Thursday, March 31, 2011
Process Angela Valera
Communication is key. “Personal communication has undergone a revolution.”(Sheifer) Instead of writing a note, one can just send a text message or send an email. Technology has made it possible for us to communicate with each other more efficiently with the minimum amount of effort. Software corrects our mistakes (spelling and grammar), so we don’t have to worry about silly things like that any more. Not only how we communicate has changed, but also the way we speak/type/write back and forth to each other. We use slang and abbreviations to shortening the time we spend texting some one back. Why waste time writing out each letter for each word when you can say a simple phrase with only 3 or 4 letters, such as, ttyl, omg, brb, lol, lmfao, nbd, etc. This way of connecting with each other has definitely effected the way we orally communicate with one another. If you don’t believe this to be true, ask yourself when the last time you had a casual conversation without using any slang or “lazy” speech.
When starting research I looked at different ways I personally communicate with my friends and family. I text, e-mail facebook, twitter, and way back when I didn’t have a cell phone, my friends and I would send handwritten notes back and forth in and between classes. I found some of these old notes that my friends have given me, and the letters and content I found in the notes was very interesting. Abbreviations were used in these notes just like how they are used now in texting and chatting online.
Creating this typeface I wanted to draw attention to similarities and differences between the digital and handwritten communication. I started placing my own handwriting over typefaces that were made for the web (Arial, sans serif and Georgia, serif). To get a variety of forms, I started to trace over letters I found in my friends notes and layered each individual friends’ handwriting over the two web-safe typefaces I chose to work with. I ended up with five sets of handwritten letters and two sets of web-safe. Each layered letter made a very interest overlaps. Transparency was used to better see the intersection between each letter form. After accomplishing this I decided to take a clipping mask over each of these elaborate letters. The clipping mask was the web-safe typeface, Arial. The idea was to see the intersections happening within the sans-serif typeface.
Wednesday, March 30, 2011
Thomas Jung-Famous Hair Process
I started this project with the idea of fame and I began to look at how celebrities are often turned into these objects of almost godly status. I also began to look at major celebrity icons and how they influence people in many ways whether it is in clothing, actions, style or hair. Celebrities are often the start of major trends in the fashion and style world because people want to emulate them. One of these trends that I thought would be interesting are the hairstyles that the celebrities have made popular; even if they are short-lived.
While doing research for famous hairstyles I found everything from the good, to the not so much. I started to compile these images of hair and I tried to get a wide variety of styles. I then decided that I wanted to reduce these celebrities to their luscious locks. I wanted to literally turn the icons into icons. I compiled a list of 26 “celebrities,” one for each letter of the alphabet to create some sort of symbol set. Once the list was compiled I put the images into illustrator and started tracing them, but these were not looking very good, they had no style to them. So I went pre-digital and got out the pencils and paper. I started by tracing the hair and then I eventually sketched each hairstyle.
Now I am in the process of going back to the digital. I am working on scanning in the sketches and turning them into vector files. I am also working on choosing a different typeface for each typeface to fit the personality of the celebrity. Once the fonts are chosen I am going to place the hair on the letters and create a set of hairstyle caps that can be used for initial caps. The detail and variety of hair would make this a very impractical body type.
For my final output I am not exactly sure how I want to present this. One idea is to create an alphabet book with “A is for Aniston” and maybe a little information about each person. I am not set on this idea and I am trying to think of something better. I’m not sure if I should try to make it look like glitzy Hollywood or do something plain and total opposite.
Tuesday, March 29, 2011
Process and Thesis - Katie Belanger
For the past several weeks I have been developing an icon system to represent the endangered wildlife that is being threatened and pushed to extinction due to our human expansion and wasteful consumer habits. I am trying to make people aware that their daily actions do have an impact on our world, not just the giant corporations and manufacturing plants; to make people realize that we are all responsible and held accountable. I have been interested in the decrease of biodiversity and the present "mass extinctions" that have been occurring at an alarming rate since I heard over Thanksgiving break that the tiger may become extinct by the year 2012. I found this to be truly distressing news.
I wanted my icon series to be a simplified, stylized version of their real-life counterparts, using the WWF logo as a goal. My process for drawing these icons began first with images of the animal and an initial, detailed trace. I then took this tracing and, with another color, started breaking down the natural forms into more geometric shapes to be refined. Once I began work on my first design, the Blackburnian Warbler, I started to look at the illustrator Charley Harper's work and was very inspired by his simplified animal prints. After I had completed my first icon, I used it as a basis for the rest, using the same visual language and shapes, attempting to create a unified, cohesive icon system that works apart and as a group.
For my final form I plan on creating stencils of my icons and printing them, guerrilla art style, on various objects that relate to the destruction of the animal and places of industry that stand out as sites of human consumer and commercialism. For example, sea turtles have been hunted for an oil that they produce ("turtle oil") which is then used in various cosmetics. I would then print a stencil of the turtle icon on a compact of blush, so that every time one uses the product they are brushing away and erasing that animal. I will use photo-documentation to display this work, perhaps in a re purposed book.
