Developing Comm Design Expertise: Typography
Leanne Faye
s3701207
Assessment: Typography Expression & Essence
Instructions
Typography: 33.3%
The Project Brief
s3701207
Assessment: Typography Expression & Essence
Instructions
Typography: 33.3%
The Project Brief
PART 1
Allocated statement:
A proverb is a short sentence based on long experience.Creative Development
Think
You will be provided with a statement (see above) that you have to typographically interpret in an expressive manner. Think about what exactly is being said.
Fonts
You will be provided with a choice of three serif and three sans fonts (all available in Typekit). See the font selection.
Typographic treatment will be paramount so requisite care and effort in font selection and/or modification will be a factor.
Parameters
> Keep the typographic design concept as simple and succinct as possible.
> Let the concept drive the design, not the other way around.
> Minimise the number of typefaces used.
> Do not be afraid of simplicity.
> No pictorial elements / imagery allowed
> Black and White only. No colour.
Format
A3 in dimensions (420 x 297mms). Either horizontal or vertical.
Give consideration as to the composition within this space.
Analysis
Write a 50–100 word analysis of your typographic concept.
Cite material from lectures or other references using proper typographic terminologies.
Readings/Viewings 1 (To be discussed in the second class)
https://www.typotheque.com/articles/conceptual_type
https://www.typotheque.com/articles/we_dont_need_new_fonts
(Links to an external site.)
It is important that you read the articles (accessed by the above links) as we will be discussing it in class. And yes, these discussions fall under the assessment criteria of 'analysis' – the ability to be able to articulate arguments and speculation around design. So while you're reading, write down any questions or notes. Don't be afraid of being argumentative or provocative – in fact, that is to be encouraged!
Assessment Criteria
Communicate – Communicative Clarity, Analysis (written), Class Discussion.
Create – Typographic Concept, Technical Crafting.
PART 2
Creative Development
Think
You are to pick the key word/s from the same statement allocated from Part 1 and analyse the typographic essence of the individual letters.
Take the letter apart right up to the point where it is about o become unreadable.
Here are some questions to begin this process:
> What are the unique structural features of these letterforms?
> At what precise point do these letters cease to be communicative? How does this differ from letter to letter?
Fonts
You will be provided with a choice of three serif and three sans fonts (all available in Typekit). See the font selection sheet.
Parameters
> No pictorial elements / imagery allowed
> Black and White only. No colour.
Analysis
Write a 50–100 word analysis of your typographic concept.
Cite material from lectures or other references using the proper typographic terminologies.
Readings (and viewings) 2 (To be discussed in the third class)
Experimental Typography – Whatever that means https://www.typotheque.com/articles/experimental_typography_whatever_that_means
Helvetica (2007 Documentary) available for free to all students through lynda.com
It is important that you read the article (accessed by the above link) and the documentary film Helvetica as we will be discussing these in class. And yes, these discussions fall under the assessment criteria of 'analysis' – the ability to be able to articulate arguments and speculation around design. So while you're reading and watching, write down any questions or notes. Don't be afraid of being argumentative or provocative – in fact, that is to be encouraged!
Assessment Criteria
Communicate – Communicative Clarity, Analysis (written), Class Discussion.
Create – Typographic Concept, Technical Crafting.
Final Presentation Slides
Communicate – Communicative Clarity, Analysis (written), Class Discussion.
Create – Typographic Concept, Technical Crafting.
PART 2
Creative Development
Think
You are to pick the key word/s from the same statement allocated from Part 1 and analyse the typographic essence of the individual letters.
Take the letter apart right up to the point where it is about o become unreadable.
Here are some questions to begin this process:
> What are the unique structural features of these letterforms?
> At what precise point do these letters cease to be communicative? How does this differ from letter to letter?
Fonts
You will be provided with a choice of three serif and three sans fonts (all available in Typekit). See the font selection sheet.
Parameters
> No pictorial elements / imagery allowed
> Black and White only. No colour.
Analysis
Write a 50–100 word analysis of your typographic concept.
Cite material from lectures or other references using the proper typographic terminologies.
Readings (and viewings) 2 (To be discussed in the third class)
Experimental Typography – Whatever that means https://www.typotheque.com/articles/experimental_typography_whatever_that_means
Helvetica (2007 Documentary) available for free to all students through lynda.com
It is important that you read the article (accessed by the above link) and the documentary film Helvetica as we will be discussing these in class. And yes, these discussions fall under the assessment criteria of 'analysis' – the ability to be able to articulate arguments and speculation around design. So while you're reading and watching, write down any questions or notes. Don't be afraid of being argumentative or provocative – in fact, that is to be encouraged!
Assessment Criteria
Communicate – Communicative Clarity, Analysis (written), Class Discussion.
Create – Typographic Concept, Technical Crafting.
Final Presentation Slides
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