Georgia - Brooke Scherer

PROCESS MATERIAL
Type
Anatomy
Calendar
& Image
Typographic
Type As
JOSHUA
JACOBS
Typography | Professor Scherer | Fall 2013
INDEX
Project 1: Type Anatomy
Concept Statement 3
Pre-Existing Design Analysis 5
Research 7
Grids and Sketches 8
Process Work 11
Final Designs 21
Project 2: Typographic Calendar
“
Concept Statement 25
I do not think of type
as something that should be readable.
Pre-Existing Design Analysis 27
beautiful.”
Rather, I think of type
Research 30
as something that should be
Process Work 33
Final Designs 43
Project 3: Type as Image
- Ed Benguiat
Concept Statement 54
Pre-Existing Design Analysis 55
Sketches and Concepts 57
Process Work 63
Final Designs 67
1
2
PROCESS MATERIAL
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In the beginning (Graphic Design I) we learned the basics of visual
layouts, and with that came a brief foray into the anatomy of text. In this
project, the goal was simple; analyze two different font families, research
their history, and create posters which visually represent the font family
whilst remaining similar in likeness to the set as a whole. Sounds simple,
and yet I was personally very challenged by this process.
a
i
g
r
o
Ge
Type
ARTER
HEW C
T
T
A
M
•
1996
IONAL
TRANSIT
See, something had not quite clicked in my head about the way elements interact on a page; it would not be until project two (see page 25)
that I would truly come to understand contrast in regards to typesetting.
However, this project definitely set me on the right course; through creating these posters I feel that I learned alot about composition, and how
sometimes you don’t have to completely fill a page for it to be successful.
And in the end I was very happy with the final product; not only were
they cohesive visually, but I managed to maintain my personal style while
simultaneously growing in alot of ways. I will be taking away from this
project a newfound confidence in regards to the principles of composition,
space, and weight, all of which will surely benefit my future portfolio and
industry work.
123
Anatomy
456
789
So sit back, get comfortable, and prepare yourself for the pieces
ahead; I hope you enjoy looking at them as much as I enjoyed making them.
0
3
4
PROCESS MATERIAL
PRE-EXISTING DESIGNS
PRE-EXISTING
DESIGNS
Upon first inspection of the designs predating this project, it became
abundantly clear that while every piece we saw was incredibly different,
they all shared commonalities on a base level. For example, examine the
heirarchy in the pieces on these two pages; note how the title or defining
element is significantly bolder or bigger than the rest of the content. Also,
take note of the balance in each one of these pieces; the majority of them
benefit from a well organized, well filled composition that doesn’t feature
much of any awkward white space. Lastly, it is important to note the overall
use of color and visual punctuation throughout the designs; without them,
I’d image these pieces would be much less successful.
5
6
PROCESS MATERIAL
RESEARCH
SKETCHES
Grids &
Sketches
Upon first approach, I developed a more
neutral, calmer color scheme, which I
would later make use of when designing
for serifed fonts, i.e. Garamond or Georgia.
I particularily liked the idea of the greens,
but it would instead come across as more
of a youthful color.
In developing color schemes for my
projects, I knew I would be selecting an
edgy sans serif font; I saved this bright
red as well as a lighter blue that I had
hoped would reflect the cutting edge
qualities of the font family I would select.
7
8
PROCESS MATERIAL
SKETCHES
Creating these sketches was quite enjoyable for
me, simply because I set out to define the title and
where some elements could go. On the rightmost
side of the spread, you will find the grids that were
deemed the most succesful, although it was clear
still that I would need to explore a greater size
contrast in regards to the titles.
