Art 3330 Spring 2015Intermediate

U n i v e r s i t y o f H o u s t o n G r a p h i c C o m m u n i c a t i o n s

Instructor: M/W Tom SoInstructor: T/Th Fiona McGettigan www.design.uh.edu/mcgettigan/intermediate/

1. - Claude Garamond2. - William Caslon3. - Frederic W. Goudy4. - Francesco Griffo5. - John Baskerville6. - Morris Fuller Benton7. - Giambattista Bodoni8. - Emil Rudolf Weiss9. - Edward Johnston10. - Eric Gill11. - Stanley Morrison12. - Rudolf Koch13. - Nicholas Jenson14. - Paul Renner15. - Roger Excoffon16. - Herb Lubalin17. - Max Miedinger18. - Chauncey H. Griffith19. - Jan Tschichold20. - Herman Zapf21. - Edward Benguiat22. - Gerrit Noordzij23. - Adrian Frutiger24. - Carol Twombly25. - Zuzana Licko26. - Matthew Carter27. - Erik Spiekermann28. - Hans Eduard Meier29. - Jonathan Hoefler30. - Martin Majoor31. - Hermann Zapf32. - Jonathan Barnbrook33. - Phil Baines

Exercise 1 : Typography : Research + Classification Study

Due Monday January 26/Tuesday January 271. Having been assigned one of the type designers to the left, research their typefaces and their work, their process and their design philosophy. Present the work, the context and any other relevant narratives along with representations of their contribution to the world of type design.

Present the work of the assigned type designer (5 min. max.) Include:1. A brief statement about the designer and their work specifically related to their typographic

contribution2. 5 images of their work with particulars about their typeface design, classifications and application.

You may present digitally (screen) or on the wall. If you present on the wall, make sure the prints are large enough for the class to view.

2. Each student should bring 1 unique and interesting typeface sample for each of the 12 classifications on the handout. Please print the alphabet on 8 1/2 x 11 sheet (12)Make sure to label the typeface name, the classification and the designer.Sources to look for these are:

http://www.adobe.com/type/browser/classifications.htmlhttp://www.designishistory.com/1450/type-classification/

Online Font Shops• myfonts.com• Village, vllg.com• H&FJ, www.typography.com• House Industries, www.houseind.com/fonts/• FontShop UK, www.fontshop.co.uk

Take a peek:

• Hype for Type, hypefortype.com• Veer, veer.com• TypeTrust, typetrust.com• FontHaus, fonthaus.com• Lost Type• T26• Emigre• www.psyops.com

Art 3330 Spring 2015Intermediate

U n i v e r s i t y o f H o u s t o n G r a p h i c C o m m u n i c a t i o n s

Instructor: M/W Tom SoInstructor: T/Th Fiona McGettigan www.design.uh.edu/mcgettigan/intermediate/

Project As we begin our more detailed study of typography and form, this project hopes to engage in the study of the details of typefaces, along with the analysis of the spatial silence that transparently enhances the meaning of words. We will use John Cage’s 4:33 study as a reference to create singular and combined typographic explorations based on the concept of ‘there is no such thing as silence’. We will create a composition using onomatopoeic words and marks to accentuate the perceived silence.

Methodology: Part 1 : Listen: Choose a space or context that “seems” free from sound. Spend 4 minutes and 33 seconds minutes recording or notating the silent sounds. Notate: Write down a list of onomatopoeic words (words that imitate natural sounds) that describe the silent sound heard. Select 3-5 of these words to use as a visual expression of silence through a typographic and spatial exploration. Document: Using the assigned typeface (Univers) begin by practicing accurate spacing and tracing of the 3-5 words on a 6 x 8” horizontal format (one word per format). You may choose any of the weights. Express: Analyze the inherent meaning of the sound and the word. Consider formal explorations that may help to visually express the sound. Make a list. Discuss.Continue to evaluate the meaning/sounds of the words by looking at other typefaces that best represent the interpretation. Review the online font sites to the left. Many sites let you test out a few words before buying. Select 3-5 typefaces that best represent the idea/meaning of your words. You may also continue to use Univers. Consider issues of style and classification, contrast and form. Print out the typefaces to use for your study. Write down the name of the typeface, the designer, and the purchase site. Be able to briefly de-scribe why the typeface is appropriate. Enlarge and trace the words using the 3-5 type choices. Compose each word on its own 6 x 8" format. Consider the sound in your expression and consideration of type choice, typographic mixing, scale/size/hierarchy, placement/orientation on the format, composition, positive and negative space, cropping, overlap, splicing, rotation, and other techniques to express the qualities of sound. Consider the typographic experiments on the back.

