaking process… so what causes graphic designers pain? in our society and how fast paced we are expected to live our lives there is nothing more frustrating than unnecessarily wasting time. with word processing a typo is not a big deal, you can simply fix it. however, this is not the case if a designer creates outlines and starts manipulating the text, only to find a typo. “Darn, a typo.” Time to go back and redo everything that i just did.
We were then faced with the decision of what typeface we wanted to use. How can our haiku look like a part of its natural environment? how can we make it look like it belongs in our location and isn’t just a student project? What typeface projects professionalism and yet an acute sense of design rationale? Garamond. Garamond is one of the most classic typefaces and most unrecognized, recognized typeface. In this is simply mean that it is such a clean, well designed, common, professional typeface that it would not look out of place or draw unnecessary attention to the typeface and allow for the subject to be the focus.
I already had sheets of masonite that my group decided to use to laser cut our letterforms on. Masonite, being a high gloss brown chipwood, was ideal for the typeface that we chose. It was sturdy, clean, fresh yet not obnoxious, and professional, everything that Garamond represents.
In selecting our site we wanted to place our graphic design related haiku in an area where many of the graphic designers are so we decided to place our haiku in the most common gathering place in Old Main for graphic design students, outside of the classrooms. We also wanted our haiku to be placed high up on a wall, both to allow it to appear as a sign or billboard like object and also to keep people from vandalizing it. We also wanted to chose a wall that was clean and did not have scuff marks or any other imperfections. It was also important to find a spot that had a wall color that we felt complemented the color and sheen of our letters. The eggshell, matte, light green paint above the stairs fit this description perfect and therefore, is where we decided to place our haiku.
We decided to do all of the kerning on the computer and then tile print and paste all of the pages together so that we had everything perfectly aligned. we then cut the letters out of the pages and placed the laser cut letters in the void space. I think our process for this proved to be very useful because it ensured that we had a high level of craft in placing our letters. I think there could have been more group evolvement in the actual kerning so that everyone could have gotten practice but this was a result of little time and also doing it on the computer instead of the wall.
For this project we were given two adjectives and had to create a typeface for the words that were based off of the adjective. We also had to create these typefaces using a grid. The two words that I received were unmannered and depreciate. To start I decided to come up with all of the connotations that went along with each of these words.
Unmannered means to be without manners. To be very crude and honest and forthcoming and to not hide anything. There are no subtitles or refinements… what you see is what you get, whether you like it or not. To get the wheels spinning I turned to what I knew… Architecture. Mies Van Der Rhoe is an architect who’s designs have been described as unmannered, so much so that he has been labeled an unmannered architect. The reason for this is his unwavering use of visible structure. Van Der Rhoe does not hide any of his structural elements and instead uses them as the main aesthetic elements. The result is a very rugged structure composed of concrete and steel with all of the connections and nuts and bolts visible. So to visualize this in a typeface I wanted to show the bare essence of all of the letters. I wanted to get rid of any refinements or intricacies that can be present in a letterform and just focus on the the aspects that were essential to a letterform being identified. I did this by starting with a rectangle. From there i added and or subtracted necessary elements to help identify the form as a letter. The result was a very brash unrefined letterform.
Depreciate means to lessen in value. It is usually depreciating over a period of time and as a result becomes obsolete and less valuable. An important note, however, is that depreciate means to lessen in value but implies a minimum value. Something cannot depreciate to nothing because at the point the adjective would become disappear and not depreciate. I wanted to focus for the most part on the visual aspect of lessening and as a result developed a letterform that comes to a point in at least one portion of the letter. I also wanted to try and create a typeface that implied a retro feel or an essence of being obsolete or somehow less relevant then it may have use to be.
In Lauren’s letterform she also decided to use the lobe of a g in her letterform. In her use of the lobe however, she chose to have the bottom of the r like letterform meet the lobe at a pointed angle which goes against how I felt the lobe should have been connected. However, the upper potion of her letterform matches an old style typeface perfectly. She also did a very good job of creating a letterform that did not use many anatomic aspects of other letters and truly created a unique letterform.
In my letter I wanted to focus on all of the connections between different parts of the anatomy of the letterform. I chose to use ITC Legacy for my typeface, which is an old style typeface. Besides the obvious stroke width variation between typefaces, there are many subtleties in the transitions of the brackets. Many of the letterforms share anatomic qualities so this project became a question of how can a new letterform be created with the existing anatomic qualities of the letterforms and analyze how to transition between these different aspects. For example, the serifs of the arms of k, v, w, x, and y are all the same. In addition, the ascenders of b, d, h, k, and l match the ascending strokes of i, j, m, n, p, and r are all the same. Therefore, in designing a new letterform, these aspects needed to remain the same. Therefore, the aspects that change are the angles of the arms and the brackets and other connections between the main body of the letterforms and the rest of the letter. This is why I chose to use a lobe in my letterform. The only letter to use a lobe like this is the letter g and it connects to a rounded bowl. I wanted to examine how this lobe could interact with a more angular arm like that found in a w or x. I also chose to introduce a new element not seen in any other letters. This aspect would be the right most ascending arm and serif. While the left arm meets the x-height, I chose to have the right arm stop short of the x height to help differentiate my letterform from any others while still using the same language as the other letterforms.
despite its name, the “modern” typeface, also known as didone, is not new. in the eighteenth century improvements in paper quality combined with more advanced printing methods brought about changes in how typefaces were created.
modern is the term used to categorize fonts created at that time or in the style of that time.
modern fonts are recognizable by their thin, long horizontal serifs, and clear-cut thick/thin transitions in the strokes. the stress is vertical, i.e. there is no slant on the letters.
old style typefaces are considered to be the best type for large amounts of body text on paper. that’s why you’ll find them used heavily in newspapers, magazines and books. they can also work well on the web and two old style fonts are considered to be web-safe: Times New Roman and Palatino Linotype. old styles don’t jump off the page with any sort of quirkiness and that’s what makes them easy on the eye. there is an argument that for print-based work serif fonts are the best, while for the web/screen sans-serif fonts are easiest to read. If you find that’s the case, you could consider using the fonts below for headings and sub-headings.