9
10
PROCESS MATERIAL
PROCESS WORK
Draft 1, Georgia
Process
Work
e ar
cinal
Arif
M
A
I
G
R
GEO
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11
Avenir was design
er by Adrian Frutige
r in 1988, pendin
sans serif typefaces
g a period of inte
. Frutiger wanted
rest in
to create a sans seri
that made use of
f font in the vein
the development
of future
s in type which occ
Avenir means ‘fut
urred in the 20th
ure’ in French, hint
century.
ing
at
its modern era roo
heavily involved in
ts. Frutiger was
the transition of me
tal type to phototy
was the period in
pe, and thusly this
which Avenir was
born, heavily influ
appearance of the
encing the overall
typeface. In 2004,
Frutiger and associa
reworked Avenir
tes
to accommodate
for issues regarding
screen, making it
text on
easier to read in dig
ital versions. The
Avenir typeface cam
original
e with six different
weights; 45 (book),
46 (book oblique),
55 (regular), 56 (reg
ular oblique),
75 (bold), and 76
(bold oblique). The
newly updated
Avenir typeface has
24 different weight
s; six
different weights
each featuring a nor
mal,
oblique, condensed
and condensed obl
ique
versions of each.
c
o
b
e
M
AVENIR
1988 • ADRIAN
FRUTIGER • GEO
METRIC
I was incredibly happy upon completion of the first
drafts of this project, but the first critique quickly put me
in my place. In the coming pages, I will be glossing over
my errors in regards to color, composition, and so on.
A
IR
GI
OR
AVEN
oess
12
PROCESS MATERIAL
PROCESS WORK
Draft 1, Georgia
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oess
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cinal
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d
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he
de
att
age,
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gular, bold, ob
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re
ts;
igh
we
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four
d
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ha
or
ce
Ge
efa
ted
typ
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. The newly up
ndensed and
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to
in
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ted
ts; separa
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d Black,
regular, the typ
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ng
hi
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each with
In creating this composition, I wanted to
have similar elements in both posters that
would simultaneously show how different the attributes of the font families
were; however, it became clear after the
first critique that the S in the background
would not be a suitable representation
for the Georgia font family; participants
suggested I try R or a lower case g.
The use of the g in combination with a
new color scheme, lighter opacity background, and an overall more spacious
composition made this draft significantly
more successful. However, it was not
without criticism; a few participants did
not enjoy the layering with the lines,
while others felt that my title was simply too compacted. Meanwhile, the body
copy at the bottom of the piece was better
than previous drafts, but was still in need
of some tightening and tweaking. You
can find the next draft of the Georgia
poster on Page 17.
Another major criticism was with my
color choices; When I was designing I
thought of green as a more old timey, foresty color, but I agree now that it comes
off as more youthful and bright for a font
so serifed.
Lastly, the body of text containing the
bulk of information at the bottom was far
too bulky, and the angle of the S I chose
to type along did not lend to legibility. I
would end up almost entirely scrapping
this draft in favor of a better one, as you
can see on Page 14.
13
14
PROCESS MATERIAL
PROCESS WORK
Draft 1, Avenir
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1234567890
ABCDEFGHIJKLM
NOPQRSTUVWXY
Z
abcdefghijklmnop
qrstuvwxyz
Avenir was design
er by Adrian Frutige
r in 1988, pendin
sans serif typefaces
g a period of inte
. Frutiger wanted
rest in
to create a sans seri
that made use of
f font in the vein
the development
of future
s in type which occ
Avenir means ‘fut
urred in the 20th
ure’ in French, hint
century.
ing at its modern
heavily involved in
era roots. Frutige
the transition of me
r was
tal type to phototy
was the period in
pe, and thusly this
which Avenir was
born, heavily influ
appearance of the
enc
ing
the overall
typeface. In 2004,
Frutiger and associa
reworked Avenir
tes
to accommodate
for issues regarding
screen, making it
text on
easier to read in dig
ital versions. The
Avenir typeface cam
original
e with six different
weights; 45 (book),
46 (book oblique),
55 (regular), 56 (reg
ular oblique),
75 (bold), and 76
(bold oblique). The
newly updated
Avenir typeface has
24 different weight
s; six
different weights
each featuring a nor
mal,
oblique, condensed
and condensed obl
ique
versions of each.
c
o
b
e
M
AVENIR
1988 • ADRIAN
FRUTIGER • GEO
METRIC
Draft 2, Avenir
A few of the criticisms of the first Georgia poster rang true for the first draft of
Avenir as well. For starters, the S in the
background was far too distracting and
dark, and at the angle it maintained, did
not lend to showing any qualities of this
typeface.
