The History of Typography by Ben Barrett-Forrest Rewatch

This is my second time viewing this video, after I have learned more about typography. 

This time around, I learned about the original use of italics. I didn't realize that they started out 

being used to fit more letters onto a page and to save money. Of course, now they are used for emphasis or titles, etc. I also didn't realize that sans serif typefaces were originally unpopular. The history of how and why typography has changed over time is interesting. Letters became taller and wider due to the industrial revolution and need for eye-catching advertisements. The History of Typography is a great video for learning a lot about typography in a short time. 

Neville Brody, FUSE designers

E-motional Type, Neville Brody, FUSE designers

Paul Elliman

Paul Elliman was born in 1961 in the UK. He is an artist and designer who is based in London. His work focuses on typography and the human voice and the relationship between them. Elliman also explores the impact of technology and language. His work has been exhibited around the world: Tate Modern, New York's New Museum of Contemporary Art, Victoria and Albert Museum, Anyang Public Art Project (Korea). 

 http://www.peterbilak.com/graphic_design_in_the_white_cube/elliman.html

Tobias Frere-Jones

Tobias Frere-Jones is an American type designer who was born in 1970 and works in New York City. Frere-Jones teaches typeface design at the Yale School of Art MFA program with Matthew Carter. He received a BFA from the Rhode Island School of Design in 1992, and then joined Font Bureau, Inc.  in Boston. While at Font Bureau, Inc. he designed many typefaces and has designed over 700 typefaces for retail publication, clients, and personal experimentation. 

https://www.myfonts.com/person/Tobias_Frere-Jones/

Phil Bicker

Phil Bicker is a renowned creative director, designer, and photo editor. He grew up in the London suburbs and studied at the London College of Printing. He has worked for editorial, advertising, fashion, and art clients. Bicker established himself at The Face in London. He has art directed Creative Camera magazine, worked for Time magazine, and Magnum Photos.

http://honorabledanielsan.wordpress.com/2013/01/09/interview-with-phil-bicker/

Anna-Lisa Schonecker

Anna-Lisa Schonecker is a multi-disciplinary designer and professor of Information Design at University of Applied Sciences in Mainz, Germany. She has a MA in Communication Design from the Royal College of Art and two BA's in graphic design and production design. She began her career at Pentagram and worked for 16 years in London before moving back to her native Germany to teach.

http://www.schoenecker.com/index.php?/about-this-site/

Rick Vermeulen

Rick Vermeulen was born in the Netherlands in 1950. He studied graphic design at the Rotterdam Academy and graduated in 1972. From 1975, he worked for the publisher Bert Bakker and participated in Rotterdam's Graphic Workshop. From 1978-82, he was an editor of Hard Werken magazine. He currently works on freelance projects for publishing and other clients.

http://www.eyemagazine.com/feature/article/reputations-rick-vermeulen

John Critchley

John Critchley has worked for a variety of clients across all media, including advertising, TV, film, publishing, and record companies. He has also worked for Neville Brody's Research Studios and was appointed art director of MTV Networks Europe. He recently formed Visual Material, which involves print, animation, and web design projects. 

http://www.fontshop.com/fonts/designer/john_critchley/

Font info- EUROSTILE

_ Sans Serif 
_ Name of the Designer - Aldo Novarese
_ Other fonts the Designer has designed -  Microgramma
_ Date it was designed - 1962. 
_ Classification (not just Sans Serif or Serif) - Geometric Sans Serif
_ List its family members: Roman, Italic, Bold...(small caps) - EurostileLTStd-Demi, EurostileLTStd-Cn, EurostileLTStd-DemiOblique, EurostileLTStd-BoldCn, EurostileLTStd-Oblique, EurostileLTStd-BoldOblique, EurostileLTStd-BoldEx2, EurostileLTStd, EurostileLTStd-Bold, EurostileLTStd-Ex2

Old Style: Dating from the 1490s, old style letter forms have the weight stress of the rounded forms at an angle. The serifs are bracketed by a tapered curved line. The top serifs on the lowercase letters are at an angle. Old Style fonts were created between the late 15th century and mid 18th century. There is little contrast between thick and thin strokes. 
• examples: Bembo, ITC Berkeley Oldstyle, Garamond

Transitional: The thick and thin strokes of the letter forms are of greater contrast than in Old Style faces. The characters are usually wider than Old Style letters. They are called transitional because they represent the initial departure from Old Style. They have a larger x-height. Numerals and cap-height are consistent in size. 
• examples: Baskerville, Georgia, Times New Roman

Modern: This style takes the contrast between thick and thin strokes to further extremes than Transitional. They have small x-height and hairline serifs without bracketing. There is vertical stress in rounded strokes. 
• examples: Didot, Bodoni, Aster

