Summer 2019
YPOGRAPHY
Final Book Design of Arohhi Vazir
Introduction
Typography plays a big role in graphic design and can be one of the hardest things to get right. My aim here is to introduce some of the basics and the most common areas of typography that will be important in your design work. Typography is an art form that has been around for hundreds of years. Words and text are all around us every day in almost everything we do. In every piece of type you see, somebody has considered how the letters, sentences and paragraphs will look in order for it to be read by us, or make us feel a certain way when we look at it. Sometimes it is done well, others not. Often it is us graphic designers who are the ones deciding how it will look, in our brochures, our logos, our websites and so on. The better we are at this, the more effective our designs will be. More power to those who care to learn and apply its full potential.
Contents
Character Set
8-11
Type Anatomy
12-19
Typesetting
20-25
Type Composition
27-41
Type Classification
42-51
Swiss Designer
52-55
Thank You
56-57
6
Final Book Design of Arohhi Vazir
Project 1
7
Character Set
Objective To create 9 letterforms of an original typeface.By either using bitmap or calligraphic method.After finished , we had to create a 4*6 Standard Postcard size document of different variations such as solid color, black and white and patterned.
Approach The approach used to create these letteforms is old school calligraphy. In modern day its created using a digital platform yet needs a rough sketching to control the cocentration of ink and the thickness. Calligraphy is an art dating back to the earliest recorded history and widely practiced throughout India to this day. Its an art unique to Asian cultures.
8
Final Book Design of Arohhi Vazir
Process
Project 1
Black & White Postcard
9
10
Final Book Design of Arohhi Vazir
Solid color Postcard
Project 1
Patterned Postcard
11
12
Final Book Design of Arohhi Vazir
Project 2
13
Type Anatomy
Objective To introduce type terminology and identify the structural aspects of type. Label the different kinds of strokes, junctions & negative spaces used to create letterforms. Identify a variety of differently shaped terminals and serifs. Increase awareness of letterforms and glyphs. Gain layout skills: hierarchy, negative space, focal point, and impact. Using the typeface Adobe Garamond Pro, identify the anatomy of a typeface, choosing more than 20 anatomical words, but less than the whole list, indicating one (don’t indicate the same thing over and over) of all the main elements, for example, the items on the list left. Use letterforms and/or numbers and/or special characters.
Approach I choose to create a simple layout since its for an educational purpose of understanding the type anatomy. The vibrant colors on the emerald background is to create an attention to the details.
15
MAJUSCULE/CAPITAL/ UPPERCASE
ASCENDER LINE
DESCENDER LINE
COUNTER
ASCENDER
TERMINAL
ap Typographic T NECK
DESCENDER
EAR
LOOP
BOWL
MAJUSCULE/CAPITAL/ UPPERCASE
ASCENDER LINE
SERIF
TWO-STOREY LETTER
DESCENDER LINE
COUNTER
ASCENDER
TERMINAL
ap Typographic T NECK
DESCENDER
EAR
LOOP
BOWL
SERIF
TWO-STOREY LETTER
CROSSBAR
CROSSBAR
SHOULDER
n Anatomy BAR
MINUSCULE / LOWERCASE
AXIS
COUNTER
TAIL
CAP LINE CAP HEIGHT X-HEIGHT
n Anatomy BAR
BASELINE
SHOULDER
MINUSCULE / LOWERCASE
AXIS
COUNTER
TAIL
CAP LINE CAP HEIGHT X-HEIGHT
BASELINE
16
Final Book Design of Arohhi Vazir
Project 2
Accordion book
17
18
Final Book Design of Arohhi Vazir
Project 2
19
20
Final Book Design of Arohhi Vazir
21
Project 3
Typesetting
Objective Understand typesetting rules. Demonstrate accurate and aesthetically pleasing typesetting. Recognize how different type treatments and alignments require unique handling of type. Create 4 pages, each page showing one of these align-ments: Set Left, Set Right, Justify, Center.
Approach The typeface for text is Adobe Garamond Pro Regular. Text type is set at 8 pt type size, with 12 points of leading. The defining characteristic of text type is that it has to be readable, so it’s set upper & lower case. Because 8 pt type is a little small , so i tracked the type out to around +20–, but no more for this text type. Too much tracking makes text type too hard to read.
