03 Typography: Spaces between
Brief
This design brief, inspired by Georges Perec's vision of stable spaces, explores the multifaceted concept of spaces between. These spaces, ranging from geographical structures to metaphorical and conceptual realms, can either connect or disconnect people, ideas, and cultures. The brief encourages a discerning exploration of typography's dynamic properties to express narratives and considers the evolving nature of ideas and interactions over time.
The exploration delves into liminal spaces, transitional zones offering unique experiences, prompting questions about their nature and how individuals engage with them. The design approach should be selective and rooted in a dynamic understanding of typography's potential.
The presentation of explorations can take various forms, either digitally or physically, with a focus on engaging the audience without imposing limitations. The strategic aspect involves defining a context, identifying a target audience, and building a rationale guiding the development of appropriate outcomes. Rigorous sketchbook research is expected, showcasing responses to information, and exploring initial potential directions.
Project outcomes should align with the target audience, expressing design and typographic skills effectively. The submission requirements include Strategy, Research, Design Development, Specifications/Grid(s), and Final Outcomes in a single document, with a reflective minimum of 500 words. Cross-referencing with assessment criteria and guidance ensures a comprehensive understanding of the design journey.
A list of technical specifications
Strategy:
- Emphasises strategic, objective thinking in design.
- Articulates how the solution responds to the brief and suits the audience.
- Written for both assessors and a "client."
- Includes factors considered, context definition, target audience identification, and critical thinking moments.
- Builds a strategy supporting the development of outcomes.
Research:
- Demonstrates a range of sources consulted, including primary research.
- Targets a specific audience based on research findings.
- Expect rigorous sketchbook research with evidence of responses to information.
- Encourages exploration of initial potential directions.
Concept Development, Design, and Realisation:
- Shows the design development from inception to final product, including iterations and key decisions.
- Considers emotional, intellectual, and material aspects of the chosen concept.
- Requires rigorous testing of formats, materials, and production processes.
- Typography is central; images may support but not replace typography.
- Presents development work incrementally, documenting every stage systematically.
Typographic Skill:
- Requires clear expression of information hierarchy through at least 500 words of text.
- Emphasises control of typographic elements in layouts.
- Detailed specifications on grids, type, and layout, with annotations.
- Specifies legibility and considers sound and movement in screen-based submissions.
Specifications:
- Demonstrates how design decisions influence the project's form and user experience.
- Includes type and layout specifications with detailed annotations.
- Submission combines Strategy and Specifications into a single document.
- Focus on layout, hierarchy, and typographic detailing.
Presentation:
- Encourages including images/mock-ups to show design strategy efficacy.
- Suggests visualisations for assessing intended craft and interaction of text on various materials.
- For screen-based outcomes, ensures compatibility, high-quality export, and proper functionality.
- Testing for use is recommended, and a video walk-through or PDF of notable screens is beneficial.
List of deliverables
Rationale
Spaces, whether physical or abstract, hold diverse meanings across cultures. The Japanese concept of "Ma" captures the essence of these spaces, representing pauses in both time and space that are not viewed negatively, "Ma" serves as breathing room for life, essential for personal growth.
In our fast-paced world, marked by technological advancements and escalating expectations, finding moments to pause becomes crucial. The younger Generation Z, often immersed in perpetual connectivity, struggles to break free from this cycle. An origami book uniquely facilitates this pause, unveiling facets of "Ma" through an engaging process rooted in Japanese culture.
The book's shape, inspired by typography styles like Mincho and Maru, symbolises the enduring nature of "Ma." Tailor-made for conventional bookstores, it serves as a constant reminder to pause, strategically placed in spaces where readers spend their time.
The colour palette, drawn from Japanese cultural significance, incorporates white, black, red, and blue. Typography plays a vital role, combining English and Japanese scripts with various fonts, aiming to enhance the portrayal of "Ma" without overshadowing it.
Embracing "Ma" can bring transformative effects to relationships, organisations, families, and communities. Making time and space for pauses is crucial for fostering growth and connection in various aspects of life.
Inspiration
Inspiration for the shape that I want to create my book in and how I could fold it to make it more interesting. The visual inspiration for the look and feel is also included here.
Process work
The development of the first page from the first to the last draft. There were 7 drafts in total but not all the pages changed drastically all seven times.
Colour palette
Colours like many other things have a deep-rooted history in Japan. Colours are not just that, each one has meaning. A twelve-rank system that used colours to show your rank used to be used. The meaning of colours has evolved over the years. The four main colours of Japanese culture are white, black, red, and blue. The colour palette was selected based on the research done.
Typography
Typography plays a vital role, combining English and Japanese scripts and various font styles. The goal is to enhance the portrayal of “Ma” without overshadowing it. The Japanese Mincho style blends seamlessly with the circular pages, while the English Museo typeface offers both Serif and Sans Serif options, striking a balance between complexity and visual cohesion. The Kozuka Micho Pro was selected for the variation in width which compliments the painted textures that are used.
Typesetting
Grid
The grid was built around the fact that the origami book is circular. A margin was developed and then the grid was created from the centre of the circle. There are two columns and 4 rows. The grid takes into account where the circle is folded to create the origami book. It is impossible to place the information on a section without folding. However, placing the information from the centre outwards allows for the least amount of information to be folded.
Paper stock and binding
Paper stock - white 80gsm paper
Bind with normal (Pritt) glue - let it dry overnight
Covers - triplex
Blue lint - 1 cm in width. Each cover gets a 24 cm piece so that it can be tied closed.
Textures
Texture experimentation. The textures were created using a paintbrush (front and back), a toothbrush, and my fingers. The painting was done intuitively. There was no specific plan as to the design or colour combinations. It was about being in the moment and using the experimentation as a pause in my own life.
Japanese lettering
Flat designs
Presentation
Please see the printed work in the 3rd year annex of the Visual Arts Building at the University of Pretoria.
Final deliverable walkthrough
