A3 Typographic Hierarchy
Poster
{ Assignment Details }
Through a set of spedicifc exercises, you will explore typographic variables in clarifying a message. Take your time exploring each of these variables, so you fully appreciate what they can do. Take time to look and analyze the results. This is a four part assignment.

View Assignment Brief as PDF

{ Documentation }
Part 1 - One Measure of Hierarchy
With the limited artistic freedom we were given on Part 1, the designs felt both boring but also very safe. There was not a lot of room to wander too far in either direction, good or bad, and even though I felt too constrained and too limited, I sometimes almost wished later on in the project that we could be given at least one or two concrete constraints.

Line Spacing.
Select one weight (Univers Light 45, Roman 55, Bold 65).
Set all the type in that weight.
Insert one full linespace between any two lines of type once or more than once, throughout all the lines.
You may not insert more (or less) than one full linespace between any two lines of type.

Typograhic Weights.
Select any two weights (Univers Light 45, Roman 55, Bold 65).
Set all type in a combination of those two weights.
Next, explore all four stroke weights in combination.
No line spacing.

Horizontal Shifts: Two Flush-left Margins.
Select one weight (Univers Light 45, Roman 55, Bold 65).
Shift lines of type horizontally left or right resulting in only two flush-left margins.
No linespacing.

Horizontal Shifts: Three Flush-left Margins.
Select one weight (Univers Light 45, Roman 55, Bold 65).
Shift lines of type horizontally left or right resulting in three flush-left margins.
No line spacing.





Part 2 - Two Measures of Hierarchy
I felt that my pieces in Part 2 covered a fairly wide range in terms of quality. One design aspect that I personally hate is bold face text mixed in with lighter weight text but because we were still rather constrained on options, I mixed the two quite a bit. I personally like the uniform font weight designs better with exaggerated flush margins.

Line Spacing & Typographic Weight.
Select any of two weights (Univers Light 45, Roman 55, Bold 65).
Insert one full linespace between any two lines of type once or more than once, throughout all the lines.
You may not insert more (or less) than one full linespace between any two lines of type.

Typographic Weight & Horizontal Shift.
Select any two weights (Univers Light 45, Roman 55, Bold 65).
Shift lines of type horizontally left or right resulting in only two flush-left margins.
No linespacing.

Horizontal Shift & Line Spacing.
Select one weight (Univers Light 45, Roman 55, Bold 65).
Insert one full linespace between any two lines of type once or more than once, throughout all the lines.
Shift lines of type horizontally left or right resulting in only two flush-left margins.





Part 3 - Exploring Hierarchy
This was the point at which I started feeling a little afraid of taking more liberties with the design. Especially after two weeks of only being able to modify weight and some degree of spacing, being set free to be more creative was actually rather challenging. Just being told to use graphics and lines without further construction initially left me at a loss for what I should be putting on the paper and how, but I'm glad that I got a few awkward posters out of the way which helped me learn what elements don't work well with others.

Size Change & Typographic Weight.
Select any of two weights (Univers Light 45, Roman 55, Bold 65). Use a change of point size to emphasize heirarchical differences. You may change the order of information if you wish. Horizontal shifts and line spacing are optional. This is your call! Think and think carefully!

Graphic Elements: Rules, Bullets & Geometric Shapes.
Start with a complete solution to one of the previous eight exercise modules. Add any of these graphic elements of your choice: rules (your choice of weigt), bullets (dots, your choice of size and weight), and geometric shapes. Stay with black and white and values of grey ( % of black) in your graphic elements, bullets rules and type. Again this is your call. Try a range of sarting points, not just one. Be adventurous and try many ideas! Explore!





Part 4 - Color
At this point, finally being able to use color was both relieving and a fun challenge. As this was our first time really working with color in the class, these iterations were important steps in finding out which colors went well with each other yet still maintained their cohesion and communicated the message well. Browsing through Swiss poster designs was also very interesting and taught me that simple, solid, monochromatic shapes can still be used in fascinating ways to create communication art.





Final Design
After exploring all my options with color, Swiss design and graphics, I finally focused on one design and aimed to refine its details. The tracking of the "Miyazaki" lettering on the left was especially challenging as not all parts of a seemingly straight letter are actually the same length and width. In the end, I actually ended up drawing small cyan shapes which blended into the background to cover parts of the letters such that it would look more uniform, but visually, these modifications are almost invisible.