The unsung champion behind your perfect design project
by Deborah Elam
Table of Contents Section A
Typography: The Basics Chapter 1: Communicating with Type........7 Chapter 2: Types of Type.............................15 Chapter 3: The Process..............................25 Project 1.......................................................35
Section B Hierarchy
Chapter 4: Type as Design..........................49 Chapter 5: Typographical Hierarchy..........63 Chapter 6: Visual Hierarchy.......................73 Project 2.......................................................81
Section C
Purpose-Driven Design Chapter 7: Branding....................................91 Chapter 8: Composition..............................99 Chapter 9: Putting It All Together.............109 Project 3......................................................121
Section D
Supplemental Materials Appendix A................................................130 Appendix B................................................132 Glossary ...................................................133 Index..........................................................134
Preface
Typography is the unsung hero of graphic design, belittled as “boring” or completely unnoticed in favor of flashier illustrations or photography. However, no design (that features text) is complete without a thoughtful look at typography. This book outlines a beginner’s guide to typography, which is truly the strong, silent type--a bulwark for your design, but often left unappreciated. Type is known as the most passionless part of design. For one thing, we are desensitized to type, as we see it everywhere. Also, people tend to look at type for content, rather than for design. However, it is still important to create type as an image because its imagery registers in the subconscious. It serves as a subtle pinprick at the back of the brain. This book hopes to rectify typography’s underappreciation and honor typography for the role it plays in good design. It follows the progression of my semester in ART 342: Typography with Professor Jacob Cotton, who appears in the text from time to time giving advice on how to improve the projects we completed in class. As the curriculum of our course evolved, so too will the information in this textbook give you the information necessary for gaining the skills to be an adept designer with type. At the beginning of the class, Professor Cotton had us lay out qualities necessary to be a good student and a good designer. As you work through this textbook, the following qualities will help you as well: • proactive • flexible • organized • detail oriented • creative • punctual • driven • thinking critically • collaborative • solving problems • determined • adaptive • focused • reliable • competitive • improving the self • motivated • bold • managing time well
a
Chapter
1
"Everything is design. Everything!" --Paul Rand
Chapter Objectives Typography basics
Typography gender, tone, and mood
Anatomy of type
Ornamentation
Cropping
Expressing emotions with type
Communicating with Type
W
hen we think of communicating with type, what typically comes to mind is the content that the type shows--we read for information, not for the visual effects. However, a lot can be communicated before reading a single word, through aspects of the type such as the typeface, color, weight, and much more. The tone and mood conveyed with typography are an important part of using the written word for its maximum impact. Before experimenting with typography, it is important to understand its basic components in order to utilize them efficiently. One important basic building block of typography is the anatomy of a letter. Letters are composed of both positive and negative space elements. Positive space is where space is filled with shape and value, and negative space is the “empty� space between these shapes. The counter is the amount of negative space within a letterform that is meant to balance the positive space of a letterform.
Terminals and finials are based on how the hand writes--the beginning of a letter is fatter than the end of the letter, like it would be if it was drawn by hand. This makes letters look more natural and pleasing. A slant to parts of the letter can also mimic handwriting, as a slant to the right mimics writing with one’s right hand.
x
Terminal
Finial
Section A | Chapter 1 | 11
W
ith an understanding of a letter’s anatomy, a designer can know which elements are essential and which can be used to explore different style options--for example, the stem of the letter is its most crucial element, indispensable in order to understand the letter itself. However, ascenders or descenders may be less critical, and can be adjusted by, for example, cropping, or cutting off part of a letter. On the word “crop” to the left, for example, you can still understand the word even though part of it has been cut off.
CROP DeF LATE
Other important elements to consider in typography are the basic rules that need to be followed, or, if broken, broken for a purpose. For example, letters adhere to three lines. The X-height is the most important; it is the height for lower case letters. The baseline is the bottom line that letters rest on, with a few exceptions. Descenders like the bottom of p and g go below the baseline. Also, in words like HOW, the O goes slightly below the baseline, and also stop the eye. 0, 3, S, G, C all slightly descend below the baseline and rest above the cap height. The cap height is the top line that upper case letters touch. However, letters and numbers like O, 3, G, etc, that extend slightly beyond the cap height and baseline, add stability. Letters conform to the cap height and the baseline--however, these do not need to be parallel to each other, even though they usually appear that way. They could move in towards each other, or open out, changing the shape of the word and thus imparting a message beyond relying on the meaning of the word. For example, the cap height on the word “deflate” moves lower across the word, illustrating the meaning of the word “deflate.”
Communicating with Type Does your type have gender?
T
ype can communicate gender through its shape and ornamentation. Soft, curved lines express femininity, for example. This relates to our association of women as mothers. These curves can be added to the letters as ornamentation.
feminine
To make type more masculine, we make the letters stronger and more angular. Another way to add masculinity to a letter form is to add weight. Making the lines thicker and bolder increases their weight, making them heavier and drawing the eye.
masculine
Section A | Chapter 1 | 13
What does your type express?
L
etters can express any adjective and any feeling. For example, letters can show fear by fading out parts of the letter form, or aggression by making the letters big, bold, heavy, and blocky.
scary Aggressive Designers adjust the shape of a letterform to create an association in the viewer’s mind that communicates the message they want to send with their type. Often these rely on associations the viewers has with these forms. For example, a bold slanted typeface might rely on viewers’ association with this design in monster movies, or a Western typeface assumes the viewer is familiar with its use in Westerns.
Monsters Western
Chapter
2
"There are three responses to a piece of design--yes, no, and WOW! Wow is the one to aim for." --Milton Glaser
Chapter Objectives Different categories of typefaces
Serif and san serif typefaces
Content Type and Display Type
Humanist and Nonhumanist Type
Handlettering
Types of Type
Typography can be divided into several different categories that are based on different characteristics of the letter forms. One important typography division is that between serifs and san serifs. A serif is a type of ornamentation descended from handwriting, a small line that extends at the end of the strokes on certain typefaces. Typefaces that have these lines are called serif typefaces, while those that do not have them are called san serif.
AaBcCc AaBbCc
S
erif typefaces are known as being more readable. Serifs add stability visually to letters, and some serifs help create more motion to move up. One category of serif typefaces are transitional serifs. These have a higher contrast between thick and thin lines and sharper serifs, creating a dynamic feeling in the letter.
