Video & Spread
GRAPHIC DESIGN, MOTION GRAPHICS
Video and spread communicating the essence of the iconic Swiss font, Neue Hass Grotesk/Helvetica
Part 1- Understanding the type
I began my exploration with desk research and writing a copy on the history of Helvetica in order to sketch a narrative for the story I wanted to communicate.
My aim was to inform the audience not only the formal qualities of Helvetica, but also how its style resonates with the modernist movement.
I felt that my use of imagery in the spreads were inconsistent with people’s expectations of Helvetica. So I turned to more relevant imagery of modernist furniture designs. By placing Helvetica type over modernist imagery, I attempted to draw a formal parallelism between the two artifacts.
Instead of color, I decided to experiment with black and white forms. I played with scale, shapes, and various placements to communicate the bold, balanced, and clear visual qualities of Helvetica.
Helvetica spread iterations with copy_______________
Part 2- Exploring Type Structure
I made various graphic sketches using Helvetica to explore how I can deconstruct the type form. The
Through low-fidelity sketches and revision of the spread, I constantly generated compelling visual content and potential storylines to expand the narrative of the project.
Typographic themes such as stroke weight consistency, unitary aspect ratio, and tight counters were physically explored.
These frames later became the key inspirations when turning the sketches into animated frames.
Second Iteration of Spreads________________________
Part 3 — Pushing sketches forward
Utilizing the concept sketches, I began to play with how motion can help me to communicate a message.
I began by extracting some adjectives from the text and made various compositions with glyphs. I imagined how these glyphs would behave if it were in motion. I used indesign to draw quick sketches.
I chose to work with a string beat produced by Dj premier, one of the most influential musical artists in hip-hop since the early 1990’s. Placing the motion sketches on top of the beat, I experimented with how I can chop up the beats in various paces.
Generating frames from concept sketches_________________________________________
Part 4 — Constructing the frames
Once I had a general idea of all the options that I can take to visually express the types, I worked on establishing a hierarchy of information. I wanted to prioritize not only on describing the font but also show how Helvetica appears in context. I developed more concept sketches of how I can contextualize the information for the audience.
With a large pooI of visual language to work with, I arranged the sketches in a storyline that presents an engaging narrative that visualizes the typographic content.
Helvetica in context_______________________________
Creating visual languages_________________________