Type Like You Mean It by Camelia Manea

TYPE LIKE YOU MEAN IT.

TYPE LIKE YOU MEAN IT. A Process Book By Cami Manea

contents 1

objective completed assignment

tracking combining typefaces

Anatomy of Type Word Typography

sketches 1 size, 1 weight 2 sizes, 2 weights 3 sizes, 3 weights

guidelines/suggestions grid systems

about Didot sketches: 3 concepts design development final posters

Text Typography

DOs & DONâ&#x20AC;&#x2122;Ts Typeface Poster

preface Everything you hear about typography and design emphasizes, in one way or another, that “Simplicity is Key.” Looking at my chaotic pile of sketches, designs, notes, and inspirational magazine pages, I saw everything but simplicity. I created Type Like You Mean It in search for order and clarity beneath the mess of work I had compiled throughout this semester. This book organizes all that information in a way that is not only legible but also, as Milka Broukhim likes to call it, “delicious”.

Anatomy of Type The objective of this assignment is for the student to become familiar with the various anatomical parts of typography, as well as the definition of these parts.

1. Meanline/Median: Imaginary line running along the top of non-ascending, lowercase letters. 2. Capline: A line marking the height of uppercase letters within a font. 3. X-height: The distance between the baseline and the median. 4. Baseline: The imaginary line upon which a line of text sits. 5. Stem: Vertical, full-length stroke in upright characters. 6. Beak: A sharp spur, found particularly at the top of letters in some 20th Century Roman fonts. 7. Tail: A descending, often decorative, curved stroke. 8. Vertex/Crotch: An acute, inside angle where two strokes meet. 9. Descender: The part of letters that extends below the baseline. 10. Counter: The open space in a fully or partly closed area within a letter. 11. Oblique Stress: The direction in which a curved stroke changes height. 12. Bowl: The fully closed, rounded part of a letter. 13. Link: Stroke that connects the top and bottom bowls of double-story ‘g’s. 14. Loop: The enclosed counter below the baseline of a double-story ‘g’. 15. Ear: A decorative flourish usually on upper right side of the bowl. 16. Terminal: The teardropped strokes in letters of some typefaces. 17. Terminal: The end of a stroke that does not include a serif. 18. Finial: A tapered or curved end. 19. Spur: Small projection off a main stroke. 20. Bracket: Curved/wedge-like connection between the stem and serif of some fonts. 21. Ascender: Upward vertical stem on some lowercase letters. 22. Shoulder: The curved stroke aiming downward from a stem. 23. Serif: Tapered corners on the ends of the main stroke. 24. Arm: Horizontal or upward, sloping stroke that does not connect to a stroke or stem on one or both ends.

â&#x20AC;&#x153;There are now about as many different varieties of letters as there are different kinds of fools.â&#x20AC;? Eric Gill

process Although this was a very simple assignment, it was extremely beneficial. By drawing out each letter and finding the definition of its parts, I was able to gain a clear understanding of the anatomy of typography.

Word Typography The objective of this assignment is for the student to become familiar with the five classic type families, to experience them in different type styles and to learn how to track and kern a word successfully, for better readability and legibility.

experimenting with tracking

Tight Tracking

Medium Tracking

Loose Tracking

everything everything everything EVERYTHING everything everything everything EVERYTHING ever y t hing ev er ythin g e ve r y t h i n g E V E RY T H I NG 17

combining typefaces

Garamond & Century Schoolbook

EV E RYthing

Century Schoolbook & Helvetica

ev e r ything

Century Schoolbook & Helvetica

everything

Helvetica & Bodoni

Garamond & Baskerville

EVERYt hing ever ything 19

completed assignment

e v e r y thing eye

capline median

ear

serif

ascender

counter

baseline

crotch

tail

arm

shoulder

loop

â&#x20AC;&#x153;The simpler the assignment, the more difficult the solution.â&#x20AC;? Wolfgang Weingart

process This assignment taught me a lot about the five standard typeface families, as well as the basics of tracking and kerning. It challenged me to combine typefaces in a way that not only looked aesthetically pleasing, but was also readable and legible.