Slab serif is another type of serif. Its thick serifs lead the eye with weight. This typeface is often associated with varsity letters or university materials.
Section A | Chapter 2 | 19
AaBbCc AaBbCc
S
an serif typefaces are more modern. They are more often used for topics such as technology, and are in general more difficult to read than serif typefaces, One category of san serif typefaces is geometric. Geometric typefaces use geometry to determine their size. They are the most unnatural category of typeface, with shapes that could not happen in nature such as perfect circles and right or 45° angles.
An early category of san serif typefaces is called Grotesque. These are characterized by minimal difference in stroke thickness, and were often bold, thick designs suitable for headlines or advertisements.
Types of Type Humanist and NonHumanist Type
T
two other categories of typefaces are humanist and nonhumanist. Humanist typefaces are those that have slant, weight, and weight distribution. They can include either serif or san serif typefaces. They descend from calligraphy, the root language of typography. Calligraphy has a slight slant and differential in thin to thick weights. Because of this they can help us understand how serifs developed,
A
Nonhumanist typefaces have perfect geometry and do not resemble anything written by a human. They are often used for technology and are not as readable as most humanist typefaces, with the major exception of Helvetica. They implement geometrical shapes with 45° or 90° angles.
O
AO
Section A | Chapter 2 | 21
Display and Content Type
T
wo more categories of type include content versus display type. Content type is used for clarity and legibility--it is not meant to be decorative, but merely to be read. The content of the words is the most important aspect of content type, and content typefaces do not have embellishments or ornamentations for this reason, with the expectation of serifs, as content typefaces can be serif or san serif.
This typeface is plain, inexpressive, and easy to read. It is perfect for content type! Display type, on the other hand, is meant to be expressive. The typeface is designed in such a way that the meaning is expressed even without reading the words. These may have lots of embellishment and ornamentation, and just like content type, may be serif or san serif.
This is too expressive to be used for content. therefore, it has to be display type.
Types of Type
Handlettering
One type of display type that is having a comeback right now is handlettering. Handlettering can be either script or print, and has become favored as it is always one of a kind and unique. Handlettering looks more natural since it is written by hand, but it still follows the basic rules of type, such as adhering to the baseline, etc--however, as with all rules, these can be broken with purpose. Most importantly, the type needs to be consistent. To attain this consistency, measuring stem width will determine how wide each letter should be. Measurements are made in “em widths,� based on the letter m, the widest letter in the alphabet.
Section A | Chapter 1 | 23
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Chapter
3
"Type is what meaning looks like." --Max Phillips
Chapter Objectives The Process of design
The Process is a series of steps that piece together the building blocks of a design
Design with purpose
Everything should be done intentionally
The Process
1. Research & Development • Research may be given to you as the client brief. This is the information about the perameters of the design, sizing, etc. It also includes background information on the topic. Outside research may be needed if it is not provided by the client. • Word List--make a list of words you associate with the topic, the client, the intended audience, etc. Keep in mind what A needs to communicate to B, as well as what needs to be expressed. The word list should not just be a list of synonyms, but anything the mind associates with the subject matter--nouns, adjectives, names, etc. At least 50 words are necessary. • Iconography--draw a collection of icons, or symbols, based on the words in your word list. Do not include words, but you can include multiples of some icons, such as different versions of a book. At least 25 icons are necessary. • Color Guide--put together a collection of colors you associate with your word list and iconography, that will help you communicate A to B. Keep in mind the psychology and meaning behind the different colors. • Thematic Guide/Mood Board--gather a collection of textures, patterns, styles, typefaces, tone, lighting, etc--anything else that communicates the message you are trying to convey.
2. Creative Phase
• Thumbnails--rough sketches of your design plan. Compositional thumbs show the overall composition, while elemental thumbs are for only one element of the composition. • Rough Drafts--a more developed hand drawn sketch of the design, always in color. These require thought about color placement and composition. • Semi-Comps/Pre-Crit--a 90% finished product, for one of the final meetings with a client. Minimum of two, maximum of five. • Final/Deliverables--what you deliver to the client.
Section A | Chapter 3 | 29
The Process Color Psychology Guide White--white is either the absence of color or the presence of all colors. It is the purest color, and evokes innocence (such as a wedding dress). Adding white to any color adds its attributes to that color, making it lighter,purer, and more innocent.
Yellow--yellow is the happiest, most joyful color. Its associations are the sun, flowers, etc.
Purple--purple is the color of sophistication. It is associated with royalty because it used to be very rare, making it so expensive only royals could afford to wear it.
Red--red is the color that carries the most meaning. Red is the color of passion, that can be hate or love. Red is highley adaptive, depending on the colors around it.
Section A | Chapter 3 | 31
Black--Black is the absence of all colors or the presence of all colors. It is the heaviest color, bringing to mind nighttime and space. Its associations are masculinity, strength, and aggression. Adding black to any colors adds its attributes to that color, making it heavier and stronger.
Green--green is the most natural color, as we associate it with plants. We feel welcomed by green, such as in a green room where actors get ready to go on stage.
Blue--blue is safe. It is the second most natural color and evokes a sense of purity and health.
Orange--orange is the most unnatural color--animals have not even evolved to see it. It is the most agitating color, hence its use in prison uniforms. It is also easy to see, which is why it is used for traffic cones.
Masters of Design
Martin Schmetzer Martin Schmetzer is a graphic designer who lives in Stockholm, Sweden. He is known for his intricate, hand-lettered logos and designs. He employs ornamentation to achieve the look he wants to represent each brand. Image courtesy of martinschmetzer.com
Chapter 1: Communicating with Type
Project 1: Hand Crafted
CLient brief Select a word from the hat. The student will then do visual research of that word and its definition, learning what aesthetic elements were either unique or widely thought of when hearing the word Hand letter the word using the method they feel most appropriate to communicate the meaning of the word
Use only black and white--no shades or values
The final designs (hand lettered and illustrator rendered) will be mounted side by side. Each piece must be on 6 x 6 white paper, then mounted on 17 x 10 mat board
Word given: Erosion
Word List Sandy Blackened Rigid Shifting Time Change Dirt Mud Avalanche Evolution Grain Rock Boulder Water Eon Slow Downward
Trajectory Flatten Escalate Rust Decay Harden Soften Decompose Deepen Steep Shallow Smooth Rough Slacken Fade Hurtful Pain
Different Gentle Inevitable Lasting Permanent Exposed Jagged Root Worn River Stream Current Glacier Remnant Lessened Fall Gravity
Iconography Tooth Plaque Landform Earth Sea Wave Crumble Break Creak Weathering Cliff Nature Rain Natural Water Sediment
Mood Board
Thumbnails
Thumbnails
Thumbnails
Rough Drafts
These designs are too illustrative. They do not follow the prompt that the letter design should be expressive and not use symbols or illustrations to evoke erosion. Therefore, Professor Cotton helped me select the three most expressive choices to continue to develop for the semi comp stage.
