Pottery Barn_Jaclyn Arens

Morning everyone!

It was very simple to think of an editorial design that I really enjoy, the Pottery Barn catalog! My older sister is obsessed, so I'm always going into the store with her or looking at her monthly issue. Their layouts and images are always so elegant and flowing, much like the company. 

These pages all relate to each other in style & form, which helps the viewer follow along with ease. They use Pottery Barn typeface produced by Michael A. Hernandez Jr. You can download the font @ http://www.fonts2u.com/pottery-barn.font :) they also incorporated what looks like Code Light with some kind of serif type. I really like how the pages connect and they successfully show an image extending onto the next page. I find this catalog very inspirational when creating a clean, fluid design.

Sunny Side Up_Jaclyn Arens

The clean layouts for Sunny Side Up caught my attention. Minimal color- there's only yellow in the title, beginning page & Eran Shakine's original work.  

I enjoy the separate pages for the title and illustration- it gives the audience the space and time to focus their attention on both relativity. This information provides me with good lessons for the future, such as having a continuous measurement on the pages and to land on a font that's eye friendly.   

Imagery Group

We were focusing on imagery in our exhibition books. Between the 5 books we were looking at we found many things different as well as many things the same with the way the images were handled. For example in a few of our books there was a obvious grid they were going off of such as the boxed images in Elizabeth's example and also the book we were given by Mia had a different grid as well. Both grids were completely different due to the face they were chosen for different reasons. The one on Margaret Kilgallen was kid of a "clustered" style grid of images which was most likely chosen since her style of art is also in that "clustered" style. Most of our other books were photography or paintings and sculpture installations which some bled off the page and others were strategically placed within the margins amongst plenty of whitespace. It was interesting to see the different play in the exhibition book for the Guggenheim versus the one about transcendence in art. In the Guggenheim book you see a clear approach that was very clean and organized with the intention of trying to just simply showcase the amazing work that is there while the other book had different things going on in different images leaving some full page bleed and others with multiple photos per page. The photographs in Emily's book represented the softness of the artwork which was appropriate for the exhibition while the Guggenheim is covering a much more wide range of art leaving that style a little more basic. In most all of the books the images were in CMYK except Jaclyn's book had some two-toned images as well. The books we were looking at were:

-The Guggenheim Collection (Jennifer)
-Margaret Kilgallen; In the Sweet Bye and Bye (Mia)
-Michael Sailstorfer Forst (Elizabeth)
-The Inward Eye; Transcendence in Contemporary Art (Emily)
-Eran Shakine; Sunny Side Up (Jaclyn)

Jaclyn Arens_Booksetting

Looking through the blog posts, Jennifer's Human Letters discovery of Amandine Alessandra really caught my eye. So I creeped on Amandine's Behance and WOW, look for yourself. 

http://www.behance.net/gallery/Booksetting/168988

Thomas Fuller’s phrase “A book that is shut is but a block” is illustrated by the use of books for their shape and colour, rather than content.

Amandine says "Building up the letters also reminded me very much of typesetting, as every type made of colored books had to be blocked with white books, just as it is done in letterpress, where large areas of white space are created by wooden blocks called furniture." Amandine is a photographer/graphic designer based in London. I think her work is so inspirational and innovative; it definitely helps thinking about new and creative ways to express typefaces.

Jaclyn Arens_Tim Burton

So where are all my Tim Burton fans?!

View the exhibit at http://momadesignstudio.org/Tim-Burton

"For the design of the Tim Burton exhibition we were inspired by the dark yet inviting world where each of his eccentric characters is described by their individual quirks. We also loved the exaggerated body proportions found in many of his creatures (skinny long arms and short legs, big round heads on small bodies, distorted torsos, etc.). All this inspiration lead us to create a set of hand-drawn letters that live in the same realm as his creatures and references Burton’s handwriting as well."

I think this entire exhibit is genius!!

Project: Tim Burton
Project Team: Julia Hoffmann (creative direction), H.Y. Ingrid Chou (art direction and design), Inva Cota (design, typography), Paulette Giguere (production artist), Claire Corey (production manager)
Photos: Jason Mandela
Monster Mouth Entrance: Tim Burton (design), H.Y. Ingrid Chou and David Hollely (art direction), TWOSEVEN, Inc. (production)

Awards: Type Directors Club, Typography 31

Press: featured in "Sensation–Theme, Promo & Campaign" published by Sandu Publishing. 

Project: Tim Burton: 30 seconds
Project Team: Julia Hoffmann (creative direction), Tim Burton (director, illustration), Chris Tichborne (animation), Mackinnon and Saunders (production), Danny Elfman (sound), Martin Kelly (Lighting Camera), Flix Facilities (CGI animation)

Awards: Type Directors Club, Typography 31

For this unique exhibition graphic design challenge, the goal was to take all these visual references and distill them into a simple graphic treatment that celebrates Burton’s work.

