Typography as Form, Information and Meaning | GRDS 734 Typographic Practice

Project C, Part 1

Typography as Form, Information, and Meaning

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C: Introduction • Select a topic or area of interest, which can include any area of typographic execution that consistently uses a particular typeface, family, or typographic characteristic (i.e. geometric square sans serif typefaces are the predominate type used by automobile manufacturers to identify a model of car). • Collect 20 or more visual examples related to the selected topic. These found examples will help you and your faculty member confirm that enough materials are available, and that there is consistent typographic repetition associated with your topic.

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 1 For the first part of Project C, I chose examples of concepts used in various marketing-based concepts, such as items you would see at the grocery store, various stores in the mall, entertainment store, and much more. As you compare my examples, you will notice that there is a trend in the use of sans serif fonts. This font is very attention grabbing as it is bold and easy to read, being more of a title font. Using this typography is putting the information in the users face so that they can easily see the information without taking much effort to read the detailed content. This way, the user decides on the purchase based on the more noticeable information, which is any company’s goal in marketing any given product. I have photographed various items around my house to represent this similarity in typographic use.

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 1: Product Choices

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 1: Product Choices

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 1: Product Choices

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 1: Product Choices

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 1: Product Choices

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 1: Product Choices

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 1: Product Choices

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 1: Product Choices

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 1: Product Choices

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 2

Design Proposal and Initial Typeface Analysis

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 2: Design Proposal and Initial Typeface Analysis Based on your selected topic, create a design proposal for your book design. Your design proposal should not propose final visual solutions or directions for your final project submission.

Your goal is to articulate how you intend to direct your research and analysis. The proposal should: •

Discuss your personal reasons for choosing the topic.

•

Present pertinent information regarding the topic, such as the historical context, medium, technology, and materials.

•

Examine how these typographic forms are used to communicate to an audience.

•

Present a bibliography of resources and academic discussions surrounding the topic that you have found and consulted.

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 2: Design Proposal and Initial Typeface Analysis Based on your found items and design proposal, perform an initial typeface analysis of the type corresponding with your topic. Each stage of analysis should be supported with visual examples. Your analysis should: •

Assess the anatomical structure of the type, using such methods as deconstruction, comparison, and reconstruction to identify relationships within the system.

•

Identify shared components of typographic form, characteristics, application, and style evident throughout the topic based on found items.

•

Identify how forms within the system are altered and/or informed by shared elements.

•

Identify similar types based on form and/or function.

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 2: Reasons for Topic Choice Package design has always been an interest of mine as well as a challenge to

name, place of origin, company address,” and other similar components, are

design due to various layouts and styles. In relation to my topic, there is a typical

essential to attracting the attention of buyers, alongside the overall layout and

relationship you will see between package design and the type of content that

color choices of the products. In regards to this, sans serif fonts are used due to

is included, with regards to the use of sans serif typography for the majority of

being simple in form and straightforward in visual appeal. Even though serif fonts

package types. When you go to any store, be it a grocery, game, or pet store,

are more trusted for readability, due to the invisible guidelines that allows the

you will notice the various packages that line the shelves. As when I go

readers eye to flow easy to obtain information, the sans serif fonts are meant to

shopping, it is the simplicity of design, use of color, and ease of readability that

be taken in as an whole and more like an image. Here the audience is seeing

attracts me to any given product, but of course even a good designed

the content all together and there is not need for the reading guidelines. The

package can be a bad product, but the goal is not necessarily to be the best

audience then sees all the information presented together and this presentation

product, however it is to effectively use layout and typography to “reduce time

is what attracts them to purchase one product over another.

spent looking for a particular brand” or product (CITE).

So in regards to moving forward, I want to focus on the use of sans serif Next you will notice that I mentioned the use of sans serif typography. As with my

typefaces in package design and how it works together with overall design, via

original product samples from Part 1, you will notice that sans serif is the

marketing, to attract the end-user.

dominant font used and “marketers believe that the brand name, company

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 2: History of Packaging Before the industrial revolution, when transportation was more primitive in nature compare to today’s conveniences, foods were purchased and consumed locally so there was no need for packaging.

