You made it! This is the FINAL project!
And as previously discussed in class, you’re in charge. You determine the content, page-count, images, etc.
However, there are some expectations:
This project should be ambitious, creative, and a culmination of what you’ve learned not only in this class, but also in Typography, Type + Image, and Publication. Pay attention to type size, margins, and image quality.
And, of course, there should be a solid concept upon which you build the entire project. What is the story you want to tell? What is the subject you want to address? Why should someone pick up this book and read it?
DUE WED DEC 7
For your FINAL PROJECT in Type + Image:
You will pick a haiku at random from the mystical haiku bowl.
Your task is to reinterpret the haiku as a small, 8-page booklet. You must design the front and back covers, as well as three interior spreads.
You may use any kind of typography you would like to tell the story. All words in the haiku must be used, but no other words. However, you may repeat words or phrases. Imagery can be used freely to compliment the typography. The kind of imagery, i.e. found images, photography, illustration, etc. is up to the designer. However, they must be appropriate resolution and quality. No pixels! There are no color limitations.
- 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 quality idea generation
- To increase conceptual skills
- To increase your understanding and appreciation for typographic subtlety
You will be required to maintain thorough documentation of your process throughout this and all assignments in this calss. Keep a collection of everyting pertaining to this project (research, sketches, 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.
- 6″ x 6″ saddle-stitched booklet
- Process notebook
6″ x 6″ booklet, including covers and 3 double-page spreads
- Wed Nov 16 – Begin research / thumbnails / sketches
- Mon Nov 21 – Digital comps due
- Wed Nov 23 -Thanksgiving Break (No Class)
- Mon Nov 28 – Revisions Due
- Wed Nov 30 – Individual Critique
- Mon Dec 05 – Revisions
- Wed Dec 07 – Project Due
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.
- 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.
- 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.
- 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.
- Scan the results of your tracing and markering and digitize in Illustrator.
- 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.
- 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…
- Design with your hands
- Design a typographic system
- Implement a creative typographic solution
- Analyze typographic design processes
Mon Oct 03
Draw shapes (modules) on graph paper
Test by designing characters with those modules on graph paper
Wed Oct 05
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.
• 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
DESIGNING A SERIES OF ART BADGES
For your final project, you are to design a series of badges for the School of Art at Texas Tech. This should represent a visual system that uses consistent imagery to convey the concepts associated with the areas and the school itself.
- To familiarize yourself with the process of designing a visual system
- To understand concepts of symbolism and simplification
- To design for specific production processes
- To create expressive and efficient symbols
Always begin with research. Think back to our visit to the Vietnam Archives. Visit the TIOH website. What did you notice about those badges? What made them interesting, boring, creative, expressive, unique…? How can you translate those characteristics into ideas that represent the School of Art? Once you have established a few visual directions this project could take, begin to make visual decisions on which path to follow. Visual decisions can only be made with visual evidence. Then, as you move into Illustrator, keep in mind the production process for badges of this sort. You wouldn’t use super fine lines, gradients, or tiny letters.
Your badges will end up in color. Design them in black and white, and once they are digitized, color comes into play. At that point, you can use four (4) colors at most. This includes black and white. Look at the examples of Luke Drozd’s below… they use four colors each. Sometimes they include black and white, and in those cases, there are two more colors, totaling four.
- 1 badge for the School of Art
- 2 badges for program areas (Graphic Design, Studio, Foundations, Art History, Visual Studies, Bachelor of Arts in Art)
- Project Folder (sketches PLUS research material, google images, etc.)
Each badge is to be presented on a 4″x4″ square. Output must be clean, sharp and of professional standards. A description must be indicated below as shown in the example. The design will be mounted on a black board measuring 10″x15″.
- Wed April 20 – Critique Thumbnails
- Mon April 25 – Critique Drawings
- Wed April 27 – Digital Comps Due
- Mon May 2 – Refine Digital Comps
- Wed May 4 – Critique Digital Comps / Discuss Symbols Booklet
- Mon May 9 – Work on Badges & Symbols Booklet (Last Day of Class)
- Wed May 11 – Class Will Not Meet
- Sat May 14 – FINAL at 9:00am
Look around at The Institute of Heraldry site…
Don’t forget these beauties, by Luke Drozd…
Each of you will create a symbol for a page from a children’s alphabet book. The symbol will be a lettermark. Keep in mind the numerous functional requirements of a mark as you design (memorability, identification, linking, and so on).
The solution for the symbol will be a combination of the letter you are assigned and a familiar and easily identifiable word which begins with that letter. The word must be something a small child can identify with, i.e. an animal, toy, food, etc.
Keep in mind that this is for a children’s book. The letter you create and the word used to make it need to be synonymous with each other. This is a symbol, not an illustration. The visual should be simple, strong and bold.
- To familiarize yourself with a lettermark and it’s appropriateness
- 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)
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.
Good design is the synthesis of form, content and function. Maintaining this integrity will advance design as a profession and is a socially responsible philosophy.
- One (1) lettermark
- Process notebook
- The mark will comfortably float in a comp measuring 4″x4″.
- The lettermark will be reproduced in black and white only.
- Output must be clean, sharp and of professional standards.
- The finished designs will be mounted on a black board measuring 10″x15″
- Wed Feb 10 Begin Project 02: Children’s Book Lettermark.
- Mon Feb 15 A minimum of 27 thumbnails due, nine to a page, at the beginning of class.
- Wed Feb 17 Large scale comps of three top thumbnails turned in at the beginning of class.
- Mon Feb 22 Computer generated comp of best rough due.
- Wed Feb 24 Revised computer generated comps due.
- Mon Feb 29 Project 02: Children’s Book Lettermark Due.
Test your typographic skills in this AIGA Ultimate Typography Quiz.