T ypo Graphy f unda menta l s BY GARIMA SIKDAR
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Typography is the use of type to advocate, communicate, celebrate, educate, elaborate, illuminate, and disseminate. Along the way, the words and pages become art.
James Felici The Complete Manual of Typography
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i n t ro d u c t i on
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The Typography Fundamentals course is one of the courses I had taken as part of my Professional Diploma Program in UX/UI design at the UC Berkeley Extension. This book is a collection of all the typography projects that were done as part of this course. Project 1 is about creating 9 letterforms of an original typeface to create a new typeface by exploring the form of the typeface. Project 2 is about identifying the typography anatomy and showing it in the form of an infograpgic pamphlet. Project 3 involves learning about various methods of typesettings and learning about type composition. Project 4 is about discussing and showcasing the works of Swiss designer Ernst Keller and taking inspiration from his desgin philosophy. And finally, the Project 5 showcases educational posters about three typefaces each talking about the type, characterstics, timeperiod andelements of the typefaces. I hope you enjoy flipping through the pages of this book and learn a few things about typography. Happy reading!
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con t ent s
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PROTOTYPEFACE
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POSTCARD
PAMPHLET
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TYPESETTING
TYPE ANATOMY
SWISS DESIGNER RESEARCH
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TYPE CLASSIFICATION POSTERS
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PROTOTYPEFACE POSTCARD
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PROJECT 1 | PROTOTYPEFACE POSTCARD
THE BRIEF Create a prototype typeface of 9 letters by using either: 1. Bitmap Method designing letters either on a grid of squares, substitute the curves & diagonals of traditional letterforms with rectilinear elements. OR 2. Calligraphic Method constructing letterforms using calligraphic strokes that originate by experimentation. THE OBJECTIVE To create 9 letterforms of an original typeface using nine 9 different 2 inch square comp ositions using only letterforms as the raw materials and shapes. The method is to select a typeface, dissect it and then recreating it again. THE APPROACH While starting this project i looked up for typefaces that had scope of making the chan ge to a feminine typefont as i was more attracted towards intricate and feminine type faces. Hence, I selected a serif typeface called as Philosofer. Once the initial sketching was done on the tracing paper then i moved to sketch it on a notebook. After making the desired changes and finalizing on paper i moved the sketches to illustrator by scan ning the sketches. While in illustrator i worked on both the uppercase and lowercase of the typeface and made sure to see the size and color variations. As the final deliverable I created a word -STAY using the new typeface making note of the kerning of the alpha bets when used in a word. THE SOLUTION I have named the new typeface designed by me as - TWIRL, it looks completely differ ent from the original typeface. I designed few mockups as the final deliverables to show case the usage of this new typeface. PROJECT 1 | PROTOTYPEFACE POSTCARD
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THE SOLUTION
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PROJECT 1 | PROTOTYPEFACE POSTCARD
TYPEFACE - SWIRL The typeface has been designed to look intricate with the use of the curved and flourish serifs across all the alphabets. The original typeface ‘Philosofer Regular’ has been taken for the base typeface. The original typeface has only one serif and no flourish in it. These stylised serifs are replicated in the tyeface in both the uppercase and the lowercase. The serifs of the uppercase S and C are diaganol due to the curves of the aplhabets. The uppercase H, A and S have the flourish in the lower serif and the lowercase y has the flourish in the descender. Rest of the alphabets have upper flourish serif.
PROJECT 1 | PROTOTYPEFACE POSTCARD
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02 TYPE ANATOMY PAMPHLET
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PROJECT 2 | TYPE ANATOMY PAMPHLET
THE BRIEF Using the Typeface CASLON and the 26 letters from the alphabets, identify the anatomy of a typeface choosing at least 26 anatomical words, indicating various characterstics od all the main elements. Employing letterforms and/or numbers and/or special characters. THE OBJECTIVE To introduce type terminology and identify the structural aspects of type. To label the differ ent kinds of strokes, junctions and negative spaces used to create letterforms. Identify a vari ety of differentlyshaped terminals and serifs, increase awareness of letterforms and glyphs. To gain layout skills, namely hierarchy, negative space, focal point and impact.
THE APPROACH I started the process by looking at Pinterest and google for inspiration for the layout. For the color palette i used adobe color for a 3 color palette where i used blue for back ground, white for text and orange for highlights. For the content i looked for more infor mation about Caslon and for the anatomy text i wanted to use a pentagram where “Sphinx of black quartz, judge my vow.� worked well for me as i was able to show all 26 aspects of the type anatomy using it. For this project i used adobe illustrator primarily to work with the fonts. First i typed the pantagram and the i drew the highlighted portions in vector which were marked with orange rulers of .5 point. THE SOLUTION The final deliverable is a tri-fold pamphlet that talks about the Typeface CASLON and the the type anatomy of the typeface using the 26 letters of the Pentagram.
