Cheyenne Poster

Review EACH POINT with your partner on the final project poster today:
• Does it clearly identify the typographer (full name / legible)
- Yes

• Are the (3) examples of their work clear, crisp and identified? 
- She was still working on which works to place, we found a system to place around the calendar to help organize it a little bit better.

• Is the typography strong? so-so? weak? non-existent?
- The font choice was of his work and she was going to add more of his work as examples.

• Evaluate the poster grid. Is the layout balanced? If so why? If not, why?
She was working on discovering the grid, the calendar was set and where other elements were going to go around the calendar to help with the flow.

• Is the bio paragraph well-positioned? Legible? 
Was not placed yet, but there were plans underneath his head, which would make sense.

• Identify the color palette. What does the color scheme relate to? 
It was still in progress, she had the colors of the seasons as of right now, which does work on the calendar, but may not work once she adds the other examples. She will have to see.
• How are the images /portrait treated? Does the style make sense for the typographer? 
She was still working on them.
• Is the style loyal to the time period?
It was still being defined, if she adds flourishes to go with his style it would be well established.• What elements, if any, could be strengthened?
At the time she was still narrowing down all the elements, so she was working on strengthening the overall design and she will most likely finish strengthening her elements afterward.

Final

Person:

Evert Bloemsma

Presentation Here

I have decided to use a quarter grid system for my typographer. In the middle of the grid flush to the right is going to be the portrait of my typographer. I am going to run my paragraph on the right side also in two quarter squares at the bottom of my poster. On the left hand side I have 4 free quarters to put his type examples and name at the top. I am going to run the calendar around his portrait using different colors to represent the months and use his type.

Evert Bloemsma was inspired by swiss designs and typography, specifically Antique Olive. I am going to use that type face for the paragraph at the bottom or a similar typeface. I have outlined his own text to use as the numbers of the calendar. I have decided to use minimal color. He was a black and white personality and I want to use that in his poster and I will be adding a hint of red to the poster to bring the swiss colors into the poster and giving me another color to contrast with black and white.

Tunnel Books

Word List:

Sketches:

FRONT PANEL: I decided to put my text in capitals Rockwell Bold to hold up substantially on the card stock. I threw in a globe cutout in the middle for the middle scene. 

SOURCE

SOURCE

Middle Panel:

 On the middle panel I put a deer and trees. I felt they were competing for attention so I switched them out for another eating deer.

I moved the deers around to make them attach to the sides

I enlarged the deer as well as add the stems so the deer would not fall out

On the text, I switched it to Barkington to look like snow sleds or santa's sleigh.

Infographic

Credit: Wired

I chose the Geography Matter for Creativity and Innovation by Wired. It shows a lot of textual information. The colors represent the creative and innovative meet ups. Underneath the color bars it shows the people who are affected by the activity. It is interactive typographically in two ways, with the names underneath as well as the pie graph at the bottom giving a few more facts. It also gives us the town of which the areas are most creative in subject. The chart takes a few pages worth of text and puts it into the graph.

I chose this because I liked the color scheme, but there was also quite a bit of text to be sorted and organized and this chart did so.

Quote

"And the day came when the risk to remain tight in a bud was more painful than the risk it took to blossom." --Anais Nin

Book Report - Paula Scher

New York Natives interview for the Public Theatre

Source for Pictures

Poster Design used for 2013 shows

Outside

Shakespeare Machine

Paula Scher and the Public theatre lobby was a redesigning of bringing the public into the space so that it felt like anyone would be welcome. The building is of the former Astor Library so within designing the space they had to also counter the historical building commission and preserving the original architecture.

On the outside of the building is where Scher started designing since it was the first thing that people see about the theatre. They hung a glass awning with the public logo in transparency against a design above the entrance to the building. Only two supporting beams to the building hold this piece of work.  To connect with the type of the logo, boxes were used to hold posters with similar designs for the season’s shows.

Once in the inside of the building, Paula Scher wanted to combine the idea of the Public’s logo and the architecture. She has one focal point in the room of a round center desk with a chandelier sculpture, the Shakespeare Machine, above that was designed by Ben Rubin. On different wings it encompasses words or phrases from some of Shakespeare’s works.

Type is used all around the Public’s lobby area, the box office has a wall of collage of former Public posters, the information booth has the text featured on the wall and the desk. The text runs with the architecture, in doorframes, window frames, against walls, and is natural looking to the environment. The text was also painted with texture paint to show dimension to the piece.

To incorporate the donor’s to her building, she punched out bricks with their names against the wall. The bigger the brick the more they gave towards the Public Theatre. She also put donor’s names on or near the spaces that they donated to specifically.

Paul Rand's design definition, “Design is the method of putting form and content together.” On this project I believe Paula Scher did an excellent job of putting form and content together. She put the typography into the structure of the building. It isn't just hanging on the wall put interacting with the space. It gives a definition to the building and the architecture.
Video of Shakespeare Machine

"New Work: The Public Theatre Library." Pentagram, 1 July 2013. Web. 8 Oct. 2014. <http://new.pentagram.com/2013/07/new-work-the-public-theater-lobby/>.

"The Public Theater Renovation." SEGD. 1 Jan. 2014. Web. 8 Oct. 2014. <https://www.segd.org/public-theater-renovation>.

Postage Stamp Summary

On the Stamp there are three different font types. The large text at the bottom "Republique Rwandaise" is in blacklister. This is a successful for mentioning the area of which it is from. It is highlighted in blue text which stands out compared to the gold. It is centered which matches the center of Van Eyck's artwork in the center. It is filled with a border like the actual stamp. It offers a white space around it that helps with reading the blackletter font. It also naturally fits in underneath the photo.

The second type you see clearly is the 20 cents in the circle to the left. It is in Bodoni bold to create a knockout in the gold color. The c sitting underneath the 20 feels a little out of place in conjunction to the numbers. Since this is in one area where the stamp is from, it could have been left off. If it had to be a part of it, creating a different shape or incorporating it into the 20 would have been better. The font makes the amount legible compared to using a blackletter style.

The title of the piece of art from Van Eyck gets lost in such a small type, the blue font suggests there is something there that needs to be looked closer into. If it were the gold color like the date at the bottom it would be overlooked easily. The font style is sans serif bold. The details of the letters are lost in printing. I can understand that as it is the artwork's title it is not as important as the price or area. I also feel if they are going to do a stamp on an artwork maybe, make the artwork smaller and make that text a little bit bigger. The year is in gold at the bottom and is totally lost. It should have been in blue so it does not look like a gold bottom to the bottom that shouldn't be there. It could have been incorporated into another area of the stamp.

There is a consistency between the text at the bottom, it is all centered, there is a hierarchy to the text. We see the place, amount, and then the date and title together.