Project 22 3
Set Right 8/12 Adobe Garamond +20 Tracking
Final Book Design of Arohhi Vazir
LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve well-chosen letters; these in their turn deserve to be set with affection, intelligence, knowledge and skill. Typography is a link, and it ought, as a matter of honor, courtesy and pure delight, to be as strong as others in the chain. Typography is just that: idealized writing. Writers themselves now rarely have the calligraphic skill of earlier scribes, but they evoke countless versions of ideal script by their varying voices and literary styles. To these blind and often invisible visions, the typographer must respond in visible terms. In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages they must occupy, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles. Simple as it may sound, the task of creative non-interference with letters is a rewarding and difficult calling. In ideal conditions, it is all that typographers are really asked to do and it is enough.
Project 3
Set Left 8/12 Adobe Garamond +20 Tracking
23
LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve well-chosen letters; these in their turn deserve to be set with affection, intelligence, knowledge and skill. Typography is a link, and it ought, as a matter of honor, courtesy and pure delight, to be as strong as others in the chain. Typography is just that: idealized writing. Writers themselves now rarely have the calligraphic skill of earlier scribes, but they evoke countless versions of ideal script by their varying voices and literary styles. To these blind and often invisible visions, the typographer must respond in visible terms. In a badly designed book, the letters mill and stand like starving horses in a field. A book designed by rote, they sit like stale bread and mutton on the page.In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages they must occupy, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles. Simple as it may sound, the task of creative non-interference with letters is a rewarding and difficult calling. In ideal conditions, it is all that typographers are really asked to do and it is enough.
—Robert Bringhurst, The Elements of Typographic Style —Robert Bringhurst, The Elements of Typographic Style
24
Final Book Design of Arohhi Vazir
Centered 8/12 Adobe Garamond +20 Tracking
LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve well-chosen letters; these in their turn deserve to be set with affection, intelligence, knowledge and skill. Typography is a link, and it ought, as a matter of honor, courtesy and pure delight, to be as strong as others in the chain. Typography is just that: idealized writing. Writers themselves now rarely have the calligraphic skill of earlier scribes, but they evoke countless versions of ideal script by their varying voices and literary styles. To these blind and often invisible visions, the typographer must respond in visible terms. In a badly designed book, the letters mill and stand like starving horses ina field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer haveall done their jobs, no matter how many thousands of lines and pages they must occupy, the letters are alive. They dance in their seats.Sometimes they rise and dance in the margins and aisles. Simple as it may sound, the task of creative non-interference with letters is a rewarding and difficult calling. In ideal conditions, it is all that typographers are really asked to do and it is enough. —Robert Bringhurst, The Elements of Typographic Style
Project 3
Justified 8/12 Adobe Garamond +20 Tracking
25
LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve well-chosen letters; these in their turn deserve to be set with affection, intelligence, knowledge and skill. Typography is a link, and it ought, as a matter of honor, courtesy and pure delight, to be as strong as others in the chain. Typography is just that: idealized writing. Writers themselves now rarely have the calligraphic skill of earlier scribes, but they evoke countless versions of ideal script by their varying voices and literary styles. To these blind and often invisible visions, the typographer must respond in visible terms. In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages they must occupy, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles. Simple as it may sound, the task of creative non-interference with letters is a rewarding and difficult calling. In ideal conditions, it is all that typographers are really asked to do and it is enough. —Robert Bringhurst, The Elements of Typographic Style
26
Final Book Design of Arohhi Vazir
Project 4 / Exercise 1
27
Type Composition – Exercise 1
Objective Explore the typographic differences in five ways of indicating paragraphs using Manuscript Grid: Indent, Hanging indent, Extra Leading, First Word, First Sentence/Phrase.
