Daily review/progress of type specimen

Initial alphabet poster layout

To begin with, I tried out this structure for my specimen page, as I knew I needed space for my planned images in context in the middle. I don't think this layout works as it has those weird gaps and it also lacks the idea of a mirror image due to the lack of straight edges. I wanted my alphabet to fit into the landscape format. 

Development of structure

This format works a lot better as it uses the exact same structure as my logotype, thus building consistency. Initially I thought it looked too busy, but I think once I add in my context images in the middle it should break up the components and add a better composition.

  

Here is just a simple plan of how my alphabet will look composed alongside the space for the images. I think I want to use a halftone / singular colour effect as it might look nice printed on coloured paper?

Print experiment / producing by hand 

I decided to develop my previous poster design to be made by hand by cutting out the words and sticking them on paper. I then removed anything I didn't want in the print by photocopying it to clean up the edges. This poster concept could feature and image in the left corner, but I want to keep it clean edged after my feedback yesterday on how my designs looked too fuzzy.

I added an element of distortion by cutting the poster type in half and offsetting it slightly like my approach to the logotype. I really think this works effectively as it provides links to my 50/50 split theme going on in the specimen. 

Testing on coloured paper

I think that the neon colour stock works super well with my design, as it juxtaposes the black nicely. What could look nice is if I print out my images on just a singular colour, so then I only have a duo toned specimen. This would be relevant to my 50/50 approach. 

Plan for tomorrow 

• produce the alphabet page by hand using the same method for the poster 
• import today's poster designs digitally and add some images
• create new mock up designs with new poster design 
• try and get the first specimen page done 
• import the alphabet digitally once finished 

Vignelli Canon and his ideologies on type

What are the views of Massimo Vignelli on typography?

Vignelli believes massively in that typography shouldn't be expressive or shout something to readers; his ethos revolves around the idea that within the world of type, 'all we need are a few basic ones (fonts) and trash the rest'. This very much reflects the attitudes and actions of graphic designers in the modernist West during the 1960's - typography saw an evolution in designers using simple, san serif typefaces like Helvetica which cleaned up the over complicated commercial design prior to its use, such as the redesign of the New York Subway. 

Where do I stand?

Vignelli also states in the Vignelli Canon that 'type manipulation represents a new level of visual pollution threatening our culture'. To some extent, within my own work ethos, I disagree that all forms of expressive type should be considered 'pollution', as the role of a designer is to communicate ideas, and through type manipulation, it can be done subliminally and make positive impacts on our culture. I suppose that my perspective mirrors a majority of todays' contemporary designers, as I think that within the current landscape of typography, designers find a balance between type with rules and type that has meaning. For instance, I think my typeface for the Bloomberg exhibition reflects this balance, as I have built a rule, yet done so in order to communicate my theme of reflection. 

Crit Feedback - development/improvement of type specimen

Initial notes on feedback:

• simplify designs 
• current specimen is too busy 
• print letters in metallic vinyl big 
• continue with the 50/50 idea 
• print on shiny paper 
• mirror the context images 
• stick vinyl on mirrors?
• scrap initial structure and just make two A2 posters printed on A1 instead of an overcomplicated structure 
• use the same rule that was used for the logotype; repeat the alphabet in the same structure 
• my current issue is that my specimen doesn't follow the flow of my logotype/alphabet so it looks too forced and busy 

New plan:

• two A2 sheets in an A1 poster 
• A2 sheets use the 50/50 rule and have one half written one way and the other half the other way 
• have a section in the middle for the first poster for an image in context and reflect it on either side 
• first poster contains the two alphabets which follow the structure of my logotype; e.g. aaaaabbbbccccc and repeated 
• second poster features the rationale in the middle which again, is reflected. The goal is to make the posters flippable and able to read either way up
• the second poster features the logotype on one half and another image in context on the upper half
• alongside this one big A1 sheet, I am going to print out my poster design, and make some vinyl stickers of some letters to highlight my theme of reflection

Daily review of initial type specimen ideas

Initial poster concept

 Here are two variations of my initial poster design from last weeks' printing experiments. I decided to go for the 50/50 split concept as it plays with the idea of doubles and mirror images, as well as providing a nice space for the date or place of the 2020 exhibition. I also really like the certain roughness that the split has, as I produced it by ripping it by hand which adds some nice texture. 

