Type+Image: New WPA Posters

Project Brief:

The Works Progress Administration  generated hundreds of posters, murals, and other works of art. Many of the pieces were reflective of the time: after WWI, into WWII, with traces of Art Deco.

Your assignment is to design a *new* WPA poster. Something that encourages good ideas like voting, environmental conservation, or other positive ideas. (There are plenty of things to make posters against, but part of your objective in this case is to find a positive approach.)

ALL IMAGES utilized in this poster will come from your own hands/process. NO INTERNET images. That’s not to say that an image from the internet can’t serve as reference or part of some kind of process, but no copy/pasting.

Your poster is to be 18”x24” with no more than 3 base colors. Remember, white (or what ever your paper color is, doesn’t count as a color, but black or anything else does. You can even use colors to overlap to create more colors. Like we discussed in class.

And finally, your poster will have a simple animated version, using either the frame-by-frame or video timeline methods demonstrated in class.

View hundreds of WPA posters here. 

Type + Image: Modular Type

Second Wave by WeWorkForThem
Second Wave by WeWorkForThem

Your objective for this project is to design a creative and expressive typeface from three basic shapes. Of course, all letterform design is modular, in a way. Once you have a stem, curves, transitions, and the like, you can use those parts and pieces to create an entire typeface. That’s exactly what you are going to do, but with just a few shapes. Often, we think of the bauhaus and their heavily geometric and modular ideas. Here’s a link to a great looking workshop on modular type.

albers-kombinations-schrift

  1. You will begin by drawing your modules on graph paper. Try out a few different combinations of shapes. Try a circle, square, and quarter-circle. That would yield a typeface like Josef Albers’s Kombination Schrift above. Then maybe try some less geometric, more organic shapes. Then mix the two styles together to get something new and interesting.
  2. Then test your design by designing a series of letters and numbers with those modules. You might instinctively start out with A, B, C, etc. But that isn’t really the best way to go. Instead, start out with A, E, N, S, G, and 2.
  3. Next, transfer your final selection of modules to clean, white paper and carefully cut them out. Use the cut out shapes to create upper-case A through Z, and 0 through 9. Trace the shapes with pencil and fill in with marker on white paper.
  4. Scan the results of your tracing and markering and digitize in Illustrator.
  5. When that is finished, design a poster promoting your new typeface, featuring A-Z, 0-9, the name of the typeface,  and your name set in that typeface. Put you name and class on the back of the boards.

PROJECT OBJECTIVES

  • Design with your hands
  • Design a typographic system
  • Implement a creative typographic solution
  • Analyze typographic design processes

PROJECT TIMELINE

Tue Oct 31
Draw shapes (modules) on graph paper
Test by designing characters with those modules on graph paper
Thr Nov 02
Develop letterforms
Tue Nov 7
Start re-drawing in Illustrator
Thr Nov 9
Refine letterforms / Start designing promo poster
Tue Nov 14
Refine poster
Thr Nov 16
Project Due

PROJECT COMPONENTS

• 15” x 20” board with promotional composition featuring A-Z, 0-9, name of typeface, and your name
• Project Notebook

EXAMPLES

modular-04

modular-05

modular-01

modular-03

Type + Image: Papel Picado

Papel picado, loosely translated as “perforated paper,” is a folk art technique practiced in Mexico. Colorful pieces of cut paper are strung to flutter in the wind during many holiday celebrations, including Día de los Muertos, Christmas, Easter, and personal ceremonies such as weddings and christenings. Specific color schemes are tied to each of these holidays. Pink, orange, and purple, for instance, often decorate ofrendas for Día de los Muertos, while red, white, and green (colors of the Mexican flag) are used in commemorating Independence Day or Mexico’s patroness, La Virgen de Guadalupe. It consists of rectangular pieces of tissue paper cut away into intricate, repetitive designs. Simple versions can be constructed by folding and snipping with scissors; more elaborate versions require awls, chisels, and other special tools. The design emerges as the artist manipulates the negative space of the tissue paper. Experts in the craft will handle many layers of paper at once, generating extensive designs that often include motifs such as flowers, birds, skeletons, crosses, and historic figures, among others. Papel picado decorations are ephemeral, existing only during the celebration. They are typically displayed outside, where their delicate construction will disintegrate naturally in the wind and rain. This transitory existence is repeated in many of the other elements of Día de los Muertos celebrations, such as the fresh food and flowers that adorn many ofrendas at this time.

You are going to create your own papel picado triptych consisting of type & image honoring technology that has become obsolete and/or extinct or rock stars that have passed on.

