Graphic Design 1- Part 2

2GRAPHIC

DESIGN 1

Alan

na S

antia

go- P

art 2

ART 226

Foun

d Ty

pogr

aphy

Art 226

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d Ty

pogr

aphy

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d Ty

pogr

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d Ty

pogr

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d Ty

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d Ty

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aphy

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HISTORY SPREAD

HISTORY SPREAD

Typo

grap

hic

His

tory

Spr

ead

Art 226

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grap

hic

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tory

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ead

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grap

hic

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tory

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ead

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grap

hic

His

tory

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ead

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Typo

grap

hic

His

tory

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ead

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grap

hic

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tory

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ead

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grap

hic

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tory

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ead

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grap

hic

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tory

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ead

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grap

hic

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tory

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ead

SCONFORM

I SD A DE DDSS!

!

!

!!

!!

I

YT

MIRT

U FU

Filipp

o

Marinetti,

an Ita

lian po

et and

typog

rapher

, is re

garde

d

as the

fat

her

of fut

urism

worldw

ide. H

is Mani

festo

of Fut

urism

,

publis

hed in

1909

, launch

ed the

Futuri

sm

movement

, whic

h last

ed un

til the

late

1920

s. Mari

neti

believ

ed who

lehear

tedly i

n the

destr

uction

of th

e con

stricti

ng

grid a

nd sy

ntax s

ystem

s, as

they w

ere in

capab

le of

true e

xpress

ion.

An Ita

lian po

et, Mari

netti w

as in h

is mid

thirties

when th

e futu

rism m

ovement

really

took o

ff. Th

e you

ng ad

ventur

ist spo

ke as

being

a figh

ter ag

ainst

system

atic

expres

sion t

hroug

h word

s, “es

pecia

lly ag

ainst

the so

-called

typo

graph

ical h

armon

y of th

e

page.

” He a

nd his

follow

ers re

fused

to co

nform

to th

e simple

color

s and

two-f

ont st

andard

for th

eir

work. H

e said

, “We u

se in a

n aver

age p

age th

ree or

four d

ifferen

t color

s of in

k and

also tw

enty d

iverse

fonts.”

He

repl

aced

synt

ax w

ith sy

mbo

l: m

usic

al, m

athe

mat

ical

, and

mag

ical

. His

free t

ypog

raph

y

styl

es w

ere

thic

k w

ith so

und

and

onom

atop

oeia

, whi

ch h

e use

d in

such

a way

to

a

rtfu

lly a

nd c

ra� i

ly c

onve

y th

eir e

xact

sens

atio

ns. “

Nou

ns w

ould

be

scat

tere

d at

rand

om, i

n� n

itive

s with

thei

r gre

ater

elas

ticity

wou

ld

w

repl

ace

the

peda

ntic

old

indi

cativ

e.”

His most

famous work

involving sound poetry is titled

“Zang Tumb Tumb”, which was completed in 1912. This book of poetry is a fi rsthand account of the Battle of Adrianople, and is one of his more known works. The book exploits all of the key features of futurism, including

onomatopoeia and visual similarities to

the subject itself, in order to make

the viewer really experience the battle as he did.

created by spoken poetry, and did their best to � nd and express

typographic equivalents to use in their art when

printed.

They also took

advantage of the expressiveness of music

and math and expressed these as different shapes and symbols

purposefully scattered in their works.

Futurists like Marinetti had a love for the e� ects

“We want to sing the love of danger, the habit of energy and rashness.� e essential elements of our poetry will be courage, audacity and revolt.”

� e movement worshiped the new age

speed, e� ciency, aggression, and war.

� ey were an explosive group of young men

who looked to use theirpoetry to rip down the

constructs of the old and

outdated world around them.

Alanna Sa

ntiago

Art 226

SCONFORM

I SD A DE DDSS!

!

!

!

!!

!