To watch the Tim Burton's MoMA animation go to http://www.youtube.com/watch?v=kFZ3gP0pqzE&feature=player_embedded 

I am completely inspired- from the exhibition’s entrance, the design process, the custom typography, the brochure, and the time and making of the thirty second animation (from Tim Burton's original robot design). It has given me a new perspective on the creativity and work that goes into designing an exhibition.

Jaclyn Arens_I Hope They Serve Beer in Hell

I hope y'all had a fabulous weekend! 

I Hope They Serve Beer in Hell is about a man named Tucker Max who describes, in much detail, about his intoxicated experiences and one night stands. The book is told from his point of view and written to keep the reader interested. It's a very easy, entertaining read and the non-indented paragraphs, off spacing, and spontaneous bold and capital lettering holds attention. I know I'm may not correct but the titles look familiar to Eurostile and the main text appears to be either Helvetica or Arial. I'll refer back to these fonts and writing techniques when I need to make a lot of text easy to the eye.

 THANK YOU!!!

Jaclyn Arens_New York Lottery

Classmates, I have chosen from Communication Arts, an advertisement for New York Lottery.

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This is a series produced by several typographers designers, creative designers, etc. The main typographers are Juan Carlos Pagan and Craig Ward. When Powerball doubled its jackpots, it gave New York Lottery players the chance to win gigantic amounts of cash. So the ad agency (DDB New York) was brought on to make print ads that communicate this big event, and to do so, the ads were literally made out of money. They enlisted Craig Ward to create a font using nothing but cash. Although the process was endless, the ads turned out wonderfully, or as they put it "worth every cent." I will remember this innovative technique for future projects.

Thank you!

Jaclyn Arens_Shiner

Good morning classmates!

(series)

Craig Crutchfield, designer

David Kampa, design director

Brian Jordan, writer

James Mikus, executive creative director

McGarrah Jessee (Austin, TX), ad agency

Shiner Beers, client

From Communication Arts, I was attracted a lot to the Shiner Beers campaign. Shiner made its way into the ale category, leaving the Shiner’s traditional brews. I think they successfully communicate its younger, livelier, more spirited personality through every element of the launch. The Wild Hare Pale Ale packaging is designed to really stand out on the shelves with a bold color palette and typography the captures the beer’s irreverence and mischief. The typefaces used are Alpine Gothic and Dogma, which work really well with each other. 

 

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Thanks!!

Jaclyn Arens_Comm Arts

Oh yes I did!! I have chosen Communication Arts Typography Annual 3.

Sorry I’m not sorry Justin…

To reiterate what Justin has already said, Communication Arts is a wonderful and helpful resource because it provides the hottest trends in the design world. This magazine highlights every aspect of good design. I’m blessed to have a roommate that is subscribed already & after much further looking- I’m most certainly convinced to sign up myself.

There is so much I enjoy in the January/February 2013 issue but after many cuts, I have narrowed it down to two. Although very different from each other, I feel like they both provided so much genuine thought and creativity.

This poster series - each poster 36 x 32 – contains more than 36 different typefaces. The many different approaches of layering successfully capture the idea that diversity makes everything more interesting.

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“From e-mail to social media, there is a disturbing trend in America to write not just incorrectly—but altogether horribly.” This poster series was crafted from photographs of real graffiti that were then altered using familiar grammar methods.

To conclude, I believe the two poster campaigns are just so unique and innovative. The typography speaks for itself—it’s beautiful design. I definitely encourage each designer to look through Communication Arts—it will benefit and stimulate your creative minds, promise.

Yours truly,

Jaclyn Arens

Jaclyn Arens_Back Cover

Bonjour, mon nom est Jaclyn Arens!

Typeface: Unsure
Classification: Sans-serif
Date of Creation: 2010
Designer: deValence

To begin, B42 publishes books about graphic design, typography, pop culture and contemporary art, artist and designer writings; books that question our visual environment.

Can be found @ http://editions-b42.com/books/back-cover-3/

Back Cover is a french magazine containing thoughts, critical or historical analysis and individual or collective experiences in graphic design, typography, illustration and visual arts. I enjoy the cover of the Winter/Spring 2010 Issue 3 because the colors and curvilinear type is very appealing to the reader. Using the tricolors of France's flag-- royal blue (liberty), white (equality), and red (fraternity)-- shows off its country's pride. The type is simple, bold, and easy to follow. In my opinion, including the headlines, author and page numbers on the cover successfully draws the audience in.

The magazine continues to show other interesting covers that display type in various directions and layouts. 

If you know how to read french, I definitely recommend looking through Back Cover. 

Merci d'avoir lu!

Your fellow classmate, Jaclyn