The first products to be packaged were considered luxury goods, due to the cost to package any goods in general, but after WWI, innovations came into being which changed the concept of packaging and shipping. These items included things such as molded glass, cardboard boxes, metal cans, and cellophane, which led to a purpose for manufacturers to being branding to establish a marketable identity.

The Dixie Queen’s Punch Cut Tobacco Tins (pictured right) is an example of earlier packaging that was not so focused on typography but more focused on containing and preserving the content as it was transported long distances by early steam engine trains.

Dixie Queen’s Punch Cut Tobacco Tins were popular in late 19th century and were designed to be reused as lunch boxes.

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 2: History of Packaging The Great Depression, the era of the supermarket culture, was when packaging began to emerge and items were being shipped nationwide, companies began to focus on finding ways to evolve their brand, or develop brand identity, which would diversify their content from possible counterfeiters trying to steal the business.

The emerging of brand identity is truly when typography was becoming more distinct and companies were developing logos, which were a way to use typography in order to create a way for consumers to associate the product with the given company. Coca Cola is a great example as they created a logo and a brand that has survived since the 1900s. The Coca Cola logo, even though it is readable, was not designed for readability but so that consumers could easily recognize it by its customized scripted appeal. This mark as existed since the 1900s with minimal refreshing. Also, Coca Cola made sure to use simplified sans serif typography to represent quick taglines that represented their product and were easily taken in from up close and afar.

Coca-Cola ad featuring the unique bottle design to promote the drink. The bottle was an integral part of the brand identity until 1970s. Even today, the shape of the bottle is synonymous with the brand. Source: Adflip

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 2: History of Packaging The era after The Great Depression, really focused on the ‘silent salesperson’ which simply meant that new forms of packaging were emerging and instead of having someone sitting there promoting the products, the packaging was doing the work for the companies. This was how branding continued to grow up until the digital era.

However, in the late 1920s, companies not longer had to rely on letterpresses or handwritten imagery, as flexography became a possibility. This allowed companies to print with aniline dye on rubber blocks, which led the ability to print on all types of new surfaces which

Print ads in magazines promoted the idea of Self-service as the modern way of shopping. Source: Flickr

include but art not limited to milk cartons, bags, metal, and other similar products of the time. This new invention allowed the ability to also develop more complex and visually appealing in response to shelf visibility. This was the beginning of how companies used typography to differentiate their products in unique ways.

Packaging in 1930s was more critical than ever before and advances in printing made it much more colorful and expressive. Source: Food Packaging History.

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 2: History of Packaging In regards to evolution of packaging, typography has changed as well but always evolving in order to easily reach the consumer, as well as using color to create emotional connections (Emotional Selling Point). Today’s branding is digital based and with the different types of machines, there are no limitations to what level packaging can go.

Branding a product with a logo also is about visibility in the market that is now highly saturated with similar products.

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 2: Medium The evolution of packaging was not only about companies learning about the importance of logo development and branding, but also techniques used and the medium to print on has changed drastically as well. Back when packaging began, printing was able to be done on items such as metal tins, paper, and so forth, however when it came to how times changed, from the use of the lithographic press onward to the flexographic press, the mediums changed to items such as plastic bags, cardboard boxes, plastic bags, etc. As we moved into todays digital world, we are able to print on all types of mediums, and the end goal for package design is durability and visibility. Items used with digital prints today for printing include metals, glass, vinyl, plastic, paper, cardboard, cloth, etc. The biggest difference of now versus then is that today we are able to design and include very intricate elements where as the use of older presses left items with a more blocky appearance.

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 2: History of Packaging Bodega Sans Is a sans serif typeface used on Kellogg’s Corn Flakes cereal. This typeface was developed by Greg Thompson in 1990, with the intention of mirroring the Art Deco period with a nostalgic, round forms and and overall geometric design. This sans serif typeface was meant to represent the result of combining regular and oldstyle typographic forms, giving it a unique appearance.

