Monday, August 31, 2009

VISUAL LANGUAGE: F+S Rhetorical Trope

-Parody, this advertisement is an imitation of a propaganda poster for the Soviet Union.
-A metaphor is also present, comparing the M&M Election to the election/campaign to that of a Soviet Union propaganda poster; two distant ideas.
-A verbal pun is in the works here as well, the play on the word "Revolution" that is changed to "Redolution"
-It also demonstrates personification; the M&M and its human features and characteristics.

*Work of Jefton Sungkar ( [below]
 This series of three is a campaign for helping the homeless. It demonstrates several rhetorical tropes one of which is a verbal pun/synecdoche, being their slogan for the campaign; "Lend an Hand". It is a play on the word hand, in this case meaning a helping hand; it also shows a part standing in for the whole.
It also shows allegory as well, a symbol; the hand, stands in for a stronger social/moral meaning which is a call for action to society for a helping hand; to give help to the homeless.
This magazine spread shows the rhetorical tropes of personification, as well as a visual/verbal pun.
The personification is evident in the negative space in the body copy, the "text wrap" represents the silhouette or outline of a fish.
The visual/verbal pun is being shown between the article title and the imagery in the negative space of the body copy. The title of the article reinforces the personification, and the fact that there are outlines and the fish are not actually there, as in they have disappeared.

Sunday, August 30, 2009

TYPOGRAPHY 3: Font Family & History: Frutiger

"From all these experiences the most important thing I have learned is that legibility and beauty stand close together and that type design, in its restraint, should be only felt but not perceived by the reader." —Adrian Frutiger
Work of Jannis Gundermann (

This poster visually explores the intended usage of Adrian Frutiger's self-titled typeface "Frutiger". Created in 1968 for the French "Charles De Gaulle" airport in Paris it makes a clear, precise and highly legible signage typeface. 

Adrian Frutiger is best known as a type-designer. He has produced some of the most well known and widely used typefaces. He was born in 1928 in Interlaken, Switzerland, and by the age of 16 was working as a printer’s apprentice near his home town. Following this he moved to Zurich where he studied at the Zurich School of Arts and Crafts, under Professor Walter Kach.

After his education in Zurich, Frutiger moved to Paris where he started to work at the Deberny & Peignot typefoundry. Here he helped the foundry move classic typefaces used with traditional printing methods to newer phototypesetting technologies.

At the same time Frutiger started to design his own typefaces, a few of which became very significant, and this earned him his status as a great type designer. Throughout his career he has produced a number of books, such as:

Type, Sign, Symbol (1980)
Signs and Symbols: Their Design and Meaning (1989)
The International Type Book (1990)
Geometry of Feelings (1998)
The Development of Western Type Carved in Wood Plates (1999)
Forms and Counterforms (1999)
Life Cycle (1999)
The Univers (1999)
Symbols and Signs: Explorations (1999)

Today his typefaces are readily available from a number of different foundries. He is still alive (2005) and has worked on revisions with Linotype of a number of his typefaces. Such recent collaborations have resulted in Frutiger Next and Avenir Next, which have included refined forms and true italics. Presently Frutiger lives in Bern, Switzerland and is working with woodcuts.

• President (1952)
• Phoebus (1953)
• Ondine (1954)
• Méridien (1955)
• Egyptienne (1956)
• Univers (1956)
• Apollo (1962)
• Serifa (1967)
• OCR-B (1968)
• Iridium (1975)
Frutiger (1975)
• Glypha (1979)
• Icone (1980)
• Breughel (1982)
• Versailles (1982)
• Avenir (1988)
Avenir Next
• Vectora (1990)

This typeface was designed by Adrian Frutiger and was commissioned by the Charles De Gaulle International Airport in Paris for usage on directional signage. Frutiger is a humanist sans-serif, and has become one of Adrian Frutiger’s best-known typefaces, along with Univers. The weight of the forms are much less monotone than Univers, and due to these subtle thicks and thins the typeface has far more character. Since the 1980s, the fonts have been available in digital form from Linotype.

Frutiger has been an extreme success, and in 2003 it has been revised (ASTRA-Frutiger) for use on highway signage in Switzerland. In addition, the typeface was revised and updated in 1999 by Adrian Frutiger himself (together with Linotype) to include true italics among other features; this typeface is called Frutiger Next.

Frutiger's goal was to create a sans serif typeface with the rationality and cleanliness of Univers, but with the organic and proportional aspects of Gill Sans. The result is that Frutiger is a distinctive and legible typeface. The letter properties were suited to the needs of Charles De Gaulle – modern appearance and legibility at various angles, sizes, and distances. Ascenders and descenders are very prominent, and apertures are wide to easily distinguish letters from each other.

The Frutiger family was released publicly in 1976, by the Stempel type foundry in conjunction with Linotype. Frutiger's simple and legible, yet warm and casual character has made it popular today in advertising and small print. Some major uses of Frutiger are in the corporate identity of Raytheon, the National Health Service in England, Telefónica O2, the British Royal Navy, the London School of Economics and Political Science, the Canadian Broadcasting Corporation, the Conservative Party of Canada, the Banco Bradesco in Brazil, the Finnish Defence Forces and on road signs in Switzerland. The typeface has also been used across the public transport network in Oslo, Norway since the 1980s. In 2008 it was the fifth best-selling typeface of the Linotype foundry.[1]

Also, it is used by DHL Globally and by DPWN Deutsche Post in Germany....

