8/23/16-Crap (C= contrast, R= Reputation, A= Alignment, P= Proximity) Areas of the Design World= Advertising, Editorial, Web, Mobile, Books, ect. 8/25/16- Good design practice, seeks to repeat some aspects of design throughout a piece of work, be it for a simple or complex piece of work.
8/29/16- Alignment is key in design. The way you put the text on a poster or when a picture is rotated to the left by a couple of degrees is all alignment. Alignment is everything in design.
8/31/16-Proximity is a simple or complex it's this relationship or lack of relationship between shapes that can trigger feelings, convey messages, engage the audience, add emphasis to a portion of a layout and create dynamics.
10/27/16-The Choices of typefaces used in a design is crucial to set the intended look and feel, set a tone and character to a pice of work 11/4/16-You should not be paying less to create designs for people. Your designs are worth more. Don't let others say your design is not worth it.
Stop Stealing Sheep:
9/21 "Steeling Sheep? Letter spacing lower case? Professional in all trades, weather they be dentists, carpenters, or nuclear science, communicate in languages that seem secretive and incomprehensible to outsiders, type designers and typographers are no exceptions. Type terminology sounds cryptic... with thousands of typefaces available choosing the right one to express eve the simplest idea is bewildering to most everyone but practiced professional. 9/23 Most people call it "print" and don't pay too much attention to typography subtleties. You've probably never compared the small text typefaces in newspapers, but you do know that some papers in are easier to read than others. A paper gets it's look from the typefaces used and the ways in which they are arranged on the page. We recognize them on newsstands or websites. 9/29 "What Might look obvious and normal to you when you read your daily paper is the result of careful planning and applied craft. Even newspapers and websites with pages that look messy are laid out following complex grids and strict hierarchies. The artistry comes in offering the information in such a way that the reader doesn't get sidetracked into thinking about the fact that someone had to carefully prepare every line, paragraph, and column into structured pages. Design-in this case at least-has to be "Invisible." They have to look so normal that you don't even notice you are reading them. 10/3 The artistry comes in offering the information in such ways that the reader doesn't get sidetracked into thinking about the fact that someone had to carefully prepare every line, paragraph, column into structured page. Design-in this case at least- has to be invisible. Typefaces used for these hardworking task are therefore by definition "invisible" They have to look so normal that you don't notice you are reading them. That is why designing type is such an obscure profession. 10/5 If you think that the choice of typeface is something of little importance because nobody would know the difference anyway, you will be surprised to hear that experts spend an enormous amount of time and effort perfecting details that are unseen by the untrained eye. It is a bit like having been to a concert, thoroughly enjoying it, then reading in the paper the next morning that the conductor ad been incompetent, the orchestra out of tun, and the piece of music not worth performing the first place. *Type on food packages is often hand lettered because standard typefaces don't seem to be able to express the array of tastes and promises. 10/17 While it might be fun looking at wine labels, chocolate boxes, or candy bars in order to simulate one's appetite for food or fonts, the most of us do not enjoy an equally prevalent kind of communication: forms. If you think about it, you'll have to admit that business forms process a lot of information that would be terribly boring to have to write a fresh every time. While onscreen forms offer a very reduced palette of typographic choices, they at least provide some automatic features to help with the drudgery of repeatedly typing your credit card number. 10/19 Every PC user today know what a font is, calls at leased some of them by their first name (Helvetica, Verdana, Times, etc) and appreciates that typefaces convey different emotions. What we see on screen are actually little unconnected square dots that trick our eyes into seeing pleasant shapes, we now expect all type to look like "print". Be careful of the tendency over design everything... and push technology to do things it was never intended to do. 10/21 Some of the most pervasive typographical messages have never really been designed, and neither have the typefaces they are set in. Some engineer, administrator, or accountant in some government department had to decide what the sign on the roads and freeways should look like. You can be there wasn't one typographer or graphic designer in the planning group, so the outcome shows no indication of any thought toward legibility, let alone communication or beauty. Letterforms on signs were made from simple geometric patterns rather than from written drawn letterforms for re-creation. 10/27 The official Roman alphabet as in a Trojan Column never went out of fashion... Many digital Typefaces evoke the timeless beauty of Ancient inscriptions and early printing types. Trojan, designed by Carol Twombly in 1990 is a good example. Graphic design and typography are complicated activities, but even simple projects benefits from thinking about the problem =, forming a mental picture of the solution and carefully planning all steps... 