Text Typography The objective of this assignment is for the student to gain experience in arranging body of text, deciding which words or phrases should be emphasized and how text should be arranged on a page. Students understand the considerations of how we read and how to create harmony and contrast, attracting attention or creating an interesting texture with text arrangement on the page considering readability and legibility. Students in the end learn the effective use of different sizes and weights of type in order to quickly and easily convey information effectively.

sketches

one size, one weight

“neue typographie lays out text by leading the eye of the viewer from one word, one group to the next. thus we need to structure the text meaningfully, using differences in size, boldness, position in space, colour, etc. neue typograhie uses the possible effects of the former background consciously and considers both the

anife

,am

phie

ra ypog ue T

sign

n de

oder

fm sto o

Die N

“Neue

Typogra

phie la

ys out

text by

DIE NEUE TYPOGRAPHIE, A MANIFESTO OF MODERN DESIGN white background segments and the black type and shapes as design elements of equal value. with that, neue typographie has added a new element to the expressive potential of printing. it is exactly the use of large white areas that creates the startling impact of neue typographie.” Translation by Wolfgang Oertl

the ey

e of

p to the

ne grou

ord, o m one w

er fro the view we need to struct

leading

ure the te xt meani ng

next. Th

fully, usin g

ur,

ace, colo

sition in sp

ness, po size, bold

s in difference etc. Neue Typograph

ie uses the possible

effects of the former background consciously and considers both the white background segments and the black type and shapes as design elements of equal value. With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that creates the startling impact of Neue

Typographie.”Translation by Wolfgang Oertl

Die Neue Typographie, a manifesto of modern design

“Neue Typographie lays out text by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully,

“Neue Typographie lays out text by

using differences in size, boldness, position in space, colour, etc. Neue Typographie uses the possible effects

leading the eye of the viewer from

of the former background consciously and considers

one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position

Die Neue Typographie, a manifesto of modern design

in space,

colour, etc. Neue Typographie uses the possible effects of the former background

consciously and con-

siders both the white background segments and the black type and shapes as design elements of equal value. With that, Neue Typographie has addedpotential a new element to theItexpressive of printing. is exactly the use ofstartling large white areas that creates the impact of Neue Typographie.” Translation by Wolfgang Oertl

both the white background segments and the black type and shapes as design elements of equal value. With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that creates the startling impact of Neue Typographie.” Translation by Wolfgang Oertl

two sizes, two weights

“NEUE TYPOGRAPHIE LAYS OUT TEXT BY LEADING THE EYE OF THE VIEWER FROM ONE WORD, ONE GROUP TO THE NEXT. THUS WE NEED TO STRUCTURE THE TEXT MEANINGFULLY,USINGDIFFERENCESINSIZE, BOLDNESS, POSITION IN SPACE, COLOUR, ETC.NEUETYPOGRAHIEUSESTHEPOSSIBLE EFFECTS OF THE FORMER BACKGROUND CONSCIOUSLY AND CONSIDERS BOTH THE WHITE BACKGROUND SEGMENTS AND THE BLACK TYPE AND SHAPES AS DESIGN ELEMENTS OF EQUAL VALUE. WITH THAT, NEUE TYPOGRAPHIE HAS ADDED A NEW ELEMENT TO THE EXPRESSIVE POTENTIAL OF PRINTING. IT IS EXACTLY THE USE OF LARGE WHITE AREAS THAT CREATES THE STARTLINGIMPACTOFNEUETYPOGRAPHIE.”

die neue typographie, a manifesto of modern design Translated by Wolfgang Oertl

Die Neue Typographie, a manifesto of modern design

“ Neue Typographie lays out text by leading the eye of the viewer from one word, one group

to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, colour, etc. Neue Typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shapes as design elements of equal value. With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that creates the startling impact of Neue Typographie.

“

DIE NEUE TYPOG RAPHIE

Die Neue Typographie, a manifesto of modern design Neue Typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shapes as design elements of equal value. With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that creates the startling impact of Neue Typographie.” Translation by Wolfgang Oertl

Translation by Wolfgang Oertl “Neue Typographie lays out text by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, colour, etc. Neue Typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shapes

as design elements of equal value. With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that creates the startling impact of Neue Typographie.”

a manifesto of modern design

three sizes, three weights

DIE NEUE TYPO GRA PHIE

N e u e Ty p o g r a p h i e l a y s o u t t e x t b y leading the eye of the viewer from one word, one group to the next. Thus we n e e d t o s t r u c t u r e t h e t e x t m e a n i n g f u l l y, using differences in size, boldness, p o s i t i o n i n s p a c e , c o l o u r, e t c . N e u e Ty p o g r a p h i e u s e s t h e p o s s i b l e e f f e c t s o f the former background consciously and

design

A MANIFESTO OF MODERN

considers both the white background segments and the black type and shapes as design elements of equal value. With t h a t , N e u e Ty p o g r a p h i e h a s a d d e d a n e w element to the expressive potential of printing. It is exactly the use of large white areas that creates the startling i m p a c t o f N e u e Ty p o g r a p h i e . TRANSLATION BY WOLFGANG OERTL