I wanted my icon series to be a simplified, stylized version of their real-life counterparts, using the WWF logo as a goal. My process for drawing these icons began first with images of the animal and an initial, detailed trace. I then took this tracing and, with another color, started breaking down the natural forms into more geometric shapes to be refined. Once I began work on my first design, the Blackburnian Warbler, I started to look at the illustrator Charley Harper's work and was very inspired by his simplified animal prints. After I had completed my first icon, I used it as a basis for the rest, using the same visual language and shapes, attempting to create a unified, cohesive icon system that works apart and as a group.
For my final form I plan on creating stencils of my icons and printing them, guerrilla art style, on various objects that relate to the destruction of the animal and places of industry that stand out as sites of human consumer and commercialism. For example, sea turtles have been hunted for an oil that they produce ("turtle oil") which is then used in various cosmetics. I would then print a stencil of the turtle icon on a compact of blush, so that every time one uses the product they are brushing away and erasing that animal. I will use photo-documentation to display this work, perhaps in a re purposed book.
Process and Thesis - Wayfinding in the Union
My project deals with the legibility and usability of the way finding system in the UWM Union. The way finding system currently implemented in the Union is very disorganized, inaccurate, and attempts to “band aid” the past inaccuracies of the system. However, these band aids are never taken off, so the wounds are just becoming infected, and the system is becoming worse and worse because of the inconsistencies.
My process originally started with way finding in malls, specifically looking at mall maps. I shifted to something that would be more easily accessible for me, and something I use daily. I started by looking at the directories, signage, maps, and floor names. I instantly saw inconsistencies, such as the same floor being called the ‘lower level’ and the ‘basement’. I also noticed restroom signs that had no symbol along with them. What if someone can’t read? I believe we need to be more aware of catering to those with disabilities rather than just the majority.
In order to more accurately identify what is important to the students that use the union, I met with Scott Gore, the Union Director. In the 2008 and 2009 Union Annual Survey, students were asked the question “If the UWM Union was to expand/renovate, what additional programs, services, or amenities should the Union Offer? (Check up to 3)” In 2008 the top response, with 654 responses was to add additional seating. In 2009, this was also the top response, with 548 responses. Others that were deemed important are quiet/private areas, TV lounge, and additional meeting room space.
With these results, I’ve established what is most important to the students, and what should be more obviously identified on signage. To identify some of the main “attractions” on each floor, I’ve decided to use the Noun Project as my symbol set. However, I have found that this project does not include everything I want to use. To solve that, I have started to create some of my own symbols that match the Noun Project, in which I may be able to submit to them in the future.
I’ve also looked at renaming the floors because of the “dual names” some of them have and the confusion that they cause. To do so, I want to completely avoid the names currently in use. I settled on Z, A, B, C, and D.
I want my final output to be in the form of a poster that will show samples of the directories and signage, but will also incorporate images of the Union with the signs being implemented.
My process originally started with way finding in malls, specifically looking at mall maps. I shifted to something that would be more easily accessible for me, and something I use daily. I started by looking at the directories, signage, maps, and floor names. I instantly saw inconsistencies, such as the same floor being called the ‘lower level’ and the ‘basement’. I also noticed restroom signs that had no symbol along with them. What if someone can’t read? I believe we need to be more aware of catering to those with disabilities rather than just the majority.
In order to more accurately identify what is important to the students that use the union, I met with Scott Gore, the Union Director. In the 2008 and 2009 Union Annual Survey, students were asked the question “If the UWM Union was to expand/renovate, what additional programs, services, or amenities should the Union Offer? (Check up to 3)” In 2008 the top response, with 654 responses was to add additional seating. In 2009, this was also the top response, with 548 responses. Others that were deemed important are quiet/private areas, TV lounge, and additional meeting room space.
With these results, I’ve established what is most important to the students, and what should be more obviously identified on signage. To identify some of the main “attractions” on each floor, I’ve decided to use the Noun Project as my symbol set. However, I have found that this project does not include everything I want to use. To solve that, I have started to create some of my own symbols that match the Noun Project, in which I may be able to submit to them in the future.
I’ve also looked at renaming the floors because of the “dual names” some of them have and the confusion that they cause. To do so, I want to completely avoid the names currently in use. I settled on Z, A, B, C, and D.
I want my final output to be in the form of a poster that will show samples of the directories and signage, but will also incorporate images of the Union with the signs being implemented.
Monday, March 28, 2011
Samantha Korthof - Process Writing
My typeface has developed through an ebb and flow kind of process. Each exploration I have done has lead me to my final piece, however it could not have happened without a bit of backtracking, random tangents and changes in plans. For example, I found that in order to bring my typographic travels to China, I had to first visit France.
I chose my topic of Chinese writing systems because I am currently taking a Chinese Art History class, which I immensely enjoy. I knew that the information I’m learning in that class could easily apply to my typeface, and make my experience better in both classes. I was so set on that idea that I didn’t consider how much of a challenge it would be to try to channel a culture which is not my own.
My research explored ancient Chinese writing as well as modern. I learned about how the characters are composed today, and how they became that way. I looked at calendars, charts, poetry, paintings… and still, even with all this knowledge, I couldn’t quite figure out how to make a good typeface with a Chinese influence. (The term “good” is important because I could easily make a terrible typeface constructed out of a couple copied brush-strokes. This was not my goal.)
