Typography Fundamentals Portfolio Book by Dina Dobrolyubova

T OG P

Y R H

P A Y

CONTENTS

Contents

PROJECT 01/ CHARACTER SET

PROJECT 04/ 4.2 TEXT, COLUMN GRID

PROJECT 02/ TYPE ANATOMY POSTER

PROJECT 04/ 4.3 HIERARCHY, MODULAR GRID

PROJECT 03/ TYPESETTING

PROJECT 05/ TYPE CLASSIFICATION POSTER

PROJECT 04/ 4.1 PARAGRAPH INDICATORS, MANUSCRIPT GRID

PROJECT 06/ SWISS DESIGNER REASEARCH

HARACTE 4

CHARACTER SET POSTCARDS

Character Set

Objective Create 9 letterforms of an original typeface withing given parametrs. Letters should based on the strokes that work together as a set. Create 3 different postcardts variation such a solid color, black and white and patterned. Final drawings of each character should fit in approximately 1.25 inches square and should be presented as a 4x6 standard postcard size.

Approach I created letterforms using geometric shapes such as a triangle, circle, and rectangle. Seven letterforms are similar to the English alphabet, and two are invented. The idea is to make letterforms one family, so I tried to make them the same size and use the circle as a constant element in each letter.

CHARACTER SET POSTCARDS / PROJECT 1

CCORDIO 8

TYPE ANATOMY POSTER AND ACCORDION BOOK

Type anatomy poster and accordion book

Objective Introduce type terminology. Identify the structural aspects of type. Label the different kinds of strokes, junctions, and negative spaces used to create letterforms. Identify a variety of different shaped terminals and serifs. Increase awareness of letterforms and glyphs. Gain layout skills: hierarchy, negative space, focal point, and impact. Use the typeface Adobe Garamond Pro. Choose more than 20 anatomical words.

Approach I worked on an 11x17 inches paper size using Adobe Garamond typeface. To label parts of the letterforms, I chose the orange color. An excellent tool Adobe Kuler helped me to pick colors for orange. In the upper half of the poster, I focused on the Garamond typeface itself, on its anatomy, and at the bottom of the poster, I showed the most common anatomical words. For the accordion book, I chose the same color palette as for the poster. To display type terminology, I placed different types of letters in the accordion book and indicated their elements in orange.

010

TYPE ANATOMY POSTER / PROJECT 2

011

ACCORDION BOOK / PROJECT 2

YPESETTI 14

O3 TYPESETTING

Typesetting

Objective Understand typesetting rules. Demonstrate accurate and accurate and aesthetically pleasing typesetting. Recognize how different type treatments and alignments require unique handling of type. Produce 4 pages of typesetting with colophones. Each page showing one of these alignments: Set Left, Set Right, Justify, Center. Use typeface Adobe Garamond for the text.

TYPESETTING / PROJECT 3 / SET LEFT TYPE

LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve well-chosen letters; these in their turn deserve to be set with affection, intelligence, knowledge and skill. Typography is a link, and it ought, as a matter of honor, courtesy and pure delight, to be as strong as others in the chain. Typography is just that: idealized writing. Writers themselves now rarely have the calligraphic skill of earlier scribes, but they evoke countless versions of ideal script by their varying voices and literary styles. To these blind and often invisible visions, the typographer must respond in visible terms. In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages they must occupy, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles. Simple as it may sound, the task of creative non-interference with letters is a rewarding and difficult calling. In ideal conditions, it is all that typographers are really asked to do and it is enough. â&#x20AC;&#x201D;Robert Bringhurst, The Elements of Typographic Style.