I

YT

MIRT

U FU

Filipp

o

Marinetti,

an Ita

lian po

et and

typog

rapher

, is re

garde

d

as the

fat

her

of fut

urism

worldw

ide. H

is Mani

festo

of Fut

urism

,

publis

hed in

1909

, launch

ed the

Futuri

sm

movement

, whic

h last

ed un

til the

late

1920

s. Mari

neti

believ

ed who

lehear

tedly i

n the

destr

uction

of th

e con

stricti

ng

grid a

nd sy

ntax s

ystem

s, as

they w

ere in

capab

le of

true e

xpress

ion.

An Ita

lian po

et, Mari

netti w

as in h

is mid

thirties

when th

e futu

rism m

ovement

really

took o

ff. Th

e you

ng ad

ventur

ist spo

ke as

being

a figh

ter ag

ainst

system

atic

expres

sion t

hroug

h word

s, “es

pecia

lly ag

ainst

the so

-called

typo

graph

ical h

armon

y of th

e

page.

” He a

nd his

follow

ers re

fused

to co

nform

to th

e simple

color

s and

two-f

ont st

andard

for th

eir

work. H

e said

, “We u

se in a

n aver

age p

age th

ree or

four d

ifferen

t color

s of in

k and

also tw

enty d

iverse

fonts.”

He

repl

aced

synt

ax w

ith sy

mbo

l: m

usic

al, m

athe

mat

ical

, and

mag

ical

. His

free t

ypog

raph

y

styl

es w

ere

thic

k w

ith so

und

and

onom

atop

oeia

, whi

ch h

e use

d in

such

a way

to

a

rtfu

lly a

nd c

ra� i

ly c

onve

y th

eir e

xact

sens

atio

ns. “

Nou

ns w

ould

be

scat

tere

d at

rand

om, i

n� n

itive

s with

thei

r gre

ater

elas

ticity

wou

ld

w

repl

ace

the

peda

ntic

old

indi

cativ

e.”

His most

famous work

involving sound poetry is titled

“Zang Tumb Tumb”, which was completed in 1912. This book of poetry is a fi rsthand account of the Battle of Adrianople, and is one of his more known works. The book exploits all of the key features of futurism, including

onomatopoeia and visual similarities to

the subject itself, in order to make

the viewer really experience the battle as he did.

created by spoken poetry, and did their best to � nd and express

typographic equivalents to use in their art when

printed.

They also took

advantage of the expressiveness of music

and math and expressed these as different shapes and symbols

purposefully scattered in their works.

Futurists like Marinetti had a love for the e� ects

“We want to sing the love of danger, the habit of energy and rashness.� e essential elements of our poetry will be courage, audacity and revolt.”

� e movement worshiped the new age

speed, e� ciency, aggression, and war.

� ey were an explosive group of young men

who looked to use theirpoetry to rip down the

constructs of the old and

outdated world around them.

Alanna Sa

ntiago

TYPE BOOK

Type

Spe

cim

en B

ook

Art 226

Type

Spe

cim

en B

ook

Art 226

Type

Spe

cim

en B

ook

Art 226

Type

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cim

en B

ook

Art 226

Type

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cim

en B

ook

Art 226

Type

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cim

en B

ook

Art 226

Type

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cim

en B

ook

Art 226

Type

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cim

en B

ook

Art 226

Type

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cim

en B

ook

Art 226

DIRECT MAILER

DIRECT MAILER

Dire

ct M

aile

r

Art 226

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ct M

aile

r

Art 226

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ct M

aile

r

Art 226

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ct M

aile

r

Art 226

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ct M

aile

r

Art 226

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ct M

aile

r

Art 226

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ct M

aile

r

Art 226

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ct M

aile

r

Art 226

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ct M

aile

r

Art 226

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ct M

aile

r

Art 226

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ct M

aile

r

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ct M

aile

r

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ct M

aile

r

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ct M

aile

r

Art 226

THANK YOU

THANK YOU Alanna Santiago