Once I got to experimenting with form, I found that it was a lack of experience with a calligraphy brush and ink that was getting in my way, as well as my preconceived notions of what a “good” typeface is. As a person who is naturally attracted to rules, symmetry and simplicity, my forms just did not look Chinese enough. I let previous experiences with type influence my forms too much. So I scrapped those sketched forms and invested in a couple brushes and some sumi ink. I painted plenty of letterforms in a watercolor sketchbook, but I was still missing something. My forms were still too limited. It was enough of a challenge to paint the letterforms, let alone with a Chinese influence.
When it came time to critique my progress, the class agreed that I needed to loosen up and experiment more. It was then that I had the idea to paint large letterforms while intoxicated. So the following Friday night, with ink in one hand and a glass of rum and coke in another, I took to my large pad of newsprint. I blared music and painted the lyrics I heard. Because I was intoxicated, I let myself make mistakes. I didn’t over-think what I was creating, and because of this, my night was a success. None of the forms I made that night ended up in my final alphabet, however it was a much-needed lesson in loosening up.
After reviewing the letters I created that night, Bethany and I noticed that the forms written while listening to French music were more appealing than the others. I considered redirecting my typeface to have French influences, and I tried to write more while listening to French music. However, I was rather disappointed with myself for giving up on the Chinese approach, given all that research I had done. I gave Chinese writing one more shot, and while listening to the soundtrack to The Way of the Samurai (which ironically was set in Japan, starred an American actor and was composed by a German man—but at least had Asian instruments)…
the forms finally surfaced from the pool of my consciousness.
What I painted that day are the closest to my final typeface. I am quite pleased with how they’ve turned out, and I’m glad that I gave my original concept one last chance.
My current final form is anything but final—truth be told, I tried out what I thought would be an interesting enough design, but it feels as if it’s lacking. I will continue to modify. What it is at this moment is a snippet of translated Daoist texts. I find the words to fit my process quite well because I had to discover my personal habits (the self) with the brush before I could create the forms I wanted. It’s placed upon an image of rice paper. There are many words to this excerpt, however it only covers about 18 letters, with just one capitol. Perhaps I can still develop this into something worthwhile…
I chose my topic of Chinese writing systems because I am currently taking a Chinese Art History class, which I immensely enjoy. I knew that the information I’m learning in that class could easily apply to my typeface, and make my experience better in both classes. I was so set on that idea that I didn’t consider how much of a challenge it would be to try to channel a culture which is not my own.
My research explored ancient Chinese writing as well as modern. I learned about how the characters are composed today, and how they became that way. I looked at calendars, charts, poetry, paintings… and still, even with all this knowledge, I couldn’t quite figure out how to make a good typeface with a Chinese influence. (The term “good” is important because I could easily make a terrible typeface constructed out of a couple copied brush-strokes. This was not my goal.)
Once I got to experimenting with form, I found that it was a lack of experience with a calligraphy brush and ink that was getting in my way, as well as my preconceived notions of what a “good” typeface is. As a person who is naturally attracted to rules, symmetry and simplicity, my forms just did not look Chinese enough. I let previous experiences with type influence my forms too much. So I scrapped those sketched forms and invested in a couple brushes and some sumi ink. I painted plenty of letterforms in a watercolor sketchbook, but I was still missing something. My forms were still too limited. It was enough of a challenge to paint the letterforms, let alone with a Chinese influence.
When it came time to critique my progress, the class agreed that I needed to loosen up and experiment more. It was then that I had the idea to paint large letterforms while intoxicated. So the following Friday night, with ink in one hand and a glass of rum and coke in another, I took to my large pad of newsprint. I blared music and painted the lyrics I heard. Because I was intoxicated, I let myself make mistakes. I didn’t over-think what I was creating, and because of this, my night was a success. None of the forms I made that night ended up in my final alphabet, however it was a much-needed lesson in loosening up.
After reviewing the letters I created that night, Bethany and I noticed that the forms written while listening to French music were more appealing than the others. I considered redirecting my typeface to have French influences, and I tried to write more while listening to French music. However, I was rather disappointed with myself for giving up on the Chinese approach, given all that research I had done. I gave Chinese writing one more shot, and while listening to the soundtrack to The Way of the Samurai (which ironically was set in Japan, starred an American actor and was composed by a German man—but at least had Asian instruments)…
the forms finally surfaced from the pool of my consciousness.
What I painted that day are the closest to my final typeface. I am quite pleased with how they’ve turned out, and I’m glad that I gave my original concept one last chance.
My current final form is anything but final—truth be told, I tried out what I thought would be an interesting enough design, but it feels as if it’s lacking. I will continue to modify. What it is at this moment is a snippet of translated Daoist texts. I find the words to fit my process quite well because I had to discover my personal habits (the self) with the brush before I could create the forms I wanted. It’s placed upon an image of rice paper. There are many words to this excerpt, however it only covers about 18 letters, with just one capitol. Perhaps I can still develop this into something worthwhile…
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