Typography II Process Book Cynthia Oh
Colophon This book is designed in Adobe Indesign, by Cynthia Oh, printed at Alphagraphics, Rhode Island. The typeface is a variation of the Serifa family, designed by Adrian Frutiger in 1966. This was a project done for Typography II class at Rhode Island School of Design, Spring of 2011.
Table of Contents 1
Introduction
3
Typographic Rules
7
Letterform Relationship
15
3-D Letterform
19
Typographic Space
23
Type Designer: Adrian Frutiger
27
Type Designer: Web Page Layout
31
Grid Study: Japan Earthquake and Tsunami Brochure
35
Plant Classification: Coffea Arabica
39
Book Design: Alice in Wonderland
Introduction This is a process book of Typography II course. Over the semester, I have learned about typographic structure, hierarchy, and dealt with large amounts of text in book format. I have explored vast amount of typographic elements and form, as they relate to content and meaning. The objective of this class was to understand and apply complex issues of typographic properities and principles. 1
5 Typographic Rules
2
Exploration
Initial Sketch
5 Typographic Rules
Principles of Typography Counterform of the type is just as important as the letterform itself. Type will have the most integrity when it is effective, direct, and well communicated. Visual and typographic elements work based on a framework of a grid. Placement of the types is as much about where the type isn’t as where it is. Content dictates form.
5 Typographic Rules 8.5” x 11” print, Adobe InDesign This exercise was to make a list of five important typographic rules that I learned in Typography I. The format of the rules is divided into two parts, the first being a unified, consistent type structure using a single font. The second part of the exercise’s aim was to expand the structural concept and relation of typographic elements. It was to highlight the different content of each of the five statements using variety of font or size. 3
5 Typographic Rules
4
Exploration
Final Execution
5 Typographic Rules
5
5 Typographic Rules
6
Exploration
Initial Sketches
Letterform Relationship
Letterform Relationship Adobe InDesign The objective of this study was to explore structure of letterforms and its characteristics, especially its form and counterform and where they work in unison. There were four parts to this exercise, first exploring two individual letterforms, second with two letters with a bit more variation, third with two letters that can touch or overlap, and last with one letter in a format font and the other hand drawn. With these four explorations, I was able to see how letterforms work
7
Letterform Relationship
Exploration
C
G 8
Exploration
Letterform Relationship
B
d
P
9
Letterform Relationship
Two individual letters
JL 10
Two letters with variation
Letterform Relationship
G 11
Letterform Relationship
Two overlapping letters
U
12
A font and hand drawn
Letterform Relationship
13
5 Typographic Rules
14
Exploration
Initial Sketches
3-D Letterform
3-D Letterform 10” x 6” x 5”, Bristol Board After studying the form and counterform of letters on the previous exercise, this assignment was to select one of the letterform studies and make it into a three dimensional form. The most important consideration that went when building this object was to see and read the form in all directions.
15
3-D Letterform
16
Side and Back Views
Final Execution
5 Typographic Rules
17
5 Typographic Rules
18
Exploration
Initial Layout
Typographic Space
Typographic Space 20” x 30” print, Adobe Photoshop Following the three dimensional letterform, I designed a poster that had dynamic space and hiearchy. Four elements were required when designing this poster: the word “LETTERFORM”, the 3-D object, the original letters forming the 3D shape, and the combination of letters from the 2-D letter study.
19
Typographic Space
20
Exploration
Final Execution
Typographic Space
21
5 Typographic Rules
22
Exploration
Initial Layout
One of the most well known type designers in this century, Adrian Frutiger has designed over 170 fonts in his lifetime. In 1952, Frutiger worked under Deberny & Peignot foundation and helped move classic typefaces to newer phototypesetting technologies. In 1957, he created the famous type Univers, which was significant in its optically even stroke weights and large x-height for legibility. After creating a graphic design studio in Arcueil, Paris, Frutiger was assigned to make the entire signage system for the Charles de Gaulle airport in 1968. This particular typeface is also call the “way-finding signage” because of its legibility from afar and from an angle.
