Typography 1 | Sentence | P.2

  • Activating Space

[ A4, A3, Horizontal, Vertical ]

by breaking the rules and the norms of how sentences are formed or placed into spaces we could draw attention to specific parts of the sentence that we want to emphasize. By using different techniques to engage the viewer.

Bigger  |  Smaller  |  Bold   |  Italic  |  Color

  • Second Critique 

Some of the mistakes people made is that they didn’t check arabic, so some of them removed the dots, some removed hamza (ء), excessive use of Kashida as well.

although we were told not to do the cliche type of composition, I wanted to try one that I was curious about, who know it might work this is what I though about. but then it actually didn’t work lol. I am taking about the dropping actually dropping.

Through this critique I learned about Dead Center as a logical composition in Art, and that you don’t center unless you want to the audience to specifically : Look  at this, Read only this. a tip is that type work best a few spaces off the center.

Creating tension and contrast to achieve visual balance, a good source professors suggested to look at is Piet Mondrian, because he used visual balance and tension contrast in his pieces. They weren’t just Random divisions they were thoughtful.

  • Bauhaus School 
  1. Josef Albers
  2. Johannes Itten
  3. Wassily Kandinsky
  4. Lazzlo Moholy Nagy
  5. Paul Klee
  6. Herbert Bayer
  7. Theo Van Des
  8. Joseph Muller Brockmann
  9. Ludwing Mies VanderRohe

I’ve searched about these artists and read about the techniques they used in their artworks and how it relates to typography and the placements, visual balance, and color studies. It was very useful, because you can understand now that it’s not just about placing it on the paper, there is thought behind it and there is a reason for it.


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