grids

A grid is a network of lines.

It is a tool for generating a form, arranging images and organizing information.

it can work as a focal point or just in the background, You don't have to stick to it at all times.
Put in calm grids
visible grids

The more columns the more flexible
Grids can direct peoples attention
multi collum grid
Hang line horizontally dividing space
Stacking  have elements rest on the grid
Hierarchy choosing what is most important
-can use size, hight, placement,
modular grid
move around set modular elements
gerstner
ruder
muller-

study task - 5 Poster for girl chewing gum

The collages made as a group using grids.                              This design is made to look like a camera looks when it is recording as to reference the style of film girl chewing gum is. in reference to the clock tower, this typographic collage was made in order to hint at a tiny part of the film using the title and changing the layout of the text.  This film seems never ending so in order to showcase how such a short film seems to be about nothing and take up so much time. The type is snaking around the frame this design could be used to frame an image or something. 

For this task, we were paired up to create a concept for the posters.

The idea Sophie and I came up with was an instruction based poster series that you had to follow to make understandable. The a0 is to be divided up into eight pieces and you have to find the next one to understand what's happening. The color palette is based on children's colorful toys, as the film is whimsical and just fun.  The film is not high brow it is just for fun.

each poster is to have instructions for where to go next.

Evaluation

This brief was to create a bespoke typeface for a  professional or creative within any field. The typeface was to be used in a visual identity, that is informed by the research. The typeface is to be considered a connection to the professional, the typeface can be based on Josef Müller-Brockmann’s classic six typefaces. This project is based on Ellisif Wessel, she is best known for her activism within workers right and equal rights. During her lifetime women got the right to vote in Norway (1913), which was a great victory for her. But within the thorough research, there were several parts of her life that was enlightened, like her work with refugees from Russia and her political activism and much more. 

The typeface hints at parts of her life but is not limited to just her, it is a fairly anonymous typeface, The typeface is referencing parts of her life like the town she lived in with the angle of the cut-offs. The fact that the typeface is based on the music from the Sami people is just slightly present and you would not know why it is that way if you were not informed. The cut-off parts could have a different meaning for other people, but since you know that it is based on Ellisif Wessel you can see it, so it is considered but not obvious.

Since there was not a final crit for this project there is just some feedback from some people in the class. One of them was that it was uncertain as to why there was a different colour story within the flag and poster. The reason for that is that there are used different pictures in the background of the poster as to show snippets of her work, as to entice the audience to see more. The other critical feedback is that the tote used for the branding could be a bit more expressive and have the lines go all over the tote. That idea is really interesting as it creates more interest and it could get more people to the gallery.

This typeface cannot be used in tiny wring, as it will jumble up a bit because it is a fairly thick line that it is written in. but if there was going to be further development there would be made a light typeface as that would work well as to not make the typeface as heavy. 

One of the letters that were a bit difficult to create was the “æ” as it is such a rounded form and because the decision to make it single tier was already taken. There was a lot of back and forward as to how to make it fit within the alphabet. In the end, the “æ” ended up with a small stem to make it more structured. This typeface has some flaws as not every letter can follow the rules set. The curved letters such as the: o, s, ø and cannot follow the rule to have something added in addition to cut off something. As you see the “o” shape looks odd when there are elements added. It looks more like a beak of a bird than a design element. The aperture of the “c” is cut off at a straight line according to the line, a development could be done with that to possibly make it more cohesive.  The addition along that vertex of the w looks a bit weirds because it created a more prominent line that leads up to the apex. This typeface is made to suit two languages, both Norwegian and English. The cross stroke in both the “f” and the  ”t” had to be altered as to not look lumpy and disproportionate, therefore are both the “t” and “f” cut off in both directions to create the movement instead of to add elements. 

The specimen is not bound to the preferred standard since the printing of it did not go as planned. The binding of the book is done as well as I managed. 

logotype in use

The premise for the logotype is to use it regarding a gallery/museum opening of Ellisif Wessels. This gallery is all about promoting her work in every aspect of her life. In the gallery, the lines form the logo is to be used for navigation. Each line from the logo has one thing it represents so when you want to explore another aspect of her life you just find another line. Within the gallery, there will be part of the logo cut off from the side that the line you have followed were you can read a bit more about why she either worked with charity, poems, journalism or photography.  

