Monthly Archives: April 2014

Abstract Grid Composition

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| Ten Compositions Layered and Stacked

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| Ten Compositions Sequential Display


Project Three — Part One
Abstract Grid Composition: Hierarchy Study

Description:
Create a series of compositions with placeholder text. Use the grid to determine the potential placement of a graphic/image and  text. Create dynamically divergent compositions. Use any type variety within the Univers family. Use size and scale change to your advantage.

Project Requirements:
Each series of compositions will start with a 10″ x 10″ composition in InDesign. Each set of compositions will exclusively use the type family LT–Adobe Univers (provided on R2•D2)

You must also specify type, which appears to represent three (3) layers of typographic hierarchy. Use placeholder text unless you wish to add “content” to a large display type where you copy edit your own text.

GRID COMPOSITION

Objectives:

  • Examine the diversity and versatility of a series of  grid structures
  • Consider the totality of the composition when text and image are aligned to a grid
  • Using false, or placeholder texts, create and examine subtle hierarchy possibilities in relation to three (3) congruent levels of text
  • Keep the designs and compositional concepts simple
  • Look at the possible compositions of text and image
  • Create a single PDF file with a full collection of your ten (10) compositions

See the attached PDF files of ten (10) sample compositions.
Each uses:

  • Univers Type Family
  • Conventional typographic alignments [left, right, centered]
  • Each has three (3) layers of typographic hierarchy
  • 50% (grey/black) stand-in for images
  • “Fill with placeholder text” – each composition and paragraph sample uses a different fill
  • Several equally divided grids; 7×7, 9×9, 12×12 of columns and rows
  • Do not save with ‘visible guides’ turn on; samples show how each is organized

Sample Files: Ten Compositions [PDF]

Project Three: Part One – without ‘visble guides + grids’
Project Three: Hierarchy Grid – with ‘visible guides’

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Adobe Illustrator Celebrity Portrait

Serigraphy

A print made by the silk-screen process.

Silk–Screen Process

A print made using a stencil process in which an image or design is superimposed on a very fine mesh screen and printing ink is squeegeed onto the printing surface through the area of the screen that is not covered by the stencil. Each imprint, or application of color, is printed above its previous layer. Separate artwork is generated and applied to individual screens, each carrying their own unique color blend. Typically flat, and opaque color is represented and specified through the Pantone Matching System (PMS). Unlike professional offset printing, silk screen inks lay flat and offer no transparent blending of color.


Project Three: Part One

| Project Three: Part One

Project 3: Reductive Portrait
Illustrator Project —1.1

Appropriating The Master Appropriator

Overview
Pulling from his background in skateboarding graphics, Shepard Fairey is a modern master of reductive design-based art. Using a similar process throughout his body of work, he has managed to create an impactful and recognizable style that has found a home in areas ranging from street art and graffiti to presidential campaigns. We will be using his work as a base of inspiration for this assignment.

Your first task is to seek out a relatively high resolution photograph of a famous person to use as reference. You will be working on an 11”x 17” layout (portrait, not landscape), so plan to crop/resize your image to fit. Much like Fairey’s famous Obama poster (the HOPE poster), you will reduce your image to four (4) color planes. Each color plane should exist on its own layer in the ILL file. Place the photo on the bottom layer, so you can see it as you trace over it. For an added challenge, you can incorporate a small amount of text into your final portrait.

You will be turning in TWO final files. The first is the original drawing. The second is the original drawing with textures and effects applied to it. This will be introduced further in Project 3 Part 2. 
We’ll look critically at both.

IMAGE PROCESS:
Work in layers. Since you are using only 4 color fields, make sure each color field is on its own layer. Remove the original image from the file for turn-in, but be sure to turn it in together (just not as a flattened layer).

Resources:

www.obeygiant.com/archives
http://vector.tutsplus.com/tutorials/illustration/how-to-create-a-self-portrait-in-a-geometric-style/
Great
Alternate Tutorial; for thinking about, and working with, Vector portraits

Adobe Illustrator: Celebrity Portrait

| Project Three: Part Two

Project 3: Alternate Textures
and Patterns
Illustrator Project —1.2

Pattern & Texture alternative

For Project Three Part Two you will be examining the use of texture and pattering to effect and alter your current portrait. Illustrator has strong editing tolls. Adding textures from alternative sources can change your designs quickly. Adding raster based PSD files into illustrator files can create supper dynamic richly texture images. Knowing how, and when, to use what file type is essential. You will be looking through the graphic collections offered by Media Militia to alter your design by adding texture and pattern.

You will be turning in TWO final files. The first is the original drawing. The second is the original drawing with textures and effects applied to it. We’ll look critically at both.