With the second draft of the Avenir poster,
I really wanted to work out the problems
in regards to the spacial issues; as you can
tell, a new layout and a better treatment of
the copy helped greatly.
During the in-class critique, it was agreed
that the tapered lines at the bottom of the
page were atrocious, and while I fought
for some of them, the majority of the class
agreed that they did not fit the visual style
of the blocky sans serif typeface.
There were also significant complaints
about the distribution of weight and
contrast; the elements along the top of the
page simply could not compete with the
heaviness of the title and its surrounding elements. Meanwhile, not only was
I missing font weights, but the numbers
representing said weights were too large,
and thusly competed for attention with
the title.
Meanwhile, though the split body copy
was a welcome change, the treatment on
the right half was far from acceptable. Sure
it was legible, but the first parts of the paragraph were far too lonely. Also, many people still had a problem with my treatment
of the weights; I would come to realize that
by moving the numerical values I would be
saving myself a ton of space.
Just like in the Georgia poster, my approach towards the body copy here was
not a success; while from afar it might
seem pleasing, up close it became an
eyesore very quickly. I did not completely
start from scratch here, but you will notice significant changes between the first
and second drafts, for good reason.
15
16
c
o
b
e
M
AVENIR
1988 | ADRIAN
FRUTIG
ER | GEOMETRI
C
46
56
76
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45
55
75
PROCESS MATERIAL
PROCESS WORK
Draft 3, Georgia
Draft 3, Avenir
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The third draft of the Georgia poster saw
minimal changes; a tweak here and there,
and slight adjustments to the body. Clearly
thought more work was to be done to make
this piece successful; Professor Scherer
made a very significant point of showing me
that there was just too much going on, and
I’d need to calm the composition down in
order for it to be really successful.
19 88 | A
D R IA N FR
U T IG E R
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123
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0
Again I found myself dealing with a
composition that was far too busy. Even
though clearing up the lines on the bottom helped a great deal, there was much
more work to be done here. Finally, the
weights were lacking official titles, and
without them were floating when they
should have been grounded.
At the same time, some people felt
that my treatment of the anatomy
on the top half was off kilter and
needed reworking. And though
the copy was getting there, it was
beginning to seem like I would
need to ditch the symmetrical
idea in favor of a more angular
and legible approach.
17
18
PROCESS MATERIAL
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PROCESS WORK
Type Anatomy, Georgia
Type Anatomy, Avenir
AVENIR,
GEOMETRIC
Georgia,
Transitional
I decided to create a visual representation of a car with each of my
typefaces; Stylistically, I liked the
idea of a serifed font creating the
odd curved shapes of an old-timey
first generation car, while at the
same time it would be just as easy
for me to show the curvy yet purposeful lines of modern day vehicles. Side by side, I had hoped that
they would compliment each other
while really showing each fonts
true colors.
Though when the critique
of these pieces came around
I hadn’t reached 100% completion on either, there was
still much to be said. Even
with what I had built so far,
without the image it was
difficulty to determine exactly what the image was.
More detail and more work
would be necessary.