Project 1 | 43
Semi Comps
Most of these were still too illustrative for the assignment. Professor Cotton told me to focus on the metal stamp version on the bottom left, as that one is the most illustrative. I continued to work on different variations of this design.
Semi Comps Revisions
These are my explorations into different variations of this design. Professor Cotton advised me to add a gradation of value using either hatching, cross hatching, or stippling, After trying three different versions, he and I agreed that the stippled version was the best choice.
Final
Here is my final deliverable for Project 1. I got good feedback during the critique. My classmates said the stippling did a good job of expressing gradation from the beginning to the end of the word. Professor Cotton said it was drawn well and expressed erosion effectively. The only problem I had with this design was a problem with the craft of the mat board, which I cut very roughly. Moving forward I had to practice cutting mat board a lot more.
Tutorial Illustrator The last part of Project 1 was to turn our handlettered word into a vector in Illustrator. To achieve this, Professor Cotton taught us how to us the pen tool to create a vector.
To create a vector in Illustrator, use the pen tool. The pen tool makes anchor points. Place the anchor points in the corners of an image or in the center part of a curve. To decide where to place the anchor point, imagine you are driving on the curve. Place the anchor point at the place you would slow down. The fewer anchors you use, the better. A circle, for example, has four anchors.
Each anchor point has a handle. The handle tells how dramatic the curve will be and the direction of the curve. 99% of anchor points are straight up and down, horizontal, or at 45°. Hold the Option key to break the handle if there is a corner or a sharp angle.
Once you place your anchor points with purpose, remove the fill so you can see the shape you have made. Place the last anchor point on the first one you made to complete the path. You can then add a stroke of any color or thickness to the path you have made. To the right is the vector I made of my handwritten design.
B
Chapter
4
"Typography needs to be audible. Typography needs to be felt. Typography needs to be experienced." --Helmut Schmidt
Chapter Objectives Using type as a design element
The shape of a word and shape of a text block
How tracking, kerning, and leading can affect value
The 34 Typographic Sins
Making a master study of Josef Mueller Brockmann posters
Type As Design
One important aspect of typography is the ability to use type not only to communicate the meaning of the words it writes out, but as elements of a design. We have already discussed how letter design and typefaces can evoke meaning and expression, but the shapes of the word or text block are also important elements of a composition.
A
n important factor in composition is weight. A word gains more weight through boldness, or more positive space. As we learned before, making a word or letter heavier also lends it masculinity. A word or block of text can also have weight, by either heavier typefaces or other manipulation of the text--for example, a larger text block becomes heavier.
THIS IS A HEAVY TEXT BLOCK.
Section B | Chapter 4 | 53
A
lso important to keep in mind is the shape of the word. Upper case and lower case letters can change the shape of a word and its visual weight. Uppercase letters all stay on the same level, which can give them a heavier weight but can also make them blocky. An uppercase letter at the beginning of a sentence tells the reader where to start reading, or highlights a specific word to let us know it is a proper noun.
UPPERCASE LETTERS STAY ON THE SAME LEVEL BUT CAN LOOK HEAVY AND BLOCKY. Lower case letters have ascenders and descenders that affect the shape of a word more than if all the letters were upper case. This makes a word easier to read, as we do not really read a word but rather the shape of a word. Therefore, text on a billboard, for example, is more likely to include lower case letters, as their unique shape makes them easy to read at a quick rate. If you are driving by a billboard at 70 miles per hour, a billboard only has about 8 seconds to be read, so it must be easy to decipher. Lower case letters help to grab the information more quickly.
Having both uppercase and lowercase makes text easier to read.
Type As Design
T
he shape of a word is also important in logo design. A designer might use shapes that are similar to a letter shape, such as substituting an “E” with a “3,” to add meaning to their logo design. They might also manipulate the text by removing parts of the letter shapes so they remain readable but have parts missing, such as in the title design of the TV show Hanna.
Other rules of type design include the principle of proximityif something is near to another thing, they become grouped together in our minds. We assume they have similar meaning and give similar information. This is why the date and time are often placed together. This is important to remember when placing blocks of text in a composition, as it could affect the meaning of the design.
Section b | Chapter 4 | 55
I
n addition to factors like shape and proximity, the design factor of type is influenced by its weight. Weight can be added to text with a bold font, but the value and weight of a text block can also be affected by methods such as tracking, kerning, and leading. There is always a certain amount of negative space between letter forms, and the amount of space in between two specific letter forms is known as kerning. The space between all the letterforms in a whole word is known as tracking. Tracking and kerning can be lengthened to make a text block either lighter in value, or they can be condensed to make a text block heavier and denser.
This text has a high tracking, so it is higher in value. This text has a low tracking, so it is lower in value.
Another way to change the weight of a text block is through leading. Leading is the amount of space in between each line of text. The more space in between each line, the lighter, and the less space in between each line, the heavier. These spacings are used to create balance within the type and can affect their place within a composition. It is important, though, to remember not to add too much tracking or leading--too much tracking can cause the word to lose its integrity, and too much leading can cause a text block to lose its adhesiveness--remember the principle of proximity. Keeping the lines of a text block or the letters of a word close enough together that the reader knows they belong together is important to maintain their meaning.
Class Exercise Type Exercise This is an exercise to see how tracking and leading can change the value of a text block. Create two value scales: onethat changes only the leading, one that changes leading and tracking. Create ten text blocks in each value scale.
Deborah Elam ART 342 Typography Professor Cotton 1.10.20
Value Scale with Leading
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Type As Design
T
o see type as an image, we have to dissect the type parts on both micro- and macrolevels. The microlevel of type is the individual letter parts. The macrolevel is focusing on the shape of the paragraph itself. A helpful way to practice looking at type as an image is to look at language you do not know how to read, especially an alphabet you are not familiar with, such as Cyrillic and Sanskrit.