Color choice is up to you and should be expressive of your subject and Día de los Muertos. We will not be using tissue paper for our project. Instead we will be using 11×17″ 24lb astrobright paper. (This will be provided.) You are free to use your own paper if you wish–be sure it is at least 24lb but not more than 28lb (or equivalent). During your exploration, remember to consider you will be creating your image across three panels. In these panels you may want repeating motifs and you will need structure across the panels to “hold” your image and type in the panels. Also remember, these pieces you create will ultimately be strung together and hung in the hallway. The technology your are celebrating is the focus and typical iconography is secondary. Stretch the boundaries of your imagination and skills of concept to challenge your representation of your chosen mechanical corpse.

OBJECTIVES

  • Explore a culture and medium in which to create
  • Develop an awareness of the relationship between design and meaning
  • Increase conceptual skills through research
  • Use your hand skills to create your design

PROCESS

  • Start your sketches in pencil on 5½ x 8½” horizontal paper; use this size to keep the design in ratio of the horizontal 11×17″ panels
  • Finalize your design in the 5½ x 8½” size and copy it to 11×17″ white paper to create your cutting patterns (sometimes an inverted copy will help you see the positive and negative spaces more clearly)
  • Affix your white patterns to your colored stock and start cutting with an xacto
  • A paper hole punch will be used to create the holes for hanging, the string will run across the back of the panels and secured by masking tape (keep this in mind as you design, the top of the panel will need to be at least ½” wide)

SUPPLIES

  • pencil, sharpie, micron, computer
  • xacto knife (not a box cutter, not a snap-off blade)
  • scissors, if you have scrapbook type with decorative blades you may use them
  • paper punches (if you have them)
  • cutting mat
  • masking tape, painter’s tape
  • one sheet of poster board or a folder (to store your panels between classes)

PROJECT COMPONENTS & PRESENTATION

  • Assignment sheet, research, sketches should be kept in a process notebook
  • Final pieces will be hung in the hallway; you will be responsible for helping to hang the work
  • Be sure to photo your panel hanging in the classroom against the white critique boards before hanging and again after it is hung for exhibit

RESOURCES

There are plenty of resources on the web for information about papel picado and many wonderful images. Research is highly encouraged—take note of the repeating motifs, look at structure within the panels, and make note of how type is used. Using known structures you have observed for this project is ok, using a found pattern is not. YOU are responsible for creating a unique image incorporating a “portrait.”

diadelosmuertos.nationalhispaniccenter.org/dia-de-los-muertos/origins.html
happythought.co.uk/day-of-the-dead/how-to-make-papel-picado
mamitalks.com/2014/11/papel-picado-templates.html

DEADLINES

Tue Oct 10: Begin Project / Brainstorm, Research, Sketch
Thr Oct 12: Discuss your subject / View sketches
Tue Oct 17: Critique 5.5″ x 8.5″ triptych drawings / make copies for 11″ x 17″
Thr Oct 19: Work in class
Tue Oct 24: Work in class
Thr Oct 26: Three panels are complete and ready to hang

Type + Image: Book Jackets


kidd-desk
In this day of high speed internet and instant information, do we still take time to appreciate the classics. Is information like classic literature, art, poetry still pertinent and vital? How would you encourage a 17 year old to put down the phone and pick up a book? Perhaps that book just needs to be presented in a new and interesting way?

Your problem for this assignment is to re-package a familiar piece of literature in a way that is appealing to younger readers (16-29). Your task is two-fold. First, you must redesign the book cover. It should stand out amongst the overcrowded shelves, AND it should represent the story in an honest way.

The most successful book covers are those that give a hint of the story inside, without revealing all the details.

  • Design the front, back, spine, and flaps of the book.
  • The book cover must include, the title and author. The Penguin logo must be on the spine and back. Download it here.
  • Give your book a barcode by visiting this site, or download this vector file.
  • Make your book as much as possible like a “real” book. Add an ISBN number, reviews, price, and other details.
  • There are no color or typographic limitations on this assignment.

OBJECTIVES 🎯

  • Increase your ability as a planner and form giver
  • Develop an awareness of the relationship between design and meaning
  • Increase and improve the quality idea generation (quality & quantity)
  • Understand and identify a “target” audience
  • Increase conceptual skills through research

PROCESS 💡

You will be required to maintain thorough documentation of your process throughout this and all assignments in this class. Keep a collection of everything pertaining to this project (project sheet, research, sketches, thumbnails, copies, etc.) and bring it to each class meeting. This collection will be turned in at the completion of this assignment and will be part of your final grade.

