Posted on October 12, 2015
Concept of text and perspective
Many artists and typographic designers now focus on perspective as a variable element; they experiment with the viewers perspective in how the text is observed. This adjustment of perspective can be considered an illusion, a trick of the mind. I feel it effectively involves the viewer in a more active role than a simple piece of text would, as it is forcing the viewer to look t the text at different angles in order to reveal the message.
Posted on October 7, 2015
Typographic Ishihara
During my workshop in week 3 I decided to create an Ishihara plate revolving around the Letter A. From researching into the concept of Ishihara Test plates I discovered that the Red/Green colour deficiency is the most common form, around 99%; this is where people with this deficiency find it difficult to differentiate between both red and green. As red and green are both complimentary colours I chose to base my first type experiment around these two primary colours.
This is an image of one of my test pieces based around the concept of the Ishihara tests.
I think maybe for future reference, I would create a Typographic style and then import it into Illustrator to use as a template to place the coloured circles. Whereas with the method I used above, I created the shape of the ‘A’ freehand which in some cases makes the type more obscured and difficult to distinguish. I think following a pre-made template would give the plate a cleaner and more formal aesthetic.
Posted on October 5, 2015
Ishihara Tests
From researching and looking into the various ways we communicate to partially sighted people, I came across the concept of Ishihara tests. Designed by Professor Shinobu Ishihara, these tests consists of a number of coloured plates, all varying in colour and shape sizes of dots. This test is a colour perception for people with red-green colour deficiencies.
This is an example of one of the Ishihara plates, that would be examined in a test. To most people the 12 would be distinct, however people with colour deficiencies would be unable to distinguish the dots within the plate.
Posted on October 4, 2015
International Typographic Design
Originating in Switzerland, International Typographic design influenced the typographic styles such as Helvetica (1957) and Univers designed by Adrian Frutiger in 1954. Both typefaces feature a sans serif design that was influenced by constructivism , it’s purpose was to be objective and remove any past connections and cultural baggage that is associated with other fonts. It is instead clear and precise, and unlike other fonts can communicate universally; there’s no cultural restrictions.
Designers such as Armin Hoffman and Josef Muller-Brockmann promote these international Types because of their minimalism and lack of nationalist associations. They both utilized the grid system for producing and constructing their designs, the grid system offers:
- Simplicity
- Legibility
- Objectivity
They believed these concepts are all that’s needed when producing text and communicating messages. Wim Crouwel claims type should be “Clarity, clear, readable, straight forward.” This is what the grid system provided for designers.
Example of a poster constructed using the text Univers.
Posted on September 29, 2015
Found Type
Everyone everywhere is constantly surrounded by type and typography, whether that’s from a simple text message to an advert lining the streets. Our first workshop task was to venture around Lincoln City centre to photograph various typefaces and how they are utilised. I captured 7 various typefaces that differ in their own individual ways, some are more formal whilst others have this sense of informality, primarily the graffiti, which is almost indistinguishable.
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