FLUSH LEFT/RAGGED RIGHT, GARAMOND PRO 8/12, +20 TRACKING

TYPESETTING / PROJECT 3 / SET RIGHT TYPE

FLUSH RIGHT/RAGGED LEFT, GARAMOND PRO 8/12, +20 TRACKING

TYPESETTING / PROJECT 3 / SET CENTERED

LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve well-chosen letters; these in their turn deserve to be set with affection, intelligence, knowledge andskill. Typography is a link, and it ought, as a matter of honor, courtesy and pure delight, to be as strong as others in the chain. Typography is just that: idealized writing. Writers themselves now rarely have the calligraphic skill of earlier scribes, but they evoke countless versions of ideal script by their varying voices and literary styles. To these blind and often invisible visions, the typographer must respond in visible terms. In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages they must occupy, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles. Simple as it may sound, the task of creative non-interference with letters is a rewarding and difficult calling. In ideal conditions, it is all that typographers are really asked to do and it is enough. â&#x20AC;&#x201D;Robert Bringhurst, The Elements of Typographic Style.

CENTERED, GARAMOND PRO 8/12, +20 TRACKING

TYPESETTING / PROJECT 3 / SET JUSTIFIED

JUSTIFIED ALIGNMENT, GARAMOND PRO 8/12, +20 TRACKING

OMPOSITI 20

TYPE COMPOSITION

4.1 Paragraph indicators, Manuscript grid Objective Explore the typographic diffirences in the following five ways of indicating paragraphs: Indent, Hanging indent, Extra leading, First world and First sentence. Use only a one column grid and one kind of indicator per page. Set the type either flush left or justified. Use text size between 7 and 10 points.

PARAGRAPH INDICATORS, MANUSCRIPT GRID / PROJECT 4 /INDENT

Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets,painters and designers after him to state their principles in compact, incendiary speech. A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function—they serve to bring together members of a group. Ten years ago, Bruce Mau published his “Incomplete Manifesto,” written as a list of commandments. These principles became the established creed of Mau’s own design office, but they can be used by anyone. Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals. Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of all social, political and military systems, pushed designers to create “intensely glamorous environmentally sound products; entirely new objects of entirely new materials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Also in 2000, Rick Poynor published the “First Things First 2000” manifesto, based on a text written by Ken Garland in 1964, a controversial document that called for designers to use their skills to improve environmental, social and cultural life rather than to sell hair gel and dog biscuits. —excerpted from Manifesto Mania by Ellen and Julia Lupton.

PARAGRAPH INDICATORS, INDENT, LORA 8/10

PARAGRAPH INDICATORS, MANUSCRIPT GRID / PROJECT 4 HANGING INDENT

Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state their principles in compact, incendiary speech. A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function—they serve to bring together members of a group. Ten years ago, Bruce Mau published his “Incomplete Manifesto,” written as a list of commandments. These principles became the established creed of Mau’s own design office, but they can be used by anyone. Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals. Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of all social, political and military systems, pushed designers to create “intensely glamorous environmentally sound products; entirely new objects of entirely new materials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Also in 2000, Rick Poynor published the “First Things First 2000” manifesto, based on a text written by Ken Garland in 1964, a controversial document that called for designers to use their skills to improve environmental, social and cultural life rather than to sell hair gel and dog biscuits. —excerpted from Manifesto Mania by Ellen and Julia Lupton.

PARAGRAPH INDICATORS, HANGING INDENT, CASLON PRO 10/12

PARAGRAPH INDICATORS, MANUSCRIPT GRID / PROJECT 4/FIRST SENTENCE

Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state their principles in compact, incendiary speech. A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function—they serve to bring together members of a group. Ten years ago, Bruce Mau published his “Incomplete Manifesto,” written as a list of commandments. These principles became the established creed of Mau’s own design office, but they can be used by anyone. Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals. Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of all social, political and military systems, pushed designers to create “intensely glamorous environmentally sound products; entirely new objects of entirely new materials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Also in 2000, Rick Poynor published the “First Things First 2000” manifesto, based on a text written by Ken Garland in 1964, a controversial document that called for designers to use their skills to improve environmental, social and cultural life rather than to sell hair gel and dog biscuits. —excerpted from Manifesto Mania by Ellen and Julia Lupton.

