Typography

Typography is the art and techniques of arranging type, type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length, leading (line spacing), letter spacing (tracking) and kerning.

Below are some resources that I have collected on the subject of typography. The information that I have research have been very useful, it has taught me the fundamentals of typography, why and how it works and how it can be used to create breakthrough, innovative typography- but only after basics have been learned.



Type Terms
A type face may be named for its original designer (Baskerville, Bodoni, Garamond, Goudy); for its use (Times Roman was designed for the London Times; Century and Avant Garde were designed for Century and Avant Garde magazines); for its characteristics (Excelsior and Paragon were designed for high legibility); or for its designer's fancy (Perpetua, Souvenir, Centaur).
Type faces are also given generic names as well as brand names, e.g. different type-founder's call Times Roman different names, e.g. Times New Roman, Geneva, and English.

Measurements
To understand and define many parts of a letter or a line of text, some measurements must be distinguished.

Ascent Line
The imaginary line that marks the topmost point of the ascenders within a font. The ascent line is most commonly located above the cap line.

Cap Line
The imaginary line that represents the uppermost part of capital letters. The distance from the cap line to the baseline is the capsize.

Mean Line
The top imaginary point of all lowercase characters without ascenders. Often referred to as “x-height”.

x-Height
The distance between the baseline and the midline of the alphabet, usually the approximate height of the unextended Lowercase letters (a, c, e, m, n,...) and of the torso of extenders (b, h, d, k, p, q,...). Cap height, and the relation of x-height to the length of extenders, are two important characteristics in Latin typeface.

Baseline
The imaginary line on which the letters of a font sit.

Descent Line
The lowest imaginary line that a character’s descender extends to. (j, y, p,...)


Distinction between Spur and Serif
A spur only appears at the end of a curved letter-form.


A serif only appears at the ends of the main strokes of a letter-form.

Descenders are only elements of lowercase characters that extend below the baseline.


Serif vs. Sans-serif
Serif typefaces are generally easier to read when it comes to big bodies of small text. The serifs are what make the body copy so readable. Using serif typefaces creates better eye flow.

Sans-serif typefaces work well for titles and other brief bodies of text that require greater attention. Other names for sans-serif include gothic and grotesque. The most commonly used sans-serif font is Helvetica


Here is a video that I found on you-tube (www.youtube.com) from the Vancouver Film School that demonstrates excellent typography and how effectively it can be used.


Sources

• http://en.wikipedia.org/wiki/Typography
• http://uk.youtube.com/watch?v=2o1U4o1bc2k
• http://ilovetypography.com/2007/08/26/who-shot-the-serif-typography-terms/

ipod Adverts

The more famous commercials and print advertising featured dark silhouetted characters against bright-coloured backgrounds. The silhouettes are usually dancing, and in television commercials are backed by up-beat music. The silhouettes are also usually holding iPods and listening to them with Apple's supplied earphones. These distinctively appear in white, so that they stand out against the coloured background and black silhouettes. Apple changes the style of these commercials quite often depending on the song's theme or genre.



Above is one of the later ipod adverts that feature Mary. J. Blige . The appearance of the colours in this advert is very interesting. Various shades of orangey yellows have been used with a slightly textured overlay. This creates a slightly gritty urban vibe to it, which is very in keeping with the singer. All the ipod adverts convey a sense of fun loving, chilled out kind of mood. I personally really like these adverts and feel uplifted whenever I see them. One of the main things that I like with the whole branding of the ipods is the way the Main theme remains the same, but the format is always refreshingly different. The rich warm backgrounds really brings out the detail of the silhouette. With the slightly older adverts the figures are completely silhouetted. Whereas in the later adverts more detail of the individual people can be seen.



Here is another advert shown advertising the latest ipod. Out of all the ipod adverts this has to be one of my favourite. The funky song combined with the psychedelic colours is a match made in heaven. Unlike the slightly older adverts the background is as much of a feature as the silhouette dancing, and even interacts with the silhouettes. This creates a sense of the background actually becoming as important as the foreground. The funky geometric shapes create a stunningly visual advert.

Artist research: Peter Blake

During the late 1950s, Blake became one of the best known British pop artists. His paintings from this time included imagery from advertisements, music hall entertainment, and wrestlers, often including collaged elements. Blake was included in group exhibitions at the Institute of Contemporary Arts and had his first solo exhibition in 1960.

On the Balcony

On the Balcony (1955-57) is a significant early work and still stands as one of the iconic pieces of British Pop Art, showing Blake's interest in combining images from pop culture with fine art. The work, which appear to be a collage but is in fact wholly painted, shows, among other things, a boy holding Edouard Manet's The Balcony, badges and magazines. It was inspired by a painting by Honoré Sharrer depicting workers holding famous paintings. Blake confronts the viewer with a picture plane that is deceptively flat, effectively blocking the viewer from venturing deeper into the picture plane.

Summer on the Coke Side of Life

One of the main things that I like about Peter Blake is his pop art style. I like the way that he can gather a series of images and collage them all together much more meaning and symbolism, often with a child like style. One of my favourite pieces that he has created is the coke bottle. I really like the montage effect that has been created. The piece is titled “Last Summer” He was commissioned by coca cola to create an image that would represent the brand.

