ART 3 1 6

Project 2: An Alphabet of Alternative Typography

Project Overview Topics We Will Explore: • Imagination and concept development • Working with grid systems • Making a maquette • Paper and color • Assembling and binding • The power of InDesign

The Goal To design a book (minimum of 26 spreads and cover) of alternative typography. Each spread will feature a letter or numeral made with an alternative process, and additional text relating to the letter Possible texts: letter, poem, quote, lyric, book except, etc.—alternativel you can use Twenty Rules for Making Good Design. The structure: A grid system will provide a structure for yoru spreads.

Method PART ONE

Trial Experimentation. Create a minimum of ten letterforms (or numerals) using a minimum of 10 different processes. Choose the most interesting process(es) from your experiments to use for you book. Then, choose your favorite process(es). Create each of the 26 letters/numerals using your chosen process(es). Begin thinking about your text solution.

Method PART TWO

Format. Make dummy formats to determine the size of your book. Plan to print one or more page spreads per sheet of paper. Trials. Create type, color, and paper trials to determine fonts and color scheme for your book. Create a few trial spreads using a grid system(s) of your own design. Critique #1.

Method PART THREE

Build the maquette of the entire book, include title and half title, ideas for end pages, and rough for cover. Second critique, first finish.

Method PART FOUR

Revise and print final pages. Use back-to-back binding with perfectbound cover. Final presentation.

Research 25 years since the first apple computer. “Desktop typography” has grown from experiments of notable designs + designs. With growing control of detail in typography, there has been a growing feeling that originality is being lost. In the last ten years, alternative typography has taken root in the work of many individual designers and studios. Research: books on alternative typography, websites, designers that drove the trend toward originality. Note your reaction to at least four of these designers/sites in your journal.

Project Schedule & Due Dates 3 WEEKS

2.12

Begin Project 2



Lecture: Type as Concept

2.17

DUE: Part1 Experiments



Approval of text for book

2.18

Lecture: Grid systems



Constructing a book using InDesign

2.24

Part2 Critique #1

2.26

Demo: Assembling the book, studio

3.3

DUE: Part3 First Finish Critique #2

3.5

DUE: Part4 Final Presentations

Survey of Alternative + Expressive Typography

The Age of the Computer In the mid 1980s, desktop publishing came on the scene. Transformed the process of graphic design. Instant changes. Enabled designers to create endless iterations of one concept. Roles that were condensed: • Graphic designers: created page layouts • Typesetters: Operated text and display typesetting equipment • Production Artists: Pasted elements into position on pasteboard • Camera Operators: Made pasteup negatives • Photographers: Assembled negatives together • Platemakers: Prepared the printing plates • Press Operators: Ran the printing press Sources: http://citrinitas.com/history_of_viscom/computer.html, Meggs’ History of Graphic Design

New Typographic Expression The invention of the computer has enabled designers to push the limits of typograph expression. Color, texture, images, and typography could be stretched, bent, made transparent, layered and combined.

April Greiman

Sources: Megg’s History of Design

The Cult of the Handmade Despite the advances in technology, there has been a concern that human aspect + personal voice is becoming lost. Focus on individuality and identity. Mistakes are welcome. Irregular lines inspire. Embrace playfulness. Make the process visible: • Handlettering • Graphic Construction • Arranging + shaping things • Ephemeral solutions are explored • Cut + glue

Source: Playful Type, by Gestalen

Sonya Dyakova (top)

Sónia Lamêra

Nir Tober

Sónia Lamêra

Province, Russian Design Agency

One letterform. Many possibilities. Jessica Hische

Marian Bantjes Canadian designer, artist, illustrator, typographer and writer. Attempts to integrate her own inviduality into every project.

View entire book: http://www.bantjes.com/project/i-wonder

Ed Fella American graphic designer, artist and educator. Postmodern deconstruction. Modified/mixed type.

Source: http://www.aiga.org/medalist-edfella/

Margo Chase American graphic designer. Started Chase Design Group. Custom design type + logotypes. Gothic influences.

Envision Typeface

Paula Scher

American graphic designer. Founder of Pentagram. Draws upon historical references and merges them with her own unique expression.

Neville Brody British design + art director (The Face). Founded Research Studios. Contributor to FUSE, experimental type pub. Avid user of the computer as a design tool.

Sources: theredist.com, designishistory.com

Rick Valicenti American graphic designer, artist and educator. Formed studio Thirst/3st. Seeks meangingul relationships with clients. Design is personal and memorable.

Thirst created to announce HP Indigo 7600. Sources: designishistory.com, 3st.com

Skolos + Wedell American husband-wife graphic design team. Techniques integrate graphic collage, multiple exposures, and graduated papers to create three-dimensional, often surreal images. Exploration of merging type with image.

Sources: mkgraphic.com, skolos-wedell.com

James Victore American graphic designer, art director + author. Radical typography. Teaches creative courage. Sought to stretch beyond “sameness.”

Sources: jamesvictore.com