DIE NEUE TYPOGRAPHIE â&#x20AC;&#x153; N e u e Ty p o g r a p h i e l a y s o u t t e x t b y l e a d i n g t h e eye of the viewer from one word, one group to the next. Thus we need to structure the t e x t m e a n i n g f u l l y, u s i n g d i f f e r e n c e s i n s i z e , b o l d n e s s , p o s i t i o n i n s p a c e , c o l o u r, e t c . N e u e Ty p o g r a p h i e u s e s t h e p o s s i b l e e f f e c t s o f t h e former background consciously and considers both the white background segments and the black type and shapes as design elements o f e q u a l v a l u e . W i t h t h a t , N e u e Ty p o g r a p h i e has added a new element to the expressive potential of printing. It is exactly the use of large white areas that creates the startling i m p a c t o f N e u e Ty p o g r a p h i e . â&#x20AC;?

a manifesto of modern design Tr a n s l a t i o n b y W o l f g a n g O e r t l

t ou s of y a l e y ie rd, ph he e wo a r t ne . g t e po g Ty adin m o nex ctur g e o e r the stru usin , u yl f e â&#x20AC;&#x153;N t b wer to to lly, ness tex vie oup eed ingfu bold r, the e gr e n ean ize, colou on us w t m in s ce, x Th te ces spa the feren in n dif sitio po

E U E N DIE

Y T NIF

nd rou e kg d th t, c ba an ha er ents ith t m r fo egm . W e the nd s valu f w o rou al ne of cts ckg equ a e l f f ef ba ed tia e le hite nts o dd oten larg g b a i p of rtlin e s ss w .â&#x20AC;? ha e e a po the elem e essiv us e st phie e i h h h t n t e r a p o h g r h i p t a b s es gr ex tly t tes pog us ers de y po e ie nsid s as Ty th exac crea ue t h ue t to is hat ne gra d co ape e o t of h N en It n p Ty ly a d s m g. as t ele intin are pac ue ious e an e N nsc yp im pr hite w co ck t a l b

O P

MA OFN A STO ER E OD M

R G

P A

E I H

S E

N S N A N

R TIO G T I LA BY

F L O NG W A TL G ER O

DIE TYPOGRAPHIE a manifesto of modern design, translated by wolfgang oertl

â&#x20AC;&#x153;neue typographie lays out text by leading the eye of the viewer from one word, one group to the next. thus we need to structure the text meaningfully, using differences in size, boldness, position in space, colour, etc. neue typograhie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shapes as design elements of equal value. with that, neue typographie has added a new element to the expressive potential of printing. it is exactly the use of large white areas that creates the startling impact of neue typographie.â&#x20AC;?

NEUE

die neue typo gra phie

“Neue Typographie lays out text by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, colour, etc. Neue Typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shapes as design elements of equal value. With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that creates the startling impact of Neue Typographie.”

A MANIFESTO OF MODERN DESIGN, TRANSLATION BY WOLFGANG OERTL 37

“Negative space is magical-create it, don’t just fill it up!” Timothy Samara

process Being constrained with one size and one weight, the first part of this process challenged me to find creative ways to arrange a body of text on a page, while also having a sense of hierarchy between the heading, the body copy, and the sub-head. With two sizes and two weights, it became easier to create this hierarchy, but more difficult to keep a consistent relationship between the body copy and the headings. In the end, when it came to working with three sizes and three weights, I almost began to feel lost. With so much freedom, it became even more difficult to keep a consistency with hierarchy. After hundreds of sketches and a few trial-and-error processes, I was finally able to come up with a set of work that exhibits this body of text in a way that is creative, but still readable.

The DOs and DON’Ts of Typography

Play with width and height of body text. Use kerning and tracking. Be consistent! Use letter spacing to create depth. Pay attention to hierarchy of text. Consider the Rule of Thirds to create movement. Play with direction of text. Be Diverse! Use various ratios, step out of your boundaries. Consider paragraph structure and readability.

Do:

Let the text breathe.