PROJECT COMPONENTS & PRESENTATION 🖼

  • One book cover mounted on 15″ x 20″ black mat board (shrink to fit)
  • One book cover attached to an actual book
  • One process notebook

DEADLINES 💀⏳

  • Thr Sept 21 – Introduce Project/ Research / Begin thumbnails sketches
  • Tue Sept 26 – 3 full-color (8.5”x11”) computer comps due for book cover
  • Thr Sept 28 – revisions due for book covers / 1 full-color comp (cover, back cover, spine, flaps)
  • Tue Oct 03 – Revisions of book cover due
  • Thr Oct 05 – Finished book cover due Work day
  • Tue Oct 10 – Finished book cover due

Book and book cover design resources:

 


YOU WILL PICK FROM THESE TITLES:

Moby Dick
Herman Melville

The Scarlet Letter
Nathaniel Hawthorne

The Strange Case of Dr Jekyll and Mr Hyde
Robert Louis Stevenson

1984
George Orwell

The Catcher in the Rye
J.D. Salinger

Treasure Island
Robert Louis Stevenson

The Legend of Sleepy Hollow
Washington Irving

Little Women
Louisa May Alcott

Of Mice And Men
John Steinbeck

Frankenstein
Mary Shelley

Dracula
Bram Stoker

Animal Farm
George Orwell

Fahrenheit 451
Ray Bradbury

Invisible Man
Ralph Ellison

Night
Elie Wiesel

Type + Image: Typographic Rhythm

F. T. Marinetti
F. T. Marinetti • via RIT

Just as music has rhythm, so to does typography. Good type has soul, feeling, emotion, beat, tempo. Type can be happy or sad, meaningful or silly, disturbing or inspirational. A good song effects you in some way, so should good typography. It can be fast paced or slow paced, upbeat or melancholy. Learning to understand the rhythm of type is essential to a graphic designer.

You will each be given a song. There are many styles available. Listen to the lyrics.

Your task is to interpret the feel of the song using typography. It can have visual meaning, but this must be accomplished with type. Using only lyrics from the song, typeset and choose typefaces that seem fitting. Use as much of the lyrics as is necessary to achieve the feeling you wish to convey. Use color, texture, letterspacing, weight, leading, point size, etc. freely to help convey the message. The basic rules of typography such as horizontal scale, baseline, alignment, etc. are of no concern for this assignment. BE CREATIVE. Think of yourself as a visual conductor.

OBJECTIVES
• to increase your ability as a planner and form giver
• to develop an awareness of the relationship between design and meaning
• to increase and improve the quality idea generation (quality & quantity)
• to increase conceptual skills
• to increase your understanding and appreciation for the subtleties of typography

PROCESS
You will be required to maintain thorough documentation of your process throughout this and all assignments in this class. Keep a collection of everything pertaining to this project (research, sketches, thumbnails, copies, etc.) and bring it to each class meeting. This collection will be turned in at the completion of this assignment and will be part of your final grade.

PROJECT COMPONENTS
• one 15″ x 20″ print
• one process notebook
PRESENTATION
• The finished print will be a 15″ x 20″ print mounted on foam core


Project Timeline

8/31 Begin Project. Listen to songs. Research. Start sketching.
9/05 Print lyrics / Look for typographic cues.
9/07 Develop 3 concepts in Illustrator
9/12 Critique digital comp (3 hi-res PDFs) / Continue with best concept
9/14 Implement changes from critique
9/19 Refine concepts
9/21 Project Due – 15″ x 20″ FLUSH MOUNTED ON FOAM CORE ✭


These are the songs:

  1. Search and Destroy – The Stooges
  2. Uncontrollable Urge – Devo
  3. Crapa Pelada – Quartetto Cetra (English translation)
  4. Motörhead – Ace of Spades
  5. Dent May – Don’t Let Them
  6. Elvis Costello –  I Want You
  7. Nick Lowe – I Love the Sound of Breaking Glass
  8. Public Enemy – Fight the Power
  9. Willy Wonka – Wondrous Boat Ride
  10. The Mooney Suzuki – Electric Sweat
  11. Rollins Band  – Do It! (Pink Faries cover)
  12. Guided By Voices – Hold On Hope
  13. R.E.M. – It’s the End of the World as We Know It (And I Feel Fine)
  14. Neutral Milk Hotel – Holland, 1945
  15. Portishead – Wandering Star

 

Type + Image: Object Type Book

Type is everywhere. And the more obsessed you become with typography, the more you start to see it all around you. The pair of concrete posts with an iron crossbar in the photo above may not look much like a lower-case U, but it’s there if you look for it. And so the more you look, the more you will find.

