Letter Grid
Peripheral Composition
Typography 1 Fall 2006
Instructor: Joan Dobkin
Project Objectives
1. Use cropping, continuation, and proximity to explore positive and negative space relationships
2. Work with a set grid structure
3. Create visual hierarchy with the use of similarity and contrast
4. Create visual rhythm with the use of repetition
5. Design a composition that works both with and against the grid
6. Work with a fast-approaching deadline
Project Description
Students were asked to create a grid composition 7.5” by 10”, composed of 2.5” by 2.5” square units. Each unit was to contain a cropped letterform, either uppercase or lowercase. Artistic elements students were encouraged to focus on include creating a rhythmic composition with visual hierarchy, engaging the edges of each individual grid unit as well as the edges of the entire composition, exploring the relationships between positive and negative forms that occur across the grid, and creating unification in the composition by using similar elements.
Design Rationale
My inspiration for this design was a pin wheel. A pin wheel is defined by dictionary.com as “A child's toy consisting of a wheel or leaf-like curls of paper or plastic loosely attached by a pin to a stick, designed to revolve when blown by or as by the wind.” When I think of a pinwheel, the words that first come to mind include imagination, innocence, energy, and fun. I want these same words to come to mind when someone is viewing my piece.
In order to create these emotive qualities, I positioned the letterforms across the grid using several design criteria. First and foremost, I placed the boldest letterforms of the entire composition in the bottom right two grid units, thus creating a peripheral focal point. The grid units positioned around the focal point contain z’s that vary in scale in order to create visual hierarchy in the composition. Second, I wanted to create contrast in the piece. I began by revealing elements of the letterform such as the serif and the fillet in order to create visual dissimilarities. The fillet is the only curved part of the z, thus I had to include it in order to show both the curved and straight components of the letter. I also chose to include both the diagonal stroke and the top and bottom horizontal strokes of the z as a way to show both the thick and thin elements of the letterform, another tool that serves to create a dynamic design. I then proceeded to turn my attention to the relationship between the figure and the ground. I made sure that the shapes created in both were surprising and interesting to look at. Finally, the overall positioning of the letterforms serves to create an energetic, asymmetrical composition that leads the viewer’s eye smoothly through the piece.
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