Type 4 Final Objectives

For my final artifacts I went through all of my videos and decided to share new additions to my collection. In the end I found that balancing the two different types of text on one screen was much more difficult than I thought it would be. I found though that I learned a great deal about film editing and after effects.

My main objective was to create a way for analog and digital type exist in motion together. Since this project was structured around doing experiments, that's what I tended to create everyday for class. Through my process I wanted to show a variety of ways that the two can exist with each other. In some of the test I had the digital type acting like expected digital type (smooth, and seamless) and then having the digital type mimic the analog. Through this whole project I learned a lot about how to arrange type. Sometimes more successful than other's but still. One important quality I am taking away from this project is the importance of structure and really understanding how to anchor the type to fit in the composition comfortably. In the end I was very happy with the progress that I had made. I was working with a lot of new mediums and trying to create something new and interesting was a challenge, but a good one.

I believe that this idea of analog and digital type is something that I would like to continue with more. For the future, perhaps this summer, I would like to push this idea into new realms. Playing more with the analog type. Even taking the same concept and displaying it with analog and then digital, and comparing the two.

Untitled from Janna Johnsrud on Vimeo.

Untitled from Janna Johnsrud on Vimeo.

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Type Experiment

Through my type experiment I have learned a lot. My concept is centered around analog( type in front of video) and digital type (text edited in the computer) , to see what kind of relationship they can have. When I tried to do a test for the first time, it was a mess. The analog type was look poorly crafted and the digital type seemed to just be placed on the video. Although it was a failure it opened up my eyes to how type can be anchored to "planes". Usually when arranging type, designers will come up with a grid system in which they anchor the type to sit comfortably around a composition. When dealing with motion, there is the lapse of time. This may seem like very basic typography rules, but when adding motion, I began to understand this concept in a deeper way. With the way that the camera moves is how the analog type will be displayed, by panning in or using zoom, the analog type is put into motion. Once the digital type is added I had to try and visualize where it would go. Going back to the typography basic rules of a grid system. I have found that the digital type has more of a "animation quality" and does not always need to be set in a locked system, like the analog. The digital type can be arranged to help the analog type fit more comfortably. This can be done by completing a thought :where does type.....exist. Or by having the digital type try and conform to what is going on in the footage. Certain ways that I have tested to see how the digital type can be placed within the environment comfortably would be motion tracking (which I am still trying to master), using masks to imply spacial boundaries, or putting it into perspective by using the XYZ axis. One thought that keeps coming to my mind is the ratio of different planes that the digital and analog type can be in. Almost referring back to geometry and trying to understand the differences in space.

One part of the experiment that I did not realize how important was, would be the perspective of type. We are accustomed to viewing text on a 2-d surface. But what happens when the word is panning around to grasp motion, it can become distorted. Or when just a little bit of wind in the film blows at the letters, they move but are in slightly different perspectives. When I was filming I kept reminding myself to allow negative space for the digital type to be placed in. What I did not realize was that with time I was making the analog type be distorted in space. Once again this may seem obvious, but once I added the digital type and it was trying to "conform" to the footage, there was a different relationship. One good point is how hierarchy can be developed through perspective and scale. It could be a close up of the analog type, word for word, to another set of frames that is digital text appearing through a mask and becoming bigger. As we know hierarchy is the most important point, thought, concept, idea really. However, when there is a series of frames with the analog or digital type, I feel like the hierarchy can be shifted. The film can started off with, word for word zoomed in, that is the starting point, to panning outward to see the whole saying, and then adding the digital type in. In my test it was interesting to see how I could grasp an "idea" and with motion.

Timing is a big issue with video. The way the camera moves and displays the analog type sets the tone or content for the video. One part that I have started to notice is how with analog footage time can be slowed down at a more graceful pace. With the digital type and the way that it is usually displayed, it tends to move faster (even when the content is slower). Even looking at entertainment commercials, trailers, interviews, and reels. I think there a level of patience we have with raw footage, because we understand that it is "reality". In the digital world, with intros to movies, or youtube videos graphics and text seem to be at a much faster pace. This is merely an observation, but when dealing with both ends on one screen it is interesting to think of that user experience.