Your assignment is to photograph objects that could be said to look like letterforms, one for each letter of the alphabet.

Then print and bind them as a 8.5″ x 5.5″ booklet. The interior should be fairly straight-forward, but you should design a creative cover. Make sure your name and class section are on the inside back cover.


The finished booklet is DUE THR OCT 19 at the beginning of class.
Put it in your calendar now.


There will be a lot of trees with Ys and telephone poles as Ts, but try to look for more obscure or interesting options.

The shadows on the Art building make a kind-of-a W…

It’s a bit of a stretch, but it could work in context.

There are a lot of letters in this cracked mud…

Welcome to Fall 2017

Hey everyone. Welcome to Fall 2017.
This is where I’ll be posting projects, links, videos, and other relevant information.

My office location is ART B20.
My email is dennis.schmickle@ttu.edu.
My phone number is 806-834-6325.
My office hours are Tuesday and Thursday from 3:00pm-4:00pm and by appointment.

This semester I am teaching Type + Image and Micropublishing. Please download the syllabus for your class here:

Type+Image Syllabus | Micropublishing-Syllabus

Throughout the semester we will make exciting and meaningful work. If at any point in the process you are confused, stuck, or just not sure what is going on… please get in touch with me by any of the avenues listed above. I’m happy to help, but you gotta let me know!

Type + Image: Expressive Lettering

James Victore hates racism
James Victore hates racism

 

He also hates Disney
He also hates Disney
and he doesn't know the secret of the universe.
and he doesn’t know the secret of the universe.

Your objective for this project is to create a compelling, powerful, visually magnetic poster on the theme of anti-gun violence and/or a reaction against hate and violence in general, utilizing expressive hand-lettering and to be exhibited Dec 12, 2016 – Feb 12, 2017 in the Studio Gallery.

PROJECT DETAILS:

20″ x 30″
It should feature hand-lettering
It should be a poster “against guns, hate, and violence in youth culture”

PROJECT TIMELINE:

Mon Oct 24: Begin / Research / Sketch
Wed Oct 26: Refine sketches
Mon Oct 31: Move into Illustrator
Wed Nov 02: Work
Mon Nov 07: Group Critique
Wed Nov 09: Work
Mon Nov 14: Work
Wed Nov 16: Project Due

the-four
glasgow-type

Sometimes, a great typeface can convey great power and even emotional content. But there are times when a conventional font just won’t do.

Fucking A by Paula Scher
Fucking A by Paula Scher

… this project represents one of those times.

As far as content goes, we can all agree that gun violence sucks. We can all agree that racism sucks, hate in any form is not welcome in our society. But how can you find a new and compelling way of making that clear?

A few designers always spring to mind when I think about hand-lettering: James Victore, Paula Scher, Charles Rennie Mackintosh (The Four), and a handful of others.

Wes Wilson
Wes Wilson

Luba Lukova doesn’t particularly need text for this poster to have a powerful message.

Luba Lukova
Luba Lukova

Seymour Chwast used humor in this anti-war poster…

Seymour Chwast Archive
Seymour Chwast Archive
Shigeo Fukuda from 1975
Shigeo Fukuka from 1968
Seripop • Pop Montreal

TYPE + IMAGE: MODULAR TYPE

Second Wave by WeWorkForThem
Second Wave by WeWorkForThem

Your objective for this project is to design a creative and expressive typeface from three basic shapes. Of course, all letterform design is modular, in a way. Once you have a stem, curves, transitions, and the like, you can use those parts and pieces to create an entire typeface. That’s exactly what you are going to do, but with just a few shapes. Often, we think of the bauhaus and their heavily geometric and modular ideas. Here’s a link to a great looking workshop on modular type.

albers-kombinations-schrift

  1. You will begin by drawing your modules on graph paper. Try out a few different combinations of shapes. Try a circle, square, and quarter-circle. That would yield a typeface like Josef Albers’s Kombination Schrift above. Then maybe try some less geometric, more organic shapes. Then mix the two styles together to get something new and interesting.
  2. Then test your design by designing a series of letters and numbers with those modules. You might instinctively start out with A, B, C, etc. But that isn’t really the best way to go. Instead, start out with A, E, N, S, G, and 2.
  3. Next, transfer your final selection of modules to clean, white paper and carefully cut them out. Use the cut out shapes to create upper-case A through Z, and 0 through 9. Trace the shapes with pencil and fill in with marker on white paper.
  4. Scan the results of your tracing and markering and digitize in Illustrator.
  5. Design something (not a poster) with your new typeface. Of course, this typeface will function as a display typeface, rather than something like body copy. And you will not be able to install a font file and type with it. BUT, you can still set headlines or a logotype with it by dragging letterforms around in Illustrator.
  6. When that is finished, you will print and mount two sheets of paper on two 15″ x 20″ boards. One will be your new typeface: A-Z, 0-9, the name of the typeface,  and your name set in that typeface. The other is the thing that you designed with that typeface. (Put you name and class on the back of the boards) See below… screen-shot-2016-10-02-at-7-53-30-pm

