TYPE : Designs by Brittani Drost

D E S I G N S B Y B R I T TA N I D R O S T

about the designer Hello, my name is Brittani Drost and this process book chronicles my finalized projects from the Spring 2021 Typography Fundamentals course from U.C. Berkeley’s Extension Program for Graphic Design.

With a Bachelor of Arts degree from Linfield College for Creative Writing and Japanese under my belt, I am now expanding my passion for communication and artistic expression into the graphic design world. I enjoy all manners of creativity including poetry, ink drawing, and embroidery. Currently, my work can be best seen on Instagram: @hopebrittani.

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PROTOTYPEFACE

Project 1 • Prototypeface

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The objective for this assignment was to create 9 letter forms of an original typeface either through the bitmap or calligraphic method and showcase the design on postcards. I used the bitmap method (as shown on page 5).

My target audience was established millennials in their 30s or 40s. In researching the millennial design aesthetic online, such as with home decoration, I noticed that this generation prefers thin lines and a lot of clean negative space; they also have an appreciation for nostalgia.

I chose to take Times New Roman, a well-worn font that millennials oftentimes were called to use in school, and reconstructed it into more of a display font. I opened up the thick strokes and stems of the Times New Roman’s capitals to give a sense that you are “entering” into the letter like a maze. In doing so, the letters convey a calmer and more welcoming atmosphere than the base type.

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Project 1 • Prototypeface

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Project 1 • Prototypeface

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T Y P E A N AT O M Y INFOGRAPHIC PA M P H L E T

Project 2 • Type Anatomy Infographic Pamphlet

Project 2 • Type Anatomy Infographic Pamphlet

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The objective for this assignment was to showcase our knowledge of type terminology and the structural anatomy of type with a chosen typeface in an infographic pamphlet. I chose Baskerville and was inspired to commemorate this typeface with a Sherlock Holmes homage.

This was done primarily with a color palette influenced by Scottish fashion designer Tania Henzell, creator of the Sherlock Holmes Tartan.

I chose to use a 24 x 8 inch three-square fold pamphlet. This provided not only enough room to highlight all 26 typographical anatomical features but also a sense of mystery and discovery. My intention was to have the giant B on the front panels draw you in and compel you to open the pamphlet up like a treasure map in order to then learn more about John Baskerville and his typeface within.

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Project 2 • Type Anatomy Infographic Pamphlet

Project 2 • Type Anatomy Infographic Pamphlet

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what it says inside An Introduction to the Typeface Baskerville: Baskerville is a serif typeface which was designed by John Baskerville in Birmingham, England during the 1750s. It is classified as a transitional typeface, intended to be a refinement of the so-called “old style” typefaces of the period. Baskerville increased the contrast between thick and thin strokes, making the series sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. In making the curved stokes more circular in shape, the characters achieved a greater consistency in size and form. John Baskerville, a wealthy industrialist and teacher of calligraphy, set out to create this typeface in order to offer book printing a higher-quality and refined design.

While some of his contemporaries criticized the stark contrasts of his work as too damaging to the eyes, others praised him as an original artist, including that of Benjamin Franklin.

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Project 2 • Type Anatomy Infographic Pamphlet

Personal Logo (work-in-progress)

Project 2 • Type Anatomy Infographic Pamphlet

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Project 2 • Type Anatomy Infographic Pamphlet

Project 2 • Type Anatomy Infographic Pamphlet

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Project 2 • Type Anatomy Infographic Pamphlet

Project 2 • Type Anatomy Infographic Pamphlet

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Project 3 • Typesetting

TYPESETTING

type composition

The objective for this assignment was to practice basic typesetting rules and develop ways to achieve clean and legible design with body copy. For these first four exercises, I used the typeface Garamond Pro Regular at point size 8, leading 12, and tracking 25 with text set in Left Alignment, Right Alignment, Justified Alignment, and Centered Alignment. I strove to keep the rags balanced and prevent any awkward spacing within the text in order to make a pleasing overall shape and an easy reading experience.