Type Designer
This typeface, originally called Roissy, changed its name to “Frutiger” after its creator. It is essentially a fusion between Univers and the organic influences of Gill Sans. The goal of Adrian Frutiger, when he was designing typefaces, was to make it have efficient communication and readability. The result was a set of capitals and numbers that could be read even in poor light. Frutiger’s typefaces such as Univers or Frutiger influenced the overall look of a directional, readible typography. His works are one of the most widely used typefaces in the world, used for branding, display, and textfonts alike.
Type Designer: Adrian Frutiger 12” x 18” print, Adobe InDesign For this exercise I researched and studied about Adrian Frutiger as the designer that I wanted to explore. The poster included the designer’s name, a paragraph about the designer and their place in history, a display of the full font of Frutiger, and a letterform that display the unique character of this font. This poster was designed in the spirit of Frutiger, reflecting signages in Charles de Gaulle International Airport in France. 23
Type Designer
Exploration
One of the most well known type designers in this century, Adrian Frutiger has designed over 170 fonts in his lifetime. In 1952, Frutiger worked under Deberny & Peignot foundation and helped move classic typefaces to newer phototypesetting technologies. In 1957, he created the famous type Univers, which was significant in its optically even stroke weights and large x-height for legibility. After creating a graphic design studio in Arcueil, Paris, Frutiger was assigned to make the entire signage system for the Charles de Gaulle airport in Paris. This particular typeface is also call the “way-finding signage” because of its legibility from afar and from an angle. This typeface, originally called Roissy, changed its name to “Frutiger” after its creator. It is essentially a fusion between Univers and the organic influecnes of Gill Sans. The goal of Adrian Frutiger, when he was designing typefaces, was to make it have efficient communication and readability. The result was a set of capitals and numbers that could be read even in poor light. Frutiger’s typefaces such as Univers or Frutiger influenced the overall look of a directional, readible typography. His works are one of the most widely used typefaces in the world, used for branding, display, and textfonts alike.
24
One of the most well known type designers in this century, Adrian Frutiger has designed over 170 fonts in his lifetime. In 1952, Frutiger worked under Deberny & Peignot foundation and helped move classic typefaces to newer phototypesetting technologies. In 1957, he created the famous type Univers, which was significant in its optically even stroke weights and large x-height for legibility. After creating a graphic design studio in Arcueil, Paris, Frutiger was assigned to make the entire signage system for the Charles de Gaulle airport in Paris. This particular typeface is also call the “way-finding signage” because of its legibility from afar and from an angle. This typeface, originally called Roissy, changed its name to “Frutiger” after its creator. It is essentially a fusion between Univers and the organic influecnes of Gill Sans. The goal of Adrian Frutiger, when he was designing typefaces, was to make it have efficient communication and readability. The result was a set of capitals and numbers that could be read even in poor light. Frutiger’s typefaces such as Univers or Frutiger influenced the overall look of a directional, readible typography. His works are one of the most widely used typefaces in the world, used for branding, display, and textfonts alike.
Final Execution
One of the most well known type designers in this century, Adrian Frutiger has designed over 170 fonts in his lifetime. In 1952, Frutiger worked under Deberny & Peignot foundation and helped move classic typefaces to newer phototypesetting technologies. In 1957, he created the famous type Univers, which was significant in its optically even stroke weights and large x-height for legibility. After creating a graphic design studio in Arcueil, Paris, Frutiger was assigned to make the entire signage system for the Charles de Gaulle airport in 1968. This particular typeface is also call the “way-finding signage” because of its legibility from afar and from an angle. This typeface, originally called Roissy,
Type Designer
changed its name to “Frutiger”after its creator. It is essentially a fusion between Univers and the organic influences of Gill Sans. The goal of Adrian Frutiger, when he was designing typefaces, was to make it have efficient communication and readability. The result was a set of capitals and numbers that could be read even in poor light. Frutiger’s typefaces such as Univers or Frutiger influenced the overall look of a directional, readible typography. His works are one of the most widely used typefaces in the world, used for branding, display, and textfonts alike.