Donâ&#x20AC;&#x2122;t:

Use punctuation at the end of a justified paragraph. Use hyphenations at the end of a line. Use negative leading or letterspacing. Exceed optimum line length. Make text read downwards. Crowd text in a confined space.

grid systems

There are multiple ways to create a grid system. Graphic designers often use the Fibonacci Sequence to organize information because it is naturally appealing to the eye. Taking advantage of the “Golden Section” is another way to organize information. In the Golden Section, the ratio of the smaller number to the larger is the same as the ratio of the larger number to the sum of two. The Illuminated Books of the Middle Ages used their own unique grid system, which involved margins and text placement that was determined by diagonal lines through both pages. Essentially, the height of the text feild is equal to the width of the full page. Modern graphic designers today use a combination of these grid methods, along with subdividing and continuous division of the original grid.

“It’s all about DIVISION to bring harmony and organization.” Grid systems allow you to organize text in a meaningful way. They aid in navigation of text, including hierarchy and cohesiveness, and aesthetics. The grid not only makes a text and image layout more aesthetically pleasing, but also gives the designer a systematic format to follow. When used correctly, a grid system can be a designer’s best friend.

Typeface Poster Content: Understand more about the structure of type and its anatomy; learn the five classic typefaces and some of its authors. Concept: Become familiar with how â&#x20AC;&#x153;form follows functionâ&#x20AC;?; learn the value of sketching for exapnding thinking process; understand process of designing from concept to finish. Design: Practice exploring the system of organization, order of information and arrangement of type relative to its importance; using hierarchy of typography and establishing visual hierarchy. Production: Document all process work and thinking; produce a professional final.

chosen typeface: Didot

Firmin Didot

The Didot typeface family was named after the wellknown type and printing family in Paris, France. At the time, they were the King’s printers, and most of the family members were involved in various branches of the printing trade. Firmin Didot, a punch-cutter, type founder, printer, publisher, and author born in 1764, was the original designer of the Didot font. In 1783, he completed development of this new typeface and began to cut the letters and cast them. His brother, Pierre, later used the type for his printing business in his “Editions du Louvre” series.

Didot Font Characteristics The Didot typeface gives text a classic and elegant feel. It is classified as one of the first Modern Roman typefaces. Didot takes inspiration from John Baskerville’s experimentation with contrast and is most prominently characterized by its high contrast between thick and thin strokes, as well as its thin, un-bracketed horizontal serifs. The lowercase ‘a’ has curved lines combined with a straight, clear vertical line. Its feature is more curved than most of the other letters of the Didot typeface. The top of the lowercase ‘t’ has a subtle indent, which also differentiates itself from the rest of the letters. In the 1960s and 70s, Didot was often found in advertising. Today, modern variations of Didot type are mostly seen in fashion-oriented magazines such as Vogue, Harpers Bazaar, etc.

sketches: 3 concepts

Concept 1: Thick and Thin Strokes

Concept 2: Teardrop Terminals

Concept 3: Hairline Serifs

design development: 2 concepts

ign

of t

t fo

nt.

y n tl ’s in e th in il le e r v r o m a n d r if s. a s k s t p ic k se n B m o n th n ta l ly g J o h d is e e r iz o a te r in n m tw o a o e im h du t b d u lt es n fr a s st ti o c o n tr n tr a c k e te e s is p e fa c e r s ir a co ore ty b r a li n nd s p w it h ig h , u n s o ft th e r a s c e r e m o r e s in o in sh g k e ti o n d m e fo t ta e n ta b y it it s th r d a n fr o m o w in th e r a r e p o t to ll n d t D id e r im r iz e d ll a s f h a o u h t, a th a h e o a h o d e ig a te d tu r e s c e T h a ls o u g e x p r a c te a s w ti o n s ta n h g fa ic a -h e a c h k e s, b in a id o t o r t x e lo n a s fe ty p e t, w h s. A lt e n o om ot er ok s D sh en ’h o ft s tr e c a k e a s a to lo s e ‘a e D id in d t le tt a ls o d ie s d e Th at m h bo un th is id o rca b tl It ers w h e r a . e n d lo w e s t o f a s u e r D id o t r g e r e n fo id o t e s, re has esc The o th p e , D fo r la s o ft th e D g a z in it s ’ m . th e a dd a n c a te a n a s e ‘t fr o la y ty g ib le o t w s o f d m a lf n th li d e v e d w e r c it s e d is p r e le D id ia ti o ie n te r o lo a te s fo r 0 s, a r n -o r cu d it m d 7 n v ti th e o f fe r e n y u s e a k e 0 s a n o d e r fa s h io r. m a d if a r il d to e 1 9 6 a y, m n in B a z a th . To d s e e e r s p r imd if ie y In p g s tl H a r m o x t. ti s in mo te of dver are e and a in e fa c e Vo g u ty p h a s c su

