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 ONLY 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. You may use no more than two (2) typefaces. You may use multiple weights and variations of the same typeface, i.e. italics, small caps, etc. Use letterspacing, leading, point size 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.

There are no color limitations on this assignment.

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 (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
• one 15″ x 20″ print
• one process notebook
PRESENTATION
• The finished print will be an unmounted 15″ x 20″ print


Project Timeline

8/31 Begin Project. Listen to songs. Research. Start sketching.
9/05 No class meeting. Work independently.
9/07 Bring 4 or 5 typeface possibilities, 6 to 8 loose sketches.
9/12 Critique digital comp
9/14 Review changes
✭ 9/19 Project Due – 15″ x 20″ FLUSH MOUNTED ON FOAM CORE ✭


These are the songs:
Johnny Cash – Folsom Prison Blues
Run-DMC – Tougher Than Leather
Bob Dylan – Blowin In The Wind
M.I.A. – Come Walk With Me
Marty Robbins – El Paso
ABBA – Voulez Vous
The Rolling Stones – Paint It Black
Public Enemy – Fight the Power
Beck – Wow
Merle Haggard – If We Make It Through December
Jeff Buckley (Leonard Cohen) – Hallelujah

TYPE + IMAGE: Object Type

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 Wed, October 19 at the beginning of class.


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…

It’s Fall 2016! Welcome Back!

Hey! How was your summer!? Awesome!
We’re back to school and it’s going to be A-M-A-Z-I-N-G!

Here are the syllabi for my courses this semester:

Micropublishing Syllabus • Mon/Wed 8:00-10:50am
Type + Image Syllabus • Mon/Wed 12:00-2:50pm

And my office hours are Mon/Wed 3:00-4:00pm and Friday by appointment. My email address is still dennis.schmickle@ttu.edu. And my office is B-20 in the Art building.

Type + Image: Final – Sat Dec 5 @ 4:30pm

Your Final is Saturday, December 5 at 4:30pm. We will have a final overview/critique of your projects.

You will turn in:

  • 11″x17″ print featuring your entire character set in both variations on 15″x20″ black matboard
  • Printed specimen booklet on 15″x20″ black matboard
  • a PDF of your characters (emailed to me dennis.schmickle@ttu.edu)

Examples (click to enlarge):

typeface-matboard  typeface-book-matboard

Type + Image: Custom Type

Screen Shot 2015-11-12 at 3.51.14 PM

Your final project in Type + Image has a number of components.

  1. You will design a custom typeface (Doyald Young)
  2. Design a specimen booklet for your typeface (House Industries)

Objectives

  • Create and implement an original typeface
  • Create conceptual typography
  • Develop an awareness between aesthetic and conceptual concerns in type design
  • Increase conceptual skills through research

Project Components

  • 11″x17″ print of your typeface on black matboard (simple, nothing interesting)
  • Specimen Booklet (dimensions variable) presented on black matboard
  • PDF of full font

Deadlines

Tue Nov 10: Begin research and initial sketches
Thr Nov 12: Review research and sketches. Digitize sketches.
Tue Nov 17:
Thr Nov 19:
Tue Nov 24:
Tue Dec 1:
Thr Dec 3:
DUE: Saturday, December 5 at 4:30 p.m.


Ok, so what is meant by “concept” in this case? ZXX is a heavily conceptual typeface. It was designed with a specific purpose in mind, and that purpose heavily influenced how it looks. San Francisco is another font with a particular purpose. Why does it exist? Knockout and Gotham are two typefaces with historical context. How can you interject some kind of specificity into your particular alphabet?

Then, how do you advertise your creation? For whom is it intended? Can you create materials that will speak to that audience, and shine the best light on your typeface?

Check out this (now tragic) short documentary about Hoefler & Frere-Jones:


Font Men – SXSW 2014 Official Documentary Short Selection from Dress Code on Vimeo.

Start with letters O, H, and D. Erik Speikermann starts with A, N, E, S, and G. Then move on to characters composed of all straight lines: E, I, T, etc. Then, how do you deal with curves… such as the letter S, g, the ampersand (&), and the other sundry characters that make up a full set?

And if you’re going to start designing type, it behooves you to familiarize yourself with some type designers:


The Art of Hermann Zapf from Johnny Dib on Vimeo.


House Industries: Interview with Ken Barber from Gestalten on Vimeo.

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 different way?

Your problem for this assignment is to re-package a familiar piece of literature in a way that is appealing to younger readers (16-22). Your task is two-fold. First, you must redesign the book cover. It should stand out amongst the overcrowded shelves. It should attract attention.

It should, however, represent the story in a fair and honest way. The second task (or, part two of the assignment) is to create a promotional/instore poster to advertise the book. This poster should use some of the same elemnets that appear on the book, but keep in mind the purpose of a poster. To advertise and get attention.