25
5 Typographic Rules
26
Exploration
Initial Sketch
Web Page Layout
Type Designers
A professional type designer is highly skilled and knowledgeable about the anatomy of typefaces as well as type history. Type designers create new typefaces from scratch or based on existing typeface designs. Today, with the ready availability of font editors and type design software, anyone can modify fonts or create new ones and can be considered a type designer, although the best typefaces are still generally created by dedicated, professional type designers. This site will introduce you to a variety of typedesigners and typefaces to learn about.
Type Designer: Web Page Layout 10� x 9�, Adobe InDesign After designing a poster with a style of Adrian Frutiger, this assignment was to create a web page layout in my personal style. For me, I wanted to design a website that was simple and easy to navigate. My theme was a website for different type designers, among them Adrian Frutiger.
27
Web Page Layout
Sequence
Type Designers - Paul Renner - Herb Lubalin Ecessit is rerchiciis rerione ctibus adic tet aut aligni te nonsequi cullicil ius mos dello molent adit vellore iciam, nonsequi doluptio. Nequi rerestis in re nonem inulluptium velignisqui nam, consedis et eic to beaqui nietur, nimi, unt dolupta tquidel iliquo et ute nonet invenimil in re lique conserum nem. Voluptas solut mod eum num etur audit eum rempor sam, ommo con reritis ut mil inveris niendemquam di ommosam velictaeaprem quam volupta tquiaeriti tempossus dolor mi, ulliquamus quis ratat.Everum ad que sitate est, omnim everiti bea que lam ut hil id mi, sa dercia pero conet volupta digenis tiatini omnieni.
Ondine President
- Max Miedinger
Meridien
- Claude Garamond
Univers
- William Caslon
Frutiger Apollo
- Frederic W. Goudy
Serifa
- Francesco Griffo
OCR-B
- John Baskerville
Iridium
- Morris Fuller Benton
Glypha Icone
- Giambattista Bodoni
Breughel
- Emil Rudolf Weiss
Versailles
- Edward Johnston
Avenir Westside
- Eric Gill
Herculanum
- Stanley Morison
Vectora
- Rudolf Koch
Pompeijana
- Nicholas Jenson
Rusticana Nami
28
- Adrian Frutiger
Frutiger’s Page
Web Page Layout
Type Designers Adrian Frutiger
One of the most well known type designers in this century, Adrian Frutiger has designed over 170 fonts in his lifetime. In 1952, Frutiger worked under Deberny & Peignot foundation and helped
an angle. This typeface, originally called Roissy, changed its name to “Frutiger”after its creator. It is essentially a fusion between Univers and the organic influences of Gill Sans. The goal of Adrian Frutiger,
move classic typefaces to newer phototypesetting technologies. In 1957, he created the famous type Univers, which was significant in its optically even stroke weights and large x-height for legibility. After creating a graphic design studio in Arcueil, Paris, Frutiger was assigned to make the entire signage system for the Charles de Gaulle airport in 1968. This particular typeface is also call the “way-finding signage” because of its legibility from afar and from
when he was designing typefaces, was to make it have efficient communication and readability. The result was a set of capitals and numbers that could be read even in poor light. Frutiger’s typefaces such as Univers or Frutiger influenced the overall look of a directional, readible typography. His works are one of the most widely used typefaces in the world, used for branding, display, and textfonts alike.