Initial plan for specimen layout 

For my type specimen, I wanted to use the same approach as I did for my large scale designs on Friday. I want to print my poster design as A0 with added reflective/metallic vinyl on the key elements of the typeface. Additionally, I definitely want to apply my rule of duplication to the concept of duplicated images. I then want to print my alphabet design and context images on the other side of this sheet to show off my typeface. This plan illustrates how I initially was going to do so; an A0 poster made up of eight A3 sheets.

Feedback 

 I was suggested in my feedback to play more with my 50/50 split rule and design some extra posters that all fit together by reflected parts; this would help strengthen my links to my theme of reflection. This concept would use my logotype design, but have one half the flipped way round, then flipped over and repeated on the interlocking posters. This would allow me to create a nice series of posters that could communicate the different times and places of the exhibition. Additionally, I was told to try and apply this rule to my rationale and alphabet pages, by splitting sections up. However, I do have some concern on how this might affect legibility, as a type specimen is for cliental purposes. 

Furthermore, I was then given the idea of having 16 A4 sheets for the back page instead of 8 A2 sheets, as it would allow me to split pages up to fragment and reflect images. This could work well in communicating my theme, but I worry that the final outcome may look tacky due to how it might be stuck together. 

Developed poster designs 

 This poster design follows the concept that was suggested in my feedback of having a 50/50 split of how the type is placed; in this case, 'Bloomberg' is one way, whereas 'Leeds' is upside down. The idea would then explore how this poster would look tiled amongst other posters to create a series. I then decided to contribute to my theme by adding a duplicated image of Laura Hindmarshs' 'screen studies' which inspired my typeface initially. 

Here is a very abstract version of a poster background that involves this duplication and halftone approach. I works really nice visually as an image, yet I think adding type would cause it to be stripped of its rule.

Transforming the typefaces into 'typeable' font

light (typeface)

Bold (logotype)

I used 'Caligraphr' to develop my typeface designs into an actual ttf file that allowed me to type with them on Adobe. This will help me produce a nice body text, as I wanted to use my typefaces in my actual rationale. The only thing is which one would be more fitting in that context?

Print experimentation

Initial Logotype 

Based on my feedback from my logotype, I decided to develop a rule of repetition to relate to my theme of reflection more; I initially did so by repeating layers of text which gave a nice distorted effect. The issue with this design is that it doesn't fit to the idea of a portrait poster, and I think that the 'new' doesn't fit well in the composition.

Due to the issues with my initial logotype, I chose to adapt it to a landscape position, as it would make it much easier to apply to various poster designs. Here above is the design that features 'new' within the same shape, which makes it fit in more than the previous design. I definitely prefer how the text is overlapped in this design, as it looks much more legible.

This design is the version without overlapped text which I just made to experiment. I still really like how it communicates the idea of duplication, but I much prefer the stronger rules of the other poster. 

Physical Outcomes from Print Experiment

This print experiment was created by splitting two sections of the poster design in two in order to create a sense of fragmentation and doubles. I really like the colours of this poster, as the black and blue conflict with one another. I think it would be interesting to use this rule on a larger sheet of paper, possibly with a wider blue border?

As you can see from this image of the collection I produced, I played a lot with overlaying text and printing on different colours. I think my poster design generally works well on various colours, especially the neon pages.

This poster concept is based around the idea of splitting the logotype in half and offset it slightly, I printed it with a border which actually gives quite a nice effect. The only issue is the worry of legibility, especially when considering a good logotype. 

Here is my large scale design, which is to the size of A1; I think the logotype works well as a large scale piece, as it provides more of an impact and I think it is appropriate in an exhibition setting. 

Research / inspiration for new logotype approach

Swiss Posters 

Dimitri Jeannottat

I really like the structure of this poster design and how areas are hidden; it pushes the idea of legibility and makes the eye focus on the type more. Although the actual visuals do not relate to my theme, I like the idea of playing with legibility through structure.

Chris Gautschi

This poster relates to my rule of duplication, yet does it in a  more subtle way. I might try repeating words for my logotype in order to communicate a sense of reflection and mirroring, and concentrate on doing so with just the type.