This logo is to be used on many different promotional and branding products, such as totes, pens, pencilcases and much more. In addition to the merch, the logo is to be used on the website promoting the gallery, her life, and information about the Sami culture. The loading symbol of the website an app is to be the gif of the logo (where the lines move up and down). To get people to go to the gallery/museum there are promotional posters with the date of the opening and overlaid of one of her pictures. 

first attempt at creating a gallery

looks a bit weird

poster in context

flag in the gallery 

the loading screen for the app

specimen

I thought about creating a type specimen just so that I have everything in one place, and where I can show a bit more in detail what was done to create the typeface. So that is what I did. within there is one of her most famous poems, as to show how the typeface can be used.  To do that I first made a working typeface with the website: www.calligraphr.com. it was really cool, but it does not do kerning so you have to alter the typeface afterward. but now I have my own typeface on my computer, which is cool. 

Gif

The idea for the gif was to have an element on a website for the gallery that could move, this could be a loading symbol or just an image that could move over a picture on the first page. the movement of the typeface is to resemble the movement of the northern light in the rhythm of the general music.

Initial idea with the first logo

End product

Crit

During the crit, there was some feedback about the logotype and the animation. 
They said that the logotype needs a better finish on the lines and have the lines end closer to the type.
The change made the logo stand out a bit more, from other logos. the other change they would like to change is to properly finish the lines, with more intention. 

Evolving logotype

None of the previous alphabets had the rhythm and movement that would be needed to emulate the music. 

 The development of the typeface revolved around deciding a pattern for it, whether to just cut parts out or add elements, do it all in one direction or do it both ways.

With having the elements move both ways it creates more of a rhythm, when it is all one way it is more detached and static. with having the elements meet at the top and then continue to the next letter created more of a rhythm. The angles can also be reminiscent of mountains and nature.

After choosing the typefaces it was just a matter of starting the logotype, with this the northern light have been an inspiration with its movement and shape. 

During the exploration of the logotype, the word for the type was not jet chosen.  to the right is some of the variations of names/ ligature.  

During the exploration of the logotype, the word for the type was not jet chosen.  There are a lot of variations of names with kerning and some ligatures.  While doing that that is why not all of the development work is with the same word. 

The chosen name ended up with being Wessel. It is Wessel and not something else because even if she was ahead of her time she was born in  1866 and it was common to go by the last name at that time, it was more polite. She also wrote under her husband’s name before she was allowed to write under her own name, she then used Andreas B. Wessel. In addition to that Wessel is a fairly well-balanced name and it has an interesting ring to it.

During the logotype development there were somethings that did not work as a logo as well as it did for a typeface. With the experiments with kerning and both names, but with that number of letters it did not represent her in any way. The idea of incorporating the northern light was something that was continues through the project. The lines in the finished logo represents different elements in her life like photography, poems, journalism and politics. That is why it is four, not more or less. 

Naming the typeface

The name of the typeface should be based on some part of her life. So I took some Norwegian words and some Sami words and spelled them out(only words that relate). The first word it up north in Norwegian, then in Sami underneath. the Nordlys is the Norwegian word for northern lights, then there is rhythm, Sami and the old Germanic name for a tribe of people found in the north of Europe in the 400th. 

Iterations

Today was all about creating iterations of the typeface, to make it have more of a rhythm. 

typeface

Today we started evolving the ideas into typefaces. Within the initial ideas, there were a lot of different possibilities as to where to take this.  But with further research and contemplation, the chose was quite easy. She worked so closely with the tightknit community and helped anyone that needed it, she argued for her causes and got heard. In this task, I have chosen to create a demanding typeface that draws references to most of the initial ideas. 

The one that I have decided to put the focus on is the Joik concept, even if it was not the one that was explored the most before, it is the one that evolved into more ideas afterward. 

    Creating the bones of the typeface

To create the bespoke typeface, firstly there had to be a starting point. The idea of the skeleton of the typeface is based on Futura and Helvetica, but they were not quite right. Since this one was to draw on the inspiration of the initial ideas there had to be longer descenders and ascenders and the shape of the bowls and lobes was not quite right. the bowls and lobes are based on the shape of the Sharman drum used in rituals performed by the Sharman of the Sami community. The ascenders and descenders are reminiscent of the ideas for the north vs south, as it shows how the government distanced themselves from the north. 

The choice of having it as a lowercase has to do with the fact that Wessel wrote longer texts and lowercase is whats used for most of the body text.  

    The grid

With this typeface, there is not a set grid, but there are five levels that the typefaces can end on, the reason for the five lines is the fact that there were five households in Kirkenes in 1886 when Ellisif and her husband moved there. 

First draft with the "grid"

The first draft of the typeface

This one has a thicker line in the o, ø, and æ. There is also a nicer curve on the n and m

     Rhythm

These sketches are based on the feedback from the crit today.  These are all based on 69 degrees as that is as far north Kirkenes is. At this point, there are several subtle rules that create uniformity. This is not enough to create interest and create a rhythm you can feel when you read it. This type draft is inspired by the design by Neville Brody for Channel 4.