type3: final type specimen photos

Monster is a combination of four type classifications, each of which are represented through depicting key characteristics of serif, sans serif, and script typefaces. All of these come together to form a decorative typeface, Monster. Variations in the serifs, stroke weight, the use of brackets, and calligraphic qualities flexibly form each letter. Referencing Victor Frankenstein's monster from Mary Shelley's novel,Frankenstein, this typeface has qualities that do not belong; "stolen" from other typefaces such as Rockwell, Futura, Bodoni, and Lucida Blackletter. One key distinguishing factor is its relationship to Bodoni, a neoclassical and elegant typeface. Both Bodoni and Monster have high contrast thick and thin lines, however, this typeface places the emphasis of the letterforms on the opposite parts of the letter, in direct contrast to Bodoni. While Bodoni represents beauty and sophistication, Monster represents deformity and disfigurement.

hcd: brand book

narrative: final logo build

narrative: union station final

Fixed the errors that were brought up in critique, and added music to the background

type3: koenig final

This book focuses on Koenig's structural elements in his architecture. Just as how Koenig exposes all the steel frames, the layout grid of the document is hinted at on each page with the moving bar that moves across the page in equal intervals. This, too, references how Koenig controls the "private" and "public" world, where the glass is opaque or clear. He also wanted residents to see an unobstructed view of the vast California landscape, which he does with clear glass framed by black steel frames. In regards to the use of the pilcrow and the page numbers, this speaks to Koenig's emphasis on efficiency of the use of space. 

type3: final

As Gertrude Stein oscillates back and forth from obscurity to clarity, this book visually translates her writing style through using a Gestalt Principle, ambiguous figure-ground. As the eye switches from negative to positive space, this fluctuating relationship is enhanced with Stein's impulsive and unstable writings. I was inspired by Josef Albers' optical artwork, where he tricks the eye into seeing multiple grounds using simple colors and shapes. In regards to the composition of the typography, it mimics the feeling of stream of consciousness writings which keep moving forward and is always in the present. Key words I based my design on are: unstable, continuous present, and unexpected. 

unstable: the figure-ground relationship with negative and positive space

continuous present: the type is placed in relation to each other, read from up, down then shifted right; it is always progressing to the next phrase

unexpected: the page numbers and the titles of each poem are wedged in between the pages