PARAGRAPH INDICATORS, FIRST SENTENCE, ACUMIN PRO 9/13

PARAGRAPH INDICATORS, MANUSCRIPT GRID / PROJECT 4/ FIRST WORD

Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the

Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as we know it today if F. T. Marinetti hadn’t

published his manifestos and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state their principles in compact, incendiary speech.

A manifesto is a short document that “manifests” or makes public a set of ideas and

goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally

oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos”

to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way.

Designers seem especially drawn to manifestos. A well-written manifesto is like a

well-designed product. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing

a novel. Manifestos typically have a social function—they serve to bring together members of a group.

Ten years ago, Bruce Mau published his “Incomplete Manifesto,” written as a list of

commandments. These principles became the established creed of Mau’s own design office, but they can be used by anyone. Other designers with intriguing and influential

personal manifestos include product designer Karim Rashid and the infamous posttypographers Bruce Willen and Nolen Strals.

Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which is the epicenter of manifesto-writing today. Sterling, in addition

to demanding an overhaul of all social, political and military systems, pushed designers to create “intensely glamorous environmentally sound products; entirely new objects

of entirely new materials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Also in 2000, Rick Poynor

published the “First Things First 2000” manifesto, based on a text written by Ken Garland in 1964, a controversial document that called for designers to use their skills to improve environmental, social and cultural life rather than to sell hair gel and dog biscuits. —excerpted from Manifesto Mania by Ellen and Julia Lupton.

PARAGRAPH INDICATORS, FIRST WORD, HELVETICA 9/12

PARAGRAPH INDICATORS, MANUSCRIPT GRID / PROJECT 4/EXTRA LEADING

Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state their principles in compact, incendiary speech. A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function—they serve to bring together members of a group. Ten years ago, Bruce Mau published his “Incomplete Manifesto,” written as a list of commandments. These principles became the established creed of Mau’s own design office, but they can be used by anyone. Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals. Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of all social, political and military systems, pushed designers to create “intensely glamorous environmentally sound products; entirely new objects of entirely new materials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Also in 2000, Rick Poynor published the “First Things First 2000” manifesto, based on a text written by Ken Garland in 1964, a controversial document that called for designers to use their skills to improve environmental, social and cultural life rather than to sell hair gel and dog biscuits. —excerpted from Manifesto Mania by Ellen and Julia Lupton.

PARAGRAPH INDICATORS, EXTRA LEADING, GEORGIA 9/12

TYPE COMPOSITION / PROJECT 4 / PARAGRAPH INDICATORS/ FIRST WORD

OMPOSITI 28

TYPE COMPOSITION

4.2 Text, Column Grid

Objective Explore these three methods of indicating the beginning of a text: Initial Cap, Drop Cap, First Paragraph. Try at least one serif and one sans serif face. Explore different styles to help create emphasis, such as bold, italic, light, condensed, etc. Use only a column grid. Use text size between 7 and 10 points.

TEXT, COLUMN GRID / PROJECT 4/ INITIAL CAP

Karl Marx had one. The Unibomber had

one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state their principles in compact, incendiary speech. A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel.

Manifestos typically have a social function—they serve to bring together members of a group. Ten years ago, Bruce Mau published his “Incomplete Manifesto,” written as a list of commandments. These principles became the established creed of Mau’s own design office, but they can be used by anyone. Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals. Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of all social, political and military systems, pushed designers to crate “intensely glamorous environmentally sound products; entirely new objects of entirely new materials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Also in 2000, Rick Poynor published the “First Things First 2000” manifesto, based on a text written by Ken Garland in 1964, a controversial document that called for designers to use their skills to improve environmental, social and cultural life rather than to sell hair gel and dog biscuits.

