Monday 15 May 2017 - Initial Research - Pattern & Typography
Book; GRAPHIC DESIGN, The New Basics, ELLEN LUPTON & JENNIFER COLE PHILLIPS
(No Copyright Intended)
A great selection of both pattern and typography for referencing. I love the bold patterns at the designs themselves which would be awesome to use as a starting point for my own illustrations. They are all very abstract and since that is what I want to create these images will be a great starting point.
The typography is also very interesting and would be beneficial to both projects where I might consider to create type freely. Great inspiration.
This humble blog began some months ago, until this date we have posted 9 wonderful books about lettering, typography and calligraphy. In case you forget the gift for your graphic designer geeky friend here is a recap of all the books featured here, a perfect gift for the typophile or the amateur designer avid of know more about this beautiful discipline (click on the name of every one to see more details):
What kind of typeface should I use? How big do I set it? How should those letters, words and paragraphs be aligned, spaced, ordered and shaped? Thinking With Type answers these questions and more, providing clear guidelines for Designers, Writers, Editors and Students on how best to arrange their written content.
When choosing a typeface, graphic designers consider the history of typefaces, their connotations, as well as their formal qualities. The goal is to find an appropriate match between a style of letters and the specific social situation and body of content that define the project at hand. There is no playbook that assigns a fixed meaning or function to every typeface; each designers must confront the library of possibilities in light of a project’s unique circumstances
“Didot is a name given to a group of typefaces named after the famous French printing and type producing family. Didot was the first representative of the Didone typeface classification.” - Wikipedia
“The House of Didot in Paris, France, was one of the most illustrious in the annals of typography. Firmin Didot is responsible for the first modern roman typeface in 1784, which became known as "type Didot”. This typeface remained the standard in France for a century and still is used widely today. It remains France’s greatest contribution to type design.“ - Identifont
"The typefaces cut by the Didot family in France were slablike, unbracketed serifs and a stark contrast from thick to thin. Nineteenth-century printers and typographers called these glittering typefaces modern.” - thinking with type: Ellen Lupton
Category - Serif
Classification - Didone
I was made aware the other day that I was probably, part of an entity known as the “sans serif brigade” while learning about typography a couple weeks ago, lol, so I’ll broaden my horizons by working with a serif font. The assignment was to choose a typeface to work with for the rest of the term, and so I spent a lot of time reading - trying to wrap my head around the concept of typography, while keeping serifs in mind.
Since my father’s last name is “de Gerlaisse” (today spelled Desjarlais) descendant from one source, Jean-Jacquet de Gerlaisse, Sieur de St. Amant, New France 1665, helped me choose this typeface. Not only is it a very charming typeface, I am already obsessed with it. I really enjoy the renaissance quality of it. I’ll have to go with Didot.
(…) although the alphabet represents sound, it cannot function without silent marks and spaces. Typography maipulates the silent dimensions of the alphabet, employing habits and techniques - such as spacing and punctuation- that are seen but not heard.
Design is an art of situations. Designers respond to a need, a problem, a circumstance, that arises in the world. The best work is produced in relation to interesting situations – an open-minded client, a good cause, or great content.
Because designers are taught to focus on visual style over social function, we often overlook the relation of design to institutions of power. The tendency to see styles working in a free space encourages a romantic view of the “commercial vernacular” as an innocent other rather than as a major player in the politics of everyday life. The heroic aspect of the avant-garde lay in its vision of design as a liberating social force. The crisis of Modernism lies in the contradictory desire to occupy a place outside of society while at the same time transforming it; its critical stance must now be relocated as an analysis from within culture, rather than a critique from above.