29
5 Typographic Rules
30
Exploration
Initial Sketch
Grid Study
Grid Study: Japan Earthquake and Tsunami 15� x 10�, print, Adobe InDesign On March 11, 2011, a terrible Earthquake and Tsunami shook Japan. This brochure was a study of using a specific grid system that I set up. The objective was to design a structured layout that had hierarchy of information. I also wanted the brochure to be impactful in the front and informative inside, so I decided to use mostly imagery and bold fonts in the front and graphs and maps inside. 31
Grid Study
32
Front and Inside View
Inside View
Grid Study
Radiation Levels
Nuclear Crisis
in milliSieverts (1mSv)
Chest X-Ray
Power Plant Damages The Fukushima I, Fukushima II, Onagawa Nuclear Power Plant and Tokai nuclear power stations, consisting of a total eleven reactors, were automatically shut down following the earthquake. Higashidori, also on the northeast coast, was already shut down for a periodic inspection. Cooling is needed to remove decay heat after a reactor has been shut down, and to maintain spent fuel pools. The backup cooling process is powered by emergency diesel generators at the plants and at Rokkasho nuclear reprocessing plant. At Fukushima I and II, tsunami waves overtopped seawalls and destroyed diesel backup power systems, leading to severe problems at Fukushima I, including two large explosions and radioactive leakage. Over 200,000 people were evacuated near the Fukushima reactor site. The April
What is Radiation? 7 aftershock caused the loss of external power to Rokkasho Reprocessing Plant and Higashidori Nuclear Power Plant but backup generators were functional. Onagawa Nuclear Power Plant lost 3 of 4 external power lines and lost cooling function for as much as 80 minutes. A spill of a couple liters of radioactive water occurred at Onagawa. Europe’s Energy Commissioner Günther Oettinger addressed the European Parliament on 15 March, explaining that the nuclear disaster an “apocalypse”.
Radioactive materials that decay spontaneously produce ionizing radiation, which has sufficient energy to strip away electrons from atoms (creating two charged ions) or to break some chemical bonds. Any living tissue in the human body can be damaged by ionizing radiation in a unique manner. The body attempts to repair the damage, but sometimes the damage is of a nature that cannot be repaired or it is too severe or widespread to be repaired. Also mistakes
As the nuclear crisis entered a second month, experts recognized that Fukushima I is not the worst nuclear accident ever, but it is the most complicated.
Health Effects made in the natural repair process can lead to cancerous cells. The most common forms of ionizing radiation are alpha and beta particles, or gamma and X-rays. A cumulative dose of 1,000 millisieverts would increase the incidence of fatal cancer by about 5 percent. A single dose of 1,000 millisieverts causes temporary radiation sickness and decreased white blood cell count, but not death.
The first symptoms of acute radiation syndrome are typically nausea, vomiting and diarrhea. These symptoms can start within minutes to days of exposure and can last for days. After that, a person with acute radiation syndrome may look and feel healthy for a short time, then become sick again with loss of appetite, fatigue, fever and possibly seizures and coma.
Timeline of the Crisis March 12
Explosion at Fukushima Daiichi’s No. 1 reactor, radiation detected.
March 14
Explosion at Fukushima’s No. 3 reactor, and cooling functions in No. 1 has stopped.
March 15
Radiation levels shot up at the plant after a new explosion of No. 2 and No.4 caused by a fire overheating of spent fuel rods.
March 16
Fire breaks out on No. 4 reactor. An estimated 70% of the nuclear fuel rods have been damaged.
March 17
Authorities reached for methods to cool stricken reactors, deploying helicopters and water cannons to prevent perilous overheating.
March 23
Radioactive iodine detected in Tokyo’s water supply spurred a warning for infants, and added to the growing anxiety about the safety near the plant.
March 25
March 31
April 4
April 12
Occurance of unexpected radiation injuries happened to workers, suggesting that the reactor vessel of the No. 3 unit may have been breached. A long-lasting radioactive element, cesium 137, has been measured at levels that pose a long-term danger at one spot 25 miles from the crippled Fukushima Daiichi nuclear power plant. They would release almost 11,500 tons of water contaminated with low levels of radiation from the Fukushima Daiichi nuclear plant into the Pacific Ocean. Japan has raised its assessment of the accident at the crippled Fukushima Daiichi nuclear power plant from 5 to 7, the worst rating on an international scale.