19
20
PROCESS MATERIAL
Avenir Type Poster
Georgia Type Poster
FINAL DESIGNS
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1988 | A
D R IA N F R
U T IG E R
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g
r
Geo
TER
R
THEW CA
T
A
M
•
6
199
ABCDEFG
HIJKLMNO
abcdefghijk PQRSTUVWXYZ
lmnopqrstu
ABCDEFG
vwxyz
HIJKLMNO
PQRSTUVW
abcdefghijk
XYZ
lmnopqrstu
vwxyz
BOOK
OBLIQUE
56
ROMAN
OBLIQUE
AL
NSITION
TRA
76
123
1
2
3
BOLD
OBLIQUE
4
5
| GEOME
T R IC
ABCDEFG
HIJKLMNO
abcdefghijk PQRSTUVWXYZ
lmnopqrstu
vwxyz
ABCDEFG
HIJKLMNO
PQRSTUVW
abcdefghijk
XYZ
lmnopqrstu
vwxyz
ABCDEFG
HIJKLMNO
abcdefghijk PQRSTUVWXYZ
lmnopqrstu
vwxyz
ABCDEFG
HIJ
abcdefghijk KLMNOPQRSTUVW
XYZ
lmnopqrstu
vwxyz
6
7
8
9
45
BOOK
55
ROMAN
75
BOLD
0
456
789
0
21
22
PROCESS MATERIAL
FINAL DESIGNS
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890
,./;’[]~!@#$%^&*()-=_+<>?:”{}
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
12 3 4 5 67 8 90
, . / ; ’[ ] ~ ! @ # $ % ^ & * ( ) - = _ + < > ? : ” { }
Crossbar
Descender
SPINE
Stroke
Spur
CROSS
STROKE
Ascender
ASCENDER
Cross Stroke
TERMINAL
DESCENDER
Eye
BOWL
Bowl
Arm
Loop
Ear
CROSSBAR
TAIL
Vertex
Spine
APEX
Tail
Terminal
Shoulder
Link
Serif
LEG
Apex
OPEN
COUNTER
Leg
Closed Counter
Open Counter
EYE
STROKE
CLOSED
COUNTER
VERTEX
SHOULDER
ARM
AVENIR, ANATOMY
GEOMETRIC
Georgia, Anatomy
Transitional
SPUR
Georgia Type Anatomy
Avenir Type Anatomy
23
24
PROCESS MATERIAL
CONCEPT
STATEMENT
And then everything changed. This project was a pivotal point for me as
a designer, because I was able to take a concept that I thought I knew and turn
it completely on its head. The assignment: create a functional calendar that features at least 8 different typographical compositions that interact with said calendar.
Typographic
Calendar
At first I was at a loss at where to start. I started by researching quotes,
but they were far too boring for me. Then I tried lines from a movie (see Page 31)
but ultimately the lines were too intricate or too weird to communicate through
layout. Then finally I decided I wanted to do songs; especially songs that really
communicate feeling like anger or sadness. Audioslave was the first band that
came to mind, even though I wouldn’t consider them a favorite of mine. Chris
Cornell’s half screams half melodies combined with pungent guitar and moving lyrics proved to be the jackpot as far as content. Plus, throughout the entire
process I managed to listen to Audioslave at every session, meaning the more I
designed the more I knew these songs, and it showed.
But that’s not the best part; like I said, i had a revelation. See, in art contrast
means something different than it does in design; namely, contrast in art focuses
more on the focus of elements near each other and how they interact to each
other. But now I know that in design, contrast means that the elements as a whole
should have their own definitions, and no two elements can have the same focus;
its all or nothing, with very little in-between. It took my professor saying it at
least 7 times for it to really sink in, but I get it now. Contrast. Important. Focus.
And my designs have clearly been different ever since.
25
26
PROCESS MATERIAL
PRE-EXISTING DESIGNS
PRE-EXISTING
DESIGNS
When I began researching (and designing)
for this project, the first thing I thought of was
layout. Layout layout layout. And though this
was slightly detrimental for me leading up to the
first critique, It did help me to narrow my search
and locate only calendar designs that had both
form and function. Later I would go on to find
more examples of type layout and expression
in general, but there is still much to be learned
from the compositions I started with (the ones
included here). Firstly, just as in the first project
there would have to be a significant emphasis
on appropriately using the space allotted. These
compositions mostly benefit from a healthy
amount of space while simultaneously not feeling too empty. And though we weren’t allowed
to use photos and images in our compositions, it
was good to see most of these calendars making
use of color schemes and visual punctuation to
make more successful compositions.
