Foundation Studies 2013 - 14

Foundation Studies 2013 - 14
Graphic & Communication Design
Curriculum Area:
UALAB Foundation Units:
Unit 5
Unit 6
Integrated Art and Design Research Ideas and
Methods
Preparation for Progression
Building Blocks
Project Title:
Josef Albers 1926
Wim Crouwel 1968
Jack Archer TV typeface 2011
Project Context:
Ever since Van Doesburg created his futuristic-looking alphabet for De Stijl in 1919,
designers have continually pushed the boundaries of type legibility and form, reducing
letters to their most basic features. In this project we will be looking at modular typefaces
(sometimes called geometric typefaces). A modular typeface is one where each letterform
is constructed from a repeated shape or a combination of repeated shapes, and is often
based on a grid. The uses of modular typefaces can be strictly functional such as an LED
screen on a motorway, or can be purely experimental and decorative.
Project Description
In focused classroom activities and in your self-directed study, you will look closely at the
construction of existing modular typefaces and then create two of your own from two
different starting points. You will develop one of them further into a physical or digital
promotional item (a ‘sampler’) designed to showcase your alphabet.
Outcomes
Christmas holiday research tasks, class activities, development work for your alphabets,
two alphabets, sampler in format of your choice.
Project Timetable
Monday
Tuesday
Discussion of research, image presentation and briefing, modular
type experiments and activities. Begin typeface 1.
Class activity to begin typeface 2.
Wednesday
Thursday
Friday
Monday
Self-directed: continue developing/start finalising typefaces 1 & 2.
Complete typefaces, begin sampler. Computer workshop.
Self-directed: continue sampler
Complete sampler.
Tuesday
AM: Crit PM: New project briefing
Bibliography:
Books
Blackwell, L. (2004), Twentieth Century Type. Laurence King: London
Broos, K. (2003), Wim Crouwel: Alphabets. BIS Publishers: Amsterdam
Spencer, H. (2010), Pioneers of Modern Typography. Lund Humphries: London
Baines, P, Haslam, A. (2005), Type and Typography. Laurence King: London
Sacks, D (2010), Alphabets: A Miscellany of Letters, Black Dog Publishing, London
People
Theo Van Doesburg (De Stijl) • Josef Albers, Herbert Bayer (Bauhaus) •
Wim Crouwel •
Websites
www.fontstruct.com
http://www.welovetypography.com
http://modulartype.tumblr.com/
http://www.thisiscolossal.com/tags/typography/
Part Two Assessment:
Monday 3rd, Tuesday 4th February 2014
Research and Supporting Material for Assessment
• Reflective journal (including records of discussions, tutorials and self-evaluation)
• Information file (including information from exhibitions, library and internet research)
• A3 Sketchbook (including location drawings, photographic work, material experiments
and ideas development)
• Project Outcomes
What is a ‘modular’ typeface?
Aa Aa Aa Aa
Serif typefaces are based on calligraphic handwriting or stone carving, where the stroke width varies.
Sans serif typefaces also have varying stroke widths and other, more subtle features that enable them to
print well and be used for large volumes of text without tiring the reader.
1.
2.
3.
In contrast, the examples here can
all be classified as modular. The
letterforms are constructed from
geometric components and often
fit to a set grid. They challenge
legibility and rarely have lower case
letters so would never be used for
lots of text.
1. The Van Doesburg example
from 1919 was designed to be a
rejection of the ornate European
Art Nouveau styles that had gone
before.
2. Josef Albers’ Bauhaus design
(1926) combines a series of shapes
and has inspired countless modern
versions.
4.
5.
6.
7.
3. Wim Crowel’s Neu Alphabet
(1967). Peter Saville adapted it for
Joy Division’s Substance album
cover (1999).
4. The classic ‘dot matrix’ computer
type systems were informed by
the functional limitations of 1960s
digital technology, but remain today
in LED readers.
5. Some modular typefaces are
constructed by simply repeating a
geometric form such as a triangle
or circle.
6. Designers often strive to reduce
letterforms to their most basic
shapes, pushing the boundaries of
legibility. This style has its roots in
the Deco lettering of the 1920s and
30s.
7. The geometry of modular
typefaces lends itself well to 3D
rendering. Beck artwork by Mario
Hugo 2008.
These examples show how the simplicity
of modular letterforms can be effectively
translated into physical typography.
8. Wall installation by Spagnola & Associates
9. Adolph Cassandre’s Bifur typeface from 1929
inspired this environmental seating project by
Why Not Associates (2007).