c J

T he Didot type family was named after the well-known type and printing family in Paris, France. As the time, they were the King’s printers, and most of the family members were involved in various branches of the printing trade. Firmin Didot, a punch-cutter, type founder, printer, publisher, and author borin in 1764, was the original designer of the Didot font. In 1783, he completed development of this new typeface and began to cut the letters and cast them. His brother, Pierre, later used the type for his printing business in his “Editions du Louvre” series. The Didot typeface gives text a classic and elegant feel. It is classified as one of the first Modern Roman typefaces. Didot takes inspiration from John Baskerville’s experimentation with contrast and is most prominently characterized by its high contrast between thick and thin strokes, as well as its thin, unbracketed horizontal serifs. Didot takes inspiration from John Baskerville’s experimentation with contrast and is most prominently characterized by its high contrast between thick and thin strokes, as well as its thin, unbracketed horizontal serifs. The combination of hard and soft lines is ultimately what makes Didot stand out from other typefaces during its era. It has a short x-height, allowing ascenders and descenders to look elongated and therefore more delicate. The lowercase ‘a’ has features that are more curved than the rest of the Didot typeface The top of the lowercase ‘t’ has a subtle indent, which also differentiates itself from other Didot letters. Although primarily used for display type, Didot is also often modified to make it more legible for larger bodies of text. In the 1960s and 70s, Didot was often found in advertising. Today, modern variations of the Didot typeface are mostly seen in fashion-oriented magazines, such as Vogue and Harpers Bazaar.

Concept 2: Teardrop Terminals

ido

Did

des

al D

Th e af te D id o t r p ri th e ty p e n w el fa m A s ti n g fa m l- k n il y w th e p ri ow as il y ti m n n n am e, in m em te rs, ed Par ty p e an d th ey is, an b ra b er s w n w er m o st er e th Fra n d Fir ch es e in ce e K o m in o vo lv f th in g’ . f fo u e D id th e ed n fa m s o t, in au th d er, p ri il a y va ri n d es o r b o p ri n te p u n ch ti n g ou s ri n ig n r, -c tr u ad e. in 17 he er pu o b li tt er, co 64 , n ew m p f th e w as sh er, ty p e le D th e le tt ty p ef te d d id o t o ri an d fo er s ev el ac P ie an d e an o p n t. In gi n al rr e, 17 83 ca st d b eg m en p ri la te t n r u th em an to o f th , d u ti n g se is . cu b d H is t th th ty p L o u vr u si n es ef e” s in e ty p b ro th e el eg ac e h is e fo r er, gi ve se ri es th e an t fe “E h is . el . s te xt T h d it io It is D id fi rs t e ns a M o B as t ta k o d er cl as si cl as si D id o t n fi es k c an d in sp R o m ed as co n er vi ll an tr as e’ on ir ch t an s ex p at io n ty p ef e o f ar ac es fr o b et ac te ri d is er im . w ee ze d m o en ta m Jo as ti o n hn st n w el th ic b y it p ho s h ro m in w it h k ri zo l as ig h en it s an d of n ta tl y h th in co n l th tr as w h ar d an se ri fs in , st ro t at un .T m ak d so o th ft li h e co b ra ck k es , er es et ed m h as ty p D id n es ef is u b in at as ce a sh ac es o t st lt im io n d u an d lo o n d er o rt o u at el y s x- h ri n g k t fr it s ei g mo an o el o d h re er a. m ng ‘a ’ d es t, al d el at ed lo w It ce n ic at cu rv h as in g an d e. er d fe s Th ty p ed th at u re th er to e ef ac an s ‘t ’ lo w ef o re th th e e T h he re st at ar er ca d if as a to p se e su fe of of th e m o re D id re n ti b tl e at es in d th e o D id u se t le lo en ot tt t, w w er it se d ca se fo r er s. al so lf h fr o ic h al d is A lt h o o ft mo m p la so ug en re m o y ty h p ri o th er le g te xt p e, ib d m . w as In th le fo if ie d D id ar il y r to e 1 o o To m ak t is 9 6 la rg er d ay ft en e , m fo u 0 s an D id b it nd d 7 o d ie od ot s er in 0 s, in ty p of n su ch fa sh ef ac e va ri at ad ve D id o io n rt is t io ar as Vo -o ri en e m n s o in g. gu f th o st e an te d ly e dH se en m ar p ag az in er s B az es , aa r.