When thinking about designing with type, be careful with the placement of type on the page. It can be helpful to do master studies with images not related to design, such as paintings by artists like Michelangelo, see where the artist placed key objects, and replace those with type. Study other compositions for ideas. Pareidolia is our ability to spot patterns, especially faces, and this is what we are doing with design with type. Focus on thinking about type as shapes, how we can develop different types of compositions by thinking about them as shapes. Combine shape with value for your composition, and then type becomes more than content--it is also image.
Section b | Chapter 4 | 59
W
hen people start practicing making images with type, there are common mistakes that are summarized in the following graphic as the 34 Typographical Sins.
Class Exercise
Type Exercise One school of design in particular is especially helpful when looking at type as value, shape, focal points, visual hierarchy, movement, composition, etc, is the Swiss School of Design. Designer Josef Mueller Brockmann got his ideas from architecture and thought of his ideas as 3D spaces. He uses a grid that is not always very evident, and may even be on a diagonal rather than vertical/ horizontal. He epitomizes the helpful practice of using a visual armory all around you in the world, finding design in everything you see. This is an exercise to use the designs of Josef Mueller Brockmann as inspiration to make two master copy poster designs. Looking at his grid and alignment systems, use the text from an SPVA Instagram post to practice using only text as design.
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The Bi
Chapter
5
"Design is thinking made visible." --Saul Bass
Chapter Objectives Typographic hierarchy
Linear Progression
Semantic Typography
Principle of Typographic Hierarchy
Typographic hIERARCHY
I
f type has expression and exudes emotions, then typographical hierarchy gives order in which the emotions and content are conveyed. A simple example of this is sentence structure--this gives an order to things, so we know which part of the sentence is the subject, the verb, etc. It helps our mind place things in order of importance so we can understand the content better. However, in design, unlike in grammar, that order is not predetermined, but rather manipulated intentionally by the designer. A good example of typographic hierarchy can be seen in restaurant menus. Menus have a clear typographical hierarchy that include a header, subheader, and content that is also broken up into different hierarchies. They have at least five, and often six levels of hierarchy in their menus so the customer and easily view the information to find what is most important for them. The hierarchy level of different pieces of information changes from restaurant to restaurant, depending on their branding and clientele. For example, prices are fairly prominent on a Chili’s menu because their customers are largely middle class families who are concerned about the price of their meal. A higher-end restaurant, on the other hand, might make the prices less prominent or even remove them altogether if price is no object to their clientele. There are five main principles that determine typographic hierarchy. A combination of these elements makes clear levels of hierarchy in a text, making it easier to read and the information easier to consume. These are:
Size Weight Color Isolation Difference
• bigger text is more important • heavier weight, such as bold letters, are more important • color can help text stand out, giving it more importance • standing apart from other text make that part more important • if part of the text looks different, it stands out, giving it more importance. This could include different typeface, vertical vs. horizontal text, cropped text, or anything else that is different from the rest of the text.
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Typographic hIERARCHY
A
lso important in typographic hierarchy is how we read. In the West we read from left to right, so in a design the information from left to right builds on itself. This is known as progressive disclosure, or linear progression. This is important because information can be overwhelming if it is given all at once, so putting it into pieces that are easier to digest makes it easier to understand. Organizing information and constructing design for and based on typographic alignment is known as typographic syntax.
Using the meaning of the words to inform a design is a further way to organize typographic hierarchy. This is called semantic typography, and involves considering the meaning of words and using that as a compositional trait. For example, if you are designing a poster advertising an upcoming artists’ show, aligning the names of the artists with the word “artist” highlights that association in meaning.
featuring
Artists Allen Chen Jacob Cotton
These principles are taught by Tony Pritchard in a video we watched in class called “Typographic Hierarchy.” In this video, he teaches that all design decisions have purpose. He advises that you design based on the information given, not by “vehicle first,” in which you have an idea and make the content fit that idea.
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I
n the image here, Tony Pritchard has arranged the information using semantic typography. He lines the location of the show with the word “Environments,” as these two are related. He also places the artists’ name in line with the word “Typography,” as they are designers known for their typography. We can also see principles of typographic hierarchy at play here:
1. Weight--The words in bold are more important. 2. Isolation--the date and time are alone at the top of the design, drawing our eye since they are important.
Class Exercise Type Exercise This is an exercise to practice applying linear progression and semantic typography in a poster design. Given the text in the posters below, create three designs using these principles and the five main principles of typographical hierarchy.
You’re Invited to: Featuring:
Cotton Chen Marcus Michels Jacob Allen
The 2020 Art + Design Faculty Show at usm.edu/spva September 10, 2020
September 10, 2020 at usm.edu/spva
You’re Invited to:
The 2020 Art + Design Faculty Show
September 10, 2020
Featuring: Jacob Cotton Allen Chen Marcus Michels
You’re Invited to:
The 2020 Art + Design Faculty Show
at usm.edu/spva Featuring: Jacob Cotton Allen Chen Marcus Michels
Chapter
6
"Design is as much an act of spacing as an act of marking." --Ellen Lupton
Chapter Objectives The tenets of visual hierarchy
How type and image elements work together in a design
Real estate in a composition with higher hierarchy
Using character styles for consistency
Visual Hierachy
I
f typographic hierarchy is the order in which we view all the type in a design, then visual hierarchy is the order in which we view all elements of a design, including type and other visual elements. To determine visual hierarchy, follow the same five principles that apply to typographic hierarchy. Type is a visual element, so the only difference is working on the relationship between type and image, not just between different elements of type. Image does not necessarily mean only pictures--visual elements can also include icons, or any other graphical element that type must work with. Determining visual hierarchy includes utilizing the hierarchical space of the composition. For example, on a website the most important part of the page is the upper left area, which is considered “high real estate.� Therefore, any type or visual element placed there will have a high hierarchy. For example, on the NPR.org homepage pictured here, the website logo is on the top left, which also functions as a link to the hompage from any page on the site. This is therefore the most important item on the page.
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T
he relationship between text and visual elements can also affect the hierarchy. The movement of the image and its relationship to other elements on the page can steer the eye and give an element a higher hierarchy. For example, if an image points at something, it has a higher hierarchy.
More Important Less Important It is important when combining type and visual elements to maintain a level of consistency. If every type element has a different typeface or a different size font, for example, the visual hierarchy will be too fragmented and difficult to follow. One method to prevent this from happening is the use of character styles. Character styles are a way to set a specific typeface, tab, font size, color, etc, that can be applied uniformly to any text block that helps keep the hierarchy consistent throughout a design. Character styles can be used in Adobe Indesign, Illustrator, and Photoshop.