10/31 Today we are supposed to write legibly, we are instructed to "print". While we might have a hard time reading something written 200 years ago in what they considered a very "good" hand, we had no problem reading writing from Roman times. Typefaces designed 500 years ago, shortly after printing with movable type was invented, still look familiar to us. We might not be using the same exact letters in the identical manner, but the basic shapes and proportions are still valid today. 11/2 Some typefaces have stood the test of time and appear contemporary today as they did 500 years ago. Their modern digitized version have a slight edge when it comes to clean outlines. Other typefaces also were perfectly legible 500 years ago, but can hardly be read by anybody today. It has to do with cultural perception, not the physical properties of the typefaces. 11/8 While the basic shapes of our letters haven't changed much in hundreds of years, there have been thousands of of variations on the theme. People have designed alphabets from human figures, architectural elements, flowers, trees, tools, and all sorts of everyday items, to be used as initials or typography ornaments. Typefaces for reading are generally derived from handwriting. Gutenberg's type followed the forms of the letters written by scribes in the 15th Century Germany. 11/15 Over the centuries, cultural differences have been manifested in the way people write. Scribes in European courts created elaborate formal scripts. As literacy spread, people began to care more about the expressing their thoughts quickly, and less about style and legibility. Quills, fountain pens, pencils, and felt-tip pens have all done their part to change the look of handwriting. The common denominator, the Roman alphabet, has survived all these developments remarkable intact. 11/28 Fashion has changed since the 1400s but people still wear shirts, trousers, socks, and shoes. The process to manufacture them has changed but the material such as wool, silk, and leather are still popular and often better than modern alternatives. Our view of things is still largely shaped by nature-plants, animals, weather, scenery. Most of what we perceive as harmonious and pleasing to the eye follows rules of proportions that are derived from nature. Our classic typefaces also conform to the rules; if they don't, we regard them as strange or illegible.
11/30 Primary colors are red, blue, and yellow. These colors make every color on the color wheel and more. Secondary colors are green, orange, and purple. These colors are made from the primary colors. Tertiary colors are yellow-orange, red-orange, red-purple, blue-purple, blue-green, and yellow-green. These colors are formed when both primary and secondary colors combine.
12/2 A color circle, based on red, yellow, and blue, is traditional in the field of art. Sir Isaac Newton developed the first circular diagram of colors in 1666. Since then, scientists and artists have studied and designed numerus variations odd this concept. Differences of opinion about the validity of one format over another continued to provoke debate. In reality, any color circle or color wheel which presents a logically arranged sequence of pure hues has merit. Analogous: Comparable in certain respects Complementary: Combining in such ways as to enhance the qualities of each other or another. 12/6 The first generation to grow up with T.V were those born in the 1950's. The generation that followed grew up with music videos, virtual reality, and the internet. The manipulation of sounds and images, the invention of artificial realities, and the experience of life inside man-made surroundings put to question our "Natural" rules of perception. And as with every tech and cultural development in the last 2000 years, type and typography reflect this. If current trends are anything to go by, the look of typefaces is bound to change more by the year 2020 than it has in all the years since the 15th century... 1/10/17 Headlines-have to be big at the top Type-is meant to show off the advantages of the products inside the package it is printed on Type in books has not changed much over the last 5 hundred years. Then again the process of reading hasn't changed that much either. We might have electric lights, reading glasses, and good chairs... chances are the more you pay for a book , the closer its typefaces resemble good historical models going back to the Renaissance. (Caslon, Baskerville, Garamond all legible typefaces) 1/12 Newspaper Typography has created some of the very worst typefaces, typesetting, and page layout know to mankind. Yet we put up with bad line breaks, huge word spaces, and ugly type because that is what we are used to. After all, who keeps a newspaper longer than it takes to read it? And if it looked any better, would we still trust it to be objective? 