– places that detected a
Radiation detected at Fukushima site, March 12
0.1
Natural radiation per year
1.0 2.0
Full body CT scan
10
Recommended limit for radiation workers every 5 years
100
Maximum radiation levels per hour recorded at Fukushima plant, March 14
400
Decrease in bloodcell counts
500
Radiation per hour in surface water in tunnels outside of Fukushima No.2 reactor
1,000
Extremely severe radiation, 60% fatality risk after 30 days
5,000
Destruction of intestinal lining, internal bleeding, 100% fatality after 14 days
10,000
Symptoms appear within 30 minutes, massive diarrhea, internal bleeding, delirium
30,000
Radiation exposed to the Chernobyl reactor core after meltdown in 1986
50,000
heightened radiation levels
Immediate to severe vomiting and coma, death following within hours of exposure 100,000
33
5 Typographic Rules
34
Exploration
Initial Sketch
Coffea Arabica
Plant Classification System: Coffea Arabica 5” x 9” folded, 5” x 29” spreaded, printed on Rives BFK
This was a study of a specific group of plant classification system, mine being the Coffea Arabica, a type of coffee plant. The objective of this study was to organize a plant cateogory using typographic organization and hierarchy, such as type grids, font sizes, and properties. I chose to format the print in a way that people can understand one by one, whether flipping through the pages or spreading it out on a table. It starts with the broad kingdom of Plantae to the very specific variation of Coffea Arabica.
35
Coffea Arabica
36
Page by Page
Spreaded
Coffea Arabica
37
Alice’s Adventures in
by Lewis Carroll
Initial Sketch
Book Design
Book Design: Alice’s in Wonderland 7” x 10” x 0.75”, print Adobe InDesign This assignment explored every aspect of making a book, subject being Alice in Wonderland. I was responsible to design a layout that was legible and accessible to the general reader, and also the form had to reflect the content of the book. I chose to explore the idea of “challenging the logical sense and natural order” by breaking the type to reflect the significance of its content. In replace of the classic illustrations of the book, I decided to photograph abstract forms using ink and water to reflect the ambiguity and confusion that Alice felt while in Wonderland.
39
Book Design
Text Layout
ried on, Alice started to her feet, for it flashed across her mind that she had never before seen a rabbit with either a waistcoatpocket, or a watch to take out of it, and burning with curiosity, she ran across the field after it, and fortunately was just in time to see it pop down a large rabbit-hole under the hedge.
Table of Contents
In another moment down went Alice after it, never once considering how in the world she was to get out again. The rabbit-hole went straight on like a tunnel for some way, and then dipped suddenly down, so suddenly that Alice had not a moment to think about stopping herself before she found herself falling down a very deep well.
1 Down the Rabbit Hole
Either the well was very deep, or she fell very slowly, for she had plenty of time as she went down to look about her and to wonder what was going to happen next. First, she tried to look down and make out what she was coming to, but it was too dark to see anything; then she looked at the sides of the well, and noticed that they were filled with cupboards and book-shelves; here and there she saw maps and pictures hung upon pegs. She took down a jar from one of the shelves as she passed; it was labelled ‘ORANGE MARMALADE’, but to her great disappointment it was empty: she did not like to drop the jar for fear of killing somebody, so managed to put it into one of the cupboards as she fell past it.
10 The Pool of Tears 18 The Caucus Race and a Long Tale 27 The Rabbit Sends in a Little Bill 38 Advice from a Capterpillar Project Gutenberg’s Alice’s Adventures in Wonderland, by Lewis Carroll This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org.
48 Pig and Pepper
‘Well!’ thought Alice to herself, ‘after such a fall as this, I shall think nothing of tumbling down stairs! How brave they’ll all think me at home! Why, I wouldn’t say anything about it, even if I fell off the top of the house!’ (Which was very likely true.)