PROCESS
Examine several of the Media Militia artwork collections. Determine which is appropriate, and with its addition, can enhance your portraits. Download any of the collections (or all of them for future usage)

  • Examine what type of media files contained in the collection. There can be; eps- AI file type, vector AI file type, png-PSD raster images, often in black and white or RGB, these files most often have transparent backgrounds; JPEG files.
  • Both vector and EPS files can be used directly in Adobe Ill. You can change the color, weight, and scale proportions freely.
  • PNG, JPEG and other image files can be manipulated with limed editing possibilities in AI, or…
  • PNG, JPEG files can be opened and altered in PSD for greater control.
  • Files can be turned into greyscale, then converted to monochromatic bitmap files types; lastly, saved as a TIFF file, which allows greater color control within AI.

Use existing outlines and color shapes as clipping masks and layer the new artwork in/onto your existing artwork.

  • Copy outlines or main color fields
  • Add a layer;
  • Place your new artwork
  • commnd– “F” or ‘paste-in-place’ your outline, which will shortly become a vector clipping mask for the placed imagery
  • Select both the outline & the image
  • Choose Object >clipping path – your image is now inset into the artwork.
  • Under layers you can access the clipping mask, and/or the placed image independent from each other
  • Use color to create subtle color shift, white to reverse out from main artwork
  • Examine transparency or layering blending for subtle color shifts
Alternatively — you can add or create AI patterns of icons or other graphic elements to inlay into your portraits. For example: you could create a vector peace sign and apply it as a pattern.

Resources:

MEDIA MILITIA
Media Militia is an online resource of patterns, textures, PSD brushes, AI (vector) illustrations. Each library contain different file types which can be used to enhance and change your portrait. Several of the libraries are more versatile than others; some more stylistic. Ultimately it is up to you to use them in subtle ways, and retain creative control without taking too many of the borrowed visual properties.

Media Militia — Freebies

http://mediamilitia.com/category/freebies/

 

Image

Anatomy of a Grid

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Point Size and Leading Comparison

Bauer Bodoni, Helvetica Bold, and Adobe Garamond Pro

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Bauer Bodoni Regular

This text is set in 10/12 point and the headline in 24 point Bauer Bodoni Regular. Because the typeface has a small x–height (the height of lowercase letters in relation to capital letters) and beacause the thick and thins in the stroke of the letters, its visual impression is one of delicate text surrounded by generous white space. Therefore, it requires less additional space between lines of type for comfortable reading than ther Helvetica Bold setting to the pragraph to the right.

Helvetica Bold

This text is set in 10/12 point and the headline is set in 24 point Helvetica Bold. Because the typeface has a large x–height and because of its bold strokes in relation to the enclosed white space, its visual impression is one of sturdy text surrounded by little white space. Helvetica, therefore, requires more additional space between lines of type for comfortable reading than the Buaer Bodoni Regular setting in the paragraph to the left.

When the linespacing is increased and the point size is reduced, as in this 9/13 point paragraph, the legibility of the typeface for reading large amounts of text improves. And because Helvetica has a large x–height, it can be set at sizes smaller than Bodoni and be equally readable. For these reasons, it is difficult to use a single set of rules for the legibility of type.

Adobe Garamond Pro

This text is set in 10/12 point and the headline in 24 point Adobe Garamond Pro. Because the typeface has a smaller x–height than both Bauer Bodoni Regular and Helvetica Bold. Because the thick and thin angled strokes of the letters, its visual impression is one of delicate text surrounded by generous white space. Therefore, it too requires less additional space between lines of type for comfortable reading than the Buaer Bodoni and Helvetica Bold paragraphs to the left.

When the linespacing is increased and the point size is reduced, as in this 9/13 point paragraph, the legibility of the typeface for reading large amounts of text becomes strained. Additional designs, unique to the Garamond type letterforms, allow for its familar and even color when set in a paragraph.

When the linespacing is further increased and the point size is reduced again, as in this 8/14 point paragraph, the legibility of the typeface for reading large amounts of text visually feels light and airy. The diminished point size and open line spacing is fragile and delicate, therfore, setting large amounts of text would strain the readers eyes, ultimately comprimising legibility and reducing its readability. For this reason it is unwise to use such a delicate serif typeface for online usage.

•••

Type Samples—
Each Headline isset at 24 point and first paragraph body copy at 12 point. Because the serif Bodoni has a much smaller x-height (the height of the lowercase letters) in comparison to the general proportions of the sans-serif Helvetica, it requires less additional vertical space between lines of text to make it legible. It is wise to compare several typefaces, noticing the visual effects both size and leading have on the look and feel of set text. 
Helvetica Regular 7/9

Type sample and visual study have been taken from Graphic Design Theory by Meridith Davis

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