TASK 08 // THE FINAL ZINE
>> Typefaces
I predominantly used 3 typefaces throughout my zine:
[1] Space Invaders Regular
[2] Punk Shot (Italics)
[3] Press Start 2P (Atari)
Type [1] was applied to most headings and body copy and maintained the font size throughout – to establish a similarity and familiarity throughout the composition. I chose this font as it personifies one of the most well-known, traditional arcade games – and because it is a very legible, pixelated typeface design.
Type [2] is used as the Contents heading and Binary Code heading. Punk Shot closely resembled the bespoke Nintendo Gameboy graphical typeface as seen in my Pinterest Zine inspiration board. Also, it creates a variety and distinction as so the zine is not monotonous.
Type [3] the conventional Atari font was used when describing the typical typefaces from the arcade era, seen in the Ch<1> text in the binary code grid, Ch<2> monospace wallpaper page and letter ‘A’, as well as the front and back covers. Being that this was the archetypal typeface of the typographic trend, it was important that I integrated it to reflect that period.
On the final spread (pages 14-15), I wanted to create a commemoratory compilation and visual zeitgeist that shared some of the most recognisable and defining typefaces from the arcade era to what we see in modern day video games. 25+ fonts were compiled to create this memento and to remind and convey the evolution from the pixel-age to what people today are more familiar with. Each font is identified by the name listed in the compilation.
>> Colour
The colour palette I applied to the zine were black (#000000) and green (#46be3d), with white paper stock. While arcade games display a variety of bright, vibrant colours, I chose to adapt the simple yet familiar zeitgeist colours of the arcade era, the Space Invaders palette. I attempted to mimic the visual aesthetic of the display screen where green and white float a top of a sea of black, encapsulating the idea of the once imagined realities.
* I also applied an RGB screen filter to some pages that I felt I wanted to appear more like the display.
>> The Grid Structure
Given the visual aesthetic and tile grid system of the arcade machine display, I believed it only appropriate to employ a modular grid system for the zine composition to mimic this. I tried to ensure all visual elements on the screen strictly adhered to the modular grid to convey that idea of the game screen. I believe this was successful on some spread more than others, for instance, the Contents (p.3), Pong display (p.12-13), and the covers (p.1, 16).
A5 Page (148mm x 210mm) = 10mm margins, 8 columns, 12 rows, 2.5mm gutters
>> Hierarchy + Alignment
The hierarchical structure of the zine spreads begins with the main heading in Type [1] always within the first grid row LH page and of equal font size and proportions where possible. This is then typically followed by a ‘type’ graphic or negative space. The RH page is generally used for more playful graphical elements used to aid the descriptions given and engage the reader. Text is either left justified (mostly headings or bodycopy) or centre aligned (main headings, bespoke pages like Ch<3> p.12-13 which simulates the arcade display aesthetic of the game Pong.
>> Gestalt’s Principles
For my zine, I attempted to employ and leverage Gestalt’s principles, particularly symmetry, figure-ground, proximity, and similarity. Symmetry and order have been meticulously considered throughout the composition on every spread. Where some spreads celebrate symmetry and others deliberately intend to be off-balance and visually disturbing. For instance, p.12-13, p.12 is compositional nice and balances, where p.13 juxtaposes this symmetry, having a small arcade machine graphic in the bottom corner RHS onto of a starry night scene where negative space is heavily adopted. While this is unbalanced, its strangely feels visually ‘right’ and helps how to read the page. Having the text box scenario and options centred on the LHS for the reader to interpret first and to know what’s upcoming, and the arcade graphic RHS at the edge motioning towards flipping the page – fate. Another instance can be observed on the following pages 14-15 Ch<3> Where the display mimics the Pong game display. The spread holistically is equal and balanced, where text its positioned in the top row and justified to the edges of the pages, the game score is centred, and the pong dashed divide falls along the bind.
Similarity is evident in the grouping of elements using colours, proximity, and scale. P. 14-15 I believe is an effective example of this. On p.14 I highlighted the ‘Then’ fonts (old arcade fonts) green against a black backdrop (also to reference the arcade display). While all fonts have some similar characteristics, they are read as a group representing the ‘old arcade fonts.’ Likewise, p.15, showcasing the ‘Now’ (todays modern video game types), have been colouring black against white (to reference the white LED digital computer screens we use and using black to strongly contrast the background (create figure-ground). The proximity of each typeface name bounded within the grid structure, as well as the colour selection identifies as a new group, compared to p.14.
>> Reflections
For someone new to the typography world (history in architecture), I am incredibly happy with how my zine developed and the final concept. At times I wished I had more pages to work with or more colours to play with. I like to step outside the box and push my designs to be as unique and interesting as I can, and after my (what felt like a) let-down of Task 6 (Week 10), I am proud I pushed myself to compose the zine and convey my message simply and effectively. If I could improve anything, I would have tried to ‘perfect’ the grid structure as best as possible. On some spreads I feel that the compositional layout and proximity does not achieve what I wanted and conveying my intention.
Nonetheless, I feel I have learned so much about grid structures (which I wish I knew at 4.5 years ago at the start of my architecture degree (even for poster layouts)) and the importance of different typefaces in conveying a message or used in the structure of a layout.
REFERENCES
Bringhurst, R. (2012) The elements of typographic style. 4th ed. (version 4.0). Vancouver: Hartley and Marks.
Carter, R. et al. (2012) Typographic design : form and communication. 5th ed. Hoboken, NJ: John Wiley and Sons.
Chapman, C. (2018). Exploring the Gestalt Principles of Design. https://www.toptal.com/designers/ui/gestalt-principles-of-design#:~:text=There%20are%20six%20individual%20principles,gestalt%2C%20such%20as%20common%20fate.
Hensley, J. (2016). Improve Your Designs With The Principles Of Similarity And Proximity (Part 1). Smashing Magazine.
https://www.smashingmagazine.com/2016/05/improve-your-designs-with-principles-similarity-proximity-part1/#:~:text=The%20gestalt%20principle%20of%20similarity,%2C%20size%2C%20shape%20and%20orientation
Patrick, L. H. 2022. Fonts used on pages 14-15. FontStruction. Creative Commons Attribution License. https://fontstruct.com/fontstructions/show/2066916
Pocket Gamer. 2015. “WHAT IS 8-BIT?” | What are 8-bit graphics, anyway?” Youtube video June 1, 2022. https://www.youtube.com/watch?v=QaIoW1aL9GE
Omagari, T. & Muroga, K. (2019) Arcade game typography : the art of pixel type. London: Thames and Hudson.
Vox. 2020. “The 8-bit arcade font, deconstructed.” Youtube video June 1, 2022. https://www.youtube.com/watch?v=C5NiAoT3xsY&t=28s
DVB201 | HAYLEY WOJTOWICZ | n10231404