59 A Mad Tea Party 72 The Queen’s Croquet Ground
Title: Alice’s Adventures in Wonderland Author: Lewis Carroll Posting Date: June 25, 2008 [EBook #11] Release Date: March, 1994
Down, down, down. Would the fall NEVER come to an end! ‘I wonder how many miles I’ve fallen by this time?’ she said aloud. ‘I must be getting somewhere near the centre of the earth. Let me see: that would be four thousand miles down, I think–’ (for, you see, Alice had learnt several things of this
83 The Mock Turtle’s Story 95 The Lobster Quadrille
Language: English
108 Who Stole the Tarts?
THE MILLENNIUM FULCRUM EDITION 3.0
118 Alice’s Evidence
She had not gone much farther before she came in sight of the house of the March Hare: she thought it must be the right house, because the chimneys were shaped like ears and the roof was thatched with fur. It was so large a house, that she did not like to go nearer till she had nibbled some more of the lefthand bit of mushroom, and raised herself to about two feet high: even then she walked up towards it rather timidly, saying to herself ‘Suppose it should be raving mad after all! I almost wish I’d gone to see the Hatter instead!’
Chapter 7
A Mad Tea-Party
and the March Hare and the Hatter were having tea at it: a Dormouse was sitting between them, fast asleep, and the other two were using it as a cushion, resting their elbows on it, and talking over its head. ‘Very uncomfortable for the Dormouse,’ thought Alice; ‘only, as it’s asleep, I suppose it doesn’t mind.’ The table was a large one, but the three were all crowded together at one corner of it: ‘No room! No room!’ they cried out when they saw Alice coming. ‘There’s PLENTY of room!’ said Alice indignantly, and she sat down in a large arm-chair at one end of the table. ‘Have some wine,’ the March Hare said in an encouraging tone. Alice looked all round the table, but there was nothing on it but tea. ‘I don’t see any wine,’ she remarked.
40
Presently she began again. ‘I wonder if I shall fall right THROUGH the earth! How funny it’ll seem to come out among the people that walk with their heads downward! The Antipathies, I think–’ (she was rather glad there WAS no one listening, this time, as it didn’t sound at all the right word) ‘–but I shall have to ask them what the name of the country is, you know. Please, Ma’am, is this New Zealand or Australia?’ (and she tried to curtsey as she spoke–fancy CURTSEYING as you’re falling through the air! Do you think you could manage it?) ‘And what an ignorant little girl she’ll think me for asking! No, it’ll never do to ask: perhaps I shall see it written up somewhere.’ Down, down, down. There was nothing else to do, so Alice soon began talking again. ‘Dinah’ll miss me very much to-night, I should think!’ (Dinah was the cat.) ‘I hope they’ll remember her saucer of milk at tea-time. Dinah my dear! I wish you were down here with me! There are no mice in the air, I’m afraid, but you might catch a bat, and that’s very like a mouse, you know. But do cats eat bats, I wonder?’ And here Alice began to get rather sleepy, and went on saying to herself, in a dreamy sort of way, ‘Do cats eat bats? Do cats eat bats?’ and sometimes, ‘Do bats eat cats?’ for, you see, as she couldn’t answer either question, it didn’t much matter which way she put it. She felt that she was dozing off, and had just begun to dream that she was walking hand in hand with Dinah, and saying to her very earnestly, ‘Now, Dinah, tell me the truth:did you ever eat a bat?’ when 3
2
There was a table set out under a tree in front of the house,
58
sort in her lessons in the schoolroom, and though this was not a VERY good opportunity for showing off her knowledge, as there was no one to listen to her, still it was good practice to say it over) ‘–yes, that’s about the right distance–but then I wonder what Latitude or Longitude I’ve got to?’ (Alice had no idea what Latitude was, or Longitude either, but thought they were nice grand words to say.)
59
Book Binding
Book Design
41
Book Design
42
Typographic Expression
Typographic Expression
Book Design
43
Book Design
44
Ink and Water Photography
Final Execution
5 Typographic Rules
45