“Summer on the Coke Side of Life”

In this video you can see Blake and his team creating the 7m high work of art on the SouthBank. Blake’s enthusiasm for the project shows in his large-scale piece; it is at once an icon for Coke and for his signature style.


sources

• coca-cola-art.com/ 2007/11/08/sir-peter-blake/
• http://en.wikipedia.org/wiki/Peter_Blake_(artist)

Artist research: Fernand Leger

"Fernand Léger was born in the Argentan, Orne, Basse-Normandie, where his father raised cattle. He initially trained as an architect from 1897-1899 before moving in 1900 to Paris, where he supported himself as an architectural draftsman. After military service in Versailles in 1902-1903, he enrolled at the School of Decorative Arts. The "mechanical" works Léger painted in the 1920s, in their formal clarity as well as in their subject matter—the mother and child, the female nude, figures in an ordered landscape—are typical of the post-war "return to order" in the arts". (source 1)

Cirque 1881 - 1955

"Along with Picasso, Braque, and Gris, Fernand Léger ranks among the foremost Cubist painters. By 1912, he had developed his own adaptation of Cubism. Utilizing pure color, he simplified the forms in his pictures into geometric components of the cone, cube, and sphere, leaving their contours unbroken". (source 2)

The Bargeman, 1918

I really like the modernist cubist style that has been used. One of the elements that I think is most effective is the style of the brushstroke. The way the brush has been employed gives the impression metallic sheen that looks like it could act as a reflective surface. The colours used are also interesting, the main theme is white but there are injections of other vivid colours such as yellow, reds green, and black all of which contrast well. Even though the shapes are simple and geometric it conveys a mechanical style that I think is fascinating. The cylinder shapes convey ideas of pipes/ tubing, or even as a container for energy.

Les Pistons, 1918

The above image is one of my favourite that Fernand Léger has created. The main reason why I am drawn to this image is for its futurist look. Even though it contains lots of different shapes, sizes and colours, it still has a certain minimalist feel to it. The colours and shading used really gives this image of a real sense of depth. The blue shapes and pipes appear to be hovering over the background. Looking at this picture from a certain angle I can almost see a face beginning to appear- and that’s what’s so appealing about it. The fact that a different perspective can create a different image, even change the meaning. This is defiantly something that I would like to relate to in my design.

Sources:

• http://en.wikipedia.org/wiki/Fernand_Leger (source 1)
  
• www.metmuseum.org/toah/ hd/cube/ho_1999.363.35.htm (source 2)
  

Time Management (Randy Pausch Lecture)

Time management is very important when approaching a task, not only to get the most out of it, but to eliminate any stress that can occur with poor time management. I find that previously my time management- or lack of it leads me to being very stressed at the end of projects- and a sense of feeling that I didn’t achieve everything that I could have within the given time frame. To eliminate this issue I’ve research various sources time management. One that I found very beneficial was the lecture given by Randy Pausch. In this lecture he talks to students about how to better manage their time. Even thought this is a lengthy video, I found myself engaged throughout.
In addition to this I have also incorporated the method of creating a to-do list, which is created on a daily basis. This gives me a clear breakdown of everything that must be achieved throughout the day.

Brainstorming Process/ Mood Boards.

When staring out on a project the generating of ideas is very important it can make or break a project. Therefore I have decided to as much time as possible to the process of brainstorming, and the development of mood boards.

Initially I started to brainstorm for the channel “Foursight”. The ideas that were generated were mainly based around the various programmes that would normally be broadcast on this channel. The central concepts that I developed were along the science and technology path. I didn’t particularly find any of the ideas solid enough to continue with.

"Foursight" brainstorm

The brainstorm created for the channel “Comedy Box”. Once again used a process listing all the channels that would appear on the channel. I found that the ideas that were generated were slightly uninspiring and therefore decided to continue the development of my ideas.

"Comedy Box" brainstorm

The next stage of my development was to create a mood board for my chosen channel “Ignition” and to get a visual representation of my theme and concepts. I followed the theme of lad’s magazines such as Top Gear, Zoo, Nuts and The Sun. And also took ideas from additional adverts that I felt were relevant. Upon reflection the ideas appear to be limiting my target audience- due to the fact that I haven’t taken into account the female viewers, or people who may not like cars, etc. This meant I had to revisit the brainstorming process and redevelop my ideas.

"Ignition" mood board

Here is the redeveloped brainstorm that I have created; the ideas that have been developed are no longer quite so literal.

"Ignition" brainstorm

I have decided to go along a much more abstract theme rather than just focusing on the channels and have begun to look at various themes and concepts, such as colour, texture, light-dark, negative and positive. This gives me not only a much wider market to appeal to, but also a much broader basis in which to build on and to continue to develop my ideas.

History of BBC television idents

The history of BBC television idents starts in the early 1950s. They were first used so that BBC to create separate identities for each of the channels. As new technology has become available, these idents have evolved from static black and white images to the sophisticated full colour ones we today. With the arrival of digital services in the United Kingdom, and with them many more new channels, branding is much more important, meaning that idents need to stand out from the competition.