Masters of Design
Jake Weidmann Jake Weidmann is a professional artist and certified Master Penman in Denver, CO. He is most well known for his use of traditional calligraphic flourishing and hand lettering in the context of his art. Image courtesy of jakeweidmann.com
Project 2: What's On the Menu
CLient brief Design a restaurant menu
The word you used for Project 1 is the name of your restaurant
Use the handlettered design from Project 1 as the restaurant’s logo
The menu must have at least 4 levels of typographical hierarchy
No photographs, and type must be the primary element and first in the visual hierarchy
At least 6 pages, or three spreads, not counting the front and back covers
Word List Sandy Blackened Rigid Shifting Time Change Dirt Mud Avalanche Evolution Grain Rock Boulder Water Eon Slow Downward
Trajectory Flatten Escalate Rust Decay Harden Soften Decompose Deepen Steep Shallow Smooth Rough Slacken Fade Hurtful Pain
Different Gentle Inevitable Lasting Permanent Exposed Jagged Root Worn River Stream Current Glacier Remnant Lessened Fall Gravity
Iconography Tooth Plaque Landform Earth Sea Wave Crumble Break Creak Weathering Cliff Nature Rain Natural Water Sediment
The word list and iconography are the same as for Project 1, since it is for the same word.
Mood Board and color Guide
ThumbNails
Rough Drafts
I shared these with friends to serve as a focus group. People liked this design’s appearance but found the flaps a little awkward to open and close.
This design was popular, and Cotton encouraged me to keep developing it.
This one was very unpopular, as people were not sure what to do about the flap that the pages tuck into. Also, Professor Cotton thought this was a bit heavy-handed in depicting erosion.
This design was also well liked. People liked the dye cuts in the middle of the page.
The focus group liked this one, but Professor Cotton pointed out that type is not the highest hierarchy.
Semi Comps
For our semi comps we needed two different formats. This is a digital mockup I published on the website Issuu. The downfall of the digital format is that the dye cuts are not depicted here. However, Cotton liked the design, he only suggested I chage the typefaces and add a clearer division in typographic hierarchy.
I also made a physical mock-up for my second semi-comp. I used wood for the binding, and used a descending page layout to depict erosion. I received feedback that the pages felt a little flimsy and that the script on the cover was too ornamental. I decided to use a similar binding to this and use the other page layout for my final.
Final
For the final deliverable we produced a working mockup. I decided to bind the menu using two strips of wood at the top, which I aged with vinegar and steel wool. The menu is for a restaurant Erosion that is a small, higher scale boutique restaurnt that serves locally farmed plant based meals that highlight foods that come from the earth (ie, plants). The dye cuts in the page illustrate the burrowing down into the earth that is the act of erosion. Just as erosion is the result of time, time is an important factor at this restaurant; just as the slogan “savor the earth� suggests, this food is meant to be savored and enjoyed, not rushed through. I got good feedback on this design; Cotton’s only suggestion was that I might explore laser etching the logo into the wood.
C
Chapter
7
"Design is the silent ambassador of your brand." --Paul Rand
Chapter Objectives How to apply purpose-driven design to branding
Typography for brand expression
How to write a slogan
Colors in brand expression
Packaging as branding
Nostalgia as a branding tool
Positive and negative space in branding
Branding
In purpose-driven design, every element of the design has a purpose. This is important when using design to develop a brand. A brand is the idea of something, and we use design to control that idea. There are several ways to develop the voice and brand of something. One technique that expresses the idea of a brand is a logo. A logo does not equal a brand, but it is one device that can express a brand. A logo is an identity, which can be separate from a brand, but can also be an important tool for controlling the idea of a brand, and a designer’s job is to make sure that the identity matches the brand.
How does a designer develop the voice of a brand? One important tool is typography. Expressive typography, the choice of content type, and the content that is actually being typed are all critical components of this expression that utilize the tone of voice for the brand. Designers are hired solely for this purpose, while copywriters write the content for a brand. The two work together for the ultimate brand expression.
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A
nother tool for creating a tone of voice for a brand is a slogan. A slogan can actually be more memorable than a company name or logo. There are a few guidelines for writing a slogan. To come up with a slogan, mine the word list created from the Process.
A slogan is typically five words or less, as the information should be in digestible chunks. One technique for writing a slogan is to use a jingle, in which case more than five words can be used because the music helps make the information digestible. There are four different types of slogans: 1. A descriptor (that describes something). 2. An action slogan (that gets the consumer to act). 3. User injection (that puts the consumer into the slogan). 4. List (the least effective type as they can be very forgettable and also can often be applied to anything, not just the company it is used for. One rare good example of the list slogan is Mastercard.
Branding
A
nother important tool when it comes to branding is color. Colors have psychological baggage that influence people’s feelings and reactions. Some of this baggage is evolutionary, such as our reaction to blue and green from seeing them in nature. Other baggage is cultural, and may change from culture to culture. For example, in China wedding dresses are traditionally red, which in America they are white. Therefore, the meaning behind these colors is different to people in these two different cultures. In addition to colors, a brand can use patterns, texture, and materials to develop its voice.
One tool brands utilize for expression is the act of opening up their product. They make the packaging into a branding expression. If done well, this can evoke gift opening. Opening up something releases the same hormones as lovemaking, giving people a good feeling when they use a product. This is another great example of purposeful design, where every part of a design is done with purpose, even opening and closing. For example, this Worcestershire sauce is wrapped in paper. The act of unwrapping it gives a thrill to the consumer, making them want to buy this product again.
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A
ll of these components of branding can use the powerful tool of nostalgia. Nostalgia uses the psychological value of a memory--if something is in your memory, you have a connection to it that can be emotional and sentimental, and will almost always create a warm association with the thing that evokes your nostalgia. Nostalgia helps with brand value and brand equity and fosters a connection formed from a consumer to a product that will keep that consumer coming back to the same brand. For example, Ford has built a relationship with consumers for years that uses nostalgia to maintain their consumers’ brand loyalty.