PROJECT OBJECTIVES

  • Design with your hands
  • Design a typographic system
  • Implement a creative typographic solution
  • Analyze typographic design processes

PROJECT TIMELINE

Mon Oct 03
Draw shapes (modules) on graph paper
Test by designing characters with those modules on graph paper
Wed Oct 05
Guest speakers!
Mon Oct 10
1. Transfer and cut out graph paper character drawings from white paper
2. Create A-Z and 0-1 from modules by tracing with pencil and filing in with sharpie on white paper
Wed Oct 12
Scan results to digitize and redraw in illustrator
Mon Oct 17
Set type with vectorized letterforms (Not a poster?)
Wed Oct 19
Continue designing with new typeface
Mon Oct 24
Turn in 15”x20” black mat boards: One with A-Z, 0-9. One with the thing you’ve designed.

PROJECT COMPONENTS

• 15” x 20” board with A-Z, 0-9, name of typeface, and your name
• 15” x 20” board with example of design with your typeface
• Project Notebook

EXAMPLES

modular-04

modular-05

modular-01

modular-03

TYPE + IMAGE: Book Jackets

kidd-deskIn this day of high speed internet and instant information, do we still take time to appreciate the classics. Is information like classic literature, art, poetry still pertinent and vital? How would you encourage a 17 year old to put down the phone and pick up a book? Perhaps that book just needs to be presented in a new and interesting way?

Your problem for this assignment is to re-package a familiar piece of literature in a way that is appealing to younger readers (16-29). Your task is two-fold. First, you must redesign the book cover. It should stand out amongst the overcrowded shelves, AND it should represent the story in an honest way.

The most successful book covers are those that give a hint of the story inside, without revealing all the details.

  • Design the front, back, spine, and flaps of the book.
  • The book cover must include, the title and author. The Penguin logo must be on the spine and back. Download it here.
  • Give your book a barcode by visiting this site, or download this vector file.
  • Make your book as much as possible like a “real” book. Add an ISBN number, reviews, price, and other details.
  • There are no color or typographic limitations on this assignment.

OBJECTIVES

  • Increase your ability as a planner and form giver
  • Develop an awareness of the relationship between design and meaning
  • Increase and improve the quality idea generation (quality & quantity)
  • Understand and identify a “target” audience
  • Increase conceptual skills through research

PROCESS

You will be required to maintain thorough documentation of your process throughout this and all assignments in this class. Keep a collection of everything pertaining to this project (project sheet, research, sketches, thumbnails, copies, etc.) and bring it to each class meeting. This collection will be turned in at the completion of this assignment and will be part of your final grade.

PROJECT COMPONENTS & PRESENTATION

  • One book cover mounted on 15″ x 20″ black mat board
  • One book cover attached to an actual book
  • One process notebook

DEADLINES

  • Mon Sept 19 – Introduce Project/ Research / Begin thumbnails sketches
  • Wed Sept 21 – 3 full-color (8.5”x11”) computer comps due for book cover
  • Mon Sept 26 – revisions due for book covers / 1 full-color comp (cover, back cover, spine, flaps)
  • Wed Sept 28 – Revisions of book cover due
  • Mon Oct 03 – Finished book cover due

Book and book cover design resources:


CHOOSE FROM THESE TITLES:

Moby Dick
Herman Melville

The Scarlet Letter
Nathaniel Hawthorne

The Strange Case of Dr Jekyll and Mr Hyde
Robert Louis Stevenson

The Fall of the House of Usher
Edgar Allan Poe

The Catcher in the Rye
J.D. Salinger

Treasure Island
Robert Louis Stevenson

The Legend of Sleepy Hollow
Washington Irving

Uncle Tom’s Cabin Or, Life among the Lowly
Harriet Beecher Stowe

Little Women
Louisa May Alcott

Of Mice And Men
John Steinbeck

Frankenstein
Mary Shelley

Dracula
Bram Stoker

Walt Whitman
Leaves of Grass