—excerpted from Manifesto Mania by Ellen and Julia Lupton

COLUMN GRID / INITIAL CAP, LORA 9/11

TEXT, COLUMN GRID / PROJECT 4/ DROP CAP

arl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state their principles in compact, incendiary speech. A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing

an ad than writing a novel. Manifestos typically have a social function—they serve to bring together members of a group. Ten years ago, Bruce Mau published his “Incomplete Manifesto,” written as a list of commandments. These principles became the established creed of Mau’s own design office, but they can be used by anyone. Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous posttypographers Bruce Willen and Nolen Strals. Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which is the epicenter of manifestowriting today. Sterling, in addition to demanding an overhaul of all social, political and military systems, pushed designers to create “intensely glamorous environmentally sound products; entirely new objects of entirely new materials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Things First 2000” manifesto, based on a text written by Ken Garland in 1964, a controversial document that called for designers to use their skills to improve environmental, social and cultural life rather than to sell hair gel and dog biscuits.

—excerpted from Manifesto Mania by Ellen and Julia Lupton

PARAGRAPH INDICATORS, DROP CAP, HELVETICA 9/12

TEXT, COLUMN GRID / PROJECT 4/ FIRST PARAGRAPH

established creed of Mau’s own design office, but they can be used by anyone. Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals. Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which is the epicenter of manifestowriting today. Sterling, in addition to demanding an overhaul of all social, political and military systems, pushed designers to create “intensely glamorous environmentally sound products; entirely new objects of entirely new materials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Also in 2000, Rick Poynor published the “First Things First 2000” manifesto, based on a text written by Ken Garland in 1964, a controversial document that called for designers to use their skills to improve environmental, social and cultural life rather than to sell hair gel and dog biscuits.

—excerpted from Manifesto Mania by Ellen and Julia Lupton

COLUMN GRID / FIRST PARAGRAPH, TAHOMA 9/12

OMPOSITI 34

TYPE COMPOSITION

4.3 Hierarchy, Modular Grid

Objective Typeset the text including title, subtitle and byline and show three levels of typographic hierarchy. Typeset pages using any of the variables of placement , size, weight style, or tonal value to show the levels of hierarchy. Turn auto-hyphenation on. Kern display type and use visual alignment if necessary. Try to use only a modular grid for this exercize.

HIERARCHY, MODULAR GRID / PROJECT 4

Verbal and Visual Equations

An examination of interactive signs excerpted from Typographic Design: Form and Communication - Ben Day and Philip Meggs

Language, in any of its many forms, is a selfcontained system of interactive signs that communicates ideas. Just as elocution and diction enhance and clarify the meaning of our spoken words, typographic signs can be manipulated by a designer to achieve more lucid and expressive typographic communication. Signs operate in two dimensions: syntactic and semantic. When the mind is concerned with the form of a sign, it is involved with typographic syntax. When it associates a particular meaning with a sign, it is operating in the semantic dimension. All objects in the environment can potentially function as signs, representing any number of concepts. A smog-filled city signifying pollution, a beached whale representing extinction, and confetti

implying a celebration —each functions as a sign relating a specific concept. Signs may exist at various levels of abstraction. A simple example will illustrate this point. Let us consider something as elemental as a red dot. It is a sign only if it carries a particular meaning. It can represent any number of things: balloon, ball, or Japanese flag. The red dot can become a cherry, for example, as the mind is cued by forms more familiar to its experience. The particular syntactic qualities associated with typographic signs determine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a large void may signify isolation. These qualities, derived from the operating principles of visual hierarchy

and ABA form, function as cues, permitting the mind to form concepts. Simple syntactic manipulations, such as the repetition of letters, or the weight change of certain letters, enable words visually to mimic verbal meaning. In language, signs are joined together to create messages. Words as verbal sign, grouped together in a linear fashion, attain their value vis-à-vis other words through opposition and contrast. Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in a nonlinear manner, with elements existing in many syntactic combinations.