  Logos & signage in use today using Frutiger (above)

History and typeface information courtesy of Wikipedia and Typophile:

Saturday, August 29, 2009

NARRATIVE: Letterform Storyboards & Renderings

As I began my study with perspective with this particular activity, I took the safe route of working with a first person point-of-view; however, as I was completing the first person P.O.V storyboard I decided I needed to challenge myself with the next storyboard. So, for the second one I chose the P.O.V of the paper or perhaps the desk or underlying material under that paper where the creation of the letterform is taking place.
This is the letterform I created for this exercise, and to better determine the amount of time lapse between frames I took photographs of the entire letter rendering process. 
Storyboards (10 frames):
First person P.O.V (above)
Third Person P.O.V; surface underneath the paper (above)
Photographic version of the first person P.O.V (above)

This storyboard proved to be much more dynamic than the first, and is expressed even more in the renderings following.

First person P.O.V Renderings:

After creating the storyboards I proceeded on to the action renderings; for both first and third person on these, I decided to work with the idea of gestalt to create a more dynamic image much like my storyboard presented in the third person. The three media I used for these were: ink pen, pencil, and marker. After reviewing the three media, I feel the marker renderings best display the personality and characteristics of the activity. The transparent, water color like nature of the markers give the rendering texture and really express the hand-craft that is evident when creating a letterform. I would like to explore more colors to better differentiate the lines and fills on the "paper" and the image of my hand and face. I am going to look for other types of media as I push my idea for class on Wednesday.

First person P.O.V: pencil / marker (above)
top: Third person P.O.V: marker
bottom: First person P.O.V: ink pen (above)
Third person P.O.V: ink pen / pencil (above)

After critiquing and talking about certain issues with out actions in class Friday (8/28), I am going to further explore how this progression can tell a story, work on time lapse between frames, tighten up my imagery, and find the most appealing, dynamic, and interesting way to display my activity.

Thursday, August 27, 2009

VISUAL LANGUAGE: Jazz Reseach; Ken Peplowski

I began my research for this project by establishing the context of the poster, and the audience. I then moved to researching the artist I am going to represent; Ken Peplowski, breaking it down to the pure essence of what he does and who he is. I then worked my way to discovering the history and mission of the Folly Theater.

Since this performance is the celebration of Benny Goodman's 100th birthday, I decided to get a brief history on him and what makes him such a well known and inspiring figure in the music community. Also, Benny Goodman was claimed the "King of Swing" so I also did some searching through the swing era. I also looked into discography, jazz festival posters and ads, promotions, and concerts.

I also began to see what jazz, in general, is all about. It has origins in New Orleans during the 20th century, it is described as propulsive rhythms, virtuosic solos, melodic freedom, and ensemble playing. As I continue my research I am going to attempt to establish these characteristics in my design.


-Ken Peplowski has a very unique sound to him that is very fluid and smooth.
-His music has a wide range, from a soft and sensual tone to a upbeat swing style tone.
-His notes are very stylistic and full of character and he has definitely innovated the jazz genre.
-Peplowski has a vary wide pitch range that give his music that strong character and makes it feel alive with pure energy.
-In other reviews it is said that Ken is very well known for bringing together the old style of jazz with the new.

 -My inspiration for textures has not only come from the imagery I have collected but also the style of Peplowski's music as well as jazz in general.
-Due to the fluid and smooth nature of the music I am researching and working with the use of fluid, smooth lines and curves and how the can be used as directionals and possibly develop a form/counter-form interaction.

-From my inspiration I am thinking along the lines of a soothing, yet expressive color combination and I will do so by exploring color discords and also by sampling my inspirational images. I would really like to go tertiary with these colors as well and find a very unique color scheme that would further express the uniqueness of the music Peplowski puts fourth.
-As I further my research I will look more into typefaces as I will have a better idea of how I want the to interact. But I am considering a limited use of some sort of smooth script-like type that will work nicely with a san-serif, light type. The formal, more pertinent information I would like to see in a serif type.

Wednesday, August 26, 2009

NA: Motion Capture Activity

My activity for narration is...

Creating a hand drawn letter form.

*Addition 8-27-09* I chose this activity because it is something I am truly intrigued by; the form, preciseness, beauty, and aesthetics of a letter form. For my action I have chosen a macro view of the eye of my character (from the point of view of the paper) as it is being formed and filled in, in combination with the use of gestalt to create a more interesting element to my narration. I picked the letter "g" due to its beautiful, fluid, smooth form, also, typographers have used the double story "g" as a structure and base to build the rest of the alphabet from because of its curves, bowls, ear, tail, etc.

Tuesday, August 25, 2009

TYPOGRAPHY 3: Stephen Fry & the Gutenberg

To think that our industry and the world for that matter was shaped around the creation of one man, Johannes Gutenberg, is truly astonishing. The idea that movable type and the basic idea of books we read everyday was developed over 500 years ago is unfathomable. One fact that I did not know from the works of Gutenberg is where the word "font" was derived from, I never would have guessed "fonts" as we know them today came from the churches of the Middle Ages and Renaissance in which they had baptism "fonts". The repetitive nature of the Gutenberg press really puts in to perspective how far we have really come, from placing type character by character to now pressing a key. Gutenberg paved the way for our industry with an idea that had to be way ahead of his time. The fact that he printed the Gutenberg Bible page by page which then was decorated by hand page by page, really puts in to perspective how much we take for granted and also the innovation Gutenberg put forth.