Going off of what I have learned there are many different tasks that I would like to fulfill. Now that I am deeper into the concept I feel as if I have more questions than I did at the beginning. Like, because it is in motion, can the user understand the relationship, without putting both sets of type on screen at the same time? Does that defeat the purpose? (of looking at the arrangement of both set in motion) If a figure was to be added could that help to join the two, or divide them? In the beginning of the experiment I tried to recite a poem, and ever sense then I've wondered how I can combined the analog and digital so that they tell a story.

I have ideas on where I would like to take this experiment. First to really clean up the craft. I though when filming I was allowing for enough time for the digital type to enter, and there was enough time for the text to enter, but now I need to allow myself more so that it can be animated more diversely with the analog text. Also I need to really sharpen my after effects skills, to make a seamless video. Second, I want to take two different typefaces, by now I have just used avenir in both. Third, this would take a lot of planning, but to take the analog and digital type and multiply it. By this I mean filming digital, analog, digital, analog, etc in a seamless matter. I think that by almost overlapping the two ways they would retain a better connection. I believe this would be because it would be in a linear patter, and that is exactly what video is.

Untitled from Janna Johnsrud on Vimeo.

Untitled from Janna Johnsrud on Vimeo.

Untitled from Janna Johnsrud on Vimeo.

Type Questions

1. What is the relationship between analog made type and digitally crafted type?
2. What experience can the arrangement of type bring to the audience?
3. What different dimensions does analog made type of digital type make?
4. What different aesthetic qualities are in analog verses digital type?
5. How can analog type influence the content?
6. How can digital type compliment analog type within a framed space?
7. How can you change the mood of the scene with the addition of typography?
8. How can typography change the language of the words within its space?
9. How can "analog made" type's message be only understood in motion?
10. What is the spacial relationship of digital and analog typography to motion?
11. How can movement effect the arrangement of typography?
12. Could an object conform into analog made type? (For example, making a cube and rotating the camera around so that the cube reveals letterforms?
13. In motion, is there a way to arrange type so that it doesn't just have to be shot straight on?

Type Topic

Through the research that I have done I have narrowed down my ideas to looking at the arrangement of type on a composition. What can happen in physical space type verses digital type? This interest is based around how type and video function together. My interest is to blend digital type and physical type together to create an experience for the audience. From my research I have not found any specific examples that do exactly what I am interested in, however bits and there are bits and pieces that I have collected that have given me a push to the “experimenting” part. The traits would be putting text or words in front of the camera and then when editing to see if I can unveil more text, and what can that relationship be. Can the relationship be influenced by the distance in space, how the words are executed in a formal way, does it heighten a story that can be told.

There is a wide range of examples that I found, 3-d digital type, type in perspective, hand made type. In all of the examples the type would inform the viewer on the content (like type should do). But what I am wondering is how can type bring out an experience for people, or what can it influence the story behind the content.

One of the places that I have seen this happened (in the motion world) would be title sequences to movies, commercials, studio reels, and entertainment videos ( youtube, vimeo). There are no exact places that are doing exactly what I want to be doing but there is plenty of motion graphic studios that are placing type within the environment of the subject like Stardust, MK12, and DesignKitchen. Some Graphic Artists would include Kyle Cooper (who was involved in the title sequence for Seven) and Maurice Binder.

From the places that I have seen type been used it usually is in informative way. Meaning they are explaining people that are involved in the movie /t.v show, or explaining the content. My approach will be to think about how the meaning of type and the arrangement can function as a main component to the narrative. Through my research I have found it is how people film type that can be interesting, in different angles, and from different spaces. From my other type classes we have expanded on how typography can change the meaning of something or influence the content. With my experiment I want to see how this can be expressed through video.

I believe that these are important questions to answer because it talks about the arrangement of type in a digital form, that I have not gotten to expand with. More and more people are starting to look for information within the digital world, and by giving information through video its a way, I can start to build an experience for people. I also believe that it is important because it helps me as a designer to explore what the arrangement of type can be in motion. I think that with this experiment it will also help the timing issues that I had in narrative class, and to clarify what comfort level the audience can read type as.

categories

experimental type reading

1.) Bil'ak's Experimental Typography. Whatever that means took the initiative to separate experiment and typography. He reflects on how the crucial the designer's process is and how our experimenting belongs is different that what a scientists would call an experiment. Process verses the end result, is it fair to ask what is more important?

A scientist comes up with an idea, researches, evaluates and creates a question: thus hypothesis. When testing the question there are variables that impact the experiment. Designer's make a similar occurrence of events. First there is an audience that we research, and base our concepts around. Then we brainstorm ways to communicate in a visual way. Our variables are the aesthetic qualities.