Project 3 • Typesetting • Type Composition

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Brittani Drost Project Three - Typesetting 8/12, Garamond Pro Regular Left Alignment / +25 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 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

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Project 3 • Typesetting • Type Composition

Brittani Drost Project Three - Typesetting 8/12, Garamond Pro Regular Right Alignment / +25Tracking

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

Project 3 • Typesetting • Type Composition

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Brittani Drost Project Three - Typesetting 8/12, Garamond Pro Regular Justified Alignment / +25 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 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

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Project 3 • Typesetting • Type Composition

Brittani Drost Project Three - Typesetting 8/12, Garamond Pro Regular Centered Alignment / +25 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 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

Project 3 • Typesetting • Type Composition

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paragraph indicators

The objective for this assignment was to explore the typographic differences in how paragraphs can be indicated. I chose to do this in a variety of ways with both sans and sans-serif fonts at point size 8, leading 12, and tracking 25: Indent and Initial Cap with Garamond Pro Regular; Hanging Indent with Futura Medium; Extra Leading and Drop Cap with Didot Regular; First Word with Baskerville Small Caps and Helvetica Neue Regular; First Sentence or Phrase with Arial Bold Italic and Verdana Regular; and finally, Intro Paragraph with Arial Bold Italic and Verdana Regular.

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Project 3 • Typesetting • Paragraph Indicators

Brittani Drost Project Three: Paragraph Indicators Indent and Initial Cap 8/12 Garamond Pro Regular +25 Tracking

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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 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.

—excerpted from Manifesto Mania by Ellen and Julia Lupton

Project 3 • Typesetting • Paragraph Indicators

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Brittani Drost Project Three: Paragraph Indicators Hanging Indent 8/12 Futura Medium +25 Tracking

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 manifestowriting 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

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Project 3 • Typesetting • Paragraph Indicators

Brittani Drost Project Three: Paragraph Indicators Extra Leading & Drop Cap / Didot Regular + Tracking

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arl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in , 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- th 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 , ” 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 mate-rials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Also in , Rick Poynor published the “First Things First ” manifesto, based on a text written by Ken Garland in , 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

Project 3 • Typesetting • Paragraph Indicators

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Brittani Drost Project Three: Paragraph Indicators First Word 8/12 Baskerville Small Caps and Helvetica Neue Regular +25 Tracking

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, social and cultural life rather than to sell hair gel and dog biscuits.

—excerpted from Manifesto Mania by Ellen and Julia Lupton

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Project 3 • Typesetting • Paragraph Indicators

Brittani Drost Project Three: Paragraph Indicators First Sentence/Phrase 8/12 Arial Bold Italic & Verdana Regular +25 Tracking

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 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

Project 3 • Typesetting • Paragraph Indicators

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Brittani Drost Project Three: Paragraph Indicators Intro Paragraph 8/12 Arial Bold Italic & Verdana Regular +25 Tracking

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 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, social and cultural life rather than to sell hair gel and dog biscuits.

—excerpted from Manifesto Mania by Ellen and Julia Lupton

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Project 3 • Typesetting • Paragraph Indicators

hierarchy

The objective for this assignment was to use a modular grid and demonstrate different levels of typographic hierarchy. I chose to do this by altering scale, style, and typeface or by introducing color and other graphical elements.

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Project 3 • Typesetting • Hierarchy

Verbal and Visual Equations an examination of interactive signs excerpted from typographic design: form and communication

By Ben Day & Philip Meggs 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 it associates 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 f lag. 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. ◊

Brittani Drost | Exercise 4: Hierarchy Modular Grid | Avenir & Georgia, 10/14, +25 Tracking | Scale + Style + Typeface

Project 3 • Typesetting • Hierarchy

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Verbal and Visual Equations An examination of interactive signs excerpted from Typographic Design: Form and Communication

By Ben Day and Philip Meggs

l a n g u a g e , 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 s p o k e n w o rd s , t y p o g r a p h i c signs can be manipulated by a designer to achieve more lucid a n d e x p re s s i v e t y p o g r a p h i c 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 with a sign, it is operating in the semantic dimension.

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.

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.

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.

Brittani Drost | Exercise 4: Hierarchy Modular Grid | Avenir, 10/12, +20 Tracking | Scale + Style + Color

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Project 3 • Typesetting • Hierarchy

VERBAL AND VISUAL EQUATIONS

Designed by Freepik

an examination of interactive signs

excerpted from typographic design: form and communication

By Ben Day & Philip Meggs

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 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 the mind is concerned with the form of a sign, concepts. Simple syntactic manipulations, such it is involved with typographic syntax. When it as the repetition of letters, or the weight change associates a particular meaning with a sign, it is of certain letters, enable words visually to mimic operating in the semantic dimension. verbal meaning. In language, signs are joined All objects in the environment can potentially

together to create messages. Words as verbal

function as signs, representing any number of sign, grouped together in a linear fashion, concepts. A smog-filled city signifying pollution, attain their value vis-à-vis other words through a beached whale representing extinction, and confetti implying a celebration-- each functions

opposition and contrast.

Words can also evoke meaning through

as a sign relating a specific concept.