Source: http://www.kelloggs.com ®™©Kellogg’s Co., 2011. License: All Rights Reserved.

Source: http://www.identifont.com/show?46AU. Bodega Sans Mediium.

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 2: History of Packaging Gotham Is a sans serif typeface developed by Tobias Frere-Jones in 2002. This typeface as a total of thirty-three different weights, four of which are roman condensed. This typeface which seems familiar to audiences, however its newer appearance contains a range of weights and widths, with lowercase, italics, and condensed versions.

This typeface therefore has a sophisticated, yet plain appearance, and the letters are designed to be straightforward and expressive.

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 2: History of Packaging Broadband This typeface was developed by Grant Hutchinson in 1991. This sansserif typeface has a more stylized appearance but still maintains a very square and geometric appearance.

Neutraface Neutraface is a sans-serif typeface, of geometric format, which was designed in 2002 by Christian Schwartz. Since being released, this typeface has been used a lot in print, especially for larger companies like Wendy’s and Chobani..

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 2: History of Packaging Helvetica This typeface was developed in 1957, my Max Miedinger, and has been one of the most widely used sans-serif typefaces in marketing. This typeface is ideal for package design as it promotes content quickly and clearly and the user can see the font as one visual entity. Helvetica is a neo-grotesque style typeface and its rounded style was inspired by that of the serif, upon its original creation. The goal was to capture the same curvature and rounded square line work as before but without the original serif’s that were originally designed to promote fluidity in readability. The goal here was to represent content not focus so much on all of the readability concepts.

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 2: History of Packaging Professor Feedback So in regards to moving forward, I want to focus on the use of sans serif typefaces in package design and how it works together with overall design, via marketing, to attract the end-user. ‌and this is all well and good, but you're kind of broad, and you're not saying anything yet. Perhaps you could approach it from the Vox classification system, where Lineals are comprised of four sans-serifs, Grotesque, Neo-grotesque, Geometric and Humanist. Does one work better than another? I'm not quite sure where you're going with this. Help me out....

Response I do feel like I have narrowed it down a bit from the original concept, but I agree I believe it is still very broad and can be narrowed down a bit more in order to better focus it for Project C. I have heard of the lineal classifications but didn't know they were part of a Vox classification system so that is something new I have learned from this conversation, thanks so much for pointing me in this direction. With typefaces like helvetica, which is neo grotesque, and Gotham, which I believe is grotesque, I have noticed that these types of typefaces seem to be more dominant in their sans-serif nature with rounded forms. These typefaces seem to have more focus on their readability side where as typefaces such as humanist and geometric would have more of a stand alone element. I think approaching it this way would really help me focus on the typography used, why its chosen for the marketing, why its important, what is chosen more and why, etc. etc. I thank you and I will work to revise the project so that it has a narrowed focus thats not so far reaching in all areas of marketing and the use of type.

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 3

Initial Book Layout

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 3: Initial Book Layout After completing this part of the project, students will be able to: •

Experiment with ways to create different experiences in the design of a book, with consideration for factors such as rhythm and pacing.

•

Create type style sheets that reflect and support the communication for a specific body of content.

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 3: Initial Book Layout š PROCEDURE: 1.

Research and explore a variety of book formats.

2.

Determine the format you intend to use for your book design. Remember, you must either use a book producer (i.e. Blurb) to print your final book design or construct your own book.

3.

Use the dimensions of your final book design as you begin to sketch ideas for your book composition.

4.

It is helpful to print a black frame in the correct proportions that you can then trace every time you create a new composition.

5.

Experiment with different ways of creating rhythm and pacing in your book.

6.

Sketch a minimum of eight example spreads on these investigations.

7.

Create at least three refined spreads based on these investigations.

8.