PROJECT 2 | TYPE ANATOMY PAMPHLET
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PROJECT 2 | TYPE ANATOMY PAMPHLET
The typephase chosen for this project by me was CASLON. For this assignm ent i chose first 4 words from the pantagram - “Sphinx of black quartz, judge my vow.� A pantagram is a mix of words that has all 26 letter in it. I took the shape of the alphabets as is in the original typeface. I used white color to show the original word and orange color to highlight the specific portions of the anatomy of the alphabets. I focused on utilising the white space around the letters tio make them more readable.
PROJECT 2 | TYPE ANATOMY PAMPHLET
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Caslon Type Anatomy
Presented by - Garima Sikdar
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PROJECT 2 | TYPE ANATOMY PAMPHLET
About Caslon
Tittle Ascender
Beak
Terminal Shoulder
Spine
Serif
Foot
Hairline
Crossstroke
Aperture
Lowercase Meanline
Bowl
Stem
Crossbar
Counter
Finial
Leg
Baseline Descender
Teardrop terminal
x-height
Bracket
stroke
Spur
PROJECT 2 | TYPE ANATOMY PAMPHLET
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03 TYPESETTING
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PROJECT 3 | TYPESETTING
THE BRIEF Typesetting skill is a basic building block of graphic design. The emphasis of this project is on craftsmanship and accurate handling of type. Brief is to create 4 pages, each page showing one of these alignments: Set Left, Set Right, Justify, Center for this project.
THE OBJECTIVE Understand typesetting rules. Demonstrate accurate and aesthetically pleasing typesetting. Recognize how different type treatments and alignments require unique handling of type. Expectation is to produce 4 pages of typesetting with colophons, in the class format (using correct grid, headers, footers, etc).
THE APPROACH Using Adbe InDesign i produced several pages of typesetting with colophons using grids, headers, footers, etc. Indesign’s powerful typesetting tools namely paragraph styles, characterstyles, allignment tools were employed to complete the assignments. Keeping it simple, the focus was on the overall design and clarity of the concepts. There were 4 exercises in total and multiple iterations for the exercises were done. THE SOLUTION I learned about the fine details of the typesetting like Type Weight, Type Size, Kerning, Tracking, Leading, Hyphenation rules, Visual Heirarchy, Proof-Reading, etc. and also working with baseline grids. These exercies have shaped my typesetting skills and given me a good understanding of the type and its usage.
PROJECT 3 | TYPESETTING
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PROJECT 3 | TYPESETTING
The typephase chosen for this project by me was ADOBE GARAMOND PRO REGULAR. For this assignment, there were 4 exercises in total to learn the typesettin- Type Composition, Paragraph Indicators, Column Grid, and Heirarchy Grid. For first 4 exercises i practised by setting the text SetLeft Type,Set Right Type, Set Justified and Set Centered. In the paragraph indic ators, i worked with Indent, Hanging indent, Extra Leading, First Word, First Sentence / Phrase. For Column Grid exercise, I worked with, Initial Cap, Drop Cap, First Paragraph. For Horizaontal Grids I worked with hierarchy of title/ subtitle/byline.
PROJECT 3 | TYPESETTING
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PROJECT 3.1 | TYPESETTING | LEFT ALIGNMENT
PROJECT 3 | TYPESETTING | RIGHT ALIGNMENT
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PROJECT 3 | TYPESETTING | CENTER ALIGNMENT
PROJECT 3 | TYPESETTING | JUSTIFY ALIGNMENT
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PROJECT 3 | TYPESETTING | PARAGRAPH INDICATORS | INDENT
PROJECT 3 | TYPESETTING | PARAGRAPH INDICATORS | HANGING INDENT
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PROJECT 3 | TYPESETTING | PARAGRAPH INDICATORS | EXTRA LEADING
PROJECT 3 | TYPESETTING | PARAGRAPH INDICATORS | FIRST WORD
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PROJECT 3 | TYPESETTING | PARAGRAPH INDICATORS | FIRST SENTENCE/PHRASE
PROJECT 3 | TYPESETTING | PARAGRAPH INDICATORS | INITIAL CAP
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PROJECT 3 | TYPESETTING | PARAGRAPH INDICATORS | DROP CAP
PROJECT 3 | TYPESETTING | PARAGRAPH INDICATORS | FIRST PARAGRAPH
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PROJECT 3 | TYPESETTING | HIERARCHY MODULAR GRID | STYLE + TYPEFACE CHANGE
PROJECT 3 | TYPESETTING | HIERARCHY MODULAR GRID | SCALE CHANGE / STYLE CHANGE
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PROJECT 3 | TYPESETTING | HIERARCHY MODULAR GRID | STYLE CHANGE + GRAPHIC ELEMENT
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04 SWISS DESIGNER RESEARCH
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PROJECT 4 | SWISS DESIGNER RESEARCH
THE BRIEF Based on the research, create a page to showcase and celebrate the designer and their artwork by writing a small writeup about the desginer and their work and showing few works of the designer as well in the form of posters.