Finally, a tool often underutilized by young designers in branding is the use of positive and especially negative space. Positive space in a design is filled by something, whether text, imagery, graphic elements, etc. Everything else can be either negative space or empty space. Empty space is left in a design and has no purpose, it serves no function in a design. Negative space in a design, on the other hand, is intentional and plays an important part in the design. Negative space is important for balance in a composition, to create a counter for the positive spaces. Negative space is used in type design itself within the counters of a letter and the spaces between letters themselves, created with tracking, kerning, and leading. Negative space creates balance and framing in a composition, attracting the eye to a focal point. It also acts as a palette cleanser so the eye can focus on one thing and not get overwhelmed.
Chapter
8
"Good design is obvious. Great design is transparent." --Joe Sparano
Chapter Objectives How to create a composition
Symmetrical design
Asymmetrical design
Grid system
Pacing in composition
Text Alignment
Composition
Creating a composition is an important part of design that must be done, as with all parts of design, with purpose. This is where the designer considers the gestalt, or design of the whole, and places the elements within. The composition applies all the knowledge we have learned so far, type design, typographical and visual hierarchy, weight, positive and negative space, etc. There are basic types of composition that achieve different effects.
1
Symmetry--a symmetrical composition has balance on both sides. This type of design is safe, secure, and stable. It also tends to be static and to move the eye slowly.
Section c | Chapter 8 | 103
2
Asymmetry--this type of design is not balance. It creates dynamic movement and action and drives the design forward at a faster pace than symmetrical design.
3
Grid--a grid design is useful for organizing information, both visual and type. Menus are a common example of grid composition.
4
Golden Ratio--also known as “divine,” this type of design is the most natural and pleasing to our eye. For example, when looking at a sample of designers in Germany designing posters, the vast majority of them made their posters in a golden ration rectangle without intending to, because they thought it was the most pleasing shape.The golden ratio invokes the Fibonacci sequence of numbers (1, 2, 3, 5, 8, etc) (the ratio of 1.6667…… infinity).
Composition Pacing
O
ften a successful design combines these compositions together to create pacing throughout a longer design, such as a book or a magazine. Pacing determines the speed at which a book or magazine is read. You would not want to speed through a book so quickly that your mind is exhausted by the end, but you also do not want to read a book that moves so slowly that you get bored. Therefore, utilizing the different compositions above can help establish a good pace that moves forward at different points and helps the viewer take a “mind breath� at others. For example, a page of asymmetrical composition will be read fairly quickly, while a symmetrical one will be digested more slowly.
There are other mechanisms used within a book design to help establish pacing. Using pacing pages is one method, such as a double page photo that gives the mind a chance to rest. These should be placed in the design with intent, as too many pacing pages in a row can slow the design down too much and make the reader feel like they are not making any headway.
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A
nother mechanism to affect the pacing in a design is called a milepost. A milepost keeps the reader in the book, by making them go backward. Ways to achieve this might be a quiz, a stop and think question, food for thought nugget, fun fact, etc. This creates a moment to pause and reflect on what has been consumed so far.
A diversion is a mechanism that is not as common in book design, as it causes the reader to go outside the book. This causes the reader to look at outside information, media, etc--it might be a link to another article or video, a url to find out more information about a topic, augmented reality like Pokemon Go, or more. Because they take the reader out of a book, though, this device is less common, as it can be hard to ensure that the reader will return to the book.
Composition Book Design Blog
E
xamples of good design flow can be found on the Book Design Blog. The design of this edition of the novel Dracula, for example, shows excellent branding in its color palette, typefaces, illustrations, etc. It also employs pacing pages with full-page illustrations, allowing readers to take their time as they read, unlike most novels that have only text.
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Text Alignment
T
o shape the body of a text, there are different alignment systems you can use: left, center, and right. Left aligned is the most common, as we read from left to right. The eye works like a typewriter, going to the end of the line and then back to the beginning. Center aligned text is used rarely, for things like wedding invitations, a phone number at the bottom of a poster, etc. Right aligned text is used even more rarely, to highlight special information.
Riberum et quasperovid quis accum dolecte exces quis earchit omnienit perit, nos con nonsendae volupta tendand ipiendu cimpor susciasped quia et.
Riberum et quasperovid quis accum dolecte exces quis earchit omnienit perit, nos con nonsendae volupta tendand ipiendu cimpor susciasped quia et.
Riberum et quasperovid quis accum dolecte exces quis earchit omnienit perit, nos con nonsendae volupta tendand ipiendu cimpor susciasped quia et.
Another way to handle the shape of a text block is justification. Justification makes all lines extend to the same point on both ends of a block of text, adding more space within the line of text to make that possible. There are three type of justification: left, center, and right aligned. The difference between these three though only shows on the last line, as the other lines of text all extend to the end of both sides of the block. Justification is dangerous to use though because it can create rivers, or lines of space through a text block, and widows and orphans. Widows are a single word left on the last line of a paragraph, and an orphan is a single word left on a new page or column.
Riberum et quasperovid quis accum dolecte exces quis earchit omnienit perit, nos con nonsendae volupta tendand ipiendu cimpor susciasped quia et.
Riberum et quasperovid quis accum dolecte exces quis earchit omnienit perit, nos con nonsendae volupta tendand ipiendu cimpor susciasped quia et.
Riberum et quasperovid quis accum dolecte exces quis earchit omnienit perit, nos con nonsendae volupta tendand ipiendu cimpor susciasped quia et.
Composition
O
ne designer famous for his innovative use of designing with type was Aldous Manutius. He wrote a book called the Hypnerotomachia Poliphili, an incunabula or early printed book, that used compositions about 500 years ahead of its time, His was the first use of text blocks to create movement and interest. He also used drop caps, which are also used in this book. A drop cap is when the first letter of a paragraph is larger than the others to direct the eye to where the text begins. You can also have a drop phrase that makes a whole phrase larger.
Chapter
9
"To design is to plan, to order, to relate, and to control. In short, it opposes all means of disorder and accident." --Emil Ruder
Chapter Objectives How to put the pieces of this book together for a complete design
Prepare for the final assignment of designing a textbook
Think about book organization
InDesign Tutorial
Production tips
Bookbinding Tutorial
Putting It All Together
Everything we have learned in this book so far adds up to the study of Typography and designing with type. What we have learned so far will be gathered into our final project, a typography textbook. This chapter gives the final steps in how to put that project together.
The Hypnerotomachia Poliphili and examples from the Book Design Blog can serve as an inspiration for interesting composition and pacing, When putting together our book design, we should think about alignment systems, whether to use symmetrical or asymmetrical compositions. where to use drop caps, etc.