1/17 Graphic designers, typesetters, editors, printers, and other communicators are well advised to be aware of type limitations and expectations. Sometimes it is best to follow the rules, at other times the rules need to be broken to get the point across. Good designers learn all the rules before they start breaking them. ( Picasso said this same thing about art...) 1/23 Designing typefaces for particular purposes is more widespread than most people think. There is special type for telephone books, small ads, newspaper, and bibles, and for the exclusive use of corporations. There are also typefaces made to comply with technical contrasts, ie. Low res printers, screen displays, and optical character recognition. Most all typefaces have tried to emulate historical models. Even bitmaps become such a model. 1/25 No one would use the same shoes to go dancing, run a mile, climb the north face of the Eiger, and walk to work-not many people anyway. While your feet may pretty much stay the same shape , they need different type of support, protection, or indeed enhancement to perform all the above tasks and many others... this also applies to type. Sometimes the letters have to work hard to get across straight facts or numbers or they may need to dressed up the words a little to make them seem more pleasant, more comfortable or just pretty. 1/27 So type has its practical uses-it can walk, run, jump, skip, climb, and dance. Can it also express emotion? Of course. If you look closely at a letter, you can see personality expressed in its physical characteristics: light or heavy, round or square, slim or squat. Letters can stand at attention next to each other like soldiers or they can dance gracefully on the line. Dark emotions call for a black typeface with sharp edge, pleasant feelings are best evoked by informal light characters. 1/31 Some words are much more fun to find an appropriate typography equivalent for than others. It may be fairly difficult to find a majority agreement on the right typeface to spell "doubt" but this one shouldn't cause any problems. What's more unexpected, more surprising than someone's handwritten? THe best casual typefaces have always managed to carry some of the spontaneity of handwritten letter into the mechanical restrictions of typefacing. Even the names of some typefaces make you want to choose them. How about this one "Mistral"- a cool wind blowing from the north into southern France, it seems to be the standard font for every shopfront and delivery van. 2/8 The more characters in a word, the more chances there are to find the right letterforms to express its meaning. This word doesn't give us many changes, just three characters; j o y or joy. Seeing that the lowercase j and y looks so similar, an all-capital setting will work better with this one. All three typefaces here have a generous feel to them - open forms with confident strokes and a sense of movement. 2/10 Anger, like doubt, can be described as a dark feeling that calls for a black, heavy typefaces. Anger is not as narrow as doubt. It needs room to expand, sometimes to shout out loud. It helps if the letters are not perfectly worked out and closed in on themselves, but rather a little irregular, leaving room for our imagination. A well-balanced univers or Helvetica would not do. Most really black typefaces have been overused because there aren't enough choices for the designer of posters and newspapers. 2/22 There are seven deadly sins, seven seas, and seventh sons of seventh sons., but thousands of typefaces. Someone had to come up with a system to classify them, since describing how different type designs express different emotions just isn't exact though. There is not only one system, but quite a few, all of them too involved for anyone but the most devoted typomaniac. Adobe created an official type classification... SERIF, SANS, SERIF, SCRIPTS, DISPLAY, SYMBOLS, ETC... 3/6 Scientist have been content with just calling the human face BEAUTIFUL if it meets certain ideal or ugly if it doesn't. They had to go and measure proportions of nose to jaw, forehead to chin, and so on, to establish why some faces are more appealing than others. Typographers and graphic designers often choose typefaces for the very same reason they might fancy a person. For more scientifically minded people, however, there are specific measurements, components, details, and proportions to describe various parts of a letter. While these won't tell you what makes a typeface good, they will at least give you the right words to use when you discuss the benefits of a face. 3/8 While the language of typography still adheres to some rules, there really aren't any standards for type designers to follow. Typographic features, such as large x-heights, wide counters, and exaggerated ascenders, are no less slaves to fashion than the perpetual changes in skirt lengths determined on the Paris runways. 12 points = 1 pica (6 picas = 1 inch) 5/2 1880-1912 Victorian advertising American wood-type posters La Boyle Europe Art nouveau Arts and crafts World war 1 propaganda The soviet Revolution European avant-grade De stjil The Bauhaus: part 1 The Bauhaus: part 2 Fused Metaphor: To read images not text, by this I mean to use symbols to replace words. New York school: LESS IS MORE Swiss Typography: relied on order, structure, and grids. Use math to place objects. American corporate: Order, showed images FPatCC:Graphic designers design images to shows that they wanted no war, women's rights, etc. American modernism Post-war optimism Post-modernism The west Coast shift Protest: used to protest. Used rough designs. Typographic Eclecticism Album Cover design Japanese Design Modern Dog Low-Tech Postmodernism Minimalism