Approach Used only a one column grid and one kind of indicator per page. Chose to set the type either flush left or justified.Margins are not less than a half-inch wide. Did the typeset attribution at the end. Payed attention to page composition and negative space. Used text sizes between 7 & 10 point. Make sure the text did not look too “horsey”too big and clunkywhen it is printed. Set the type so it has an even color,no rivers, no widows, no orphans. The amount of emphasis needed to indicate a paragraph is a function of the other typographic decisions you make, such as column width and leading. Did not set text type with less than +2 points of leading. Did not set your type less than 5 words per column or more than 15 words wide. Two of these areset justified. There is a variety of typefaces used, both serif and sans serif.
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Final Book Design of Arohhi Vazir
Hanging Indent / Extend Type Face : Times New Roman Font Size : 8 point Leading : 12 point Tracking : 20 point
Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state their principles in compact, incendiary speech. A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function—they serve to bring together members of a group. Ten years ago, Bruce Mau published his “Incomplete Manifesto,”written as a list of commandments.These principles became the established creed of Mau’s own design office, but they can be used by anyone.Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals.Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of all social, political and military systems, pushed designers to create“intensely glamorous environmentally sound products; entirely new objects of entirely new materials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Also in 2000, Rick Poynor published the “First Things First 2000” manifesto, based on a text written by Ken Garland in 1964, a controversial document that called for designers to use their skills to improve environmental, social and cultural life rather than to sell hair gel and dog biscuits.
Project 4 / Exercise 1
Indent Type Face : Futura Medium Font Size : 8 point Leading : 12 point Tracking : 25 point
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Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution.Graphic design would not exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigated Futurism.By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state their principles in compact, incendiary speech. A manifesto is a short document that “manifests” or makes public a set of ideas and goals.A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century,replaced by more businesslike, professionallyoriented statements of purpose and principle. But at the turnof the new century,just as at the turn of the old one, anifestos came back.Businesses started using “brand manifestos” to spell out the defining featuresof their products,and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product.It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function, they serve to bring together members of a group. Ten years ago,Bruce Mau published his “Incomplete Manifesto,” written as a list of commandments.These principles became the established creed of Mau’s own design office, but they can be used by anyone. Other designers with intriguing and influential personal manifestos include product designer KarimRashid and the infamous post-typographers Bruce Willen and Nolen Strals.Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of all social, political and military systems, pushed designers to create “intensely glamorous environmentally sound products; entirely new objects of entirely new materials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Also in 2000, Rick Poynor published the “First Things First 2000” manifesto, based on a text written by Ken Garland in 1964,a controversial document that called for designers to use their skills to improve environmental, social and cultural life rather than to sell hair gel and dog biscuits. —excerpted from Manifesto Mania by Ellen and Julia Lupton
—excerpted from Manifesto Mania by Ellen and Julia Lupton
30
Final Book Design of Arohhi Vazir
Extra Leading / {Space Between / Space After} Type Face : Baskerville Font Size : 8 point Leading : 12 point Tracking : 10 point
Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets,painters and designers after him to state their principles in compact, incendiary speech.
Project 4 / Exercise 1
Firts Word Type Face : Gill Sans Light Font Size : 8 point Leading : 14 point Tracking : 20 point
31
Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manfesto that launched the American Revolution. Graphic design would not exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea of ar t as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state their principles in compact, incendiary speech. A manifesto is a shor t document that “manifests” or makes public a set of ideas
A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way.
and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more business like, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses star ted using “brand manifestos” to spell out the defining features of their products, and software companies and design firms star ted posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product. It communicates directly, it is broken into functional par ts,
Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function—they serve to bring together members of a group.
and it has elements of poetry and surprise. And drafting one is more like writting an ad than writing novel. Manifestos typically have a social function they serve to bring together members of a group. Ten years ago, Bruce Mau published his “Incomplete Manifesto,” written as a list of commandments.These principles became the established creed of Mau’s own design office, but they can be used by anyone. Other designers with intriguing
Ten years ago,Bruce Mau published his “Incomplete Manifesto,” written as a list of commandments.These principles became the established creed of Mau’s own design office, but they can be used by anyone. Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals. Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which is the epicenter of manifesto-writing today.