There are two important things to consider when putting a book together: the gutter and the creep. The gutter is the margin in the middle of the book, while the creep is the margin on the outside edge of the book. Elements of the design can go into the gutter and creep, but it must be done intentionally, keeping in mind that anything that goes in the gutter will lose part of its visibility, so it should not be anything essential.
Most of all, work with intentional, and remember that every part of a design must be done with purpose. Then remember the different tools at your disposal--cropping, dye cuts, embossing, drop caps, etc--and make an interesting design.
Section c | Chapter 9 | 113
Organization is another important element when designing a book. Think about the chunks of information that will be in your book, and how you want to organize these different chunks.
A book should be easily searchable. In addition to a table of content and index, that give the page number of the contents, a book could have tab cutouts for different sections of the book or block creeps that make sections of the creep a certain color to tell the reader what section it is.
The order of the book should be in linear progression and should progress according to logic. Leaving breadcrumbs on the page also helps for keeping the information organized and helping the reader know where they are in the linear progression. Breadcrumbs are common on websites, where they trace the path back to the main page. This book has breadcrumbs in the top right corners, telling the reader what section, chapter, and page number they are on.
In addition to linear progression, a book can be organized according to the reader’s choice, such as a Choose Your Own Adventure novel. However, this is too confusing for a textbook. Also, the information in a book can be very closely organized, even down to each verse, but only if each small piece of information is very important, such as in the Bible.
Putting it all together InDesign Tutorial Professor Cotton gave us a tutorial in InDesign on how to create Master Pages to put a book together. When designing a long book, create a few master pages and then resue them. Make about 6-8 spreads. This creates consistency throughout. Design your book in bite size chunks. Think about the section pages, chapter pages, pacing pages, and content or lecture pages. Use your Pages, Character, Character Styles, Paragraph Styles, Layers, Links, and Properties windows. Character styles are useful to create a consistent display type throughout your design, but should not be used for content. For consistent content type use paragraph styles. These are used for a set of type and have more options for treating a block of text.
Here you can set up your master pages. Then you can apply these pages to spreads throughout the book, and put in individual content in each master format for consistency.
It is also important to know how to package your design for the printers. Go to File-Package-Observe Important Information. This will let you review your fonts, links, etc, and create a package folder. The package folder will include the idml, indd, pdf, document fonts, and document images.You can print files that are Jpeg, Tiff, and PDF.
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Section c | Chapter 9 | 115
Production
A
designer must think of all variables. For example, how will the cover of the book be made? What kind of paper will the book use? Two brands that make good paper are Mohawk and Neenah. Will the pages be printed on front and back? Will the book be in color or black and white? Will it use any alternative methods like dye cuts, embossing, or trifolds? Will there be pages of different sizes?
Most importantly, have backups for every plam you have for your book. To prepare your book, go through these steps: rough drafts, master spreads, pacing pages, placing information, feedback, proofread, and print. Then you will be done!
Putting it all together Bookbinding Tutorial
O
ne of the last steps of putting your book together is binding the book. For this book the binding needs to be perfect, which can be confused with coptic or long stitch binding. However, these two use thread, while perfect binding only uses glue. Gather these supplies:
• a book press, or at least two pieces of wood and enough weight to create pressure between them • PVA, or polyvinyl acetate, is a liquid plastic glue. You can also use rabbit skin glue like people did before PVA was invented. • a tool to apply the PVA with, like a brush • your text block, also known as the page block • a snapblade • binder clips • if you are doing a hardcover, you also need the cover fabric or paper, and a backing, that can be something like mat board or Davey board.
Put the text block in the book press, then cut channels across the spine. Apply a thin coat of PVA, then wait at least 2-4 hours for it to dry. If you try to reapply before the coat is dry, it will create crumbs. If you are doing a softcover book, once the text block is finished glue the cover one. If you are doing a hardcover book, cut the backing into three pieces for the front and back cover and the spine, and glue to the cover fabric. Allow enough space for the cover fabric to fold around the backing. Cut the corners off the cover fabric at a 45° angle for a neater fold. After the cover is attached to the backing, put the perfect bound text block flush against the spine and glue them together. Remember that a hardbound book is not flush with the text block but has a lip.
Section c | Chapter 9 | 117
Masters of Design
Helmut Schmidt Helmut Schmidt was born on February 1, 1942 in Ferlach, Austria. He apprenticed as a typesetter in Germany and continued his education at the Basel School of Design in Basel under Emil Ruder, Robert Buechler, and Kurt Hauert. He has written numerous essays on typography for international magazines including the Typografische Monatsblätter, Idea, baseline, Grafisk Revy, and Novum. Helmut Schmid died July 2, 2018 in Osaka. Image courtesy of designculture.it
Project 3: It's All In the Book
CLient brief Put together everything from the whole semester--lecture notes, projects, etc
Assemble that material into a textbook
The cover of the book must contain a title, created by the student
Book must contain a table of contents, glossary, index, appendices, and preface
Turn in a final bound version of the project
Word List
Iconography
Mood Board and Color Guide
Thumbnails
For the thumbnails, we cut them out and moved them around to visualize the pacing. We made many different kinds of spreads for each page type in our book.
Rough Drafts
For our rough drafts, we made cut out paper versions of our spreads and put them on the wall so we could visualize the pacing.
Semi Comps
For the semi comp, I put together the book spread into a pdf and uploaded it onto Issuu. Here are a few spreads from that publication. My main problems were with alignment, so I I had to go back and make sure different elements were aligned well with each other and within the composition,
Final
Supplemental Materials
Appendix A Exploring Typefaces
Serif Adobe Garamond
Easy to read for people with dyselxia
A more feminine version of a slab serif
Baskerville
Most read typeface on the planet because it is the standard typeface for the King James Bible
appendix a | 131
San Serif Futura
Used on the Voyager spaceship so potential aliens think humans are advanced--also used on the plaque on the moon; geometric typeface
Made by the same designers who designed Archer typeface
Optima
A san serif typeface that has flairs like a serif, but is not a serif
Century Gothic
Geometric typeface used by JJ Abrams
Helvetica
Designed to be the most legible typeface, even though it is a san serif. Was creted to best the previously most readable typeface, Aksidenz Grotesk
Most readable typeface before Helvetica was designed, and the typeface Helvetica was designed to compete with
Appendix B Designers of Note Andy Altmann
Andy Altmann is the Co-founder of the multidisciplinary design group Why Not Associates, a group celebrated for its creative and experimental approach to design.