Identify possible typefaces to be used in your book design. Create type style sheets that exhibit how these typefaces will function with regard to typographic voice and hierarchy in the context of your book layout.

9.

Compile your sketches, refined spreads, and type style sheets.

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 3: Initial Book Layout Research

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Book Layout Sketches – Round 1

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Refined Spreads 1

Introduction sdfsdfEstium laborruptae. Nam que volupta quibus re, optaquia accusti dolo volupta tibuscidebit a debis quistin ullique num sinis enitium quostrum quidemqui omnihillant que lis aut eos quibusant latibus, aciliqui odit, quid eatem inusa volorio blandam el molupta tiistru ptatistisit alitaspide dolorior sanditinitis et qui as volores corrorrorror simus acidiscidiat doluptatias doluptat volupta sperum quatemollab illiti imporro blate volupta quam, nonsed quiaectur acessedit aspedio rporis et

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Refined Spreads 2

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Refined Spreads 3

Title bus re, optaquia accusti dolo volupta tibuscidebit a debis quistin ullique num sinis enitium quostrum quidemqui omnihillant que lis aut eos quibusant latibus, aciliqui odit, quid eatem inusa volorio blandam el molupta tiistru ptatistisit alitaspide dolorior sanditinitis et qui as volores corrorrorror simus acidiscidiat doluptatias doluptat volupta sperum quatemollab illiti imporro blate volupta quam, nonsed quiaectur acessedit aspedio rporis et abo. Et molendellab i sdfsdfEstium laborruptae.

Nam que volupta quibus re, optaquia accusti dolo volupta tibuscidebit a debis quistin ullique num sinis enitium quostrum quidemqui omnihillant que lis aut eos quibusant latibus, aciliqui odit, quid eatem inusa volorio blandam el molupta tiistru ptatistisit alitaspide dolorior sanditinitis et qui as volores corrorrorror simus acidiscidiat doluptatias doluptat volupta sperum quatemollab illiti imporro blate volupta quam, nonsed quiaectur acessedit aspedio rporis et abo. Et molendellab i sdfsdfEstium laborruptae. Nam que volupta quibus re, optaquia accusti dolo volupta tibuscidebit a debis quistin ullique num sinis enitium quostrum quidemqui omnihillant que lis aut eos quibusant latibus, aciliqui odit, quid eatem inusa volorio blandam el molupta tiistru ptatistisit alitaspide dolorior sanditinitis et qui as volores corrorrorror simus acidiscidiat doluptatias doluptat volupta sperum quatemollab illiti imporro blate volupta quam, nonsed quiaectur acessedit aspedio rporis et abo. Et molendellab i sdfsdfEstium laborruptae.

Nam que volupta quibus re, optaquia accusti dolo volupta tibuscidebit a debis quistin ullique num

Bodega Sans bus re, optaquia accusti dolo volupta tibuscidebit a debis quistin ullique num sinis enitium quostrum quidemqui

Helvetica Neue bus re, optaquia accusti dolo volupta tibuscidebit a debis quistin ullique num sinis enitium quostrum quidemqui

Gotham bus re, optaquia accusti dolo volupta tibuscidebit a debis quistin ullique num sinis enitium quostrum quidemqui

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 3: Initial Book Layout Typefaces Grotesque Sans Serif “These sans serifs don't have a strong relationship to calligraphy. Their shapes and proportions are fairly uniform, with low stroke contrast. Round shapes are more oval than circular and x-height is usually large. Often better for paragraphs than geometrics, but not as good as humanists� (Adobe Typekit).

These typefaces have been popular for years and due to their circular and large xheights, they are idea for all types of usage in marketing methods such as package design. They are great for readability but the short, thick strokes are also ideal for larger display typography. The lack of serifs in this typeface helps readability due to the fact that it can be read at large and small sizes without losing its readability. The purpose here will be the argue the fact that sans serifs, or grotesque fonts, are best used for package design due to their readability in various sizes, presences, and overall simplicity.