27
28
PROCESS MATERIAL
RESEARCH
Annotated
Research
The first step in researching for this
project was to find font faces that
worked well together; below you can
find all 88 different font comparisons
I considered before I began composing
my pieces.
Another thing I wanted to take
care of from the get-go was the
color palette; taking images
from the pieces I purchased to
build the final construction (see
Page 51) I pulled out two different sets of colors; the first was
a warm neutral set, while the
second was a cooler set of colors. I had hoped that this set
would simultaneously unify all
my compositions and make for
a more dynamic piece, although
I didn’t actually implement the
color schemes until alter in the
design process.
29
30
PROCESS MATERIAL
DESIGN EXERCISE
Exercise 1
SEX
B
M
O
BOaBnd-we aree yheorue
Exercise 2
We
are
to mak
k
n
i
h
t
t
u
o
b
a
h
t
a
e
dget
and
and
stuff.
sad
e
e” Pin
n
O
c
i
t
rld
cas
he Sar vs. The Wo
T
“
m
i
-K
ilgrim
Scott P
Part of the preplanning
stage was to create
two separate posters
that emphasized type
as function. As mentioned before, for this
project I made use of
quotes from the film
Scott Pilgrim vs. The
World in the hopes
that they would make
a good content for my
final project. While
these two pieces were
mildly successful,
looking back now I
would need to seriously bump the contrast
to make these two top
notch.
31
In critique, we determined
right off the bat what the
issues were in these compositions, namely that there
wasn’t one true focal point.
Yes, some elements were
more emphasized than
others, but in general alot of
the elements were competing with each other; in the
first exercise, look at how
close in size and weight
“Sex Bob-Omb” and “think
about death” are; they’re so
close in size that its hard to
determine which is more
important. Also, the tapered
lines made a comeback,
and were immediately shot
down; especially in exercise
2, it became clear that these
lines were a little unnecessary.
32
PROCESS MATERIAL
PROCESS WORK
Process
Work
fal l
2014
33
c al e ndar
34
PROCESS MATERIAL
PROCESS WORK - DRAFT 1
JANUARY
JANUARY
In your house
to be; by room,
I long ro
om
patiently.
for you there
I'll wait
like a
ARCH
MARCH
M
FEBRUARY
STONE.
for you there
I'll wait
aloneLI.KE A STONE
NAIL ATOR
D
IN MY HAN
from my
,
at I've loved
the things th I've lost;
at
th
gs
in
th
the
CRED
StA
e heldtha
I've dropped.
the things I'v
CREnow show me
YOU GAVE ME
LIFE
ou ca n be t.
n o m or e, y
I w on 't li e
H OW T O
LIVELIVE
T TO LEARN
I DON’T WAN
Ne e d
What I’ll
TO FORGET
ND ME
I
M
E
R
T
’
N
S
DOE
OW TO
H
E
M
W
O
H
S
I made alot of mistakes during the initial
design stages. For example, I spent far too
long working on the actual calendar part,
and once I was done with that I barely
had room to create a composition (see
January, Page 35). On top of all that, once I
did create compositions they did not have
near enough room to breathe properly
and were thusly that less successful.
I'm not a martyr,
I'm not a prophet,
and I won't preach to you,
but here's a caution;
You better understand,
that I won't harm your hand,
But if it helps you mend,
then I won't stop it.
COCHISE
I learned alot from that first critique.
Firstly, CONTRAST (as you can see on the
adjacent page) was the theme of the day.
Secondly, I would need to explore a better
range of fonts if I was to make this spread
really work. Some of them were starting, but there were many places where I
would have to start from scratch.
JULY
MAY
be
YOURSELF
Suddenly a shot
ripped into his heart,
and he lay in need
of some attention.
