Typographic Hierarchy (part 4)

Color Design 1

This was a redesign of one of the critiqued designs from part 3.  Moved all of the films to one side to maintain unity.  In addition, not all words are hugging along the same diagonal line (the dates for example).  Used minimal coloring as Miyazaki films aren’t very heavy and dense, but rather light and innocent.  Brought “Admission free” up to top of line so more emphasis is given.  Italicized “present” and dates to add some differentiation.  Choice of colors still doesn’t seem to be ideal.

Color Design 2

This design is also one that was critiqued in part three.  Though the design still emphasized indentation, there are slight changes in the general left to right style to create a more centered approach.  This redesign brought up importance of the main subject with bold colors and has a blockbuster feel to it.  This is probably my favorite of the three designs for this assignment.

Color Design 3

This design is build upon one of the non-critiqued designs from part three.  The general left and right is preserved with added interplay of colors.  “Hayao Miyazaki” is moved to the left as opposed to the right to create more balance and emphasis.  “Admission free” is put at the bottom to create a focal point, so viewers can see it despite its smaller size.  Again minimal color is employed to give a lighter feel.

Assignment 4 (Part 2 Critique)

Horizontal shift & linespacing Critique

This design will be more beneficial with different sized fonts, though I should utilize more white space.

Horizontal shift & stroke weights Critique

There was too much bold emphasis.  The inverting idea is interesting since it eliminates the density of the design and keeps the separation and main points there.

Linespacing & stroke weights Critique

There was again too much bold in this design.  Perhaps I’ll use spacing to do the main separation job.

Typographic Hierarchy (part 3)

Size change & stroke weights 1

Emphasis is put on Miyazaki Films since it’s probably the most notable piece of text.  Dates and films are in different sizes to show contrast and ease of separation.

Size change & stroke weights 2

“Admission free” is put right after main subject to draw individuals to read on with the actual films and their dates.  Films are indented so it’s easier to browse through the dates and see the schedule for the showing.

Size change & stroke weights 3

“Miyazaki Flims” is further emphasized with a sideways staggered listing.  The two bolded texts in the middle, main subject, and time + location are given the most emphasis.

Graphic elements: rules (lines) 1

This binding gives a natural separation between dates or other short “descriptive” words from the content.  Readers can see immediately the content and search for when a film is being showed.

Graphic elements: rules (lines) 2

The diagonal line portrays a nice symmetric modern feel while the thinner lines separates films with the subject and location.  This design is easy on the eyes.

Graphic elements: rules (lines) 3

The cross compartmentalize the different parts with films left un-bolded.  Time + location benefits the most as it’s all in one place without distraction.  The films themselves are separated and may need additional work.

Typographic Hierarchy (part 2)

Horizontal shift & linespacing 1

The shifts in paragraphs and line spacing both separate the various film showings from one another, while the top and bottom are together.

Horizontal shift & linespacing 2

This design lets dates to lead into the actual films, while separating specific location apart from the more commonly known names.

Horizontal shift & linespacing 3

The films are congregated together with spacing between each.

Horizontal shift & stroke weights 1

Content is separated from the descriptions of them using both strokes and indentation.

Horizontal shift & stroke weights 2

Separates films with descriptions by indentation, while separating groups of elements further using different strokes.

Horizontal shift & stroke weights 3

Each individual film is separated with a different stroke as well as the different parts of the descriptions above and below.  Indentation separates films overall.

Linespacing & stroke weights 1

Films are separated by weights and line spacing based on month, and other aspects are separated similarly.

Linespacing & stroke weights 2

All flms are grouped together with a heavier weight from the top and bottom descriptions.

Linespacing & stroke weights 3

Dates of individual films are grouped together while the name of films are bolded.

Typographic Hierarchy (part 1)

Stroke Weights 1

Stroke weights are emphasized on the actual films rather than the dates.  Specific location and “free admission” incentive are also emphasized for its importance.  Weights are separated to portray contrast between dissimilar descriptions.

Stroke Weights 2

Stroke weights here are separated by film and dates, giving it an uncoordinated feel, which pay provoke interest in reading the content more thoroughly

Stroke Weights 3

Separation of main title, films, and location is achieved.  Helps to find top level sections easily while sacrificing lower level content.

Linespacing 1

Achieving the same result as the last “weight” example (top level separation).

Linespacing 2

This spacing doesn’t make any sense, since the wrong attributes are matched with each other.

Linespacing 3

This example coordinates films in the same months together and others apart.

Two Flush-left Margins 1

Indentation by time gives a schedule/calendar feel suitable for planning.

Two Flush-left Margins 2

Division between specific films (body) with overall encompassing info (aka event title, location, and cost).

Two Flush-left Margins 3

Similar to first “flush-left” example, this design furthers the contrast of the in and ort.

Three Flush-left Margins 1

Three indentations show more of hierarchy for the data attributed to the content.

Three Flush-left Margins 2

Same idea as previous, however, creating more uniform contrast between the various layers.

Three Flush-left Margins 3

Final Space and meaning

Final "Fusion" Design

Original second design of “Fusion” was the most representative of the meaning of the word, mainly due to the coloring and sizes of letters.  The darker shades of each letter as one progressed towards the center of the word portrays a sense of concentration in the middle (aka fusion).  Additionally, the sizes became smaller at the center as well, giving a dense feel, which is also an attribute of fusion (like a black hole).  Suggestions for improvements include separating the spacing between ‘i’ and the surrounding letters so it’s more distinct and visible.  Moreover, shifting letter positions is also suggested to give a more organic feel.

Changes were made to focus ‘i’ at the epicenter of the word (vertically and horizontally) as other letters progressed downwards from it as if they are being sucked in.  This creates a depth and the ability for the dot in the ‘i’ to stand out, distinguishing itself from the closeness of the neighboring letters.