One particular thought I had while reading was our resources, as people and designers. Bil'ak's discusses the alphabet and its progression into simplified letters, and optical corrections made to give clearance to the typeface. Even as children we are structured to be centered by letterforms, they help us engage in the world. Just like a child, when taking Typography I we learn the "basics" of examples: letterforms/ grids/ hierarchy. From this time we are constantly experimenting with how type works with a composition. Learning what does work and what does not.

However in "experimental type" Bil'ak implies that there should not be a preconceived notion of what the end result is. Experimenting Type should be a "method of working" with a production. When completing the experiments, I hope to keep this in mind. That is to be in the middle, with a narrowed approach, but producing a vast amount of things. Not for a quantity sake, but to be more engaged than contemplating what the solution should be.

2.) Reading the Radical Type chapter on experimental typography Triggs makes some really unique points. He discusses how the process to experimenting with type, is one of the most important values. As time has gone on, we understand the value of process, to see our work grow. With this project the process will be a little different because it is undetermined what the "final" result will be.

"Type design is not only about the way in which the individual letterforms are constructed, it also involves the systematic application"

I thought this quote was really interesting, because it introduces the idea of taking a direction to go with, and pulls away from the design standard letterforms. With our experiments we can take a direction to go with and from those questions, and ideas construct the letterforms; and focuses less on the medium were using. This allows the process to really expand.

"Also about exploring the arrangement of type"

This was a really interesting point to me, because with first thinking about experimental type my thought was hand made letterforms. It is another concept to question what the relationship of word/letterform is to the space around it.

Triggs also discusses the Times New Roman and how that was meant to push boundaries as far as confortable reading was. Today many people would say that Times was not an "experiment", but any typeface was created through series of trials. I like this point because it highlights how designers are always experimenting, we push the boundaries to give a new way of "seeing".

A type ical Reflection

For the blog I wanted to reflect on different assignments that I felt helped me understand what it means to build an identity or brand.

This is an example of the "desk tags". The idea is for the audience member to come over and read this, before or during the interaction with the experiment. To me this was an important step because it not only clarifies the ideas of the experiment, but it makes it easier on us as the designer. These tags could clear up any questions the high schooler might have. It would also help us to not have to repeat ourselves over and over. In my mind I believe that the audience member could then ask further engaging questions, rather than- what is this? The dialogue and questions could be more in depth.

Here are the final name tags that I created for the symposium. The design for these seem practical and simple. Using the circular shape to represent the logo. and rules that we came up with as a class. When collaborating as a class, it is not unknown that we all approach typography in different aspects. By the end of the identity journey we were starting to frame the "lock up rules", and regulations that helped keep atypeical as a cohesive whole. We decided as a class to use Futura condensed medium, and for headers to capitalize. It was a new experience for me, because usually I am the one making all of the "rules" up and following them, but as a class it was interesting to see all the details in type and collaborate to complete the identity.

These are some explorations of the name tag, placing the logo within the traditional name tag. I wanted to put the name within a circle, but it ended up looking like a bulls eye. One important quality I did not know before was not to interrupt the logo. Before, in any of the design class we would designing for that particular company, so it was obvious not to further put design elements in. In this project we had built our own logo, but the underline rule still remains. Not to say that this observation is always correct, but it was a valid point I saw.

After this critique the decision to make these into a circular shape was made. Also to take out the logo. Not to say that the logo was not important, but the need for it to be on every piece, didn't always have to be.

Here is one of the first rounds of name tags. I know I wanted to be experimental, and include the imagery that we had all made and collected. Looking at them now, I see the problem with writing a person's name, even if it is typed. Also the variety of name tags might be confusing to our audience member's.

The name tags might not seem to be a huge part of the identity, but listening and contemplating with the others is what I found to be useful. When reflecting back to the AIA conference we presented on, I remember looking at all the different parts that went into making the conference. Little physical parts from website information to how the signage is developed. Now when reflecting and looking at branding I am starting to notice the strict choices that these agencies had to make. It is not about what typeface, or image you choose but the idea of building a structure. This includes how to view the post card vs the HTML mailer. When should the sub header break to a second line.

From weeks back these are the experiments that I made using rubber cement and some water colors. I had a lot of fun making these letters, and bending them into different spacial relationships. I know we are not suppose to have an idea at mind yet, but the concept of depth into space with letterforms has me very curious (possible more experiments). These images however are cropped in at a specific angle so the audience gets a sense of letterforms, but not "Atypeical" written out, because that's typical.

