SWEET TOOTH

First bitmap font formed out of Reese's.

FIELD TRIP!

The BUCHSTABEN MUSEUM in Berlin is a gallery museum full of found typography!  You should definitely put it on your to-do list when in Germany

ZESTY!

Images of work being done in Color, Drawing, Form.  Looking at the emotion color provokes.  How the pantone matching system differs from RGB colors.  Then we are currently looking at color harmonies by staging photographs of them.

DIE HAAS NEUE GROTESK

I find it very interesting that this type face which was designed to have such a universal application to words, That by the 70's it turns into a conformity of sameness.  Something that has come out of Idealism, by this point, is merely routine.  The original designers hadn't developed the type face to go through this manipulation of meaning.  But because of it's universality it has brought that upon itself.

Then this type face has its neutral and efficient characteristics so companies use it to seem accessible, transparent, and accountable to the public.  The thing is that they don't have to be accessible, transparent, and accountable but they can look that way.  I feel that is very offensive, being subconsciously lied to and manipulated to feel a certain way.

INDUSTRIAL EVOLUTION BOOK

Industrial Evolution:  An exploration of abstract communication and text and image.  This book is the final product of a collaboration of Typography 1 & Visual Communication.  The Typography was printed on transparency paper, and layered on top of the dot compositions which were created in Visual Communications.  The theme of my book is deindustrazation. 

The 9 representing words I chose to represent the theme, were:
Utilitarian, with symmetry, to represent the "sameness" feeling that utilitarian expresses.

Creation, In which I used A-symmetry to balance the composition visually.  This also has a nice contrast from the centered symmetrical composition the viewer just witnessed.

Demanding, In demanding I used scale to allow the larger dot to have a sense of,"look at me!, Look at me! I'm front and center."  This shift in scale really draws the viewers attention to the center dot, as does the break in the pattern of smaller dots in a line.

Force.  Here I am relying on the proximity of the form to the frame.  The forms heavy nature also rely on the viewers natural knowledge of gravity.  The moment just before impact.  The force is only moments away of occurred.  

Friction.  Here I I am using an graphical representation of the tight framing seen through a lens, to isolate the action of friction.  The dot is grinding along the edge of the larger dots which contain the smaller one with no place to go.

Stress.  A radial line movement away from the center of the composition makes the viewer unease.  The correspondence of scale separates the dots into a group which is dependent of the other.  With out this scale shift it would seem as if these two elements  they would seem as one compound shape.

Complexity.  Looking at the pipework found in factory I again used scale correspondence to separate the single forms in the composition , but in this case the change in scale also add depth to the 2 dimensional space.  

Capacity.  Literally filling the space with a uniform dot with uniform spacing. With out the perfection of size and space the "odd mans out" become the attention grabbers, and then the viewer searches for another meaning, and meaning that the design didn't include.  

Deteriorate.  I am representing temporally in a single graphic.  The passing of time from top to bottom, from perfection to destruction all in a linear fashion. It A-symmetry also adds the tension between the perfection and destruction, through the perfection of bright clean white surface while aganist a manipulated surface.  

Within the compositions we also included imagery.  To alter or support our theme/ our personal view on it.

Utilitarian is only drawing the viewer into this mindset of industry and sets the tone for the type of images you would expect to see throughout the rest of the book.  But then on the second page things start to change.  

With creation, I am highlighting the removal of humans in the industrial environment and replacing them with robots who are capable to do the mans job.  

In Demanding I wanted to relay my opinion for the need of retail stores like walmart and target.  This need is soley based off the america need for cheap stuff.  If you have cheap stuff, you sell stuff. The concept of supply and demand with comsumerism is represneted by the agressive bull at Wall Street.  

The Force in the book is representing the force of the companies to expand to outsourcing jobs in different, cheaper countries, in-order to keep up with the American need for goods.  

Friction, uses the imagery of a working man and a chain locked door (to signify a closed factory), while a smaller dot grinds against the larger ones.  The litter dot has an image of the great depression in which a line of unemployed men are getting free soup.  

The stress mainly uses the sharpness of the color yellow surrounding a lone image of a depressed man.  

Complexity intertwines all of the negative aspects that I have touched on in the book into a single composition.  

Capacity uses the imagery of landfill and American garbage reflecting on the unnecessary waste of American culture.  

Deteriorate uses imagery of urban decay from the city of Detroit a major victim of deindustrilization in the United States.

Some things that could have been different about this book would probably be the stress page.  The connection between the two compositions are terrible.  They have no connection compositionally and the interaction between them spatially is confusing.  Also the craft was difficult to have a high level of cleanliness because of the small size of the dots.  Thus the glue probably shows in a couple of the more intricate pages.




