Visualisations of univers

These mood boards help visualise the various applications of Univers through the years. The increasing use of colour, more experimental typesetting and various mediums Univers is applied on demonstrate, how the advancement of technology has resulted in more creative and expressive uses of Univers. 

Having these mood boards showcasing the different applications of Univers will help give some idea on what art directions to avoid. By trying to avoid what has already been done, new interpretations of Univers will be able to be created. Not necessarily ground breaking but our interpretation based on the history of Univers and our own understanding of the letterform.

Analysing the form of letterforms

In order to effectively create typographic sculptures that demonstrate the relationship between the form of the letterform and sculpture, a breakdown of the characteristics of letterform is necessary. 

One way to categorise letterforms is through visual impact.

Capital letters tend to possess more visual impact because of their larger cap height, larger form and stronger characteristics.

Lowercase letterforms are visually weaker than capitals, however they do possess more identifiable characteristics than capitals when set in long text. This is why Roman lettering is hard to read for copy. The consistent cap height makes it harder to distinguish the identifiable characteristics of each letterform. 

This does not mean lowercase letterforms cannot be used in the same way as the capital, it is just the form that produces a different visual effect. This is evident when comparing an 'A' and 'a' for example. 

The 'A' looks stronger because its design is more simplistic than the lowercase.

The simplicity of the 'A's strokes emphasise its form. There is less distraction and ornamentation as compared to the 'a' so there is more immediate impact compared to the 'a'.

When comparing letterforms such as 'D' and 'd', the ornamentation of the lowercase is less than the 'a', however the 'D' is visually stronger as its size and counter form impose a stronger impact on the page.

Fig. 1

Fig. 2

Interestingly enough, the opposite is true when comparing letterforms that share the same form for both uppercase and lowercase. 

The subtle differences in the stroke width between the two variations of 'Z' are designed to look proportional in its respective case. In Fig. 1 the differences in form between the two are hard to distinguish, it is only when the lowercase is scaled up to the same as the uppercase do the subtle differences become more evident. 

When scaled up, the lowercase letterform is visually stronger than its uppercase variant. However when considering the context of its use, the scaled up lowercase looks less refined than the intentionally designed capital. The thinner stroke width of the capital are designed to allow ample counterform to distinguish the letters. 

Visual strength can also be determined through hard and soft qualities. For example 'M' and 'm'. The capital 'M' is very angular, created through the harsh contrasting angles. The lowercase 'm' has a softer visual impact due to the curves that produce a lower contrast between the vertical and curvilinear strokes. 

What this means in terms of designing the typographic sculptures is that different letterforms will be suited to Noguchi's different periods of sculptures. 

In Noguchi's initial period of abstraction under Brancusi, the sculptures possessed softer forms, produced by the smaller size and more pronounced curvature. 

These characteristics suit the forms of the lowercase letters such as:

a

b

c

d

e

g

o

p

q

s

u

The visual impact of the capital letters on the other hand suit the scale the scale and presence of Noguchi's Free standing period towards the end of his career. 

The interlocking period of Noguchi's sculpture produced hectic and complicated forms that use predominantly vertical and angular strokes with a slight curvature. 

The letterforms that represent these qualities are:

i

j

k

l

r

t

v

w

x

y

X

K

L

I

F

T

V

N

The period of Noguchi's Akari sculptures are interesting because they are not entirely sculpture. They are lighting fixtures that been sculpted. Its purpose has removed it from being a purely artistic form. 

Akari in Japanese means 'the light' and his Akari sculptures represent this meaning. They are made from shoji paper, which thin characteristics offer a soft translucency that allows a warm glow of the light source to shine through, much like the Sun as Noguchi describes, "the light of Akari is like the light of the sun filtered through the paper of shoji. The harshness of electricity is thus transformed through the magic of paper back to the light of our origin – the sun – so that its warmth may continue to fill our rooms at night."

Noguchi's Akari sculptures are complete when the light fills the form, in the same way the counterform of the letterform gives it its identity. 

Therefore the typographic sculptures representing the Akari period of Noguchi's sculptures could focus on the counterform of letters such as:

a

e

o

s

z

B

C

D

G

Q

T 

Having the capitals set in outline would help give the impression of a thin exterior just like the thinness of the shoji paper. 