This is an example the images before editing. For this random experiment I really wanted to focus on what it mean to be abnormal. One aspect I like about these photos is I believe they have that quality, almost animal skin like texture with bright pigments. In the future I want to push myself to let letterforms like this be explored in different environments. It would have been interesting to look at these in a completely green environment, vs a metal background. However, for the Atypeical, at the time I felt it was the most appropriate way of displaying the images, focus on the cropped in letterform.

Thinking back to the process and mind set I was in when first exploring the "experimental type" aspect, I was a overwhelmed with all the different components that were going to be executed. It helped me to focus all of my random ideas onto a mind map. This was a good exercise for me to do because it gave me the chance to focus on all the different categorizes, yet visualize what needed to be accomplished.

Working though Atypeical, there was a lot of good and bad challenges. One that comes to mind would be working with a large group of people, and within that, working with a smaller group. Sometimes I questioned if I was doing the correct task. In the end, I believe that the communication between us as designers was better. I felt I was able to voice my input on a various amount of channels, and allowing feedback in. This different than being in a formal "critique" where it is bases on an individual. It was a good learning experience to interpret how the high school or freshman would come across Atypeical, and beyond that we had developed layers of information for them to grasp.

A-type-ical Update

These are some examples of blending the imagery I made with the letterforms and type. This week it was interesting to think about the collaboration of creating an identity. I have enjoyed this process because we were allowed to make our experiments and then discuss those ideas with the class. Process is a crucial part of creating design, but the collaboration process is something that is new, but I am enjoying it. Up to now, we have worked in groups for some projects but as one collaborative team, I think will be a interesting way to create our Atypeical "brand". One part of the past few week that I have learned would be narrowing down ideas and really analyzing the small details that goes with creating an identity.

The section I have been assigned to would be imagery and getting in contact with the high schools. I've had these letters made since last wednesday. However, the way that they are displayed is different. At first "Atypeical" was spelled out but became confusing with the logo. The class decided that the most successful way to execute the imagery was to focus, and crop in on the letters. With this, the letter needed to be reference. These are the details that I am trying to absorb, to critically look at my work and decide what is working and what is not.

experimenting

Here are two directions that I went with for the identity for A-type-ical. From the feedback during class I need to work on how the text and images can work together. Within my first direction there is some trouble reading the text, on the post card it might be ok, but within the website it would be a challenge for the user to read. In my second direction, I need to work on getting the image to not seem so "pasted" on.

For the next step I am concentrating on my second direction. I was assigned to work on the imagery. I want to work with these letterforms, and re-shoot them. I plan to think back to basic photography skills, and crop, lighting, and rearranging the letter so that the image is hinted at. I thought about starting new experiments, but instead of starting a whole new idea, I decided that it would be the best choice to concentrate on one idea. One aspect that I would like to work on, is spending time and executing my ideas out more, and paying attention to details.

A-type-ical experiments

Some examples of the experimental type, I did once with film, and the other with paper made letters. For the film aspect, I was scratching on the surface and cut into deep, and proceeded to cut out pieces of the film. Trying to get at the aspect of taking away something that is typical, like image or film. The second idea was just purely wanting to be exaggerated with making the letterforms. I had a long process to make them: first rubber cement, then water color, tissue paper over, then to cut them out and try and make them seem 3d. In all I need to go back and re-photograph them, and try to exaggerate them more to seem like atypical letters.

Reading: c/id: visual identity and branding for the arts

During this reading I saw different qualities within each Museum Exhibition that were interesting. One point to make about branding is that is uses all graphic functions, web, print, and environmental. How can the designer get across one identity.