and influ-ential personal manifestos include product designer Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals. Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the con-temporary green movement, which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of all social, political and military systems, pushed designers to create “intensely glamorous environmentally sound products; entirely new objects of entirely new materials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Also in 2000, Rick Poynor published the “First
Sterling, in addition to demanding an overhaul of all social, political and military systems, pushed designers to create “intensely glamorous environmentally sound products; entirely new objects of entirely new materials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Also in 2000, Rick Poynor published the “First Things First 2000” manifesto, based on a text written by Ken Garland in 1964, a controversial document that called for designers to use their skills to improve environmental, social and cultural life rather than to sell hair gel and dog biscuits. —excerpted from Manifesto Mania by Ellen and Julia Lupton
Things First 2000” manifesto, based on a text written by Ken Garland in 1964, a controversial document that called for designers to use their skills to improve environmental, social and cultural life rather than to sell hair gel and dog biscuits. —excerpted from Manifesto Mania by Ellen and Julia Lupton
32
Final Book Design of Arohhi Vazir
Project 4 / Exercise 2
33
Type Composition – Exercise 2
Firts Sentence Type Face : Pt Sans Font Size : 8 point Leading : 12 point Tracking : 25 point
Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state their principles in compact, incendiary speech. A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more business like, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function—they serve to bring together members of a group. Ten years ago,Bruce Mau published his “Incomplete Manifesto,” written as a list of commandments.These principles became the established creed of Mau’s own design office, but they can be used by anyone.Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals. Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of all social, political and military systems, pushed designers to create “intensely glamorous environmentally sound products; entirely new objects of entirely new materials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Also in 2000, Rick Poynor published the “First Things First 2000” manifesto, based on a text written by Ken Garland in 1964, a controversial document that called for designers to use their skills to improve environmental, socialand cultural life rather than to sell hair gel and dog biscuits. —excerpted from Manifesto Mania by Ellen and Julia Lupton
Objective Explore these three methods of indicating the beginning of a text: Initial Cap, Drop Cap & First Paragraph (Intro Paragraph)
Approach Here are three common ways of indicating to the reader the very beginning of a longer piece of text. I tried at least one serif and one sans-serif typeface. Iexplored different styles to help create emphasis, such as bold, italic, light, condensed, etc. Used only a column grid. Created three pages for each method. One example out of these is justified text and one using a rag right configuration. With the approach i chose, you will be able to see their their qualitative differences.
34
Final Book Design of Arohhi Vazir
Initial Cap Type Face : Minion Pro Font Size : 8 point Leading : 12 point, Tracking : 10 point
K
arl Marx had one. The Unibomber had one.
Ten years ago, Bruce Mau published his “Incomplete Manifesto,” written as a list of commandments. These
Independence in 1776, he drafted the manifesto that
principles became the established creed of Mau’s own
launched the American Revolution. Graphic design
design office, but they can be used by anyone.Other
would not exist as weknow it today if F. T. Marinetti
designers with intriguing and influ-ential personal man-
hadn’t published his manifestos and instigated
ifestos include product designer Karim Rashid and the
Futurism. By inventing the idea of art as a branded
infamous post-typographers Bruce Willen and Nolen
public enter-prise, Marinetti copelled many poets,
Strals.Bruce Sterling’s “Manifesto of January 3, 2000”
painters and designers afterhim to state their princ-
helped galvanize the con-temporary green movement,
iples in compact, incendiary speech.
which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of all
or makes public a set of ideas and goals.A manifesto is
social, polit-ical and military systems, pushed designers
passionate, personal and vivid. Such calls to action
to create “intensely glamorous environmentally sound
went out of fashion during the mid-20th century, repl-
products; entirely new objects of entirely new materials;
aced by more business like, professionally oriented
replacing material substance with information; a new
statements of purpose and prin-ciple. But at the turn
relationship between the cybernetic and the material”
of the new century, just as at the turn of the old one,
(iPhone, anyone?). Also in 2000, Rick Poynor published
manifestos came back. Businesses started using “brand
the “First Things First 2000” manifesto, based on a text
manifestos” to spell out the defining features of their
written by Ken Garland in 1964, a controversial document
products, and software companies and design firms star-
that called for designers to use their skills to improve
ted posting manifestos to publicize their approach in
environmental, social and cultural life rather than to sell
an edgy, direct way.
hair gel and dog biscuits.
Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product.