BBC "Television Symbol"

The BBC "Television Symbol" was introduced in 1953. The centre contains a very small globe that span around.

"The abstract pattern consists of two intersecting eyes which scan the globe from north to south and east to west, symbolising vision and the power of vision. Flashes of lightening on either side represent electrical forces and the whole form takes the shape of wings which suggest the creative possibilities of television broadcasting."

I think that this logo is very effective. Considering the time that this logo was made every component has not only a meaning- but also works as a symbolic representation, for progress, the future, and infinite possibilities.

“BBC TV” logo

In 1962, this ident symbol was introduced; inside the circle there was a map of Britain with the BBC regions shaded in. There were seven regions at the time, London & SE, South & South-West, Wales, Midlands & East Anglia, North, Scotland, and Northern Ireland.

This logo doesn’t appeal to me quite as much as the first one. I don’t feel that this has quite the same amount of depth nor meaning it is and much more "literal" in its representation. The way the “BBC TV” logo has been placed makes it look like an afterthought.

BBC-TV Globe Logo

Introduced late 1963, and still in use 8th Nov 1964. This was the second globe; the first only lasted a few months in the middle of 1963. Although this one was introduced on BBC-TV, it survived the change to BBC-1.

This logo is also interesting. I like the way that the background is almost split in the middle creating a shadow of night and day, light and dark. Looking slightly deeper it could also be a representation of good and bad news in the media.

"mirror globe" ident

On 15th November 1969, BBC1 began transmitting in colour, and introduced the first version of the "mirror globe" ident. The inclusion of the word "colour" in the station ident could be viewed as a subtle reminder to the vast majority of viewers, still watching in black and white, to buy a colour TV set and the much more expensive colour television licence, which financed the BBC. The Nexus Orthicon Display Device, or NODD generated the idents for short, which worked by filming an image in black and white and electronically adding colour before the image was aired.

I really like the mirror effect that has been used, its very effective visually. The choice of colour is also interesting. This particular shade of blue appears to almost bounce off the black and create a real contrast. This really brings out the detail of the globe.

BBC1 Virtual logo

1991 and the journey to a new on-screen image started in Autumn 1988 when Lambie-Nairn were brought in following their work on the Nine O’clock News. Several designs were considered and evolved before the final choice was made. The new BBC1 globe is a swirling world of shadows and reflections.

I thought theses idents were quite intriguing, I remember this from my childhood and would always try and make out shapes from within the globe, this particular ident always had a slightly spooky/ fantasy element to it. - however after seeing it several times it lost impact and I didn’t really notice it anymore.

hot-air balloon ident

On 4th October 1997 the globe was dramatically updated when it left the computer to take the form of a hot-air balloon filmed over various landmarks throughout the UK. The idents featured the new name of the channel: BBC One, renaming which continued across the rest of the BBC's channels.

Once again I remember these idents from my childhood and have fond memories of it. I really like the concept of using real footage for an ident rather motion graphics or static images. The colours in this ident are also very interesting. The orange and red contrast well against the green landmarks making the balloon sticks out even more.

diverse circle idents

A circle motif now features as the main theme of the idents, while the content is much more diverse than previous: swimming hippos, motorcycle stunt riders, children playing "ring a roses", lit windows, surfers, football players, the moon as well as kites. The new circle motif is both a 'nod' to the channel's heritage as well as a symbol of people coming together, in the way the channel brings people together.

These idents are currently playing right now, and have received a mixed response. I personally like them, but like some more than others. The concept of bringing people together is a good one and shouldn’t be lost. I really like the way that the red is always constant theme and remains throughout the various idents- this give the whole branding a sense of continuity.

Station Identification

Station identification is the process of any type of radio or television station identifying itself, with a logo or brand name.

BBC THREE ident

Idents in Europe
Station idents are normally used in between shows, and by some are considered the most important part of a network's presentation. Most broadcastersx used a single ident, sometimes making a variety for special events and holidays. Nowadays, many networks have complete sets of idents based on a central theme or branding element, and most of the time these idents also build the basis for the rest of the appearance of the channel. Television idents have evolved, from mainly being mechanical models such as the famous BBC Globe, and the advancements of computer technology allowed television presentation to enter the modern era throughout the 1980s and 1990s.

When identification is required
Broadcast stations must identify themselves:

• At the beginning and ending of each time of operation.
• Hourly, as close to the hour as possible, at a natural break in program offerings. .
• "As close as possible" for programming that had no definite break on the hour, such as speeches and classical music performances lasting longer than an hour; broadcasters were not expected to interrupt legitimate programming for a station ID.
• Some stations (especially college radio stations) also identify themselves every half hour, but according to rules, only once per hour is required.

BBC 2 ident

Why identification is required
Station identification is used because of the sheer number of channels available over the air. The idents allow broadcaster to tap into a particular market. Early radio operators recognized the need for anyone listening to a signal over the air to be able to tune in a specific time and immediately know what station was being heard and where the signal was originating.