the

gin

Concept 1: Thick and Thin Strokes

Fir m

m Fir

s wa

ri eo

Did o

O O as yw m il w e ll e ng e fa ty p e r th r in ti A s p ft ot . id d a a n d a n c e th e D e e r m e n a ty p is , F w e r e o s t Th r n ey nd m ers Pa ow k n y in e , th r s , a e m b u s il te y m a r io g ti m fa m th e p r in v n il m in r in ti a g ’s e fa e d p o t, K in o f th v o lv th e D id n d e r, in of re e s ir m in fo u a n d we nch e r, s a . F ty p s h e , w a r e b d r, f li 4 tr a u tt e p u b 1 7 6 e r o c r, he in ig n hn c r in te o r in d e s 7 8 3 , n t p e pu 1 b al o r ig in t. I n lo p m a n d th r e n e v d au e o fo d e e fa c an th ot d p rs id te e r, ty tt e th e D p le e w th c o m n e le b r o ty p e th is H is th e s in th ut o f to c m . d ” es e e u s u s in u v r e n e g a a s t th te r b e L o fa c g b c , la ti n d u ty p e n d r r e r in a ns P ie is p it io id o t s s ic ie d h D Ed c la s s if r n fo r is “ T h e t a c la o d e s . x h . is s te M ce r ie iv e s l. I t r s t e fa se g fe e e fi ty p th n nt of oma ga R e le o n e as

f irmin

The Didot type family was named after the well-known type and printing family in Paris, France. At the time, they were the King’s printers, and most of the family members were involved in various branches of the printing trade.

Firmin Didot, a punch-cutter, type founder, printer, publisher, and author borin in 1764, was the original designer of the Didot font. In 1783, he completed development of this new typeface and began to cut the letters and cast them. His brother, Pierre, later used the type for his printing business in his “Editions du Louvre” series.

DIDOT

The Didot typeface gives text a classic and elegant feel. It is classified as one of the first Modern Roman typefaces. Didot takes inspiration from John Baskerville’s experimentation with contrast and is most prominently characterized by its high contrast between thick and thin strokes, as well as its thin, unbracketed horizontal serifs. The combination of hard and soft lines is ultimately what makes Didot stand out from other typefaces during its era. It has a short x-height, allowing ascenders and descenders to look elongated and therefore more delicate. The lowercase ‘a’ has features that are more curved than the rest of the Didot typeface The top of the lowercase ‘t’ has a subtle indent, which also differentiates itself from other Didot letters. Although primarily used for display type, Didot is also often modified to make it more legible for larger bodies of text. In the 1960s and 70s, Didot was often found in advertising. Today, modern variations of the Didot typeface are mostly seen in fashion-oriented magazines, such as Vogue and Harpers Bazaar.

design development: 1 concept

F I R M I N D I D O T,

falling r ai n

began to cut the letters and cast them. H i s b r o t h e r, P i e r r e , l a t e r u s e d t h e type for his printing business in his “Editions du Louvre” series. DIDOT typeface gives text a classic and elegant feel. It is classified as one of thefirst Modern Roman typefaces. Didot is characterized by its high contrast between thick and thin strokes, as well as its thin, unbracketed horizontal serifs and teardrop t e r m i n a l s . T h e combination of hard and soft lines is ultimately what makes

, H

p f

T a

R u 8

! i

‘ U

3 z

E V

I m l g n 7 C G s j L 4 F : c ” w a . ( ) N r i Xn Y ’ K t o h d 1 q Z b 6 ; W S 5 & v 0 P e M x Q J A ? 9 k y

DIDOT

Didot stand out from other typefaces during its era. It has a short x-height, allowing ascenders and descenders to look elongated and therefore more

F I R M I N D I D O T, a p u n c h - c u t t e r, t y p e f o u n d e r, p r i n t e r,

delicate.

DIDOT

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 (“‘,;.:&!?’”)

Modern Roman typefaces. Didot is characterized by

p u b l i s h e r, a n d a u t h o r b o r i n i n 1 7 6 4 , w a s t h e o r i g i n a l

its high contrast between thick and thin strokes,

designer of the Didot font. In 1783, he completed

as well as its thin, unbracketed horizontal serifs

development of this new typeface and began to cut the

a n d t e a r d r o p t e r m i n a l s . T h e combination o f h a r d a n d

l e t t e r s a n d c a s t t h e m . H i s b r o t h e r, P i e r r e, l a t e r u s e d t h e

soft lines is ultimately what makes Didot stand out

type for his printing business in his “Editions du Louvre” s e r i e s. D I D O T T Y P E F A C E g i v e s t e x t a c l a s s i c a n d elegant feel. It is classified as one of the first

from other typefaces during its era. It has a short x-height, allowing ascenders and descenders to look elongated and therefore more delicate.

AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz1234567890 (“‘,;.:&!?’”)

FI RM I wa prin N D s I te r, D O 1 th t y 7 8 3 e o r p u b T, pe i , a l pu fa he gin ish c e a t h e a c o m l d r, a n c h es -c em nd n p . be lete ign d au utt er H er g d t ty a pe is b n t dev of hor , ty fo rot o c elo the bo pe r h he ut pm D rin fou r i t i , “E s p Pi he ent dot in nde di rin err let f o 1 7 6 r, of tio t n e t 4 ns ing , la ers this t. I , t b e du ne n u r an Lo sin use d ca w st uv ess d t re ” s in h he er i ie s s.

falli ng rai

F I R M I N D I D O T, a

p u n c h - c u t t e r,

type

f o u n d e r,

p r i n t e r,

p u b l i s h e r, a n d a u t h o r b o r i n i n 1 7 6 4 , w a s the original designer of the Didot font. In

1783, he completed development of this

new typeface and began to cut the letters

a n d c a s t t h e m . H i s b r o t h e r, P i e r r e , l a t e r used the type for his printing business in

his

“Editions

Louvre”

series.

D I D O T T Y P E FA C E

gives text a classic and elegant feel. It

is classified as one of thefirst Modern

Roman typefaces. Didot is characterized by its high contrast between thick and thin

strokes, as well as its thin, unbracketed horizontal serifs and teardrop terminals. T h e combination o f is

ultimately

out

from

era.

has

ascenders

what

other a

short

and

hard

and

makes

soft

Didot

typefaces

x-height,

descenders

lines stand

during

its

allowing to

look

elongated and therefore more delicate.

DI DO T

Aa Ss BbC c Tt Uu DdE Vv e W FfG wX gH xY h yZ IiJjK z12 34 kLlM 56 78 mNn 90 (“‘ OoP ,;.: p Th &! QqR ?’” gi e D r ) v an es IDO is d e text T t l of cla ega a c ype s Ro the sif nt f las face s i Di ma firs ed eel ic n . by dot ty t M as o It be its is pefa ode ne c th twe hig har ces rn i its n s en t h c act . e o ho th trok hic ntr riz i k ed e te rizo n, an ast u s, Th ard nta nb as w d r r l ha e c op se ack ell o r r t a e mb e r d i s t is a m fs a ed i in m a u l t n d nat nd i i f r k e s m a s o f on a l s . o Di tely t li of du m ne o d r w t o ha in s g her t st hat al s a its an ty l er pef d o an owi sho to d d ng rt x a. I ace ut t s an loo esce asce -he i de d th k e nde nde ght lo lic rs , r e at ref nga s or e. te e d mo re

ABCDEFGHIJKLMNOPQR

abcdefghijklmnopqrstuvwxyz

f all

ing rain F I R M I N D I D O T,

1234567890

a p u n c h - c u t t e r, t y p e f o u n d e r, p r i n t e r, p u b l i s h e r, a n d a u t h o r borin in 1764, was the original designer of the Didot font. In 1783, he completed development of this new typeface and began to cut the letters and cast them. H i s b r o t h e r, P i e r r e , later used the type for his printing business in his “Editions du Louvre” series.

D I D O T T Y P E FA C E

(“‘,;.:&!?’”)

STUVWXYZ

gives text a classic and elegant feel. It is classified as one of thefirst Modern Roman typefaces. Didot is characterized by its high contrast between thick and thin strokes, as well as its thin, unbracketed horizontal serifs and teardrop terminals. T h e combination o f hard and soft lines is ultimately what makes Didot stand out from other typefaces during its era. It has a short x-height, allowing ascenders and descenders to look elongated and therefore more delicate.

final posters

1 p

2 f

T H

R u a

‘

)

E N

j m l z g M D 7 C s ” r F i ( a I . n c P d K h L X , J S Z o 9 ! 6 q e ’ ; t v 4 0 V ? france, 1783 W w 5 x : A b Q Y O

FIRMIN DIDOT,

y a

“The Didot typeface was named after the well-known type and printing family in Paris, France.”

a punch-cutter, type founder, printer, publisher, and author borin in 1764, was the original designer of the Didot font. In 1783 , he completed development of this new typeface and began to cut the letters and cast them. His brother, Pierre, later used the type for his printing business in his “Editions du Louvre” series.

