[P1]: 4

Phase 3

Phase three of project one allowed us to use both color, the computer and various different sizes in our font. Also, we were permitted to utilize typographic rules. For this phase it was difficult not to become overwhelmed with the amount of options we were permitted. Rather, I had to focus my eyes on what I was creating and think outside of the box. Most of my designs from this phase seem much more creative and expressive than my previous two iterations. I utilized various text sizes as well as the overlapping of text to get the look I desired. 

Paul Rand

Paul Rand was born in Brooklyn, New York in 1914. Although Paul Rand the person might not be easily identifiable to the general public, the work he created is. He did amazing logo designs for large companies like UPS, IBM and ABC. Rand also worked as the art director for Esquire's fashion pages.

Information from: http://thinkingform.com/2014/09/24/thinking-mimmo-castellano-09-24-1932/#/2013/08/15/thinking-paul-rand-08-15-1914/

Max Huber

Max Huber was born in Switzerland in 1919 and studied at the Zurich school of Arts and Crafts. He worked for many different people across Europe and his portfolio ended up being very diverse. His work infused text and images in a way that made the piece very visually intriguing. 

Information from: 
http://thinkingform.com/2014/09/24/thinking-mimmo-castellano-09-24-1932/#/2011/06/05/thinking-max-huber-06-05-1919/

Robert Massin

Robert Massin began designing books at the age of seven. Massin was another designer who worked a lot with pictures and text. He was amazing at merging the two together. Some of his most famous work came from the silhouette images he made for “The Bald Soprano”.

Information from: 

http://creativepro.com/dot-font-massin-the-unclassifiable-free-thinker/

Erik Spiekerman

Erik Spiekerman is from Germany, he was born in 1947. He began working freelance in 1972 and after 7 years he started MetaDesign with two other people. He has since left MetaDesign and no works at his own company called Edenspiekermann. He works primarily in the fields of type and logo design.

Information from: 

http://thinkingform.com/2014/09/24/thinking-mimmo-castellano-09-24-1932/#/2011/05/30/thinking-erik-spiekermann-05-30-1947/

Armin Hoffmann 

Armin Hoffmann was born in 1920. The designer created great posters that utilized black and white designs. The lack of color pushed the designer to express a meaning without spelling it out for the onlooker. The majority of his career was spent in the classroom. He taught an advanced graphic design course at Allgemeine Gewerbeschule (AGS) in Basel. 

Information from: 

http://thinkingform.com/2014/09/24/thinking-mimmo-castellano-09-24-1932/#/2011/06/29/thinking-armin-hofmann-06-29-2011/

Paula Scher

Paula Scher began her career as an record cover art director at Atlantic and CBS Records in the 1970s. She has since branched out to brand identity where she has done work with many large companies from Coca-Cola to The Daily Show with Jon Stewart. Scher's use of type as the physical image is unmatched by any other designer. She integrates type so that it becomes the image she is trying to convey.

Information from: http://www.designersandbooks.com/designer/bio/paula-scher

[P1]: 1

Jan Tschichold began working in typography when he was very young. He was formally trained in calligraphy he studied under Paul Renner before he fled to Switzerland when the Nazi regime came to power in Germany. The Nazi's saw Tschichold's use of sans-serif fonts as a threat to the history of Germany and they took much of his work before he was able to leave the country. Tschichold was so impressed by the sans-serif fonts that he actually condemned the use of serif fonts. He worked hard at putting together typographic rules hat would set the mark for the use of type. He spent most of his career working for Penguin Books designing and placing type on the book covers the company oversaw. Tschichold's use of hierarchy in type and design is taught and copied by many people who strive to create uniquely organized designs. 

[P1]: 3

Adrian Frutiger

Adrian Frutiger is the Swiss born creator of the font Univers. Although Univers is one of his most famous fonts he has created many other fonts in his lifetime. Frutiger began his career as a compositor apprentice to Otto Schlaeffli. He attended an art school where he studied typeforms. He then went to work for Charles Peignot, of the Paris foundry Deberny Et Peignot, while worked alongside Peignot, Peignot constantly strived to create a font similar to the wildly popular Futura. However, Frutiger did not like the harshness of Futura and sought out a more natural option that would accompany many different weights. Thus Univers was born. The font has a two-digit numeration system due to all of the different options that become available when using this font. Frutiger did, however, complete a font similar to Futura in 1988 called Avenir. Similar to Univers, this font also has a large variety of weight options for the designer to choose from. In a way Frutiger is able to accomplish Peignot’s vision of creating a font similar to Futura in a way that is less confined and regimented. More recently, Frutiger has done work for Ventura creating a limited-edition watch face and he designed a wordmark for the National Institute of Design in Ahmedabad, India.  

Phase 2

For phase two of the first project we were asked to create text hierarchy in the computer. The context of the assignment was essentially the same as our earlier explorations in cut and paste. However, since we were able to use the computer we now had the ability to add color to our designs which we previously could not do. We were still constricted to the font size and style we were allowed to use. Because of the new found use of color in the designs it was more important to understand how contrast can affect the hierarchy of text on a page. White text against a black background is more likely to stand out than grey text against a black background. 

[P1]: 2

Our assignment is about learning how to put text on a grid. Rather than use the computer to learn how to base our designs off the grid we were asked to cut text and physically tape it to a piece of paper with the grid on it. This excercise is more interesting than just learning the grid on the computer because it pushes us as graphic designers to think outside of just two dimensional boundaries. The three dimensional aspect allows us to learn and use the grid more effectively and then take that information and incorporate it into our designs on the computer. 

[P0]

For this type project, we as students were assigned to find letters in nature. My group was assigned the word compositions. We were able to break down the word evenly so that we each could be allowed three letters. My letters are C, O and M.

Here are the letters I was able to find beginning with the letter C.

 

Here are the images the other members of my group were able to find.