Design Objectives To research relevant areas within design and typo-

graphic form and become more aware of how design can function in various contexts

+++

To develop an awareness of typographic history, classification and become critical of form and

typographic personality

+++

Introduction to semantics (meaning) and syntax (arrangement) and explore design methods and

criteria through which the meaning of the typographic message and form may be altered.

+++

Explore media, color and techniques for expressively illustrating typographic form.

Refine: Finalize at least 3 words in B+W on a 6 x 8" hori-zontal format. Final media may be print, with pen and ink or plaka with consideration and care of letterform craft and details. Mount with 2" black border.

Part 2 : Use the typographic explorations from part 1, along with other graphic marks or lines to visualize the 4 minutes and 33 seconds sequence of the silent sounds on an 8 x 25" format. Use all the onomatopoe-ic words, consider scale, contrast, space, repetition, sequence, pacing, orientation, rhythm, explore the words in an 8 x 25" horizontal format. Consider color and media. Finalize the typographic exploration on a 8 x 25" format in color/media. You may choose to fold into an accordian book (8 x 5") or mount flat with 2" border. Note: In the sketching process, you may use tools like the copier or the computer to enlarge and reduce, and to efficiently reproduce the nec-essary sketching elements. Please avoid using the computer to produce the final type experiments. All finals must be hand-rendered but may include printed elements.

For lines/marks: Explore media in series of media explo-rations 2D and 3D. See Media Criteria.

Final Formats:1. 3-5 word compositions:

6 x 8” format B+W mounted with 2" border2. 4 minutes and 22 seconds sequence composition:

8 x 25" format Color mounted with 2” border or folded into a 8 x 25" book.

3. 8 1/2 x 11” Horizontally bound sketchbook with all sketches. Part 2 may be reduced or folded. Label each section. Consider the craft and presentation carefully.

Project 1 : Silent Words

In the word “listen” are the same letters that make up the word “silent”. If we stop long enough to listen, even in silence, there are sounds. It is those sounds that frame the experience and context of silence. Composer and musician John Cage’s well known conceptual work “4'33",’’ has been called the “silent piece,” whose purpose is to make people listen. 4’33” has been defined as “an act of framing, of enclosing environmental and unintended sounds in a moment of attention in order to open the mind to the fact that all sounds are music.” For Cage this represented his wish to let sounds be just sounds and considered a new understanding of music itself, a blurring of the conventional boundaries between art and life.” As with sound, silence requires from us, an attention to detail and a consideration of what is not there. With words and typography, our primary focus is on the form (letter and word) and not the space around it (the silent pause). The space around the form resonates like the silent sound.

Online Font Shops Required:• myfonts.com• Village, vllg.com• H&FJ, www.typography.com• House Industries, www.houseind.com/fonts/• FontShop UK, www.fontshop.co.uk

Take a peek:

• Hype for Type, hypefortype.com• Veer, veer.com• TypeTrust, typetrust.com• FontHaus, fonthaus.com• Lost Type• T26• Emigre• www.psyops.com

Part 1 :

Part 2 : Flat option

Art 3330 Spring 2015Intermediate

Instructor: M/W Tom SoInstructor: T/Th Fiona McGettigan www.design.uh.edu/mcgettigan/intermediate/

U n i v e r s i t y o f H o u s t o n G r a p h i c C o m m u n i c a t i o n s

ScheduleDay 1 [T 20/W21 Jan] Assign typographer research Assign typography readings Assign Classification Project Type Lecture (W Class)Day 2 [TH 22] Present: Sound Notation + 3-5 Words in Univers on 6 x 8 horizontal format (one word per format). Day 2/3 [M 26/T 27 Jan] Present: Typography PresentationPresent: Sound Notation + 3-5 Words in Univers on 6 x 8 horizontal format (one word per format). Day 3/4 [W 28 /Th 29 Jan]— Part 1: Present typographic studies

3-5 words/6-10 different typefaces on a 6 x 8” format (one word per format). Label all typefaces.

Day 5 [M 2 Feb /T 3 Feb ]— Part 1: Present typographic explorations

3-5 words—4 sketches of each word. Explore expression through spacing, size, weight and placement etc.

Introduce Part 2.Day 6 [W 4/Th 5 Feb]— Part 1: Present typographic explorations

3-5 words—2 refined sketches of each word. Explore expression through spacing, size, weight and place-ment etc.

