Download - Graphic Design 1- Part 2
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2GRAPHIC
DESIGN 1
Alan
na S
antia
go- P
art 2
ART 226
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Foun
d Ty
pogr
aphy
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Art 226
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Foun
d Ty
pogr
aphy
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Art 226
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Foun
d Ty
pogr
aphy
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Art 226
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Foun
d Ty
pogr
aphy
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Art 226
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Foun
d Ty
pogr
aphy
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Art 226
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Foun
d Ty
pogr
aphy
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Art 226
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HISTORY SPREAD
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HISTORY SPREAD
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Typo
grap
hic
His
tory
Spr
ead
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Art 226
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Typo
grap
hic
His
tory
Spr
ead
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Art 226
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Typo
grap
hic
His
tory
Spr
ead
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Art 226
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Typo
grap
hic
His
tory
Spr
ead
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Art 226
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Typo
grap
hic
His
tory
Spr
ead
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Art 226
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Typo
grap
hic
His
tory
Spr
ead
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Art 226
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Typo
grap
hic
His
tory
Spr
ead
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Art 226
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Typo
grap
hic
His
tory
Spr
ead
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Art 226
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Typo
grap
hic
His
tory
Spr
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
![Page 33: Graphic Design 1- Part 2](https://reader030.vdocuments.net/reader030/viewer/2022020322/568c37121a28ab02359a642a/html5/thumbnails/33.jpg)
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
![Page 34: Graphic Design 1- Part 2](https://reader030.vdocuments.net/reader030/viewer/2022020322/568c37121a28ab02359a642a/html5/thumbnails/34.jpg)
TYPE BOOK
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Type
Spe
cim
en B
ook
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Art 226
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Type
Spe
cim
en B
ook
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Art 226
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Type
Spe
cim
en B
ook
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Art 226
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Type
Spe
cim
en B
ook
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Art 226
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Type
Spe
cim
en B
ook
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Art 226
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Type
Spe
cim
en B
ook
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Art 226
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Type
Spe
cim
en B
ook
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Art 226
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Type
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cim
en B
ook
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Art 226
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Type
Spe
cim
en B
ook
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Art 226
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DIRECT MAILER
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DIRECT MAILER
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Dire
ct M
aile
r
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Art 226
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Dire
ct M
aile
r
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Art 226
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Dire
ct M
aile
r
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Art 226
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Dire
ct M
aile
r
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Art 226
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Dire
ct M
aile
r
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Art 226
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Dire
ct M
aile
r
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Art 226
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Dire
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aile
r
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Dire
ct M
aile
r
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Dire
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Dire
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Dire
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Dire
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Art 226
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THANK YOU
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THANK YOU Alanna Santiago