Presentation1
- 1. Spiekermann & Ginger, “Type is Everywhere”Look at the typeface used for the print versions of theTallahassee Democrat and theFlorrida State Times.What “personalities” are conveyed through the typefaces?How does design “work” in newspapers?What does it need to do?
- 2. “Type is Everywhere”Choose one type of product (e.g., bread, wine, toilet paper) look at the various packages or wrappers. Do the typefaces used share any aspects in common?
- 3. Heller: TypologyArt and design critic Beatrice Warde called type “the voice of the page.” Pay close attention to the typefaces at work on the pages below. What sorts of voice do you hear on the main/splash pages of then following sites?www.godiva.comwww.negativland.comwww.altoids.comwww.weestelm.comwww.lilwayne-online.com/www.irs.gov
- 4. Lipton, Introduction to Designing Across CulturesWhat does Lipton mean when she argues that we need to understand and design for "new filters?”What work do images do across documents and across culturesWhat are three pieces of advice Lipton offers and/or that you have for researching and better understanding the different groups, cultures, and subcultures you will design and write for?
- 5. Take a look at two different versions of this same brochure, a U.S. Job Corps (Department of Labor) publication:US Department of LaborLatina VersionWhat differences do you notice in the two brochures? Why do you think these changes were made?
- 6. Brown PowerWhy is there an association in barrio culture and Mexican-American design with the Old English script font face?
- 7. How does Mister Cartoon, interviewed for the article by the author, describe the cholo aesthetic?
- 8. What does the cholo aesthetic draw upon as its influences?
- 9. How does the author describe rasquachismo?
- 10. How has the term been reclaimed and revised by artists such as Tomás Ybarra-Frausto