THE OBJECTIVE To research about any one of the Swiss designers of our choice and learn about their syle and way of working and their unique contribution to the world of design.
THE APPROACH I chose swiss designer Ernst Keller for this project who is a well known and celebrated type designer from the 1900s. He is mentioned as the father of the swiss style design. I started the process by researching more about him and looking at his work, which indeed is quite inspirational and inspired me for my Poster deisgn project as well.
THE SOLUTION I learned about the designers approach and thoughts and how he inspired many other famour designers through his teachings and works.
PROJECT 4 | SWISS DESIGNER RESEARCH
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PROJECT 4 | SWISS DESIGNER RESEARCH
Ernst Keller was a graphic designer and teacher at the School of Arts and Crafts (Kunstgewerbeschule Zürich) from 1918 to 1956. He is often mentioned as the “father of the so-called Swiss Style”, later International Typographic Style, because of the great number of famous students grad uated from his courses. The work of Ernst Keller is mentioned only for his poster design and his projects in relation with architecture. Keller’s achievement himself, is appreciated only by his oeuvre, primarily his poster designs and his work on lettering and graphic design in architecture.
PROJECT 4 | SWISS DESIGNER RESEARCH
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TYPE CLASSIFICATION POSTERS
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PROJECT 5 | TYPE CLASSIFICATION POSTERS
THE BRIEF To research the various peiods of type evolution and incorporate that information into three posters inn 11 x 17 inches size. The ultimate goal is to have enough information to educate the viewer on the particular category and to reflect the pytographic landscape aesthetically.
THE OBJECTIVE The Vox system devused in 1954, makes it possible to classify typefaces into a nine type classification. The system tends to group typefaces according to their main characterstics, often typical of a particular century. The goal of this assignment is to design three (3) type classification posters in the Vox System ( for two Serif and one Sans Serif font) and to have enough information to educate the viewer on the particular category, and to reflect the typographic landscape (aesthetic).
THE APPROACH I started the process by first reaserching about the various typeface and their history and characterstics. Once i finalised on the typefaces that i wanted to go ahead with i started making multiple sketches where i ideated various poster design options in thumbnail drawings. From them, i finalised 3 layouts which i took to indesign for the greyscale low fidelity posters to visualize it digitally. Finally from there i moved to illustrator to bring in more details and colours to the final posters. I tried to have a consistency and similarity in the posters in terms of overall layout and color scheme.
THE SOLUTION I got inspired by the swiss designer Ernst Kellerr and his style of using muted colours and bold typeface and elements in a poster. I used the same method by using bold and big characters of the specific typeface as the visual element in the posters. PROJECT 5 | TYPE CLASSIFICATION POSTERS
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PROJECT 5 | TYPE CLASSIFICATION POSTERS
For this project i have chosen 3 typefaces, 2 serif and 1 sans seri, Baskerville, Rockwell and Franklin gothic. I started the project by bringing in all the elements on paper and ideating as sketches and then i moved to indesgin for low fidelity skecthes and finally to illustrator for high fidelity posters. I was initially torn about which direction to take for the layout of the posters as i had missed one class and did not get any feedback from the class. So i was on my own and ahd to choose myself. I finally decided to follow the legends and take inspiration from their work. So i took inspiration from Ernst Keller’s work and i am quite happy how the final result turned out for the posters.
PROJECT 5 | TYPE CLASSIFICATION POSTERS
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PROJECT 5 | TYPE CLASSIFICATION POSTERS
PROJECT 5 | TYPE CLASSIFICATION POSTERS
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PROJECT 5 | TYPE CLASSIFICATION POSTERS
PROJECT 5 | TYPE CLASSIFICATION POSTERS
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T ypo Graphy f unda menta l s by Garima Sikdar
Typography Fundamentals Fall 2020
Instructor: Victoria Arriola
University of California, Berkeley Extension