Saul Bass
Saul Bass was a prominent American graphic designer of the twentieth-century. He largely designed motion picture title sequences, corporate logos and movie posters.
Ruedi Bauer
Franco-Swiss Multidisciplinary Graphic Designer.
Margo Chase
Margo Chase was an American graphic designer known for her eclectic and experimental design style. Chase was prolific – with a career bridging the graphic design field’s transition from the analog to the digital era,
Milton Glaser
Milton Glaser was an American graphic designer. His designs include the I Love New York logo and the psychedelic Bob Dylan poster.
Armin Hofmann
Armin Hofmann is a Swiss graphic designer. He began his career in 1947 as a teacher at the Allgemeine Gewerbeschule Basel School of Art and Crafts.
Ellen Lupton Ellen Lupton is a graphic designer, curator, writer, critic, and educator. Known for her love of typography. Aldus Manutius Aldus Pius Manutius was an Italian humanist, scholar, educator, and the founder of the Aldine Press. Josef Mueller-Brockman
Josef Müller-Brockmann was a Swiss graphic designer and teacher.
Paul Rand Paul Rand was an American art director and graphic designer, best known for his corporate logo designs, including the logos for IBM, UPS, Enron, Morningstar, Inc., Westinghouse, ABC, and NeXT. Emil Ruder
Emil Ruder was a Swiss typographer and graphic designer.
Helmut Schmid
Helmut Schmid is one of the finest typographers worldwide. Born in Austria as a German citizen, he was apprenticed as a typesetter.
Wolfgang Weingart
Wolfgang Weingart is an internationally known graphic designer and typographer. His work is categorized as Swiss typography.
Ann Willoughby
Ann Willoughby is an American graphic designer and founder of Ann Willoughby & Associates based in Kansas City.
Glossary Anatomy different parts of a letter Anchor Point point on a line created by the pen tool in Illustrator Asymmetry uneven, not relfected across an axis Base line bottom line that letters rest on Brand identity of a company, person, etc Calligraphy visual art of writing, root language of typography Cap height top line that a typeface’s flat capital letters rest against Content type typefaces used for body content, inexpressive Counter negative space within letters, such as the middle of the o Cropping when part of a letter is cut off Display type typefaces used for titles or other display Diversion pacing mechanism in a book that takes the reader out of the book, such as a URL, etc Font the combination of a typeface, size, type, etc Grid system of composition Humanist category of typefaces related to handwriting that look natural Iconography set of symbols Linear progression when information flows from beginning to end Logo a graphic mark used for branding Milepost pacing mechanism in book design that pauses the reader to slow the pace Negative space deliberate space not filled with anything Nonhumanist family of typefaces characterized by unnatural geometric shapes Nostalgia a feeling of connection to something in the past, used for branding Ornamentation additional marks added to letters for expressiveness Pacing the rate at which something is read Pen Tool tool in Illustrator used to create vectors Positive space space filled with something PVA polyvinyl acetate, or liquid plastic glue, used in bookbinding San serif family of typefaces defined by lack of serif Script cursive typeface Serif a slight projection finishing off a stroke of a letter in certain typefaces Slab serif category of serif typefaces defined by thick, bold serifs Slogan a short phrase attached to a product or brand Spine the main curved stroke of a lowercase or capital S Symmetry a compositional type that reflects across an axis Typeface a design of type Typographical hierarchy order in which the eye reads different elements of type in a design Typographic syntax method of placing pieces of type in a design based on their meaning Weight heaviness or thickness of an element in a composition Vector graphic made of points, lines, cruves, and shapes, that can be cahnged to any size Visual Hierarchy order of importance of all elements of a design X Axis middle line that goes through capital letters and that lower case letters rest against
Index A Aldus Manutius........................ 108
Alignment................................. 106 Anatomy.................................... 10, 11 Anchor Points........................... 4 Asymmetry............................... 95
B Baseline.................................... 11, 22
H Handlettering............................ 22 Humanist................................... 20
R Real Estate................................ 75, 76 Research................................... 28 Rivers........................................ 106
IIconography.............................. 28, 37 S Isolation..................................... 66 San Serif.................................... 18-21
Schmetzer, Martin.................... 32-33 Schmidt, Helmut...................... 50 Binding...................................... 116 Script......................................... 22 Brand......................................... 94-106 Semantic Typography.............. 68 Justification............................... 106 Semi-Comps............................. 28, 43, 89 Serif........................................... 18-21 Shape......................................... 51-55 Calligraphy................................ 18 Kerning...................................... 50 Size............................................ 66 Cap height................................. 10, 11 Slab Serif................................... 18 Color.......................................... 28-31, 96 Slogan....................................... 95 Composition.............................. 102Leading..................................... 50, 55-57 Spine Content Type............................. 21 Stem Width............................... 22 Linear Progression.................. 68-70 Counter...................................... 10 Symmetry................................. 94 Logo........................................... 94 Creep......................................... 113 Cropping.................................... 11
C
Issuu.......................................... 87
J
K L
D Difference.................................. 66
M Master Pages............................ 114
TTerminals.................................. 10
Thumbnails............................... 28, 39-41 Tracking..................................... 50, 55-57 Transitional............................... 18 Typeface Typographic Hierarchy............. 65-71, 94
Display Type.............................. 21 Diversion................................... 105
Milepost..................................... Mock-ups.................................. 86 Joseph Mueller-Brockmann... 60-61
Empty Space............................. 97 Expressive Type........................ 96
Nonhumanist............................ 20 Nostalgia
Finials........................................ 10 Focus Group.............................. 86
Ornamentation......................... 12, 13, 21 Vector......................................... 46 Visual Hierarchy....................... 75-77, 94 Orphan....................................... 106
Geometric.................................. 19 Grid............................................ 103 Grotesque.................................. 19 Gutter......................................... 112
................................................... 104-105 Widow........................................ 106 Word List................................... 28 Pen Tool..................................... 46 Positive Space.......................... 10, 97 Production................................. 115 Process..................................... 27-29 X-height..................................... 11
E Em Width................................... 22
N Negative Space......................... 10, 97
F Font
O Organization............................. 113
G Golden Ratio............................. 103
W P Weight....................................... 12, 52-55, Pacing........................................ 94-95,
U User Injection........................... 95
V Value.......................................... 55-57
X