HIERARCHY, MODULAR GRID / SCALE CHANGE, STYLE CHANGE / ACUMIN PRO

HIERARCHY, MODULAR GRID / PROJECT 4

Verbal and Visual Equations An examination of interactive signs excerpted from Typographic Design: Form and Communication — Ben Day and Philip Meggs

Language, in any of its many forms, is a self-contained system of interactive signs that communicates ideas. Just as elocution and diction enhance and clarify the meaning of our spoken words, typographic signs can be manipulated by a designer to achieve more lucid and expressive typographic communication. Signs operate in two dimensions: syntactic and semantic. When the mind is concerned with the form of a sign, it is involved with typographic syntax. When it asso– ciates a particular meaning with a sign, it is operating in the semantic dimension. All objects in the environment can potentially function as signs, representing any number of concepts. A smog-filled city signifying pollution, a beached whale representing extinction, and confetti implying a celebra-

tion—each functions as a sign relating a specific concept. Signs may exist at various levels of abstraction. A simple example will illustrate this point. Let us consider something as elemental as a red dot. It is a sign only if it carries a particular meaning. It can represent any number of things: balloon, ball, or Japanese flag. The red dot can become a cherry, for example, as the mind is cued by forms more familiar to its experience. The particular syntactic qualities associated with typographic signs determine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a large void may signify isolation. These qualities, derived from the operating principles of visual hierarchy and ABA form,function as cues, permitting the mind to form concepts.

Simple syntactic manipulations, such as the repetition of letters, or the weight change of certain letters, enable words visually to mimic verbal meaning. In language, signs are joined together to create messages. Words as verbal sign, grouped together in a linear fashion, attain their value vis-à-vis other words through opposition and contrast. Words can also evoke meaning through mental asso–ciation. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in a nonlinear manner, with elements existing in many syntactic combinations.

HIERARCHY , MODULAR GRID / SCALE CHANGE, STYLE CHANGE + TYPEFACE / MYRIAD PRO+CHAPARRAL PRO

HIERARCHY, MODULAR GRID / PROJECT 4

Verbal and Visual Equations An examination of interactive signs excerpted from Typographic Design: Form and Communication Ben Day and Philip Meggs

Language, in any of its many forms, is a self-contained system of interactive signs that communicates ideas. Just as elocution and diction enhance and clarify the meaning of our spoken words, typographic signs can be manipulated by a designer to achieve more lucid and expressive typographic communication. Signs operate in two dimensions: sytactic and semantic. When the mind is concerned with the form of a sign, it is involved with typographic syntax. When it associates a particular meaning with a sign, it is operating in the semantic dimension. All objects in the environment can potentially function as signs, representing any number of concepts. A smog-filled city signifying pollution, a beached whale representing extinction, and confetti implying a cele-

bration—each functions as a sign relating a specific concept. Signs may exist at various levels of abstraction. A simple example will illustrate this point. Let us consider something as elemental as a red dot. It is a sign only if it carries a particular meaning. It can represent any number of things: balloon, ball, or Japanese flag. The red dot can become a cherry, for example, as the mind is cued by forms more familiar to its experience. The particular syntactic qualities associated with typographic signs determine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a large void may signify isolation. These qualities, derived from the operating principles of visual hierarchy and ABA form,function as cues,

permitting the mind to form concepts. Simple syntactic manipulations, such as the repetition of letters, or the weight change of certain letters, enable words visually to mimic verbal meaning. In language, signs are joined together to create messages. Words as verbal sign, grouped together in a linear fashion, attain their value vis-à-vis other words through opposition and cotrast. Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in a non–linear manner, with elements existing in many syntactic combinations.

HIERARCHY, MODULAR GRID / SCALE CHANGE, STYLE CHANGE+TYPEFACE+GRAPHIC ELEMENT / SCALA SANS PRO+MRS EAVES XL

LASSIFIC 40

TYPE CLASSIFICATION POSTER

Type classification poster

Objective Design three type classification posters in the Vox System for two Serif and one Sans Serif font. Poster should be 11x17 inches. The goal is to have enouth information to educate the viewer on the particular category, and to reflect the typographic landscape.