On another note, form is most associated shape. The form of a shape is its identity. More importantly it is the boundary of its outline that dictates it shape. The counterform of the letterform gives its boundary linguistic meaning and identity. Without it, the letterform returns to being a shape. But the complete removal of linguistic meaning is near impossible when dealing with known letterforms.  

This is the reason why foreign script often looks more alluring than the users native language, as the lack of linguistic association reduces the form to a pure graphic shape.

Removing the meaning of the letterforms will help readers notice the form and provide a better comparison to Noguchi's sculptures. 

Content Ideas

Below are some ideas for how the content can be showcased

26 letters

26 sections or 26 spreads that focus on each letter of the alphabet, expressing each letter as its own personality.

To identify which font of Univers best expresses the characteristic of each individual letterform. 

To have the content be displayed in an excessive A3 sized page format where each page is effectively a poster. 

The freedom of the brief allows for more experimental work that breaks away from my own personal approaches to design. 

To entirely design the final outcome without much aid from the computer. 

This comes from the constant reliance on the computer to design throughout the course and in an attempt to better understand the typeface through the physical handling of its dimensions.

Reinventing traditional typesetting techniques, i.e hot metal typesetting, phototypesetting and digital typesetting, that Univers saw through its history. This reinterpretation is derived from the limitations of availability of these techniques. 

For example, because we do not have cases of Univers in various weights and pt size, the 'metal' in hot metal typesetting can be replaced with laser cut woodblock letterforms. Phototypesetting can be replicated through the use of a darkroom. The digital element will not be used to set type, since this technique has been done countless times on the course, but rather to expand on the limitations of the analog techniques.

Northern Opera Group

The Northern Opera Group has opened a live brief to help design the image for their Left Bank Opera Festival this year. This is an annual event that draws audiences from across the UK for a celebration of 'rare and wonderful operas.'

Their festival focuses on 3 Asian inspired operas:

Raymond Yiu’s ‘The Original Chinese Conjuror’
Gustav Holst’s ‘Savitri’
Camille Saint-Saens’ ‘The Yellow Princess’

From this selection, it is evident that the operas focus on South and East Asia, particularly China, India and Japan. 

Most importantly the Northern Opera Group want their image to reflect the 'tension in the relationship between Western opera, and Asia.' This tension needs to be identified in order to design an effective image for the festival. 

Refining the logo

Since the last feedback from the client, a few adjustments have been made to the logo.

The outlines of the logo’s shapes are rounded to slightly soften the look and to refine its design.

The spaces in between the shapes are made visible to emphasise how the logo is made from the same individual elements to create an abstract representation of MW.

Microgramma for 'MICHAELA WONG' is the new font as opposed to Univers Extended. Its wide counters and short cap height better compliment the logo’s rectangular form. 

‘MICHAELA WONG’ is made to sit only on the W to make the M the prominent identifier of the logo. 

The logos with both the outline and filled in graphic are a play on duality, however they do not reproduce the best looking outcome. 

The different variations were placed on some of her images to get an idea how the logo works in situ. 

The benefit of the outline is that it allows for the content to still show through the logo. The thin outlines don't obscure much of the content and is suited to large scaling, unlike the filled in variations which are too visually dominating to be in that size. 

To help maintain the rectangular shape of the logo as part of the brands identity, campaign images should be set in a rectangular format. This will create a consistent and unified visual identity. 

Emailing the Noguchi Museum New York

Emailed the Noguchi Museum in New York in hopes of getting their perspective on the relationship between type and sculpture. 

These were the questions asked

1. Do you see a relationship between the forms of typography and sculpture?
2. What sculptures of Noguchi would you feel have a similarity to typographic form?
3. Did Noguchi have any experience in dealing with typography or work in collaboration with any graphic designer?
4. Were there any processes of Noguchi that set him apart from other sculptors?
5. What aspect of Noguchi's sculptures would you say remained throughout?

Ruder typography

(Ruder and Schmid, 2017)

Ruder, E. and Schmid, H. (2017). Ruder typography Ruder philosophy. Zürich: Lars Müller Publishers.

Emil Ruder is arguably the best when it comes to using and understanding Univers, "Ruders typography with Univers looked refined and light and made Swiss design appear heavy and dated" (Ruder and Schmid, 2017, p.11). He was an influential figure during his time at the Basel School of Design and has had a lasting impression on graphic design. 

