Special attention was given to corners and borders of the work space to enhance tension of the letterform. The positioning along a border or act of entering and exiting the work space was combined with the extreme cropping of legs, tails, eyes and counters to accentuate subtle curves and variation of line weight. Capturing delicate curvilinear details and enlarging them to span the distance of the work area added movement and variation to the composition and typography; this also called attention to the figure ground relationship via large areas of black and white due to the extreme cropping.
The counter of lowercase ‘u’ was a particular area of typographic interest as it provided both curved and flat lines against the ground. The counter also provided an opening which was the inspiration for a light, airy, free falling motion through a vast open space. Using black text on white ground added to the spacious expanse that slowly consumed an ever drifting letterform. The open counter also inspired the second frame, which in addition to the first, flaunt sharp corners and straight lines that later transform into sweeping typographic curves.
The heart’s symbolism as an essential life organ combined with the recognizable tips of a gas nozzle were chosen because of their simple and immediately identifiable qualities. The reverse style of dark ground with white figure and text adds a feeling of “shock” to the message, while red replaces black to call on the symbolic […]
The objective was to explore the use of primary shapes and how they relate to the letter form’s positive and negative area. Each letter and number is featured in the pangram poster along with descriptive content about the type face, designer and the letters o, x, & b. Instructor: Bethany Armstrong
This typographic poster in the Optima typeface features a background glyph in Optima, in addition to a golden section grid system. The grid determines title positioning as it contains a long, straight, diagonal to serve as a baseline. From the title, body copy and the subheadings branch off in loose respect to the glyph, which […]
The font family Optima was chosen as the basis for a type specimen poster featuring historical information about the typeface, its creator and other related facts. Exploration of multiple grid systems were used along with experimentation of information hierarchy. Along with adding color came a decision to have the background reflect the grid structure used, […]