The D I D O T typeface gives a classic and elegant feel. It is classified as one of thefirst Modern Roman typefaces. Didot is characterized by its high contrast between thick and thin strokes, as well as its thin, unbracketed horizontal serifs and teardrop terminals.

DIDOT

The combination of hard and soft lines is ultimately what makes Didot stand out from other typefaces during its era. It has a short x-height, allowing ascenders and descenders to look elongated and therefore more delicate. Today, modern variations of Didot can be seen in fashion-oriented magazines such as VOGUE and Harper’s Bazaar .

f all F I R M I N D I D O T,

ing r ain

a p u n c h - c u t t e r, t y p e f o u n d e r, p r i n t e r, p u b l i s h e r, a n d a u t h o r b o r i n i n 1 7 6 4 , was the original designer of the

Didot font. In 1783, he completed

development of this new typeface and

began to cut the letters and cast them. H i s b r o t h e r, P i e r r e , l a t e r u s e d t h e

type for his printing business in his “Editions du Louvre” series.

DIDOT typeface gives text a classic and elegant feel. It is classified as one of thefirst Modern Roman typefaces. Didot is characterized by its high contrast between thick and thin strokes, as well as its thin, unbracketed horizontal serifs and teardrop t e r m i n a l s . T h e combination of hard and soft lines is ultimately what makes Didot stand out from other typefaces during its era. It has a short x-height, allowing a s c e n d e r s a n d d e s c e n d e r s t o look e l o n g a t e d a n d th e r e f o r e m o r e d e l i c a t e .

DIDOT AaBbCcDdEeFfGgHhIiJjKkLl MmNnOoPpQqRrSsTtUuVv WwXxYyZz 1234567890 (“‘,;.:&!?’”)

n Ro

a si

as si ed c a

th t e r i m a n a s n d ick ze on ele typ s ty d a t g

ee it

xt as

an efa a ce tim b ce th t fe un t h i its in n d s. el e n t h o m a t e ati b . i f D o n ea s ly o r racke strok gh c ido irst a a n s h t h e w h a o f h dr op t e d e s , o n t r t i s o r d t m a as or as de rt x typ ma rd h e a n te -h k e rm o r i z o w e l l t de sce ei fac es d lic nd gh D es so nt i i e n a d a t f o rs du or ,a t l ot f D t e. al l ie in s. st i d To t o l l l o w r i n nt an es da ot o ed in g it is d c a y, m o k g s m o e er as ut n ag lo o a c b d n az .I en in e se ern gat t e ed der e an s su n i var an s d ch n f iat d io H as a ar ns pe s V hio O rs G nBa U E za ar .

l c d e g hi j k f

UVWXY T S u

)

!?’ ”

,;.

(“‘

ra 23

ing

ig pr

te r, de pu bl an si hi is g d c he s be om ne pr r r, br ga ple o in a ot n te f th nd ti a ng he to d e pu au cu de D b u r, t n si Pie t t vel ido hor ch ne rr he op t f bo -cu ss e, o m l tt er la ett en nt. rn in e , hi ter rs t o In in in typ s an f t u “E se hi 17 e f d d s di 64 ou c a t ne ti nd on he st , h , w w t a s e r, t h s t y du pe em yp e th ef . e f L a H ou or is ce vr e” se ri es .

fall

DI DO T

â&#x20AC;&#x153;Creativity is allowing yourself to make mistakes. Design is knowing which ones to keep.â&#x20AC;? Scott Adams

process While working on this project, I spent a lot of time looking up design and layout work to get inspired. There is so much amazing typography and design work out there, and looking at other peopleâ&#x20AC;&#x2122;s examples eventually helped me come up with a clear solution for my design ideas. This project was by far the most stressful and time-consuming assignment of the semester, but in the end, it was also the most rewarding. I was challenged to find a way to combine all of the typographic skills I had learned in the previous months into one poster, while also conveying a concept about the font I had chosen. It was a tough process, but overall I am very satisfied with my work.

Type Like You Mean It was designed, printed, and bound by Cami Manea for Milka Broukhimâ&#x20AC;&#x2122;s Typography 1 class in the fall of 2012. This book was set in Univers and Baskerville typefaces. It was created using InDesign CS6. A lot of blood, sweat, and tears went into my work throughout this semester. I hope you enjoy Type Like You Mean It as much as I enjoyed making it.