TYPE: A Study in Typography

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

P R O J E C T O N E : P R O T O T Y P E FA C E

HELLO!

My name is Brittani Hope Drost of

Brittani Hope Design, and I am a graphic designer in the California Bay Area. Welcome to my process book which chronicles my works from the Spring 2021 Typography Fundamentals course from the Professional Program for Graphic Design provided by U.C. Berkeley Extension.

It is a collection of five projects.

The first project was to enhance an established typeface and showcase it on postcards. The second project explored the design structures of a typeface in an infographic pamphlet.

The third project practices the finely honed art of typesetting and the general layout of text in a pleasing, readable manner.

The fourth project celebrates the work of Swiss Designer, Niklaus Troxler, who is active in the graphic design field today.

The fifth project was a series of three posters classifying the unique characteristics and histories of different typefaces.

Thank you for taking the time to view my work!

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contents P R O T O T Y P E FA C E . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

T Y P E A N AT O M Y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

TYPESETTING....................................17

SWISS DESIGNER................................30

T Y P E C L A S S I F I C AT I O N . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 3

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P R O T O T Y P E FA C E

Initial Sketches

OBJECTIVE 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 when conducting my sketches as seen above.

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My target audience was millennials in their 30s or 40s.

While researching the millenial design aesthetic online, I noticed that this generation prefers thin lines and a lot of clean negative space, as seen in home decoration and photography on Instagram; they also have a healthy appreciation for nostalgia.

I chose Times New Roman, a well-worn font that millennials oftentimes were called to use in school, and reconstructed it into 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. The postcards are intentionally using random letters to focus on the design itself instead of any actual words or phrases.

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Postcard Variation One

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Postcard Variation Two

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Postcard Variation Three

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T Y P E A N AT O M Y

Sherlock Holmes Tartan

An Introduction to th

BASK E RV

OBJECTIVE Showcase knowledge of type terminology and the structural anatomy of type with a chosen typeface in a pamphlet.

I chose Baskerville and was inspired to commemorate this typeface with a Sherlock Holmes homage. This was done in part with a color palette influenced by Scottish fashion designer Tania Henzell, creator of the Sherlock Holmes Tartan pattern as seen above.

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I chose to use a 24 x 8 inch three-square fold pamphlet.

This provided enough room to highlight all 26 typographical anatomical features and also a sense of 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. These mock-ups are unique in that they were drawn up by hand in Procreate, a digital illustration app by Apple.

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Pamphlet Front (Closed)

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what it says inside

An Introduction to the Typeface Baskerville: Baskerville is a serif typeface designed during the 1750s by John Baskerville in Birmingham, England. Classified as a transitional typeface, it was intended as 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. By 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 more readable design. While some of his contemporaries criticized the stark contrasts of his work as too damaging to the eyes, others like that of Benjamin Franklin praised him as an original artist.

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Pamphlet Inside Panels

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Pamphlet Back (Open)

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PROJECT THREE: TYPESETTING

TYPESETTING

type composition

oBJectiVe 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 worked to create an overall pleasing shape for an easy reading experience.

paragraph indicators

oBJectiVe Explore the typographic differences in how paragraphs can be indicated. I chose to do this in a variety of ways with typefaces set 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.

hierarchy

oBJectiVe Use a modular grid and demonstrate different levels of typographic hierarchy. I chose to do this with scale, style, and typeface, or by introducing color and graphical elements.

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type composition

Left Alignment 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

Point Size: 8 Leading: 12 Font: Garamond Pro Regular Tracking: +25

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PROJECT THREE: TYPESETTING

Right Alignment 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

Justified Alignment

Centered Alignment

LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN

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.

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

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 THREE: TYPESETTING

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paragraph indicators

Indent and Initial Cap

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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 welldesigned 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.

Point Size: 8 Leading: 12 Font: Garamond Pro Regular Tracking: +25

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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Hanging Indent

Point Size: 8 Leading: 12 Font: Futura Medium Tracking: +25

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 of fice, 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.

B r u c e S t e r l i n g ’ s “ M a n i f e s t o o f J a n u a r y 3 , 2 0 0 0 ” h e l p e d g a l va n i z e t h e cont em porar y green movement, whic h is t he epicent er of manif est owriting 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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Extra Leading and Drop Cap

K

arl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 776, 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.

Point Size: 8 Leading: 12 Font: Didot Regular Tracking: +25

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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 materials; 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 96 , 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

First Word Indicator

Point Size: 8 Leading: 12 Font: Baskerville Small Caps and Helvetica Neue Regular Tracking: +25

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. b ru c e 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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First Sentence/Phrase

Point Size: 8 Leading: 12 Font: Arial Bold Italic and Verdana Regular Tracking: +25

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 THREE: TYPESETTING

Intro Paragraph

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.

T h e s e p r i n c i p l e s b e c a m e t h e e s t a b l i s h e d c r e e d o f M a u ’s o w n 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.

Point Size: 8 Leading: 12 Font: Arial Bold Italic and Verdana Regular Tracking: +25

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

PROJECT THREE: TYPESETTING

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hierarchy

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

By Ben Day & Philip Meggs

Point Size: 10 Leading: 15 Fonts: Avenir and Georgia Tracking: +25 Scale + Style + Typeface

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Language, in any of its many forms, is a self-contained system of interactive signs t hat communic ates ideas.

Just as elocution and diction enhance and clarify the meaning of our spoken words, t y pographic signs c an 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

PROJECT THREE: TYPESETTING

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 visà-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. ◊

Verbal and Visual Equations 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 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.