—excerpted from Manifesto Mania by Ellen and
It communicates directly, it is broken into functional
Julia Lupton
parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function— they serve to bring together members of a group.
35
Drop Cap Type Face : Quasimoda Font Size : 8 point Leading : 12 point Tracking : 20 point
When Thomas Jefferson wrote the Declaration of
A manifesto is a short document that “manifests”
Project 4 / Exercise 2
K
arl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigtaed Futurism.By inventing the idea of art as a branded public enterprise, Marinetti copelled many poets,painters and designers after him to state their principles in compact, incendiary speech. A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more business like, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A wellwritten manifesto is like a well-designe product. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function—they serve to bring together members of a group.
Ten years ago, Bruce Mau published his “Incomplete Manifesto,” written as a list of commandments. These principles became the established creed of Mau’s own design office, but they can be used by anyone. Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous post typographers Bruce Willen and Nolen Strals.Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the con-temporary green movement, which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of all social, political and military systems, pushed designers to create “intensely glamorous environmentally sound products; entirely new object of entirely new mate-rials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Also in 2000, Rick Poynor published the “First Things First 2000” manifesto,based on a text written by Ken Garland in 1964, a controversial document that called for designers to use their skills to improve environmental, social and cultural life rather than to sell hair gel and dog biscuits. —excerpted from Manifesto Mania by Ellen and Julia Lupton
36
Final Book Design of Arohhi Vazir
Project 4 / Exercise 3
37
Type Composition – Exercise 3
Objective
First Paragraph Type Face : Helvetica Neue Font Size : 8 point Leading : 12 point Tracking : 20 point
Karl Marx had one. The Unibomber had one.
Ten years ago, Bruce Mau published his “Incomplete
When Thomas Jefferson wrote he Declaration of
Manifesto,”written as a list of comandments.These
Independence in 1776, he drafted the manifesto
principles became the established creed of Mau’s own
that launched the American Revolution. Grap-
design office, but they can be used by anyone. Other
hic design would not exist as we know it today
designers with intriguing and influential personal man-
if F. T. Marinetti hadn’t published his manifestos
ifestos include product designer Karim Rashid & the
and insti-gated Futurism. By inventing the idea
infamous post typographers Bruce Willen and
of art as a branded public enter-prise, Marinetti
Nolen Strals. Bruce Sterling’s “Manifesto of January 3,
compelled many poets,painters and designers
2000” helped galvanize the contemporary green
after him to state their principles in compact,
movement, which is the epic center of manifesto writ-
incendiary speech.
ting today.
A manifesto is a short document that “manifests”
Sterling, in addition to demanding an overhaul of
or makes public a set of ideas and goals. A manifesto
all social, polit-ical and military systems, pushed desig-
is passionate, personal and vivid. Such calls to act-
ners to create “intensely glamorous environmentally
ion went out of fashion during the mid-20th century,
sound products;entirely new objects of entirely new mate-
replaced by more business like, professionally orie-
rials; replacing material substance with information; a
nted statements of purpose and principle. But at the
new relationship between the cybernetic and the mat-
turn of the new century, just as at the turn of the old
erial”. Also in 2000, Rick Poynor published the “First
one, manifestos came back. Businesses started using
Things First 2000” manifesto, based on a text written by
“brand manifestos” to spell out the defining features
Ken Garland in 1964, a controversial document that
of their products, and software companies and design
called for designers to use their skills to improve environ-
firms started posting manifestos to publicize their
mental, social and cul-tural life rather than to sell hair
approach in an edgy, direct way.
gel nd dog biscuits.
Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed
—excerpted from Manifesto Mania by Ellen and
product. It communicates directly, it is broken into
Julia Lupton
functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function—they serve to bring together members of a group.
Typeset the text including title, subtitle and byline and show three levels of typograpic hierachy. Do not typeset the labels title, subtitle,byline. Set the type according to the specifictions and then typeset two more pages using any of the variables of placement, size, weight, style or to show the levels of hierarchy. Keep it simple. However, you should read and consider the text with which we are working. It does relate to the assignment at hand and should influence it accordingly.