Signs may exist at various

of

mental association. These associative relations are semantically derived. Since typography is both

abstraction. A simple example will illustrate this point. Let us consider something as elemental as

visual and verbal, it operates in a linear fashion, with words following each other in a specific

levels

a red dot. It is a sign only if it carrie s a particular sequence, or in a nonlinear manner, with elements meaning. It can represent any number of things: existing in many syntactic combinations. 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.

Brittani Drost | Exercise 4: Hierarchy Modular Grid | Avenir, 8/12, +20 Tracking | Scale + Style + Color + Graphic Element

Project 3 • Typesetting • Hierarchy

37

4 38

SWISS DESIGNER

Project 4 • Swiss Designer

Project 4 • Swiss Designer

39

The objective for this assignment was to research a historical Swiss graphic designer and their work. I decided on Niklaus Troxler because he is still alive and actively working to this day. His poster designs in particular are a time capsule of the unique design aesthetic of each decade. I think the controlled chaos of his work perfectly captures the feeling of listening to great jazz music, which has been a major influence on his art and career.

40

Project 4 • Swiss Designer

Niklaus Troxler

By Brittani Drost - Typography 2021

Niklaus Troxler (born May 1, 1947) is a Swiss graphic designer who studied graphic design at the Lucerne School of Art and Design.

Troxler worked as an art director in Paris in 1972 and also as a professor for communication design at the State Academy for Art and Design in Stuttgart from 1998 to 2013. He founded his own design practice in Willisau, Switzerland and started organizing jazz concerts in Willisau in 1966. He initiated the Willisau Jazz Festival in 1975.

Troxler’s graphic works (particularly his concert posters and record cover designs) won him several relevant international awards: the Toulouse-Lautrec Medal in Gold (1987 and 1994), design awards in Lahti (1993), Helsinki (1997), Hong Kong (2000), Hangzhou (2003), Ningbo (2006), Taiwan (2005), and Colorado (2006). He also won the Innerschweizer Kulturpreis (Cultural award of Central Switzerland) in 1982. He is a member of the Alliance Graphique Internationale.

1968 Marcel Bernasconi Quartet 1991 15 Years Little Theater Lucerne

His posters are represented in the most renowned design collections worldwide, including the Museum of Modern Art in New York City, the Museum of Modern Art in Toyama, Hamburg’s Museum for Art and Industry, the German Poster Museum in Essen, and the Stedelijk Museum in Amsterdam.

His impressive collection of works span across decades (his posters alone range from 1968 to 2020) and can be located on his website: http://www.troxlerart.ch.

Here you will find his large collection of fine art, illustrations, corporate designs, books, and photos as well. More can be learned about his life and career from the 2010 documentary entitled A Life with Jazz and Graphic Design by Angelo Lüdin and Barbara Zürcher.

2019 The Workers Concert at bau 4, Altbüron

2020 Solidarity 2020 : Keep Distance

Project 4 • Swiss Designer

41

5 42

C L A S S I F I C AT I O N POSTERS

Project 5 • Classification Posters

Project 5 • Classification Posters

43

The objective for this assignment was to create three typeface classification posters that would harmonize together as one design campaign. Two of the typefaces has to be serifs and the third had to be sans-serif, and so I chose Minion, Adelle-Sans, and Clarendon.

My initial inspiration was Russian propaganda posters, which first prompted the use of the large capital letters; however, I soon moved away from this design aesthetic as seen in part with the more muted color palette.

I used the large capital letters as a framework and touchstone for each piece. They provided a guideline for such things as the shape of the body copy, the placement of each element like the alphabets and classification names, and the overall directional flow of the designs.

44

Project 5 • Classification Posters

M

MINION

199 0

is a serif typeface re l e a s e d i n 1 9 9 0 an d designed by Robert Slimbach. Due to its r e a d a b i l i t y, i t i s o n e of the most popular serif typefaces used in books. It is available in five weights — regular, medium, semibold, bold, and black — each with matching italics.

It i s b e s t c at e gor i z e d as Garalde Old-Style , which is a typeface c l a s s i fi c a t i o n n a m e d after the 16th Centur y master typeface designer Claude Garamond and printer/publisher Aldus Manutius. This typeface has stronger contrasts between strokes, angled head serifs, and an overall precision with each character’s proportions.

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 0123456789

o} e} d}

more upright axis

horizontal crossbar

angled head serifs

A

GARALDE OLD-STYLE

ABCDEFGHIJKLM NOPQRSTUVWXYZ a b c d e f g h i j k l m nopqrstuvwxyz 0123456789

ADELLE SANS

o} g} d}

2012

is a sans-serif typeface which was designed by José Scaglione a n d Ve r o n i k a B u r i a n w h i c h w a s fi r s t r e l e a s e d i n 2 0 1 2 .