The Mori Art Museum was beautiful. One aspect that I enjoyed is that in the title, they took the form of the architecture and repeated it. Within the principles of design we have learned color coding, hierarchy, spacing, and text verses image. I thought it was interesting, how the designers would create a brand for the Museums Exhibition, and take those elements and repeat it. This is my personal opinion, and it could be wrong, but I believe that creating a brand does not mean you have to repeat the aesthetic form over and over. Within those principles the brand can "flex" into something else and still keep its own identity. Usually one or two of the forms, and the rest remains the same. I think also it makes the audience question or stop to look. The Mori Art Museum had my eye going around all the different objects and how even though there was variation, it was a consistent level of change

Reading: Designing Brand Identity

Not to be clique but would like to share a quote that I thought was very insightful from the reading " Symbols engage intelligence, imagination, emotion, in a way that no other learning does"

Based around what we will decided our symposium will be, this is a clear way to pinpoint what our purpose will be. We are educating (with a lot of fun with experimental type) high school students a subject that they have been seen there whole life, yet, probably do not know very much of. One of the most interesting qualities that I have gained to really appreciate is having the knowledge to know who designed the logos are, or what motion graphics company did that "intro". This is what I felt myself reading about in the Identify Branding is looking at a logo, and reading about their design approach. One of my favorite examples would be the Nike designed by Carolyn Davidson. It must of taken a lot of research to narrow down the idea of the Greek Goddess for victory, pure genius. People can identify with that, and I think that is an element of Branding that is the foundation, is creating that attachment. Last year we studied how to attach people through logos, pathos, and ethos. So we have the tools for our symposium to create a "brand" or pull for them to want to come. I also enjoyed the "Know Thyself Pyramid" it puts into perspective of what designers can do, or how they can engage on a deeper level to that person. The book discusses personal space, and how a brand can be up front to the audience.

Now how can we use this for our symposium? We as a class, or collaborative team will have to come up with a concept that not only follows the objectives for the course, but will be engaging to high school students.

One of the parts that I enjoyed was to see one structure of a design or branding but changed in different forms, sort of like Ian's conference with the glass, there was different variations but as the audience we were able to recognize that it belonged to Corey Holmes. I believe we will have to brain storm what it is that 18-20(if the freshman come) are attracted to, and from there build into making something they can relate to, what is it that they want to learn, or just be entertained with.

Typography Symposium

What exactly is typography? Is it the study of fonts, or type? How do people identify with typography? Typography is beyond just the study of fonts. It helps us identify how we read material and connect with each other. This "symposium" will can give you the opportunity to take a look into the Graphic Design world and one of the main components, Typography. In this symposium/ conference the students at KCAI will help to analysis, answer questions, experimenting, and interact with you on a deeper level of what typography can be.

Typography can be defined as the arrangement of type, but is there more to typography than that? Just like a character in a book, the letterform can have its own identity. From how it is presented to the audience to looking at in depth of the stylistic chooses that are made in making letter's. These are just some of the exercises and topics that will be discusses at the conference with the students at KCAI.

Every character in a book or movie have their own identity. They have their own history, physical characteristics, and exciting experiments. When thinking about typography the letterforms has a lot in common with any character. Who would think that just a simple letter has its own anatomy and charismatic structure to it, but it does. On April 16, 2011 the junior students at KCAI will be addressing what exactly is typography. They will address type experiments, themes, and different ways that we as a society interact with letterforms everyday.

Titiles with tag lines

1.(Enter)Face

Take an in depth look at all the varieties of typography

2. Typo- Graphy

Breaking down letterforms to a basic to understand

3. Social Font

Look into the variety that typography can offer

4. Beyond the Alphabet

Letter's

5. OMG Letter

Experimental Typography gone to the maximum

6. Under the scope

Looking in depth of all aspects of typography

7. Font in Design

Identifying ranges and depths of typography

8. Exposed TypeFace

Examining experimental typography

9. Breaking Grid Type Graphs

Interacting with experiments in typography

10. Fragile Letter

KCAI 2011 Sympoisum

Advanced Typography

For my concept map, I really wanted to just focus on the activities and ways we could interact with the high school students. I tried to think of the four (interactions, settings, artifacts, and participants) ways this symposium will be focused around. However, I believe that I might have done it not the "correct" way. I should have included the high school students within the map, perhaps their age even, because that is relevant to what we will design for them. I also should have included the more of the actual artifacts that would be used, such as print (post cards, posters), I did include videos, but maybe a more in detail of the videos, animations, beginnings to movies.

Making the concept map was a challenge in the beginning. I made a couple different analog ones. I wanted to get down exactly what the content was before hand. (While looking through "Thinking with Type" they said as an easy tip is to get down your content most of the way, and let the "drop shadows, etc" be one of the last parts because strong designs, are based around strong content" While designing my concept map this was something I tried to think about. The content that would go in, and how making a grid structure might help the viewer to see the information. I also gave distinctions between point size and color to show how I wanted the viewer to see difference in hierarchy.