Approach There is a variety of possible combinations here to affect a different look for the title/subtitle to differentiate from the body text. I tried to achieve a separate yet coherent look by changing a variety of specs from a different point size, to another font, or style, or by adding a graphic element as a separator. Keeping mind that the space relation between title and subtitle should be closer and act as a unit, in comparison to the body text Depending on the scale change of the title, the subtitle should not be too far removed in scale between the two, as it acts as a bridge to tie both the title and the body text together. Both the title and subtitle should not be smaller than the body text. The byline can be a bit more subtle and closer in scale to the body text.
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Final Book Design of Arohhi Vazir
Project 4 / Exercise 3
39
Hierarchy Change: Style & Typeface Type face: Rival light Font Size: 8pt Leading: 12pt Tracking: 30pt
Hierarchy Change: Style Type ace: Baskerville Regular Font Size: 8pt Leading: 12pt Tracking: 30pt
Verbal and Visual Equations
Verbal and Visual Equations An examination of interactive signs excerpted from Typographic Design: Form and Communication
An examination of interactive signs excerpted from Typographic Design: Form and Communication
— Ben Day and Philip Meggs
—Ben Day and Philip Meggs
Language, in any of its many forms, is a self-contained system of interactivesigns that communicates ideas. Just as elocution and diction enhance and clarify the meaning of our spoken words, typographic signs can be manipulated by a designer to achieve more lucid and expressive typographic communication. Signs operate in two dimensions: syntactic and semantic. When the mind is concerned with the form of a sign, it is involved with typographic syntax.When it associates a particular meaning witha sign, it is operating in the semantic dimension. All objects in the environment can potentially function as signs, representing any number of concepts. A smog-filled city signifying pollution, a beached whale representing extinction, and confetti implying a celebration each functions
as a sign relating a specific concept. Signs may exist at various levels of abstraction. A simple example will illustrate this point. Let us consider something as elemental as a red dot. It is a sign only if it carries a particular meaning. It can represent any number of things: balloon, ball, or Japanese flag. The red dot can become a cherry, for example, as the mind is cued by forms more familiar to its experience. The particular syntactic qualities associated with typographic signs determine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a large void may signify isolation. These qualities, derived from the operating principles of visual hierarchy and ABA form, function as cues, permitting the mind to form concepts. Simple syntactic manipulations, such as the repetition of letters, or the weight change of cer-
tain letters, enable words visually to mimic verbal meaning. In language, signs are joined together to create messages. Words as verbal sign, grouped together in a linear fashion, attain their value vis-à-vis other words through opposition and contrast.Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in a non linear manner, with elements existing in many syntactic combinations.
Language, in any of its many forms, is a self-contained system of interactive signs that communicates ideas. Just as elocution and diction enhance and clarify the meaning of our spoken words, typographic signs can be manipulated by a designer to achieve more lucid and expressive typographic communication. Signs operate in two dimensions: syntactic and semantic. When the mind is concerned with the form of a sign, it is involved with typographic syntax. When itassociates a particular meaning with a sign, it is operating in the semantic dimension. All objects in the environment can potentially function as signs, representing any number of concepts. A smog-filled city signifying pollution, a beached whale representing extinction, and confetti
implying a celebration each functions as a sign relating a specific concept.Signs may exist at various levels of abstraction. A simple example will illustrate this point. Let us consider something as elemental as a red dot. It is a sign only if it carries a particular meaning. It can represent any number of things: balloon, ball, or Japanese flag. The red dot can become a cherry, for example, as the mind is cued by forms more familiar to its experience. The particular syntactic qualities associated with typographic signs determine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a large void may signify isolation. These qualities, derived from the operating principles of visual hierarchy and ABA form, function as cues, permitting the mind to form
concepts. Simple syntactic manipulations, such as the repetition of letters, or the weight change of certain letters, enable words visually to mimic verbal meaning. In language, signs are joined together to create messages. Words as verbal sign, grouped together in a linear fashion, attain their value vis-à-vis other words through opposition and contrast. Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in a nonlinear manner, with elements existing in many syntactic combinations.