And there he
played his card.
Going into shock,
the last thing
that he said was,
is all that you can do.
MAY
APRIL
APRIL
F
BE YOURSEL
JUNE
SET
THIS
FUCKER
OFF
I am not your blowing wind –
I am the lightning.
I am not your autumn moon –
I am the night
JULY
35
36
HWAY
G
I
H
E
H
T
M
IA
The original fire has died and gone,
but the riot inside moves on.
AUGUST
IRE
ORIGINAL F
PROCESS MATERIAL
PROCESS WORK - DRAFT 2
JANUARY
R HOUSE
IN YOU
;
room by room
loved,ost;
at I've
(patiently)
u there
I’ll wait for yo
I'll wait
for you there
E
LIKE A STON
sac red
e held
the things I'v
YOU GAVE ME
ME
NOW SHOW
l
mend
that I won't harm
HOW TO
FE LIVE E
CREATOR LI
IN MY HAND
to forget
FROM MY
NT TO LEARN
I DON’T WA
t
i
p
o
t
s
t
'
n
o
w
I
then
MIND ME
E
R
T
’
N
S
E
O
D
OW TO LIV
H
E
M
W
O
SH
your hand
but if it helps you
T
O U C A N BeEe d
Y
,
E
R
O
M
N
E NO
what I’ll
I WONT LI
opped)
(that I've dr
D
UNDER STA N
You better
at I've
the things th
like a
COCHISE
And boy did I play with fonts. Perhaps too
much so, in the end; though not included here,
a number of my compositions had big x’s all
over them after the critique, and that was because while I was exploring fonts, the choices
I was making was less for the sake of legibility and more for the sake of communicating
something, which can be done in other less
damaging ways. It was here that the professor
suggested I completely remove color so that I
better improve my compositions first.
ULY
Jmay
MAY
F
L
E
S
R
U
YO
be
F
BE YOURSEL
STHEITS
FUCKER
OFF
JUNE
Fire
NOT
Riot
I AM I AM
Suddenly a sho
ripped into his hea t
rt,
and he lay in ne
of some attentioed
n.
And there he
played his card.
Going into shock,
the last thing
that he said was,
can do.
is all that you
MAY
PRIL
A
APRIL
the things th
E
N
O
ST alone.
I long to be
ARCH
M
MARCH
FEBRUARY
The original
has died and gone
But the
blowing wind autumn moon
YOUR
I AM THE
LIGHTNING
I am not your autumn moon –
JULY
37
38
YOUR
I AM THE
NIGHT
inside moves on.
AUGUST
PROCESS MATERIAL
PROCESS WORK - DRAFT 3
FEBRUARY
L
I
A
N
NE
like a
I’ll wait for you
there
tly)
HAND
IN MY
CREATOR
LILFIVEE
FROM MY
E ME
YOU GAV
ME
N O W SH O W
there
I'll wait for you
alone.
r
u
o
y self
AND
AND
I AM
NOT
SETHIS
T
u can do
is all that yo
OFF
FUCKER
blow ing
WIND
Going into sho
ckg
the last thin
that he said was
I AM THE
LIGHTNING
JUNE
JULY
39
ON ME
More proof that I
really needed to find
some better fonts.
JULY
BE
MAY
fly
AROUND
your
YOUR
M
Removing the color really opened my eyes,
and I started to see the errors of my ways.
Some of these pieces grew in regards to
contrast, but I wouldn’t really get it right
until the final draft. However, though major improvements were made all around, it
was still creal that the fancy fonts needed
to go in favor of more traditional, elastic
font
Y families.
A
I don't
GSAVOE ON ELF
FIRE
S
R
U
O
Y
anymore
TAKE IT OUT
40
fire
the ori
ginal
STO
(patien
HOW TO
O BE;
I LONG T
has
died
RIOT
e
E
S
U
O
H
R
U
IN YOroom by room
APRIL
APRIL
but th
JANUARY
MARCH
MARCH
and
gone
inside moves on.