Slab Serif: (also called mechanistic, square serif, or Egyptian) Slab Serif typefaces have thick, block-like serifs. Terminals may be blunt, angular, or rounded. Slab Serifs typically have no bracket. They are most commonly used in headlines and advertisements because of their bold appearance. 
• examples: Memphis, Rockwell, Serifa std

Sans Serif: A typeface without serifs. They usually have less line width variation than serif fonts. Sans serif fonts are often used in headlines.
• examples: Helvetica, Arial, Calibri

Stroke weight: The thickness of lines in a font character
Axis/Stress: Axis is an imaginary line drawn from top to bottom of a glyph bisecting the upper and lower strokes is the axis. Stress is the direction in which a curved stroke changes weight. 
Small caps: Small caps are capital letters that are smaller size than regular capitals in a given font. They are about the same size as normal lowercase letters. 
Lining figures: Lining figures are a modern style of numerals where all figures are the same height and rest on the baseline. 
Non-aligning figures: These are numbers that don't line up with the baseline. 
Ligatures: Two or more letters combined into one character make a ligature. 
Type Measurement: Type measurement is how letters and words are sized. The baseline and cap height are used to align and measure. The basic unit in measuring type is the point. Points are primarily used to measure verticals. Picas are used for horizontal measurement. Leading and kerning are also used to measure. 

The Final Designs

After a lot of revising I finally came to a decision on the final double page spread, the title page, the table of contents, the book jacket and the end paper.

I kept the theme of circles consistent throughout the entire book and really stuck with the composition notebook pattern for the book jacket.

Table of Contents

For my table of contents pages I really wanted to play with the use of a photograph of each of the designers to be featured in my book.

Title page ideas

The title pages and table of contents were both more simple and clean than our double page spreads. I really liked the idea of keeping the circle shape of a camera lens because our book title is "Click & Sketch."

David Hockney Book Info

For my designer I chose David Hockney because of how our previous project and how interesting I find his work!

Above are my two initial ideas for my two double page spreads.

David Hockney inspiration

In class we watched a film about the artist David Hockney. He has worked with photomontage (mapping time and space through a collage) for many years and his work really jump started this project for me. Before watching this video there were many questions and issues that I came about while making the initial prototypes. I was confused and lost about exactly what I wanted to map and the style I wanted to follow. I was initially drawn to the grid style because of the simplicity and organization of the grid. However, I was also drawn to the abstract of the collage. After watching the film about David Hockney, it was finally clear to me the direction that I wanted to head.

I really loved the way he mapped a movement through many photos, some zoomed in and some zoomed out. This was a detail that I really wanted to show throughout my own project.

Spencer Art Museum visit: thoughts

Our trip to the Spencer Art Museum helped in many ways. Seeing a greater interpretation of mapping time and space through photography really helped put our objective into perspective. There were many pieces that I drew inspiration from after going to the museum. The piece with the many different drive-in movie screens brought to life a whole new outlook on the possibilities of using a grid; which at first I was determined to achieve. I left the museum determined to use the organization of the grid to my advantage. However, there was a piece by an artists whose name I can’t recall that was documenting the movement of the subject flipping through the air. The movement within one area of the picture frame also really spoke to me. How the artist layered the photos to make this movement so understandable was incredible.

The flow and movement of this artist really inspired me for my final piece. I wanted to capture movement and time, and establish a very clear understanding of what the movement and object was exactly. 

The art museum trip really help clear the air about what the possibilities were, because before that my ideas and interpretation of what the project entailed was very unclear and uneasy.

"Errol Morris On Photography" reflection

Errol Morris comments on photography and photographers in a very interesting way. He says that, we often forget that photographs are connected with the physical world. They often appear to be standing on their own, separate from the world around us. However, the are the world as seen by an artist.

He also says that it’s not true that pictures can be so deceptive and untrue. I however disagree with this statement because of how easy it has become to manipulate and change a photograph into anything you could possible imagine. Computer programs have completely changed the validity and truth behind a photograph. 

Ways of seeing, Episode 1" reflection

This video presented some very interesting outlooks on the way that we as humans see art, especially those that have been manipulated or reproduced. Even though this video was a little dated, made in 1972, the content still hold true today; because of photo manipulations growth over the past years. 

I believe that the mass reproduction and manipulation of art has presented both positive and negative effects of society and how we view art and what is art. Manipulating a piece of art changes it completely, but also creates something completely new. This changes the way that the viewer understands and sees the image/object. 

There are both positive and negatives involved within this new age of reproduction and manipulation. Without these, art wouldn’t be anything near what it is today, and who is to say that is good or bad. We now are able to have very famous prints painting, and sculptures around us and in our possession, without having to drop thousands for the original. We are evolving with technology, just like our art is evolving with technology and the times. 

