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Week 7 - Lecture
That moment when Andy is talking about Typography being 2D architecture… and suddenly you realise that theres an actual example of LITERAL Typography architecture right in front of him!
… coincidence?
Pangram! Writing in the sun whilst is drys in seconds! Fun assessment!
Taking about how emojis can change the way we can perceive words. Say that’s sick and adding the “haha” emoji can give it a fun meaning as if I was to use the “sad” emoji could give the word a sad meaning to it.
Cute emoji !
Reflection
Time is too fast. The classes I expect each week are lectures and workshops. From this semester , I could learn a lot of things I had never covered before in each lecture. It was like opening the door to the new world. I was full of interest and expectations in design. In the workshops, I was most impressed by Andy letting us use different shapes of cards to spell letters. That experience taught me that designing is to practice and explore, rather than just thinking in my head. After learning this semester, I learned the different shapes and structures of the fonts, learned how to make a magazine, and learned a lot of design methods.
I was really satisfied with my uni life. I met a lot of lovely people. They can always give me help in many crucial moments. The professors are also very good. Whenever I encounter any difficulties, they can always tell me how to deal with it. I think what I can learn is not only the knowledge that the course brings to me, but also the love and perseverance of life.
In the third project“ask me anything”, I not only tried to make web design, but also interviewed a good illustration designer. I asked her many questions that I was puzzled about. These are all problems that I encountered in the design. I really want to know how others are facing and solving these problems. After I got the answer, I found out that many of the problems I faced would be met by her. Maybe this is the challenge of learning design.
I used to think that expressing myself what I wanted to do in my design was the best way, but now I don’t think so. Because I study communication design, I need to show my design to people, so that everyone can give me advice and suggestions. I need to adopt those good suggestions to make my design more effective.
I am very happy that each time I finish a project, I will show my achievements on my social network. My friends often give me many suggestions. Many people also like my design. It makes me feel very motivated!I think everyone who studies design needs to be encouraged and recognized ,because every design inspiration is hard-won.
Finally, what I want to say is that this is where the dream begins. There will be more surprises waiting for me. I am looking forward to my design course : )
Indesign tips:
18.05.18
- Page ‘A’ = Master page (use to enter titles, page numbers, guides, etc).
- Ctrl+Shift+Click = click on page (chance background colours, etc).
- Ctrl+D= apply images into containers
- Recommended dpi for images: 240 or 300
- ‘W’ = preview for printing
- ‘T’ = type tool
- Pages - layer - type - style & paragraphs - change type for one paragraph
- Always save during wip!!
A great summary and reference of Indesign tips, Thankyou for sharing! :)
That was helpful, thanks!
Eric Gill’s second edition of his book, An Essay on Typography, was published in 1936 and is part of our Leuba Collection. His specific theme is “typography as it is affected by the conditions of the year 1931.” What he means by that is in 1931 the clash between industrialism and handcrafting methods was coming to a head in the world of presses and printing. Gill’s book offers principles on “the making of letters and the making of books” in order to emphasize the fluidity of the alphabet as we know it.
Many of the seemingly inexplicable standards we have for alphabet letters today come from the history of the physical methods of writing, especially the change to writing on paper. For example, “upper case” letters and “lower case” letters were once one and the same. Gill demonstrates how the Roman letter “A” evolved into “a.” The reason for this is that the two strokes of “a” were easier and faster to write on paper than the three-stroke “A.”
Another case he brings to our attention is that of serifs and sans-serifs. Serifs were a hold-over from the times when words were chiseled into stone or wax (because they provided clean lines to the letters), but it was bothersome to add serifs on every letter when writing by hand. However, a new twist occurred in typography history. With the invention not only of movable type, but also word processing software, serifs are now as easy to use as sans-serif fonts. Now the decision to use one or the other is merely a matter of taste, design, and readability.
“Gothic” lettering is today seen as a fancy font that one rarely uses. However, Gill points out that what we think of as gothic lettering just used to be the normal way to write letters. When writing was chiseled onto stone, the craftsmen found the easiest way to write was in the “gothic” style. After writing transitioned to paper though, people continued to use the gothic letters because they were the only type of letters they had been exposed to, and their shapes were natural in their eyes. They were simply copying the only letters they had ever seen.
Over the centuries the shape of letters has changed dramatically, not only because of the ease of holding a pen rather than a chisel, but also because writing practices began to favor standardization, and letter “type” stopped imitating handwriting styles. This is why we type in fonts that would be inefficient to write by hand. Gill acknowledges that we have developed “normal” styles of lettering, but encourages typography enthusiasts to be creative with their lettering (without being absurd).
-Lauren Galloway, student employee
Resources:
Gill, Eric. An Essay on Typography. Second ed., Sheed & Ward, 1936.
THIS POST APPLIES TO BOTH WEEK 5 & 6,
Double whammy woop woop
# WEEK 11
In today’s class, it tell us how to use indesign and the files that supplied to use from school..
It is really helpful to me because I always have some problem about the typesetting order..But with the file ,it will be easy a lot…I hope I will not have problems with printing after I finish it…
PROJECT 2 | Interview Research | How to make a zine
(from Pinterest)
Wish I had this before!
Project3- ask me anything website✅
GRAP2199 | Week #10 | Lecture/Relevant research
11 Design Manifestos You Must Read
1. Ornament and Crime by Adolf Loos (1910)
This is arguably the founding definitive text of design, written so far ahead of it’s time it took until the 1950s and ’60s to see a lot of these ideas become conceptualized. If you only read one text off this list, make it this one.