AUGUST
PROCESS MATERIAL
PROCESS WORK - DRAFT 4
MARCH
MARCH
APRIL
APRIL
L
I
A
N
E
STON
FIRE ON!
JANUARY
FEBRUARY
b
roomfor you there
O BE;
I LONG T
(patien
GO
I dont
fly
D
AROUNyour
USE
IN YOUR HO
o
y ro m
tly)
I’ll wait
IN M Y
HAND
a
R E AT O R
FRO M MY C
E ME
YOU GAV
LIFE
LIVE
there
I'll wait for you
alone
JULY
ME
NO W SH OW
HOW TO
MAY
Fire
NOT RIOT
ina
orig
SET
the
THIS
ha
I AM
a
g o nned
HE
dieds
BU
to shock
Going in last thing
the
that he said was
BE
insid
YOUR
blowing
OFF
WIND
I AM THE LIGHTNING
can do
is all that you
MAY
OURSELF! T on E
Y
E
V
A
S
&
TAKE IT OU M
l
yosuerlf
re
anymo
TT
Like
JUNE
JULY
FUCKER
e mo
ves o
n.
AUGUST
And then suddenly it became clear what the problem was. As you can
hopefully see here, I finally realized that not every word can have close
to the same emphasis as other words, and my compositions tookma big
step forward. They were’nt perfect, and still needed major color tweaking and even still more contrast, but I finally got it.
41
42
PROCESS MATERIAL
FINAL DESIGNS
JANUARY
FEBRUARY
USE
O
H
R
U
O
Y
IN
y room
b
m
o
o
r
O BE;
I LONG T
E
N
STO
(patien
tly)
u there
I’ll wait for yo
ke a
Li
IN MY
HAND
R E AT O R
FROM MY C
ME
E
YOU GAV
LIFE
LIVE!
there
I'll wait for you
alone
HOW TO
ME
NOW SHOW
“SHOW ME HOW TO LIVE” • AUDIOSLAVE • 2003
“LIKE A STONE” • AUDIOSLAVE • 2003
43
44
PROCESS MATERIAL
FINAL DESIGNS
MARCH
APRIL
FI RE ON!
MARCH
GO
I dont
fly
AROUND
your
!
F
L
E
S
R
U
O
Y
E
& SAV
TAKE IT OUT on ME
anymore!
•
APRIL
“COCHISE” • AUDIOSLAVE • 2003
“MOTH” • REVELATIONS • 2006
45
46
PROCESS MATERIAL
FINAL DESIGNS
MAY
JUNE
MAY
r
u
yoself
SET
Going into shock
the last thing
that he said was
S
I
H
T
BE
OFF!
can do
is all that you
“SET IT OFF” • AUDIOSLAVE • 2003
FUCKER
“BE YOURSELF” • OUT OF EXILE • 2005
47
48
PROCESS MATERIAL
FINAL DESIGNS
JULY
JULY
AUGUST
Fire
the
orig
ina
l
T
R
O
I
OT
N
ha
a
TT
g o nned
HE
dieds
BU
I AM
blowing
YOUR
insid
WIND
NG
I
N
T
H
LIG
I AM THE
“I AM THE HIGHWAY” • AUDIOSLAVE • 2003
e mo
ves o
n.
“ORIGINAL FIRE” • REVELATIONS • 2006
49
50
PROCESS MATERIAL
FINAL ASSEMBLY
The final construction is
something I am really proud
of. While everyone else was
doing boring styles of calendars I knew I needed to do
something more industrial
to really communicate this
message that Audioslave is
sending. So I threw together
some hinges, matte plastic,
screws and bolts, and the
final product is something
that I think really screams
‘Audioslave’.
51
52
PROCESS MATERIAL
CONCEPT
STATEMENT
The final project, the most intimidating of all.