It is available in seven weights — thin, light, regular, semibold, bold, extra bold, and heavy — each with matching italics.

It has language support making it very versatile for global branding.

I t s t y p e fa c e c l a s s i fi ca t i o n i s Grotesque , which often defines ea r l y s a n s - s e r i fs d e s i g n e d i n the 19th century and early 20th.

Grotesque typefaces tend to be i d i o sy n c rat i c w i t h s o m e t i m e s i r reg u l a r c u r ves a n d aw kwa rd weight distribution around the bowls of characters.

vertical axis

GR

connected tail

no added serifs

OT

ES

QU

E

4 18

C 5

Slab- S

vertical axis

curled terminal

thick flat serifs

erif

ABCDEFGHIJKLM NOPQRSTU VWX YZ a b c d e f g h i j k l m nopqrstuvwx yz 0123456789

C

o} a} d}

C L A R E N D O N

is a serif typeface which was released in 1845

by Robert Besley, who was a partner in a Londonbased letter foundry called Thorowgood and Besley.

It is available in five weights — light, roman, heavy, bold and black — as well as condensed styles. It was the very first typeface to be patented and was immensely popular, often used on wanted posters in the American Old West.

Its type classification is Slab-Serif , referencing its thick block-like serifs. Slab-serif typefaces were first invented in the 19th century and used for large displays in order to grab a reader’s attention with its high stroke contrast and bulbous terminals.

Project 5 • Classification Posters

45

199 0

M 46

Project 5 • Classification Posters

M

MINION

is a serif typeface re l e a s e d i n 1 9 9 0 an d designed by Robert Slimbach. Due to its r e a d a b i l i t y, i t i s o n e of the most popular serif typefaces used in books. It is available in five weights — regular, medium, semibold, bold, and black — each with matching italics.

It i s b e s t c at e gor i z e d as Garalde Old-Style , which is a typeface classification named after the 16th Centur y master typeface designer Claude Garamond and printer/publisher Aldus Manutius. This typeface has stronger contrasts between strokes, angled head serifs, and an overall precision with each character’s proportions.

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 0123456789

o}

e} d}

more upright axis

horizontal crossbar

angled head serifs

GARALDE OLD-STYLE Project 5 • Classification Posters

47

ABCDEFGHIJ NOPQRSTUVW a b c d e f g h i j nopqrstuvw 01234567

ADELLE SANS

is a sans-serif typeface which was designed by José Scaglione a n d Ve r o n i k a B u r i a n w h i c h was first released in 2012.

It is available in seven weights — thin, light, regular, semibold, bold, extra bold, and heavy — each with matching italics.

It has language support making it very versatile for global branding.

I t s t y p e fa c e c l a s s i f i ca t i o n i s Grotesque , which often defines ea r l y s a n s - s e r i fs d e s i g n e d i n the 19th century and early 20th.

Grotesque typefaces tend to be i d i o sy n c rat i c w i t h s o m e t i m e s i r reg u l a r c u r ves a n d aw kwa rd weight distribution around the bowls of characters.

o} g} d} vertical axis

connected tail

48

Project 5 • Classification Posters

no added serifs

G

A

JKLM WXYZ j k l m wxyz 89

2012

GR

OT

ES

QU

E

Project 5 • Classification Posters

49

4 18

5

o}

vertical axis

a}

curled terminal

d}

50

Project 5 • Classification Posters

thick flat serifs

C L A R E N D O N is a serif typeface which was released in 1845

by Robert Besley, who was a partner in a Londonbased letter foundry called Thorowgood and Besley.

It is available in five weights — light, roman, heavy, bold and black — as well as condensed styles. It was the very first typeface to be patented and was immensely popular, often used on wanted posters in the American Old West.

Its type classification is Slab-Serif , referencing its thick block-like serifs. Slab-serif typefaces were first invented in the 19th century and used for large displays in order to grab a reader’s attention with its high stroke contrast and bulbous terminals.

Slab- S

erif

ABCDEFGHIJKLM NOPQRSTU VWX YZ a b c d e f g h i j k l m nopqrstuvwx yz 0123456789

Project 5 • Classification Posters

51

C

brittani hope drost Typography Fundamentals Spring 2021 Instructor: Victoria Arriola University of California Berkeley Extension Graphic Design Professional Program Fonts used: Arial Black & Helvetica Neue

brittani hope drost Typography Fundamentals Spring 2021 Instructor: Victoria Arriola University of California Berkeley Extension Graphic Design Professional Program Fonts used: Arial Black & Helvetica Neue