Reading about Emil Ruder's thoughts on the typeface and typography as a whole will provide a good foundation in understanding the past interpretations of Univers.

This is what Kiyonori Muroga, editor in chief of Japan's foremost magazine on graphic design idea magazine, had to say about Ruder.

"Ruder alone communicates the genuine meaning of the word, 'typography' because he began 'from the inside', as a typesetter, and was grounded in its discipline" (Ruder and Schmid, 2017, p.9). 

"Ruder worked within the bounds of technical constraints to create that functioned as a consummate information communicator and was truly beautiful"  (Ruder and Schmid, 2017, p.9). 

"Swiss typography, its style too stiffened by its emphasis on systematic composition, Ruder strove for emancipation from concern over the details and the whole"  (Ruder and Schmid, 2017, p.9)

"White space is not merely void; it represents a significant presence. His interests extended typography to music, art and Oriental thought. Ruder developed an independent typography from within this integration"  (Ruder and Schmid, 2017, p.9)

"Ruders perpetual concern was creating contemporary typography that kept pace with the development of information technology but never lost its humanity"  (Ruder and Schmid, 2017, p.9).

Much like the observation made by Kunz, Ruder became aware that the counterform is just as important as the form through exposure of ancient Eastern Asian philosophy. 

"The oriental philosopher holds that the essence of created form depends on empty space. Without its hollow interior a jug is merely a lump of clay, and it is only the emptiness that makes it into a vessel" (Ruder and Schmid, 2017, p.10).

Asymmetry became a large component of Ruders teaching, as he realised that "nowhere do we find it expressed so beautifully that asymmetry is related to the simple, the plain and natural, as well as to the fresh and imaginative" (Ruder and Schmid, 2017, p.10).

"Ruder was a master of the natural and honest typography, which stands in contrast to the modernistic, the trendy, the empty" (Ruder and Schmid, 2017, p.11).

Thoughts on typography

"Contemporary typography is not primarily based on the flash of inspiration and striking idea. It is based on the grasp of the essential underlying laws of form, on thinking in connected wholes, so that it avoids on the one hand turgid, rigidity and monotony and on the other had unmotivated arbitrary interpretation" (Ruder and Schmid, 2017, p.11).

Aims for the teaching of typography at AGS, Allgemeine Gewerbeschule Basel, 1942

To strive for a typography as an expression of our time. 

Rejection of formalism and mere imitation of earlier epochs in typography. 

The feeling for material authenticity and material honesty as the basis of every typographic design.

To encourage an intensive experience of colour and form

To bond typography with other disciplines of our time:

graphics, painting, music, literature and attitude.

(Ruder and Schmid, 2017, p.17)

On typography and the importance of a designers personality.

"Every artist struggles with the twofold determination, to reflect his personality and his time. Typography is artistic expression, and it is not presumptuous to elevate these two demands also for the designer compositor. Personality and typography cannot be separated. The designed work reveals the creator's inner self, it reflects his maturity. No design books, no recipes or rules will lead to a mature work; they rather serve most of the time to span the emptiness of the inner self. They lead us to numbness and therefore, in the end, to a soulless factory work. Any printer who loves his profession will be dissatisfied with such an outcome" (Ruder and Schmid, 2017, p.38)

"We can only begin to understand contemporary typography when design is interwoven in the closest possible way with the spiritual, social, scientific and technical manifestations of today" (Ruder and Schmid, 2017, p.57)

On asymmetry 

"Good asymmetry: the construction with typographical elements on a plane, the actuation also of the unprinted plane."

Ruder on specific aspects of letterforms

"In the case of majuscules, static and quiescent letters without any sense of motion are rather more common: A, H, I, M, O, T, U, V, W, X and Y. The minuscules on the other hand, show a stronger tendency to the right, and only i, l, o, v, w and x abstain from this movement" (Ruder and Schmid, 2017, p.95)

"The beauty of a typeface comes fundamentally out of its proportions. Its basic forms, the relationship between printed and unprinted areas, is what determines its artistic merit"(Ruder and Schmid, 2017, p.96)

"Forms are created from the inside to the outside, and a well designed object achieves its beauty precisely from this simple and expedient attitude" (Ruder and Schmid, 2017, p.96)

Ruder on Univers

"The design is neither based on existing sans-serifs nor does it rebel against the past" (Ruder and Schmid, 2017, p.119).