Approach For this project, I chose Caslon, Bodoni, and Univers typefaces - two serifs and one sans serif font. On the posters, I posted information about the creator, year of release, and some font characteristics. I also highlighted some elements of the letterforms to educate readers more about the particular characteristics of each Vox classification.

ESIGNER 48

SWISS DESIGNER RESEARCH

Swiss designer research

Objective Swiss design often referred to as the International Typographic Style or the International Style, the style of design that originated in Switzerland in the 1940s and 50s was the basis of much of the development of graphic design during the mid 20th century. Choose one Swiss designer whose works impress and inspire you. Inform the reader about his life and work with examples of his design projects.

Approach Max Huber was one of the innovative and significant Swiss graphic designers of his generation. I decided to tell his story and show his work in this project.

“

Max Huber He was a splendid mix; he had irrepressible natural talent and a faultless drawing hand; he possessed the lively candour of the eternal child; he was a true product of the Swiss School; he loved innovatory research; he boasted a lively curiosity, being quick to latch on - not without irony - to the most unpredictable ideas, and he worked with the serious precision of the first-rate professional.” – Giampiero Bosoni

Max Huber was one of the innovative and significant Swiss graphic designer of his generation. Just like Josef Müller-Brockmann, he received his education from the “Zurich School of Arts and Crafts” - the Kunstgewerbeschule. He had the opportunity to meet with outstanding designers of that time, such as Carlo Vivarelli, Werner Bischof, Hans Falk, and Josef Müller-Brockmann. Huber often spent time in the school library studying Bauhaus’s experiments, European abstracts, and Russian constructivists. Max Huber began his career in Zurich for an advertising agency when he was 16 years old. Later he worked for famous graphic designer Emil Schultness at Conzett & Huber and met there outstanding designers Hans Neuburg and Max Bill. To avoid being conscripted into the army, Max Huber moved to Milan and joined the Studio Boggeri in 1940, Italy’s most influential design workroom. It wasn’t easy, because he was 21, and barely speaking Italian, but his works very impressed Boggeri. They were clear, modern typographic style and entirely hand-drawn. In 1941 Huber was forced to move back to Switzerland because Italy also entered the Second World War in Switzerland, he joined the prominent art magazine Du and co-operated with Emil Schultness and Werner Bischof and shortly joined the group Allianz. In October 1945 he returned to Milan. He was appointed as a creative director by the Italian publisher Einaudi for the publishing house. This job put him in contact with the post-war Italian intelligentsia, gave him the ability to restore personal faith and values after the Second World War. The following years were full of the most iconic and influential designs. He designed a series of beautiful records covers, music magazines and

“ 50

the set stage for a jazz festival. He met Louis Armstrong. He created the original poster for the Autodromo Nazionale di Monza Grand Prix and two years later for the supermarket chain La Rinascente. In 1954, he received the prestigious Italian industrial design award Compasso d’Oro. In 1958, he attended as a speaker to the First International Seminar on Typography in the US. In 1965, the Nippon Design Committee organized an exhibition of his works in Tokyo. Max Huber mixed photography, painting, illustration, and printing in his work. To convey a feeling of dynamism and speed, he used the combination between unframed flat photographic and typographical elements with color stripes. He loves to experiment but always finding a balance for clients needs. His works built on accurate grids and clear hierarchy to maintain a balanced and rational structure.

He had irrepressible natural talent and a faultless drawing hand”

DESIGNER

DINA DOBROLYUBOVA

INSTRUCTOR

AYCA KILICOGLU TYPEFACE

INPUT SERIF, UNIVERS SCHOOL

UC BERKELEY EXTENSION PROGRAM

UX DESIGN COURSE

TYPOGRAPHY FUNDAMENTALS

O 52

2019