2. The Bauhaus Manifesto by Walter Gropius (1919)
The Bauhaus Manifesto is layered in design politics and in-fighting of the time, as there were splits in fidelity to the Bauhaus movement occurring frequently. Check out our past post on the Bauhaus Movement.
3. Topography of Typography by El Lissitzky (1923)
Russian artist and designer El Lissitzky was a busy man, working under Kazimir Malevich he created propaganda for the USSR and was integral to the Bauhaus controversies being declared “un-German”. He was also incredibly talented, and his writing on Typography as a kind of architectural form is a must read for the Typo-nut in you.
4. First Things First by Ken Garland and co-designers (1964)
Ken Garland’s succinct manifesto is filled with brevity and lofty wit. Created with his co-designers (and co-signers of the manifesto), this is guaranteed to inspire you when your client-liaison isn’t going so well.
5. Ten Principles for Good Design by Dieter Rams (1987)
This beautifully designed manifesto is sure to delight. It’s to the point, clean, and literally practices what it preaches. It’s so sparse and minimalist, it can also be read as a kind of new-wave spiritual guide on how to live your life, which is you know, handy.
6. The Riot Grrrl Manifesto by Kathleen Hanna (1991)
Riot Grrrl feminists created this manifesto in the early nineties, and it reads as a brilliant product of its time. It was necessary for it to be written then, and still necessary to be read today. It’s fun, sassy, and most of all inspiring (to everyone, feminist or not), to get out of your comfort zone and create great work.
7. Incomplete Manifesto for Growth by Bruce Mau (2000)
If you’ve ever been stuck in a creative rut, this is the manifesto for you. It lists practical and metaphorical ways we can grow, perpetually as artists. A lot of Mau’s ideas are taken from John Cage and the Black Mountain School artists’ ideas about creativity, and he intertwines these ideas flawlessly. Read it, you reap what you sew!
8. Designers Against Monoculture by Noah Scalin (2001)
This was written in response to a perceived “monoculture”, or uniformity in visual culture found in the post-Y2K, post-heroin-chic-craze of the intense 1990s design aesthetic. It’s interesting to find a manifesto that identifies the way design shifted in the early 21st Century and is proactive about changing the status quo.
9. Draft Craft Manifesto: On Making and Consuming Things by Ulla Engenström (2005)
For anyone who has made anything ever, by hand (so everyone), this is an insightful and bold manifesto dissecting craft culture. Put your hot glue gun down and immerse yourself in Ulla Engenström’s brilliant ideas.
10. 1000 Words: A Manifesto for Sustainability in Design by Allan Chochinov (2007)
This elegant and sophisticated manifesto on sustainable art and design for the future is essential reading. In just 1000 words, we’re transformed into a place of recontextualizing and re-grafting our design goals to meet the need for environmentally aware design in every work we create.
11. Towards A Minimal Model For Publishing & Design for the modern tablet, mobile and web (2012)
This rare nugget of gold has been written specifically for the future of publishing and design. It acknowledges that how we receive most of our information has changed to screen-based interfaces, and argues that good design needs to adapt (minimally) to this new, permanent shift.
Beth. (2013). 11 Design Manifestos You Must Read Today. Retrieved from https://blog.redbubble.com/2013/10/11-design-manifestos-you-must-read-today/
Khyati Trehan (Berlin, Germany) · Interview
The Beauty of Scientific Diagrams, 2014
Keep reading
Progress #10 - Ask me anything!
Ooooooh boy. What a week it has been. I’m slightly sleep deprived and super overwhelmed by how much work I still need to do. In the meantime, here’s the progress!
Also, it was honestly so hard to choose between my 1st and 2nd creative - I love them both! However, I’m currently focusing more on Sean Kirkpatrick (Second creative) with this project as he’s from Melbourne (Soft spot for our hometown) I plan on doing one for Artbymoga (First creative) as a side thing though!
MOCK-UP 1: Its…okay.
This is my first mockup print out and it turned out fine! I realised that it might be a bit small..
I also realised that as much as this zine is perfectly fine, I’m not satisfied with it’s ‘lack’ of expressing my creative to the full potential. I might make it more like a comic to reflect his style!!
Mock-up/prototype 2: Better! …Needs some adjustments + additional surprises hehe
So much happier with this layout! It reflects my creative’s style and colour palette really well! I might play around with negative space & some text adjustments
Now time to create all of the small not-so-secret additions such as the pull tabs, pop ups etc. This was created in illustrator btw, found it it was easier to do the pages because i wasn’t doing a normal traditional zine (Sorry InDesign, its not you , its me) Also happy with the size of the zine! Yayy
This is incredible!
I’m super jealous…
In this lecture, l am very interested in the eyewriter. Eyewriter is a low - cost eye tracker. Originally designed for the crippled graffiti artist TEMPT,the eyewriter system uses inexpensive cameras and open-source computer vision software to track the wearer’s eye movements. I think it’s a good invention in the word. In the tutorial, Andy and Karen taught us how to use the Indesign to make the zine.
Activity on 23 of March and I just realized that I didn’t post it yet:( Anyway this was part of the pangram experience. We 4 people as a team did this work after the water writing, we used colour plastic tapes to build up this and this was much harder than I thought, because we needed to balance each letter’s sizes with limited tape, also the spot of the letters, otherwise the shapes would be changed. Moreover, We got to plan about how we made it looks good with good presentation for connecting each letters. Finally we made it and it looks alright I think. In conclusion, this was a interesting and great experience I had and I enjoyed in it pretty much:)