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Final Book Design of Arohhi Vazir
Hierarchy Change: Style, Typeface & Graphic Element Typeface: Axia stencil light & Athleas regular Font Size & Leading : (t) 30/36 - (st) 16/18 - (bl) 12/14 - (bt) 9/12
Project 4 / Exercise 3
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Hierarchy Change: Cross Alignment Typeface: Minion Pro Regular Font Size: 8pt / Leading: 12pt / Tracking: 25pt
Verbal and Visual Equations An examination of interactive signs excerpted from Typographic Design: Form and Communication
Verbal and Visual Equations —Ben Day and Philip Meggs
An examination of interactive signs excerpted from Typographic Design: Form and Communication —By Ben Day and Philip Meggs
◆◆◆
Language, in any of its many forms, is a
extinction, and confettiimplying a celebra-
principles of visual hierarchy and ABA form,
self-contained system of interactivesigns that
tion each functions as a sign relating a specific
function as cues, permitting the mind to
communicates ideas. Just as elocution and
concept.
form concepts. Simple syntactic manipultions,
diction enhance and clarify the meaning
Signs may exist at various levels of abstrac-
such as the repetition of letters, or the weight
of our spoken words,typographic signs can
tion. A simple example will illustrate this
change of certain letters, enable words vis-
be manipulated by a designer to achieve
point. Let us consider something as elemental
ually to mimic verbal meaning.
more lucid and expressive typographic com-
as a red dot. It is a sign only if it carries a par-
munication.
ticular meaning. It can represent any number
create messages. Words as verbal sign, grouped
of things: balloon, ball, or Japanese flag. The
together in a linear fashion, attain their value
and semantic. When the mind is concerned
red dot can become a cherry, for example, as
vis-à-vis other words through opposition
with the form of a sign, it is involved with typ-
the mind is cued by forms more familiar to
and contrast. Words can also evoke meaning
ographic syntax.When it associates a particular
it's experience.
through mental association. These associ-
Signs operate in two dimensions: syntactic
meaning witha sign, it is operating in the semantic dimension.
The particular syntactic qualities associated
In language, signs are joined together to
ative relations are semantically derived. Since
with typographic signs determine a specific
typography is both visual and verbal, it ope-
meaning. A series of repeated letters, for exa-
rates in a linear fashion, with words following
ially function as signs, representing any
mple, may signify motion or speed, while a
each other in a specific sequence, or in a
number of concepts. A smog-filled city signi-
small letter in a large void may signify isoltion.
nonlinear manner, with elements existing in
fying pollution, a beached whale representing
These qualities, derived from the operating
many syntactic combinations.
All objects in the environment can potent-
Language, in any of its many forms, is a self-contained system of interac-tive signs that communicates ideas. Just as elocution and diction enhance and clarify the meaning of our spoken words, typographic signs can be manipulated by a designer to achieve more lucid and expressive typographic communication. Signs operate
Words can also evoke meaning throughmental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a lin-ear fashion, with words following each other in a specific sequence, or in a nonlinear manner, with elements existing in many syntactic
in two dimensions: syntactic and semantic. When the mind is concerned with the form of a sign, it is involved with typographic syntax. When it associates
combinations. “Puda veliqui ut voluptatur magnam aut delici officium dem faccull igendis nust ute nihitio reperore quidist asped utat magnat. Ebit, odit pe peles quo torepe exerae ra perspis esciiscium dolorrum ditaten essequis eaquia velistiis ist adis eum repe doluptatis nostibea voluptate nullent ib”
a particular meaning with a sign, it is operating in the semantic dimension. All objects in the environment can potentially function as signs, repre-senting any number of concepts.
It is a sign only if it carries a particular meaning.
Asmog-filled city signifying pollution, a beached whale representing extinction, and confetti implying a celebration each functions as a sign relating a specific
It can represent anynumber of things: balloon, ball, or Japanese f lag. The red dot can become a cherry, for example, as the mind is cued by forms more familiar
concept.Signs may exist at various levels of abstraction. A simple example will illustrate this point. Let us considersomething as elemental as a red dot.
to its experience. The particular syntactic qualities associated with typographic signs determine a specific meaning. A series
Puda nisit apelibea volore, vendis doloruptas as voluptatur aut rendiscil elitet dolupta testio bea volor ape volo eturesti.Agnisque endes rempern aturestiae.
of repeated letters, for example, may signify motion or speed, while a small letter in a large void may signifyisolation. These qualities, derived from the operating principles of visual hierarchy and ABA form,function as cues, permitting the mind to form concepts.Simple syntactic manipulations, such as the repetition of letters, or the weight change of certain letters, enable words visually to mimic verbal meaning.In language, signs are joined together to create messages. Words as verbal sign, grouped together in a linear fashion, attain their value vis-à-vis other words through opposition and contrast.