— Part 2: 2 typographic compositions (4 x 12.5") B+WDay 7 [M 9 Feb /T 10 Feb ] — Part 2: 2 typographic compositions (8 x 25”) ColorDay 8 [W 11/Th 12 Feb]— Part 2: 1 typographic composition (8 x 25”) Color —Discuss presentation (book or mounting)Day 9 [M 16 Feb /T 17 Feb ]—Part 1 : Due— Part 2: 1 typographic composition (8 x 25”) Color Day 10 [W 18 Feb /TH 19 Feb ]— Part 2: 1 typographic composition (8 x 25”) Color

Assign Project 2Day 11 [M 23 Feb /T 24 Feb ]Due: Part 2: 1 typographic composition (8 x 25”) Color Sketchbook

Part 1: Part 2:

Art 3330 Spring 2015Intermediate

Instructor: M/W Tom SoInstructor: T/Th Fiona McGettigan www.design.uh.edu/mcgettigan/intermediate/

U n i v e r s i t y o f H o u s t o n G r a p h i c C o m m u n i c a t i o n s

M A R K E X P E R I M E N T S

Interpret the sounds of the words in

1. an expressive, fluid, mark-making manner (use ink, paint, and a variety of paint brush thicknesses)

2. use thin lines which are either straight, horizontal, verti-cal, or angled (use thin tech. pen and ink).The line composi-tions should work to visually enhance the meaning of the selected words.

C O LO R / M E D I A E X P E R I M E N T S

Explore the typographic forms and marks using colored media and tools. In most cases you will either cut the letters or marks from the surfaces created (collage) or apply the color media directly to the final composition

Image/Texture Transfer and Printing techniques

• Experimenting with xerox transfer, marker bleeding, paint transfer, texture transfer one paper source to another.

• Cut the letters or marks from the colored surfacesColor or BW Xerography Techniques• Using the copier (b&w or color) to experiment with

textures over textures using transparencies and various paper stocks showing possibilities of technical manipula-tion and visual texture

• Transfer to the final or cut the letters or marks from the colored surfaces

Handmade 2-D Textures• Explore an assortment of textures created by hand based on or using the selected material. (rubbings, xeroxes of found materials, transfer, printing etc.) Paint (oil, watercolor, acrylic, airbrush, spray paint)• Choose paint qualities and explore multicolored paint-

ing techniques on various surfaces, media and paper. Consider colored papers and surfaces.

Color Markers, Pencils, Pastels• Using the selected 3 colors, choose methods and medias

and explore multicolored painting techniques on various surfaces, media and paper. Consider colored papers and surfaces.

Textured Papers• Choose papers and colors that reflect the choices in sub-

jects (gloss, matt, textured, tactile etc.)• Cut out or into the materials• Create texture by hand embossing and debossing

of surfaces.2D Typographic Explorations Explore the typographic form using various 2D drawing techniques including: cut paper, pen and ink, gouache, pastels, xerox textures/transfers, rubbings, Paint, Color Markers, Pencils, Pastels xeroxes of found materials, print-ing, gloss, matt, textured, tactile papers etc.) etc

3D Typographic Explorations Explore the typographic form using a 3D processes like: Weaving, Stitching, Folding, Tearing, Collaging, Piercing, Scoring, Embossing, Debossing, Cutting and materials : Paper, Fabric, Metal, Wood, String, Tape, Plastic, etc.

T Y P O G R A P H Y E X P E R I M E N T S Consider all type experiments to include:• Face, case, size, slant, weight, width,

outline, texture, tonality• Balance, direction, ground, grouping, proximity, rep-

etition, rhythm, rotation• The arrangement and selection of type reinforces the

meaning of words.• The shape of the words and the organization of the type

becomes an important aspect of the composition and the sense of legibility.

• Experiment with the visible language. Expressive, dynamic.

• Explore deconstruction, manipulation, etc.

Art 3330 Spring 2015Intermediate

Instructor: M/W Tom SoInstructor: T/Th Fiona McGettigan www.design.uh.edu/mcgettigan/intermediate/

U n i v e r s i t y o f H o u s t o n G r a p h i c C o m m u n i c a t i o n s

Typography UPPERCASE SERIF

ASCENDER

X HEIGHT

BASELINE

DESCENDER

LOWERCASE LETTERS

STROKE

LOOP

COUNTER

TYP RAPHY

TYPOGRAPHYsits on baseline Poor alignment of rounded letters and poor letterspacing

overhangs baseline Alignment and letterspacing corrected

OG

Typography

Baseline + Letterspacing

“ Ty p o g r a p h y i s t h e a r t , o r s k i l l , o f d e s i g n i n g c o m -m u n i c a t i o n b y m e a n s o f t h e p r i n t e d w o r d . ”

30 units of interletterspacing

“ Typography is the art, or skill, of designing communication by means of the printed word.”

-10 units of interletterspacing

Letterspacing/Tracking is the space added between letters which affects the overall value of the text. More space can slow down the readability of the text, especially in larger bodies of text.

Kerning is the selective optical letterspacing between 2 letters where there are awk-ward visual spacing problems. These problems arise with letters such as TA, AW, VO and in letters W,Y,V, T, and L etc. Overall visual balance/flow is achieved through optical letterspacing.