"Photography Changes Everything" reflection

The definition of photography has always been somewhat elusive. Heiferman talks about how only a small array of photos are considered art and are truly talked about. This presents many problems because of the digital and technological advances of our day and age. Photo manipulation has caused the art of photography to become and agent of change. It’s an art form that changes to exactly what and how we desire. It’s influenced by our needs and changes how and what we choose to see. How and what we choose to document changes what we remember and how we see/understand the world around us. 

"Masters of Illusion" reflection

Special effects is just another area of problems faced by artists of todays world. How to make a flat object believably 3D used to not even be a thought in the mind of artists. Because of technological advances optics, visual perceptions, and illusions are a whole new field of availability. 

Da Vinci made discoveries in his day about the characteristics of light and shadows and how they influence how we understand and perceive and object. This is often thought of as the start to techniques about mimicking highlights, contours and the perspective of an art piece. Da Vinci is just one of the artists that first explored techniques to created illusions of depth and space in a understandably life like way.

"On Photography" reflection and thoughts

Susan Sontag presents many valid and useful points throughout her article about the current use of photography in todays world, and how it has changed and evolved from past times. We now have the option to choose what we pay attention to and notice, considering everything has been photographed by someone, somehow. There are hundreds of millions of random photos taken of everything you could possible think of, and we are able to find them at a click of a mouse. 

Sontag believes that photographs are one of the most truthful pieces of our world that we are able to process. However, I don’t completely agree with this. In many ways, and even more in the past, this is true. However, photographs are so easily manipulated nowadays, it is almost impossible to be able to determine if a photo has been manipulated or not. 

Susan Sontag brings to life the idea that photographs “furnish evidence.” Which at one time would hold very true. However, with out ability to so easily manipulate photos, the photographers validity is called into questions. This curse and blessing of photo manipulation has given a whole new outlook of photographs and photographers. It has almost become that painting and drawings are the truest interpretation of the world 

around us.

"A Viewer's guide to looking at Photography" reflection

This article presented many important steps in helping the view understand a photograph fully. Coming to a greater understanding of photographs was the main focus. Many have probably used some of the techniques talked about within this article when evaluating paintings, but not as often with photographs. We often tend to subconsciously think that photographs need less evaluating because they are an exact capture of time and space, unlike paintings which often depict scenes in an abstract way.

The article talks about how most views start at the stage of evaluation, which actually comes last. All factors and situations must be considered when viewing and understanding a photograph.

This article is relevant to this project because of our goal to map time and/or space in a coherent and interesting way, while still trying to make sense of a situation.

The FINAL!

Location: Woodridge Park, Clinton Lake

Concept Statement: The purpose of the collage is to document the change in time from beginning to end through a panoramic view point. I took advantage of the zoom in and zoom out abilities to truly capture the movement in specific motions. I also incorporated images of myself within the panorama in order to present the viewer a different perspective. I wanted the audience to feel as if they were looking upon this scene from a distance as it played out in front of them. 

Final collage in the making

For the final I choose to document the testing of a foam raft that I helped design and construct. Inspired by David Hockneys work with photomontage I was able to successfully document time in a panorama style. 

The first steps: arranging and figuring out what even fit together. I printed a total of 300 photos, so just organizing them took a significant amount of time. 

Making sense and mounting on white foamcore. I cut two large boards in half to allow for more length. 

Refining ideas and starting over

1. Clinton Lake sunset

Concept Statement: To document a change in time over the course of a sunset. 

For this idea, I went to one of my favorite spots overlooking Clinton Lake to document the change in colors throughout the sunset. 

2. Decaying Banana

Concept Statement: To show the change in appearance while decaying. (time)

For this idea my goal was to show the time change of a decaying banana kept in the same position for many days. I arranged the photos to follow the shape of the banana enlarged. 

Initial locations and statements

1. The Kaw River

Concept Statement: To map the change in time as the season changes from winter to spring.

2. Concert/Show

Concept Statement: To map time and also space as a show goes from set up, beginning, end, and tear down. I was initially thinking I could document my boyfriend Bens band and even get images of practice and the aftermath of a show. 

3. Person

Concept Statement: Through multiple days and situations, document change in time through mapping out a full image of a person. (Many sections of zoomed in and zoomed out photos. Different days, outfits, places, situations.)

4. Ku Campanile

Concept Statement: To collage change in time over just one day. From sunup to sundown. 

I did it! I built a box..

It may not be perfect, but for my first time ever using a band-saw and even a saw in general. I'm pretty pleased.

Sketches on Sketches

Symmetry is going to be the challenge