Point Size: 10 Leading: 14 Fonts: Avenir and Georgia Tracking: -40 Scale + Style + Color

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 Signs operate in two dimensions: become a cherry, for example, as the syntactic and semantic. When the mind mind is cued by forms more familiar to is concerned with the form of a sign, its experience. The particular syntactic it is involved with typographic syntax. qualities associated with typographic When it associates a particular meaning signs determine a specific meaning. with a sign, it is operating in the semantic A series of repeated letters, for example, dimension. may signify motion or speed, while a All objects in the environment can small letter in a large void may potentially function as signs, representing signify isolation. any number of concepts. A smog-filled These qualities, derived from the operating city signifying pollution, a beached whale principles of visual hierarchy and ABA representing extinction, and confetti form, function as cues, permitting the implying a celebration─each functions 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. ●

PROJECT THREE: TYPESETTING

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VERBAL AND VISUAL EQUATIONS

Point Size: 8 Leading: 12 Fonts: Avenir Tracking: 0 Scale + Style + Color + Graphical Element

PROJECT THREE: TYPESETTING

an examination of interactive signs

excerpted from typographic design: Designed by Freepik

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 carrie s 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.

4

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4 4 4 4

SWISS DESIGNER

Artist’s Self-Portrait

OBJECTIVE 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. 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.

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PROJECT FOUR: SWISS DESIGNER

niklaus troxler 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 the 1960s. He initiated the Willisau Jazz Festival in 1975.

His posters are represented in the most renowned design collections around the world, 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 finally the Stedelijk Museum in Amsterdam.

2020 Solidarity 2020 : Keep Distance

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

1968 Marcel Bernasconi Quartet

PROJECT FOUR: SWISS DESIGNER

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5

5 5 5 5

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P R O J E C T F I V E : T Y P E C L A S S I F I C AT I O N

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

Initial Digital Sketches

OBJECTIVE 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.

P R O J E C T F I V E : T Y P E C L A S S I F I C AT I O N

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My initial inspiration was Russian propaganda posters, which prompted the use of the large capitals; however, I soon moved away from this aesthetic as seen with the 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.

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P R O J E C T F I V E : T Y P E C L A S S I F I C AT I O N

M

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 0123456789

MINION

199 0

is a serif typeface designed by in 1990. It is one of the most popular serif typefaces used in book printing because of matching italics which are regular, medium, semibold,

as Garalde Old-Style, a typeface 16th Century master typeface designer Claude Garamond and a printer/publisher named has a stronger contrast between strokes, angled head serifs, and precise character proportions.

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 first released in 2012 by designers, José Scaglione and Veronika Burian. It is available in seven line weights with matching italics: thin, light, regular, semibold, bold, extra bold, and heavy. It is very versatile for global branding because of its vast language support. Its typeface classification is called Grotesque, which defines many sans-serif typefaces designed in the 19th and early 20th century. Grotesque typefaces tend to be idiosyncratic with irregular curves and awkward weight distribution around character bowls.

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 first released in 1845 by R o b e r t B e s l e y, w h o w a s a p a r t n e r i n a L o n d o n based letter foundry called Thorowgood and Besley.

It is available in five line 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 attention with its high stroke contrast and bulbous terminals.

P R O J E C T F I V E : T Y P E C L A S S I F I C AT I O N

36

Intellectual psd created by freepik

37

P R O J E C T F I V E : T Y P E C L A S S I F I C AT I O N

199 0

M

ABCDEFGHIJKLM NOPQRSTUVWXYZ abcdefghijklm nopqrstuvwxyz 0123456789

MINION

is a serif typeface designed by Robert Slimbach, first released in 1990. It is one of the most popular serif typefaces used in book printing because of its readability. It comes in five different line weights with matching italics which are regular, medium, semibold, bold, and black. It is classified as Garalde Old-Style, a typeface designation named after the 16th Century master typeface designer Claude Garamond and a printer/publisher named Aldus Manutius. This typeface has a stronger contrast between strokes, angled head serifs, and precise character proportions.

o}

e} d}

more upright axis

horizontal crossbar

angled head serifs

GARALDE OLD-STYLE P R O J E C T F I V E : T Y P E C L A S S I F I C AT I O N

38

Frames mockup psd created by jcomp on freepik

39

P R O J E C T F I V E : T Y P E C L A S S I F I C AT I O N

ADELLE SANS

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

o} g} d}

2012

is a sans-serif typeface first released in 2012 by designers, José Scaglione and Veronika Burian. It is available in seven line weights with matching italics: thin, light, regular, semibold, bold, extra bold, and heavy. It is very versatile for global branding because of its vast language support. Its typeface classification is called Grotesque, which defines many sans-serif typefaces designed in the 19th and early 20th century. Grotesque typefaces tend to be idiosyncratic with irregular curves and awkward weight distribution around character bowls.

vertical axis

connected tail

no added serifs

GR

OT

ES

QU

E

P R O J E C T F I V E : T Y P E C L A S S I F I C AT I O N

40

Frames mockup psd created by jcomp on freepik

41

P R O J E C T F I V E : T Y P E C L A S S I F I C AT I O N

4 18 5

o} a} d}

C L A R E N D O N is a serif typeface first released in 1845 by R o b e r t B e s l e y, w h o w a s a p a r t n e r i n a L o n d o n based letter foundry called Thorowgood and Besley.

It is available in five line 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 attention with its high stroke contrast and bulbous terminals.

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

P R O J E C T F I V E : T Y P E C L A S S I F I C AT I O N

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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

a study in typography D E S I G N S B Y B R I T TA N I D R O S T