For all of the Images of the final artifact look at this

COLOR EMOTION

The positive and negative feelings of Pantone colors

Bright Red- 186
Positive: Love, kissing, cupid, speed, passion, sweet, tasty, depth, simple
Negative:  Rage, Anger, Blood, kill, pain, bruise, heart


Vibrant Orange- 1585
Positive:  Energy, speed, wired, juiced, jumping, outdoors, gifted, present, giving
Negative:  Awkward, clunky, organic, young, overwhelming

Bright Yellow- 116
Positive:  Joy, Happy, Togetherness, connection, speed, energy, youthful
Negative:  Ignorant bliss, dumb, blinding, starving, young


Earth Brown- 438
Positive:  Grounded, calm, understanding, wise, smart, satisfied, consistant
Negative:  Slow, Old, smelly, dirty, dark, downward,

Deep Blue- 2747

Positive:  Nurturing, comfort, soothing, understanding,  soft, gentle, quite, ocean rhythm

Negative:  Slow, blockade, short, sad, sorrow, depression,  rain

Chartreuse Green- 584

Positive:  Change, bliss, tall, youthful, environmental, speed, rich

Negative:  Failure, puke, snot, gross, slime, germs, stupid

Blue Purple- 267

Positive:  Swimming, ocean, fish, rhythm, calm, consistency,  uniform, collected, royalty

Negative:  Claustrophobic, slow, pressure, encapsulating, underlaying

Charcoal Gray- 425

Positive:  Solid, consistent, understanding, level-headed

Negative:  Dark, dreary, rainy, stuffy, bland

White-

Positive: Purity, cleanliness, perfection, simplicity,

Negative:  Holy, uncomplete, unfinished, blank, empty

Black-

Positive:  Rich, fulfilling, solid, seemless,

Negative:  Empty, never-ending, dense, heavy, oil, night, 

I would have posted the color samples of the pms colors, but I didn't want to run the risk of everyone viewing them differently and thus creating different emotional responses.  So if you would like to see the colors for yourself check out the Pantone Color Bridge // coated.

PERCEPTION OF SPATIAL LOCATIONS

Layers. Transparency.  Both deal with the perception of spatial locations, but transparency is multiple layers being viewed at once.  The Industrial Evolution contains both these elements, through the typography being printed on transparencies, or the pasting of dots onto the page.  It's obvious the contents of this book could have be done on the computer in illustrator or photoshop.  But by have a physical artifact it allows for immediate experience with the relationship of the typography and the dot abstractions.  This relationship enhances the viewers ability to absorb the abstract concepts more quickly then with out the initial reading of the word and composition simultaneously.  This will lead to a cleaner, more precise interpretation from the viewer, after completing the book.  This layering of typography also adds wonderful tactility and interaction with the viewer.  Making them feel more connected with the book, thus allowing themselves to be suspended in the world the book is creating.  Yet the typography and dot compositions where done separately, this unplanned relationship, serendipity, can act as a way to further help me understand the relationship of type and image.  I will be able to find moments in the combination that I know were completely unplanned, and take and learning from them.  Analyzing what it is in the relationships that are appealing and what are not, and what added communication is being perceived by the viewer.  At this point I am just anxious to see the final project and continue learning from it.

STRESSFUL PROCESS

I wanted to highlight a certain aspect of my typography in my upcoming Industrial Evolution book.  The analog typography work I did for stress involved lots of layers of letters and words.  For the overwhelming feeling of stress.  Rather then cutting out the letters from white bond paper and pasting it on and copying the composition to get a perfectly flatten type composition; I used transparency paper cut it and overlapped the words to give me a seamless letter form and the mass of words I was looking for.

FROM ADAM WEST TO CHRISTIAN BALE

Most of the information I got for the history of my logo came from a wonderful 5 part (1, 2, 3, 4, 5) blog post from Todd Klein. In his entries he is focusing on the logo primarily in it's comic book format from Artist Bob Kane.  This means it is typically in an illustrative fashion.  As opposed by the refined version which I recreated from the Batman Movie (1989) directed by Tim Burton. 

This symbol that represents the dark knight constantly goes through tons ofchanges, yet still retains the same basic characteristics.  A sharp and rounded width bat form usually with two points at the top of the bats head.

 

As you can plainly see the logo of the comic seems to change according to the time period and which "batman" its representing. 

The most iconic emblem people relate to batman was created in 1964, Detective Comics #327 introduces the Bat-logo as a yellow ellipse behind the insignia against the grey color of the batsuit after Julius Schwartz decided that the symbol with the yellow oval would make Batman look more contemporary (http://logoorange.com/logodesign-B.php)
The yellow and black combination of the logo represents the night in which batman does all of his hero-ing.

Batman Movie Posters