#andrewcuevas

qFor this blog post, I picked the lyric video of Just Give Me A Reason by P!nk. The video was from PinkVEVO Youtube account and was published on September 11, 2012. 

There are two typefaces used throughout the lyric video. Both are sans serifs. The first one is a sans serif with a light-medium weight and the other one has very thick, bold strokes. 

The lyric video is designed for viewers and listeners who want to sing along with the music/song. All our typed in capital letters. This was done because typography generates emotions. The song is about the demands of two people in the relationship. The lighter sans-serif sets the tone, and the bolder emphasizes the strong feeling an audience can feel. 

This will influence my work in a sense that I can use typography in setting up a tone onto my project based on what I’m trying to communicate.

This website is a web magazine called Intern. According to its about page “intern is a bi-annual independent print publication for and by the creative youth.” www.intern-mag.com

There are multiple typeface present on the website. And they are combinations of serifs and sans-serifs. The Display type or the headline’s sans-serif typeface is called Neuzeit Grotesk, and it is in bold style. I found this out by using the view page source on the web. It is hard to tell the typefaces used on the subheading(san-serif), body text(serif), and the logo(serif). The body text is similar to the navigation text. 

The website is an editorial website. They feature people and work that represent the creative youth. The audience can be college students or the youth.

The typographic choices work well as a whole. They all complement each other considering the overall appearance of the web page. There’s a sense of hierarchy considering the shifts in style and variety of sans-serifs and serifs. It looks very simple clean and easy to read. 

http://thepaperbackplot.com/indie-game-revolution-exhibit-graphics

The exhibit graphics that I picked was from the Museum of Pop Culture - Indie Game Revolution Exhibit in Seattle, Washington that runs from November 2014 – Indefinite. The exhibition is curated by Jacob McMurray. The images came from the design portfolio of Matthew Cole, the exhibition graphics designer. 

According to the designer, he wanted to have a "techno-constructivist" aesthetic for all of the graphics to emphasize “revolution.” I googled the definition of of Constructivist art and found out that it focuses modernity that covers geometric and experimental themes. It makes sense that in this exhibit, Cole used a geometric sans typeface; I would assume that Futura, a sans serif face constructed from geometric shapes, was used for the most part, especially for the body text.

The graphics and typography in the exhibition details the evolution of Indie games and what it is all about. The exhibit is interactive. The intended audience include game enthusiasts, as well general public, especially kids. 

The typography can be seen as an interpretation of the exhibit since as mentioned above, it enhances the theme of the overall exhibit as it interacts with the rest of space and elements (such as 3D objects, and lighting) of the museum’s exhibition. It invites people to read the information provided since the type size, especially the headings, is large enough to be seen even from a far. Even I myself experience it when I went to Seattle last January, I was drawn to the typography and design. It also has a successful legible hierarchy of information tied with a consistent style.

The book that I have chosen for this post was called The Way Beyond Art: Wide White Space published by California College of the Arts (CCA Wattis Institute for Contemporary Arts) in 2012. It is very modern-looking because the subject looks to disciplines such as architecture, film, industrial design that make their way into exhibitions. 

The typeface used is very modern and sans-serif classified. There were two different typefaces used to emphasize hierarchy of the title display from the body of text. The colors used were black and red. 

The book is an exhibition catalog designed for architects, writers, directors, and designers. 

Here are the measurements of the grid system:

outside margin: 3p6

gutter margin: 4p0

top margin: 4p6

bottom margin: 4p6

this is a 2-column grid divided by 1p0 gutter.

The book is divided into two parts: Wide White Space & Wider White Space

The pictures on the right page and the text on the left page is the first part’s arrangement.

The second arrangement has the pictures and text combined and it’s divided into two columns.

My example of bad typography is a newspaper advertisement of a lumber and supply services from daily herald news. 

The typefaces used are all classified as Sans-serifs.  

This ad is designed for newspaper readers, people or customers who are looking for lumber services and supplies. 

There is no sense of hierarchy for the reason that, though differentiated by styles (bold, italicsm ), the font sizes of the elements are almost similar. It seems like it’s designed just to fill up the space of the ad box. And almost all sections are bold making it hard to tell which one is more important. The consistency is also problem because of the use of many typeface, and you can see it by comparing the letters g, y from each section. The adjustment of kerning of the greetings “happy 4th of July” is overly done.

My modernist grid example is from the book Wim Crouwel: Modernist, by Frederike Huygen, published by Lecturis in 2015 in Amsterdam, Netherlands. I took a photo of the book’s page 118-119 and examined the use of the modernist grid system.

Based on the book itself, the typeface used throughout the book is called Gridnik, a digitized modular typewriter alphabet for Olivetti. It looks very modernist because of its geometric feel and characteristics; with this being said, it is classified as sans serif.

The book is a monographic study of Wim Crouwel, a modernist graphic and exhibition designer. Its intended audience is people who are interested in the study and the practice of design.

The look of the whole spreads is very modern, asymmetrical, and has distinctive aesthetic due to white spaces.  There’s a sense of rhythm in which then elements are arranged. The way the information is presented is clear. The page title or chapter can be easily distinguished and having it have a different font size from the caption under the illustrations/photographs create a sense of hierarchy. The main content is divided into two columns; the vertical space between the two columns is one line of text; and the typographical alignment is flush left.

The blog article was from the website of a non-profit organization, Samaritan’s Purse International Relief. The words written were spoken by U Zaw Oo, a Samaritan’s Purse beneficiary resident of Myanmar. It was posted on January 24, 2017 under Samaritan’s Purse Blog. It’s about Samaritan’s Purse providing hygiene training and latrines to families.

The typography throughout the web page is very legible and readable. The typeface classification is sans-serif. It looks clean and feels very calm. Overall, it’s simple and for some reason, the type communicates the sincerity and the humility of the organization. I inspected the webpage codes and the font-family came from a google web font called ‘Roboto.’

The audience of the webpage is anyone who is interested to donate and is doing charity works.

The layout of the page is simple and the elements seem to have a relative relationship with each other. There is a good hierarchy. The headline or the title is bold in character. The headline photo lines up with the margin. The dates and author/speaker and the subtitle are colored in lighter shade. The leading is just enough, ranging from 1p to 1p6 at 100%. The text is wrapped around the body image, and the image has a decent white spaces around and with a caption that is in different size and style from the body text. The text is left-align, and the paragraphs are broken by white space in between, like 2p6 in measurement.