I couldn't find the name of this designer, but again, these posters also create a sense of duplication with how the text is repeated then fragmented etc.

After looking at these designs, I feel more pushed towards approaching my logotype with duplicating words and layering behind one another. Due to this it might create quite a nice distorted effect, as well as developing a stronger link to my theme of reflection. Additionally, it may allow me to strip back my designs and follow simple rules to create consistency.

Development for poster / context design

Initial development 

I decided to try out a more simplified version of my poster designs and adopted a monochrome approach; I like how this concept looks, but it doesn't follow a rule or any kind of structure. I think in order to push my work further, I really need to create a strong structure to keep my work consistent to my theme.

Mockup development 

Here is that same poster logotype added onto the Henry Moore Institute building; I think it works nicely as a visual piece, but again I have received feedback that it lacks structure and rules.

Feedback notes/ what to do next 

Current designs don't follow a rule, they need to be consistent 

Swiss posters; repeated text and fragmented type

Repeat text to form a barcode for logotype

Create a rule for posters - have it symmetrical

Still continue doing duplicated images

Try simplifying posters - don't need images?

Spread out type and break words up

Have vinyl in reflective

Catalogue includes reflected words

Simplify type to fit

Logotype - context and images

Initial designs / mockups

Multicolumn grid - how text is spread out; columns could be spread out. For my designs I could play with the idea of reflecting columns possibly, or even duplicating text?

Designing with a ‘hang line’

Text hangs down from the hang line. I think for my approach I might experiment with the idea of having two sides to my designs, to mirror the theme of reflection having two images.

Stacking- lines going across and goes up; sense of order. Stacking is relevant to my designs as I could reflect the stacks on either side of say a poster or something.

For my context designs, I need to use the same rule that I applied to my typeface; this would involve me playing with the idea of repetition and duplicating images in order to convey a sense of reflection.

Playing with repetition of images 

I initially began by using an image of Laura Hindmarsh's piece which focuses on a theme of reflection; I decided to duplicate it in order to play with my theme of duplicated lines within my typeface. I like the distorted effect that this provided, as it added some depth to a poster design that would work nicely as a background piece. However, I decided to edit the image further so it wouldn't overpower the poster design. 

These two poster designs focused on a black and white approach, as I wanted to play with compositions first before adding colour. I found that in order to fit the text in the format, I had to cut the word 'contemporaries' in two; I'm not sure if this makes the type struggle with legibility? The only issue with this monochrome effect is that the typeface gets lost a bit in the background and isn't really clear; I do still want to make the image have a role in the poster as it communicates the artwork, but I think the image and text are battling a bit.

Adding colour 

I then added some colour to the poster designs in order to play around with alternative colour schemes and to place more emphasis on the typeface. I also played with the idea of reflection further on the left design, as I mirrored the type underneath and distorted it to provide a feeling of a distorted reflection. I think I prefer the left poster design as it looks more intriguing and fitted to an exhibition poster. The right design doesn't have the same distortion, and I think looks a bit flat; the image doesn't really compliment the type and the colours kind of blend into one. 

Using a split effect

These poster designs involve a split effect to play with the concept of mirrored images. I split the colours down the middle to provide a double image effect, which also gave me a rule of splitting the typeface also - this kind of distorts legibility, but I think visually it works well. The poster on the right also involves the '20' type to communicate the actual year of the event which is important in the infographics of the poster. Additionally, this poster has less of contrast between the two split sides of the poster, which kind of works better in making the type stand out. 

Basic mockup designs 

These quick mockup designs allowed me to position my typeface into the context of wall stickers. I think I prefer the bottom design in regards to how the title is positioned in the top right corner, however there is a risk of it feeling quite cramped. I don't think that my ligature design really works for the scale that its in, as I think including both the ligature and title on either side looks very professional. I definitely need to develop my mockup design further, as at the moment I'm not happy with the placement of the type. 