42
Final Book Design of Arohhi Vazir
43
Project 5
Type Classification Posters
Objective Design three type classification posters in the Vox System. The book Letter Fountain lists 9 catgories; 5 Serif and 4 Sans Serif—Humanist, OldStyle, Transitional, Modern, Slab Serif and Sans serif. Design a poster for two Serif and one Sans Serif font. The main objective is to research the various periods and design from its influence, to visually communicate the evolution of type, to practice the principles of typography that we have studied.
Approach The ultimate goal is to have enough information to educate the viewer on the particular category, and to reflect the typographic landscape (aethetic). In order to provide that i studied and took cues from books of the 15th–18th centuries, and ephemera of the 19th century. Typographic elements I included are: Title- can be the name of the category, or the name of the main typeface secondary text to the title. A copy describing the particular type group/category a principle alphabet with a brief history of the particular typeface selected. Typical characteristics sample (3 to5) characters). List: Humanist, Old Style, Transitional, Didone, Slab Serif and Sans Serif on each poster in small type.
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Final Book Design of Arohhi Vazir
Project 5
45
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Final Book Design of Arohhi Vazir
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48
Final Book Design of Arohhi Vazir
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Final Book Design of Arohhi Vazir
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52
Final Book Design of Arohhi Vazir
Swiss Poster
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Swiss Designer Researh
Objective To choose a swiss designer and the impact they have over the design world.We are suppose to add one of thier art piece to the poster including 250 words about the designer.
Approach I chose the famous swiss designer Max Miendiger who is the founder of the famous typeface " helvetica " in 1957.
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Final Book Design of Arohhi Vazir
Max Miedinger – Font designer of the Helvetica
The man Max Miedinger was born on Christma day, 1910, in Zurich Switzerland. When he was 16 years old, he became an apprentice typesetter in the book printing office of Jacques Bollmann in Zurich.After four years of apprenticeship in the book office, Miedinger entered the School of Arts and Crafts, Abendkurse in Zurich. In 1936, at the age of 26, he became a typographer in the advertising studio of the Globe department store chain. He worked at the Globe for ten years and refined his skill as a typographer. After ten years at the Globe, he became a representative for the Type Foundry Haas in Basel Switzerland. This is where he would make his mark on graphic arts history, when in 1957 he revied a typeface called Akzidenze Grotesk ; an old san serif font designed by the Berthold foundry in the late 1800s. His newly designed san serif was named Neue Haas Grotesk. Little did he know that, in the later 20th century, his neue sans serif typeface would become the default typeface for most software packages under its new name, Helvetica. Miedinger worked under Edouard Hoffmann to develop the new face for Haas. To his astonisment and consternation, Stempel, the parent company of Haas, changed the name of the face to Helveica when they decided to market it to businesses in Germany. Miedinger and Hoffmann were bothered by the name similarity to the Latin word for Switzerland, Helvetia. But, the name probably had more universal appeal and the world, which was in love with the new Swiss design movement, also fell in love with the typeface.
55
Acknowledgements
57
Acknowledgements
Thank You Thank you to my husband for your support and love and keeping me calm when I need it most. Thank You to my parents to keep me motivated from thousands of miles across. Thank you to my instructor , Ayca Kilicoglu for your guidance and for passing on your design wisdom. Thank you to my friends and classmates Paulette Lufting, Sophie Brinker Katya Walch and Jackie for all your support, encouragement and friendship.
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Colophon
Designer Arohhi Vazir
Instructor Ayca Kilicoglu
Typeface Avenir (Heavy / Medium / Light)
School University of California, Berkeley
Program Graphic design
Course Typography Fundamentals
www.arohhivazir.com