Studio Practice

In this session, we were put in groups to find out each of  Müeller Brokmann’s classic lead typeface manifestos. This will help us in Typeface design Studio Brief as we need a manifesto for our designed one.  Here are the list of manifestos: GARAMOND  - Is a versatile serif font that has deep historical context, yet has a contemporary and harmonious design. Legible in a number of sizes, weights and languages, it was built for the very purpose of disseminating a complex and significant change of information. CASLON -  Designed by William Caslon in the early 18th century, this typeface is part of a group of serifs typefaces. With short Ascenders and Descenders, this specific typeface has the purpose of fitting more characters on a page whilst at the same time leaving sufficient black space for aesthetics and eligibility. The italic form has a rhythmic calligraphic stroke that makes it easier t...

Purple's rarity in nature and the expense of creating the colour and has given purple a supernatural aura for centuries. Purple is also the most powerful wavelength of the rainbow - and it's a colour with a powerful history that has evolved over time. In fact, the origins of the symbolism of purple are more significant and interesting than those of any colour.   Purple's global similarities are significant Among Mediterranean people, purple was reserved for emperors and popes. The Japanese christened it "Imperial Purple. Purple is the colour of mourning or death in many cultures (U.K, Italy, Thailand and Brazil). Purple is not a common flag colour. Only two flags contain purple. Purple tends to be a colour that people either love or hate. But purple can be used for many brands, TV channels, characters etc. Here is an example of the use of the colour purple as a previo...

" There are no ugly colours; there are only ugly colours in combination." - Paula Scher  Following from the group discussion, we had to revealed our least favourite colour, this requires to build on the session's overview of colour relativity and consider where that identified 'bad' colour could work in a combination with another colour.  To presented our comprehension of this, we will have to use the Pantone reference as a guide and chose another colour that, alongside black and a hue or tone of our 'least favourite' colour. This must work effectively within the scheme for a simple children's book.   My least favourite colour is Pink, so I had to think of another colour that would work well with 'Pink' and 'Black'. So here are some of my experimental colour swatches, that I could use for my final design for my simple children's book cover. The image is below:  Pink - Pantone 2037 U (same). Black - Pantone 165-1-7 C (same)...

Chromatic Value = Hue + Tone + Saturation ( Luminance) Contrast of TONE Contrast of HUE Contrast of SATURATION Contrast of EXTENSION Contrast of TEMPERATURE  COMPLEMENTARY contrast SIMULTANEOUS contrast While we have focused on Chromatic scales, we should consider Monochromatic. Now the previous images in colour instead Formed by the juxtaposing of different hues. The greater the distance between hues on a colour wheel, the greater the contrast. Formed by the juxtaposition of light and dark values an their relative saturations. Formed by assigning proportional field sizes in relation to the visual weight of a colour. Also known as the contrast of proportion. Formed by juxtaposing hues that can be considered 'warm' or 'cool'. Also known as the contrast of warm and cool. Formed by juxtaposin...