Wednesday, September 28, 2011

Hehe..

I have a lot to work on for the Food Truck project.. Here is a pic of my progress with the logos.





More to come, so prepare yourself for my boba truck :)

Flash Exercises

Here are some exercises frim my Type class.

Movement of the grid:


Some Shape Transformations:


Word Transformations:


Transition of Words:

Monday, September 26, 2011

Saw a dead squirrel...

In the middle of Jayhawk Blvd. Pretty sad. :(

I had a good day though (although a little hectic). My group was the first to present in my History and Philosophy of Design class. Our topic was the history of early animations, which was pretty interesting. I'm so glad I got it over with because I don't really like group projects.. I mean usually I don't mind, but this year seems hard since I have to go out of my way to meet with the person. Sometimes our schedules conflict and sometimes people plan things during the time of meeting.

BUT IT'S DONE AND OVER WITH! Thank the dear Lord!

Anyway, I was so nervous to go to Tad's class.. I was thinking he's gonna hate me/kill me/yell/scold/evil eye.. etc. My logos were not the best in the world.. Most of them were hand drawn, and honestly I don't even think I am that great at Ps (why am I majoring in this!??!?! Jk), but he helped us all find our ground in where we should be headed in refinements.

So I guess you guys should look forward to a boba truck. Lol.

Friday, September 23, 2011

Prototype Studio Tour 1

I visited Design Ranch, Willoughby, and SkyLab Letterpress. It was pretty awesome and totally worth my time. I learned a lot about their processes, what they are looking for, and what it is really like for them.

After that I did some chalking for AASU since I am one of the PRs. This may sound weird, but I absolutely hate chalking lol... Never will I want to do this again!

Tuesday, September 20, 2011

Big Thanks to Prof. Andrea

for giving us time to work on our other projects! I have three other ones going on at the same time.. Plus readings and an essay! Got in trouble today for my English group project since I am the group leader and we didn't have much done. However, we are picking up the pace and running with it! As for my design history group project, I hope that we provide enough interesting information to the class.. We are the first to present lol... For Tad's class I just can't wait for the process notebook. I have all these ideas, but I just need to get them grounded.. That's usually how it is in my head.. A mess.

Monday, September 19, 2011

Finally


Finished with my sketches of the seahorses! Sigh* It was such a long, long process.. One that is still continuing. I cannot wait to start on my process notebook even though I don't know where to start. It sucks that the final product will be black and white, but at least we can add color into our process notebooks.


Anyway, I am patiently waiting my turn and I am last today! It's okay though since I don't have any classes after this. I had a long day, slept at 4am woke up at 8am. However, I am in a good mood. Here is my first creeper picture of the year, love it!

Sunday, September 18, 2011

Friday, September 16, 2011

The Lost Post.

I don't know if I did this or if it just didn't show. So here it is, some definitions!

Type is measured with the point system and with picas.

Point
Used for measuring type height of character and spacing between the lines.
A point is 1/12 of a pica and 1/72 of an inch.

Pica
Typographic unit of measure that can be used interchangeably with points depending on what your standard is.
A pica is 1/6 of an inch. 12 points = 1 pica

How many points to an inch?
72 points in an inch

If a letter is set in 36 pts, about how many inches tall is it?
1/2 an inch

How many picas in an inch?
6 picas in an inch

How many points in a pica?
12 points

Tuesday, September 13, 2011

Behance!

I just created a Behance, it is so empty, lonely, and sad. Please add me or something!

Monday, September 12, 2011

Sketches of 06-10



Today was a horrible day for me. I was late to class because it took long to put the sketches into the grid.. However after I finished, I snuck into the room and put my sketches up. I know I need to do a lot of refining because I had no time to clean them up. I feel like the black and white takes away from the wonderful colors I originally had. I'm gonna have to find new ways to show higher contrast.

Thursday, September 8, 2011

Type


Today's word of the day was Type. Once again we went outside because it was a nice wonderful day. Apparently we were only supposed to be out for thirty minutes, but Madi and I accidentally stayed out for about an hour... Woops! But at least we got our word down and spelt out in BOOKS! We created this at the Anschutz library. Thanks Madi for a wonderful idea!

Monday, September 5, 2011

Deceased Designers

Since it erased all I wrote... Here I am once again.. Summarizing dead designers.

Pierre-Simon Fournier (1712 - 1768)
Pierre was a type designer and punch cutter who designed and packaged on of the first typefaces as a family. He presented his fonts based on a 12-point measuring system.