Crit Feedback 

I was suggested by people to do the following:

make the text bolder to stand out in the posters

use poster background as a design for vinyl?

some posters loose legibility 

increase line weight 

duplicate the logotype on the walls?

try overlaying the poster backgrounds over photos of exhibition 

flip images more

reflect the logotype

simplify

Research for logotype / context

Alex Valentina 

I found this poster design on Valentina's instagram and noticed his use of repetition of images which relates to my rule of duplicated images and lines. Contrastingly though, his work is much looser and doesn't seem to follow a rigid structure; Valentina seems to embrace this and on 'it's nice that' he claimed that his work is in the pursuit of chaos and 'creating outside established conventions'. 

Valentina has recently created a lot of chrometype fonts and I really like how this typeface looks very alien and modern; I suppose this would be relevant for the concept of Bloomberg being a platform for new, fresh artists. 

This type design also plays with a theme of distortion which I want to look into, as I could approach reflection from the perspective of reflection on liquid possibly? 

The Politics of Self-publishing

AA Bronson on the Community and Politics of Self Publishing 

Artist and founder of the artist group General Idea, and President of Printed Matter, AA Bronson, discusses the community and politics of self-publishing within the book ‘The Newsstand’ (Lele Saveri 2016).

Bronson highlights that following the invention of the printing press in the 15th century, opportunity for voices to be heard within politics grew through pamphleteering. During 1960’s totalitarian South America and Eastern Europe, artists utilised pamphlet or zine formats to communicate ideas which were otherwise deemed  illegal or dangerous. According to Bronson these publications were “inherently political” either openly or sometimes only because they allowed individual voices to be heard in such strict regimes. 

This desire for independent voices to be heard later became popularised within the outburst of punk self-publishing circa 1977, which mostly consisted of vinyl and zines. These publications were arguably political due to their nature of taking control out of the hands of

70’s record companies and giving back to the artists (the individual). 

Bronson touches on how the explosion of the punk self-publishing amidst the 1970’s inspired marginalised voices to speak out during the 80’s, in a new generation of ‘queer zines’. A key player in this new generation was ‘J.D.s’, a queer punk zine from Toronto co-published by Bruce LaBruce and G.B Jones which again, allowed “aesthetically, sexually and geographically marginalised voices to be heard.”

Saveri, L., Miller, K. and Wawrzyniak, M. (2016). The newsstand. New York: Skira Rizzoli Publications, Inc., pp.49-50.

Logotype adaptations

Terminology

Kerning 

kerning - spacing between letters / adjusting the space between individual letterforms to create a visually pleasing result.

Leading

Leading - the spacing between the baselines; vertical distance between lines. Bad leading appears cramped with a lack of white text.

Tracking

Tracking - the amount of space between groups of letters. Readability decreases when negative space decreases. 

Group task (creating logotype layouts)

Here are some of the concepts that were generated within my group regarding how I could present the idea of reflection for my logotype. I really like the idea of joining some letters together, and I could literally reflect some elements to thoroughly give the impression of reflection.

Initial concept using previous typeface 

These two variations include my previous typeface. I like the composition, although it looks kind of flat and needs more depth, so I think I need to introduce more lines and possibly heavier line weights. 

Feedback / rule development  

From peer feedback, I was suggested to develop a rule relating to the history of the exhibition. In this case, I referred to the 71 years of Bloomberg in 2020, and decided to add 7 and 1 to create a rule of 8. This means that for each letter, I added a line as the alphabet progressed, and once I reached 8, I started from 1 line again. e.g. A=1 line, B= 2 lines etc.

New typeface design (alphabet)

Here is that rule applied to my previous typeface; I really like how this looks and how it turned out as it definitely makes my typeface stronger by having a good rule. Additionally, it allows me to relate to the idea of duplication more by contributing to the theme of reflection. 

Bolder line weight 

I think I prefer the previous type than this bolder one, as it looks a bit too bold (especially the x). 

Putting it into a logotype / playing with composition 

I used the same compositions suggested in my group task for these compositions, and introduced the new alphabet design. I think that with the logo typed out, it works quite well as there is a good balance of line weights which definitely make the logo have more depth. 

Crit Feedback 

I think from my crit feedback I can take some suggestions to develop my logotype further:

• Experiment with new compositions - don't just use horizontal lines
• Introduce the idea of reflection into the actual logotype and not just the font
• Try different line weights 
• Just keep doing more iterations to push the logotype further
• Consider the physical aspect