CalArts: Funds. of Graphic Design-W4: 4.5 Type Contrasts
Video created by California Institute of the Arts for the course "Fundamentals of Graphic Design". This week we are…www.coursera.org
So we’ve looked at how to use contrasts for creating compositions using abstract shapes.
And now I’m going to take some of those same compositions and just switch the abstract shapes, switch those graphic forms out for typographic forms.
So let’s start out by looking at scale and form.
So before we’d had a very large circle and a very small square,
so if we were to replace those with typographic forms, we might get a composition that looked something like this.
And the reason why I’m gonna very quickly do this with type and switch it out is just to kinda illustrate some of the same concepts and how those concepts in composition work with letter forms as supposed to objects.
So in this case, we’d be looking at the letters O and the letter H as being different forms. They will be the same typeface, but actually, the form would be the letters that we’re choosing.
So if we then start to think about how to add texture,
that would really be about the kinda typeface that we were choosing.
So you can see here that one typeface is sans serif.
The other is a very decorative ornamental initial cap.
So there’s two very, very different feelings to have those typefaces drawn to kinda the texture of the letter form.
So now, if we keep going and try and look at scale, form, texture and direction with type,
you can see we’re starting to get a composition that feels that it’s working in a similar way to how we looked with objects.
You’re getting direction out of certain shapes of letter forms, like the A, for instance.
The B has some formal qualities very different from the other letters.
So we can use what we’ve learned in our composition class and really use that as a way to experiment with type and look at typographic form as well.
So let’s take one of the other examples that we looked at.
We looked at weight and form together, and we’d looked at three different shapes with three different tones to them.
So again, we could look at perhaps three different typefaces with three different weights to each letter form.
If we then start to look at how those might work in terms of how they’re composed within space,
we can see that, again, we’re disrupting legibility of this point and we’re no longer sure where to start reading.
But the letter forms now become a little bit more like elements in the composition.
So as we add other aspects of composition,
we add scale here,
and then we add some direction to the composition.
You can see that these typographic elements, when they’re broken down into single letters,
they actually function in a very, very similar way to how the objects were functioning in our other compositions.
Where it changes and they function a little bit less is when we start to reach a level of complexity
where again, the form becomes a little bit noisy and a little bit overwhelming.
And part of the reason why we’re not really use to this with typography, apart from perhaps in ransom notes จม เรียกค่าไถ่ ที่ฉีกตัวอักษรจากนิตยสารมาแปะ ,
is because we’re not used to seeing single letters in different typefaces.
We’re used to seeing words in different typefaces.
So at this stage it becomes quite difficult to think about this as typography,
and it becomes a little bit more like lettering, working really with just letters in a composition.
So at this stage I’m not really thinking about legibility or readability, how things make sense, or if they even say anything.
I’m just looking at the letter forms as forms.
You could actually counteract ต่อต้าน,ขัดขวาง,โต้ตอบ ลดผลกระทบ, ทำให้ผลน้อยลง this a little bit if you took away that typographic cacophony เสียงดังที่ผสมปนเปกัน ท่วงทำนองเสียงที่ไม่ประสานกัน.
If we look at this composition, for instance, and we tried to replicate that, this one typographically, and we did it with actually a family of typefaces.
So here it’s all in universe, for instance.
Suddenly, it feels a little bit more harmonious.
And so perhaps when working with letter forms in this way,
a better strategy might be to work with a family that has a broad range,
a lot of different weights and a lot of different condensed and extended versions, rather than working with a range of different typefaces.