"Throughout the Univers alphabet rigid, geometrical pattern is superseded by sensitive optical variations derived from the finest achievements of Roman lettering. The comparatively large x-height ensures effortless reading in all sizes and at the same time prevents the capitals from dominating the text page. All characters are properly proportioned setwise, the width of individual letters being in proportion to the space between them. The balance of the alphabet gives a chain-like effect to the printed letters, the eye of the reader is guided along the line" (Ruder and Schmid, 2017, p.138)

"The most important element in the family, its basic fount, is Univers 55 from which all others have been derived" (Ruder and Schmid, 2017, p.138) 

"21 different fonts of equal x-height, ascenders and descenders and subtly graduated weights, Univers is a masterpiece of co-ordination and logical thinking" (Ruder and Schmid, 2017, p.139)

Univers aimed to make the life of the typesetter easier through its multitude of font options. "With Univers, he will never be at a loss to find the right weight, the right width for even the most demanding job" (Ruder and Schmid, 2017, p.139). This allows the typesetter to "keep within the single family, with recourse to foreign elements" (Ruder and Schmid, 2017, p.139). 

A possible focus for the brief would be to centre the process making around analog techniques, "all the main cultures of the past were based on craftsmanship, and creative articulation is impossible without the resistance of material and technique" (Ruder and Schmid, 2017, p.168). To work with physical renderings of the Univers typeface will help develop a better understanding of how to use the typeface effectively, as there is more of a connection between the typesetter and the printed matter, unlike designing on screen where the designer is not able to feel the material he is working with.  

Major points to take away from this reading

• Working from the inside out, "book design starts from the inside towards the outside, just as a house is planned from the inside towards outside..." (Ruder and Schmid, 2017, p.11)
• The counterform is fundamental in creating the form
• The inclusion of areas outside of typography such as music and art to help create visually dynamic design
• Asymmetry which prevents stagnation, "The art of the extreme Orient has purposely avoided the symmetrical as expressing not only completion, but repetition" (Ruder and Schmid, 2017, p.58)
• Assimilation of the past into the present vernacular, "it is not that we should disregard the creations of the past, but that we should try to assimilate them into our consciousness"
• Style should not a quality to design towards. "The self-respecting designer does not give a jot about contemporary style. He knows that style cannot be created – it emerges, often unconsciously" (Ruder and Schmid, 2017, p.95)

Universal Univers

As part of an internal collaboration with a peer on the Graphic Design course, James and I have decided to form a brief around a typeface we have come to admire and use frequently in our work, Univers.

What the brief should not be is a superficial one, celebrating the typeface for its visual merit doesn't explore much in terms of our own interpretation nor is it an original idea. There should be an underlying rationale that will give the point of celebrating Univers a purpose and a point for discussion.

Why we like Univers

A highly versatile sans serif typeface that can be used purely for function or decoration. 

It is excellent for headline text due to its well proportioned design whilst its short ascenders and descenders on the lowercase make it suitable for copy. 

The wide range of weights from thin ultra condensed to extra black extended give the typesetter a multitude of options to help create their designs, limiting the need to use another typeface to suit the specific need. 

Frutiger developed a numbering system to differentiate each weight. The first digit defines weight, while the second defines width and whether it is oblique or not. 

The look of the typeface itself sets it apart from other sans serifs and when used effectively, can become very characteristic, despite its quiet design. 

Possible directions for the brief

A historical appreciation of the typeface

Flipping the traditional functional use of Univers and reinterpreting it for artistic means.

Determining what the future means for the application of Univers, a typeface famous in its earlier years

Being that it was designed by French type foundry Deberny & Peignot in 1957, the brief could be a way to reinterpret analog design techniques such as hot metal typesetting and photo typesetting in the modern age. 

To use the typeface to create new visual forms to challenge the form and function originally intended.

To have a possible exhibition alongside the brief that gets user submitted artwork to promote the celebration of the typeface.  

Further feedback

Going through the publication with Dominique, and there were several suggestions to improve the overall aim and concept of the publication.

It became apparent that despite the consistent placement of the typographic sculptures on the left and sculpture on the right allowing for a direct comparison between the two, the pacing of the publications reading remains constant, which can lower the readers interest.