The purpose of this project will be to represent why this sans-serif style of typography is used in marketing, as it is important due to the relayal of information in a quick and readable fashion, while being viewable from various distances, and still standing for the company and being able to communicate the message quickly and precisely without confusion to the viewer/buyer.

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C, Part 3: Initial Book Layout Typefaces Possible Typography for Book - Gotham Gotham will be used for the book itself, however there will be references to other sans-serif fonts (i.e., helvetica neue, bodega sans, etc.).

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C: Bibliography 1

Coles, S. (2016, December 2). Chobani identity and packaging [Source: http://www.chobani.com License: All Rights Reserved.]. Retrieved April 23, 2017, from https://fontsinuse.com/uses/14956/chobani-identity-and-packaging Chobani yogurt identity and packaging. Includes fonts used.

Coles, S. (2016, January 22). BLK logo, website, packaging [Source: http://getblk.com License: All Rights Reserved.]. Retrieved April 23, 2017, from https://fontsinuse.com/uses/11676/blk-logo-website-packaging blk. waterbottle logo and font.

Gendelman, V. (2015, February 17). Font Psychology: How Typefaces Hack Our Brains. Retrieved April 23, 2017, from http://www.companyfolders.com/blog/font-psychology-how typefaces-hack-our-brains

HypeForType Ltd. (2016, August 15). 10 Best Packaging Fonts for your 2016 design projects. Retrieved April 23, 2017, from https://www.hypefortype.com/blog/10-best-packagingfonts-of-2016/ Types of fonts most found in package design.

Mittal, M. (2013, December 20). The Evolution of Packaging. Retrieved April 23, 2017, from https://medium.com/digital-packaging-experiences/the-evolution-of-packaging57259054792d How innovations [in packaging] shaped packaging over 150 years

Mutsikiwa, M., Marumbwa, J., & Great Zimbabwe University Great Zimbabwe University. (2013). The Impact of Aesthetics Package Design Elements on Consumer Purchase Decisions: A Case of Locally Produced Dairy Products in Southern Zimbabwe. IOSR Journal of Business and Management, 8(5), 64-71. Retrieved April 23, 2017, from http://www.iosrjournals.org/iosr-jbm/papers/Vol8-issue5/I0856471.pdf?id=5185 Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017

Project C: Bibliography 1

Packaging Manufacturers Association. (2013). History of Packaging. Retrieved April 23, 2017, from http://ambalaj.org.tr/en/environment-history-of-packaging.html About types of printing.

Paull, A. (2014, July 30). Type Trends & Pop Culture: Part 2 [Web log post]. Retrieved April 23, 2017, from http://blog.extensis.com/pop-culture/type-trends-pop-culture-part-2.php Type trends from the past to now.

The Dieline. (2009, May 12). Top 15 Fonts for Packaging Design. Retrieved April 23, 2017, from http://www.thedieline.com/blog/2009/5/12/top-15-fonts-for-packaging-design.html Fonts most used for The Dieline packaging.

Thompson, G. (2015, September 13). Corn Flakes [Source: http://www.kelloggs.com ®™©Kellogg’s Co., 2011. License: All Rights Reserved.]. Retrieved April 23, 2017, from https://fontsinuse.com/uses/10237/kellogg-s-corn-flakes Corn Flakes image and font type.

The Simplicity of Helvetica [Web log review]. (2010, January 20). Retrieved April 23, 2017, from https://www.webdesignerdepot.com/2010/01/the-simplicity-of-helvetica/ Helvetica is one of the most popular typefaces in the world.

Will in Design. (2015, September 1). How Successful Companies Choose to Represent Themselves: Serif or Sans Serif? [Web log post]. Retrieved April 23, 2017, from http://www.williamha.com/how-successful-companies-choose-to-represent-themselves-serif-or-san-serif/ Discussion of logos and how sans serif fonts are beginning to change how logos are created and perceived.

Brittany Strozzo | GRDS 743-OL: Typography Practice | Spring Qrtr 2017