Without making use of a computer, we were sent out
to create typography with only our bare hands; the first set
would communicate simple words, while the second set
would communicate an idea with the help of supporting text.
Type As
Image
For someone who has worked strictly from his computer in regards to design for his whole life, this one was by
far the most intimidating project of them all. However, it also
held the most intrigue, and I would come to find that not only
was it a ton of fun, but the final pieces will definitely be a
great addition to my portfolio. Now when I go forward in my
career, I hope that I can continue to make great pieces of art
by utilizing the hand building techniques I developed here.
53
54
PROCESS MATERIAL
PRE-EXISTING DESIGNS
PRE-EXISTING
DESIGNS
The main thing to glean
from all these designs?
The Wow Factor. Literally anyone can go to
Michaels and but some
wooden letters and glue
them together to spell
‘wood’, but it is up to us
designers to come up with
and execute the ideas that
will really turn heads.
55
56
PROCESS MATERIAL
SKETCHES
Sketches and
Concepts
The first step of this process was
to choose the words we were
going to create; I created 30
different ‘word maps’ to come
up with just the right ones.
In the end, I chose the words
‘Pensive’, ‘Greed’ (though that
would change near the end)
and ‘Filthy’ as the words with
which I would wow.
57
58
PROCESS MATERIAL
SKETCHES
I did my initial
sketches digitally, because I ahd
hoped it would
relieve my stress
over not being able
to use a computer.
My initial sketches
were a little bit too
difficult though,
and I would end
up taking my concepts down to a
more base level.
59
60
PROCESS MATERIAL
SKETCHES
Choosing a cause
was difficult for me,
because I couldn’t
really think of
anythign I really
wanted to change.
Originally I was
going to do conformity, but I later
decided that would
be too difficult to
communicate and
finally landed on
substance abuse.
61
62
PROCESS MATERIAL
PROCESS WORK
Process
Work
Pensive was the first idea I was really excited about. The
idea of capturing something in the human eye seemed both
challenging and exciting. I had my friend Tawsha sit in a
completely dark room, while I placed a cutout of the work
inverted (above) in thick black paper over a blank screen in
front of here. And the results were off the charts.
This was probably the most
fun to make; after researching
various different ways to cut
fabric, I ended up just taking a
dull knife and systematically I
would stab and rip each letter
which I had laid out in sharpie
beforehand. It took a few different tries, but thankfully I
didn’t have to go through the
whole sheet I was using before
I got a result I liked.
63
64
PROCESS MATERIAL
PROCESS WORK
Probably the most ‘wow factor’ of my compositions, this
one was also the most work. I cut out the word (in Futura
75, bold) and attached it to something called a glue board,
which is used to catch bugs. I then laid the paper on top of
a bright spotlight in a nearby park overnight, and in the
morning I went back to pick up my bug filled creation.
The glass composition was by far the most challenging of all my hand built projects. Meant to
simulate a broken windshield, I meticulously
etched the word into a piece of glass. After taping
the back with clear packing tape, I methodically
broke parts that weren’t letters and colored over
them with india ink, creatign a dark blood effect.
For my last draft, I really wanted to find someone with a
breathign stoma in their neck to
be the O of ‘one’, but the person
I contacted wasn;t comfortable
with it. So I went about recreating the same effect with various different types of paints
on my own neck. Eventually I
ended up using india ink, as it
is the only pigment that retains
the look of skin almost completely.
I was really proud of how realistic this one
turned out. Using the lines on my own veins (after shaving my arm) I slowly washed layer upon
layer of a light blue in wash into my arm until
it appeared that my veins were spelling a word.
Then using the same set of inks I recreated the
look of pock marks and blood dripping on my
arm for a really cool effect.
65
66
PROCESS MATERIAL
FINAL DESIGNS
67
68
PROCESS MATERIAL
FINAL DESIGNS
69
70
PROCESS MATERIAL
FINAL DESIGNS
71
72
PROCESS MATERIAL
JOSHUA
JACOBS