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

  • Design the front, spine, and back 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.
  • The Poster must include the above information plus, the Barnes and Noble logo (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, 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

  • one book cover mounted on foam board (dimensions variable)
  • one book cover attached to an actual book
  • one poster (11″x17″)
  • one process notebook

PRESENTATION

  • The finished poster will be flush mounted on foam board
  • The finished book cover will be mounted on a 15″ x 20″ Black board
  • The finished book cover will also be attached to an actual book

DEADLINES

  • Tue Oct 20 – Discuss topics, begin thumbnails sketches/RESEARCH
  • Tue Oct 27 – 3 full-color (8.5”x11”) computer comps due for book cover
  • Tue Nov 3 – revisions due for book covers / 3 full-color comps due for poster
  • Thr Nov 5 – Revisions of book cover and poster due
  • Tue Nov 10 – Finished book cover and poster 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

Life on the Mississippi
Mark Twain

The House of the Seven Gables
Nathaniel Hawthorne

Kidnapped
Robert Louis Stevenson

Treasure Island
Robert Louis Stevenson

The Legend of Sleepy Hollow
Washington Irving

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

The Prince and the Pauper
Mark Twain

The Red Badge of Courage and Four Stories
Stephen Crane

The Deerslayer
James Fenimore Cooper

Little Women
Louisa May Alcott

The Last of the Mohicans
James Fenimore Cooper

Frankenstein
Mary Shelley

Dracula
Bram Stoker

The Bostonians
Henry James


Type + Image: Dia de los Muertos Poster

Process:

Step 1: Research the Mexican holiday, Dia de los Muertos, or “Day of the Dead.” Learn as much as your can about the holiday, it’s meanings, customs, traditions, history, symbology, etc.

Step 2: Visit this collection of grave stones. Choose an interesting vintage tombstone epitaph to interpret typographically. Don’t forget the typographic experimentation from the two previous assignments.

Step 3: Find a vintage illustration(s) or etching that is a public domain, or non-copyrighted image. There are many, many resources on the internet…

Your task is to combine the chosen text and imagery to create a poster to celebrate the spirit of Dia de los Muertos. You may use no more than three (3) typefaces. You may use three (3) base colors, but can utilize blending modes and opacity to create others. Use letter-spacing, leading, point size, etc. freely to convey the message. Use all of the type from the headstone. The basic rules of typography such as horizontal scale, baseline, alignment, etc. are of little to no concern for this assignment. Be creative!

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)
  • increase conceptual skills
  • increase your understanding and appreciation for typographic subtleties

Working Technique:

Draw ideas from photo references to establish spatial design relationships. Look at your text “creatively.” Find unique ways to represent your subject matter through photography, diagrams, illustrations, etc. Look at scanning techniques and drawing techniques to enhance your image selection. Research definitions, charts, graphs, etc. for unusual approaches for information graphics for your subject.

Suggestions: Evolve your thumbnail sketches into workable drawings for execution (concentrate on simplicity and stylization). Carefully consider artwork and photo characteristics (line weights, positive and negative shapes, etc.) as you begin. Work with the principal of “overlap” and create a strong visual hierarchy for your poster. Consider blending images to create new compositions.

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, thumbnails, sketches, illustrations, copies, etc.) and always have it with you. This collection will be turned in at the completion of this assignment and will be part of your final grade.

Project Components:

  • one 11×17 color print (unmounted) at due date
  • one hi-res digital version saved as a jpg or pdf
  • one process folder (digital or physical)

Deadlines:

  • Oct 1 – Begin assignment: Research, brainstorm, sketch
  • Oct 6 – Have 10-12 loose sketches/thumbnails
  • Oct 8 – Three computer comps due
  • Oct 13 – Critique / Revisions / work day
  • Oct 15 – Revisions / work day
  • Oct 20 – Prints, digital version, and research documentation due

Type+Image: Typographic Rhythm

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 ONLY 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. You may use no more than two (2) typefaces. You may use multiple weights and variations of the same typeface, i.e. italics, small caps, etc. Use letterspacing, leading, point size 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.

There are no color limitations on this assignment.

  • 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 (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
• one 11″x17″ print
• one process notebook
PRESENTATION
• The finished print will be mounted on a 15″ x 20″ Black board


Critique: Thur Sept 24
Due: Thur Oct 1


Choose from these songs:
Johnny Cash – Folsom Prison Blues
Queen – Bohemian Rhapsody
Run-DMC – Tougher Than Leather
Talking Heads – Psycho Killer
Run The Jewels – Run The Jewels
M.I.A. – Bad Girls
Marty Robbins – El Paso
ABBA – Voulez Vous
The Rolling Stones – Paint It Black
Public Enemy – Fight the Power