John Baskerville (1706 - 1775)
Used to cut gravestones. He established a printing business and type foundry and designed various Roman types. Known for his typeface Baskerville.

Hendrik Floris Wetstein (1649 - 1726)
Started off as a bookseller and publisher. He had his own printing office and acquired sets of matrices for some Greek types. Known for his typeface Museum Enschede.

Claude Garamond (1510 - 1561)
Learned typefounding and punch cutting as an apprentice. Set up as independent punch cutter and supplied printers. Produced fine Roman types inspired by those based on De Aetna. Known for the typeface Garamond.

Johannes Gutenberg (1398 - 1468)
Generally known as the inventor of the moveable type. Printed the first Bible that significantly effected the way books are made in the future. He used separate letters in his machine, lead for leading, eventually steel punches for each letter. Known for the typeface Textura.

[Summarized from Letter Fountain and Graphic Design Referenced]

Living Designers

David Quay (1948-Present)
Established The Foundry with Freda Sack and Mike Daines. Known for his typeface Quay Sans. Also created Foundry Old Style and Foundry Sans.

Matthew Carter (1937-Present)
Born in London, England, UK, Carter designed many typefaces that influenced designers around the world for over forty years. He co-founded Carter and Cone Type, Inc. and designed a famed typeface known as Verdana for Microsoft.

Zuzana Licko (1961-Present)
Born in Bratislava, Czechoslovakia, Licko had no formal training in typeface design. However, she designed bitmap fonts and well known fonts such as Emigre, Emperor, Oakland, and Universal. Her fonts paved the way for smooth traditional designs.

Erik Spiekermann (1947-Present)
Native of Stadthagen, Germany, Spiekermann ran a basement printing press to fund his studies at Berlin's Free University. He established the largest independent design firm at the time, MetaDesign. After leaving MetaDesign, he established United Designers Network with Susanna Dulkinys, which was renamed to SpiekermannPartners. FontShop International was also established with his wife Joan Spiekermann.

Joshua Darden (1979-Present)
From Northridge, California, Darden established his first design firm ScanJam at the early age of 13. At age 15, Darden published his first typeface Diva. He joined typefoundry Hoefler & Frere-Jones and established his own foundry Darden Studio.

[Information Summarized from Graphic Design Referenced and Letter Fountain: The Anatomy of Type]

Take over the Universe with Univers!

Univers is a San-Serif typeface designed by Adrian Frutiger in 1954. It is unique because it addresses its various weights by numbers. According to Graphic Design Referenced, Univers "uses optically even strokes and large x-height that increases legibility when used very small or as large as billboards and buildings can handle" (372). Originally released with 21 variations, Univers was reworked and expanded to include 63 fonts and was now categorized by three digit numbers (372). Also, Univers has a variety in its extensive family, from bold, oblique and roman to black, light, and a combination of each. With just Univers only, a Graphic designer can design what he or she wants, for example, our current weather project. The typeface provides all sorts of styles and different sizes.


Univers and Helvetica were released around the same time in 1957. However, the Frutiger’s grid was first introduced with the typeface Univers, which is how it became the Univers Grid. It was created to simplify weight labels, providing a systematic structure and order for the ever-growing popularity of variety in typefaces. The first number is the character weight and the second number is the character width (Graphic Design Referenced 372). 

Quick Bio: Adrian Frutiger


Adrian Frutiger is a well-known type-designer of the twentieth century. He was born in 1928 in Interlaken, Switzerland. He began his excursion to design by working as a printer’s apprentice at the early age of sixteen. He studied at the Zurich School of Arts and Crafts and furthered his career at the Deberny & Peignot typefoundry (Graphic Design Referenced 219). He was very interested in calligraphic lettering and it appeared so in his designed typefaces. According to Graphic Design Referenced,

Adrian Frutiger designed a number of broadly used typefaces, among them Serifa (1967), Frutiger (1955), and Avenir (1988) (219). The typefoundry allowed Frutiger to produce metal type and fonts for phototypesetting systems. Many of his typefaces can be found as logos, corporate identities, and corporate typefaces.

Early in technology, OCR-A was one of the first optical recognition typefaces that the public accepted. It was easy to read by a machine, however, it was harder to read by the human eye. Therefore, Adrian Frutiger designed a monospace font known as OCR-B. Developed in 1968 to smooth the progress of the optical character recognitions, it was accepted as the world standard in 1973 and made easier for the human eye to read compared to OCR-A.

From the initial progress of digital typography, Adrian Frutiger’s typefaces continue to lead the way for the designers in the 21st century.