Because the publication is about demonstrating the relationship between form of typography and sculpture, the scale, position and placement of the type sculpture could slowly merge into Noguchi sculptures across each example to demonstrate how, as the reader goes on, that the relationship between letterforms and typography become closer and closer. 

This idea could extend to the back cover where sculpture and type become one. 

There is also the need to clarify what the book is about, especially its narrative. 
Is it about type, form and sculpture or type and sculpture?
Is it the book about Noguchi or about the question of the relationship?

The publication could also be extended into a series where a different sculptor could be represented by a different typeface. 

There is no real need to make 3d typographic sculptures as the printed representations in the publication are significant enough. The physical sculptures may come across as a tacked on feature. 

Feedback on test print

Bringing the publication to feedback, and the general feeling was that the publication was had a clear and concise idea and look behind it.

Because of the idea to 'sell' this celebratory publication at the museum, there were suggestions to design post card prints and exhibition posters to go alongside.

Having embossed designs for the typographic sculptures or headline text could provide an added dimension to the publication. A de-bossed inside cover for example would be a nice addition considering how its meant to act as the secondary cover.

The suggestion to email the actual Noguchi Museum in New York should have been done sooner, even if they do not respond. To get their experience of Noguchi's work and insight into sculpture would be beneficial in exploring the relationship between type and sculpture.  

Not only that museum but the Yorkshire Sculpture Park as well would provide good first hand research and be easier to communicate with. 

Because the publication is about sculpture, inevitably the comment to physically making the typographic sculptures was brought up. This was a suggestion to elevate the design and content of the publication as well as to better communicate how typography can become sculpture more literally as having just 2D interpretations may not be effective enough. 
These physical sculptures could be laser cut from wood through an interlocking design that visitors could build themselves. These sculptures could even be placed inside the gallery space itself. 

Test print

Laminating the stock on the dust cover provides a slightly more professional finish as well as preventing any crease marks when folding. The overhangs of the dustcover do need to be longer however to prevent from falling off the inside page when reading. 

Directly after the cover, the reader is presented with the core message of the books title. The brown stock sets the visual tone of the publication, referencing the earthy materials and forms Noguchi designs. 

The off white stock maintains this earthy reference and softens the overall look of the publication. The downside is that the image quality of the sculptures look darker and more saturated than on screen. This may or may not be desirable quality considering how it is aimed to be sold alongside other professionally produced art books, where he image reproduction is of the highest quality. Furthermore, laser printing produces quite an undesirable print finish as the ink sits on top of the page, making the ink look separate to the stocks finish. 

End of year Yearbook concept

Alongside Sammy, we have undertaken the brief of design the End of Year Yearbook for the Graphic Design course.

The main feature of the yearbook is the customisable design that allows the visitor to create their own cover of the LAU BAGD yearbook. Postcards will be displayed around the exhibition room to allow visitors to collect and create their unique yearbook. A sleeve behind the cover will hold the postcards in place. 

The letterforms of 'BAGD' are purposely made to be abstract geometric forms so as to allow as much white space for the postcards underneath to be seen as well as to reduce complications and possible tearing of the stock after die cutting as the intricacies of the counterform may be too weak for durability. 

An all white design allows the colours of the graduate work to be celebrated and become the main focal point.

This all white motif is taken further through proposed embossed copy on the cover for example, so as to detract nothing away from the content. White foiling can also be used on the inside pages to carry this through. 

The die cut cover gives the reader a peek into the content underneath and is central to interchangeable cover idea. The benefit of this is that it allows for a multitude of combination each unique to the visitor. 

A die cut contents page gives an overview of the breadth of work produced by the graduates.

Each section is categorised by colour, which corresponds to the backing of the postcards as well, maintaining the identity of the yearbook and giving visitors an added incentive to pick up the postcards. Each postcard will feature one piece of work from the graduate on the front and contact info on the back. For digital work, a QR code is included for scanning. 

On the back pages, thumbnail images of all the graduates work are featured giving an overview of the work on the course with relevant information.

The publication follows a fold out format, keeping the size of the yearbook compact and to present its content gradually to the reader. 

The idea overall for the yearbooks construction and concept is simple, keeping the design of the publication relatively straightforward and making the content easy to navigate. The pared back aesthetic allows for graduate work to take focus and makes the yearbook more of an addition to the graduate show rather than its own separate thing.