INTRODUCTION
This book it a collection of projects created during the course, Typography Fundamentals. From the history of type to its application in design, each project explores a new typographical concept to build a broad understanding of typography. I hope you enjoy the content and designs as much as I have enjoyed learning the technical and aesthetic aspects of typography to craft each project.
CONTENTS
01 Project 1 Prototypeface
09 Project 2 Type Anatomy
17 Project 3 Typesetting
37 Project 4 Design Research
43 Project 5 Type Classification
prototypeface
Objective Create nine letterforms of an original typeface and be creative within given parameters. This exercise will develop a command of Illustrator and InDesign, as well as hone critical evaluation skills and ability to follow directions. Brief Design a prototype typeface of nine (9) letters based on the strokes that work together as a set. Work in black and white. Final drawings of each character should fit in approximately 1.25 inches square and should be presented on a 5 x 7 inch size postcard. At least three of the nine forms must be based on an existing character in English. The remaining forms can either be alphabetic or analphabetic (outside the alphabet). Each should be able to stand alone as an interesting mark as well as work with the others in the set. The characters in typefaces should be designed to look like a group—strokes, shapes, angles, serifs, and other parts must be reused from character to character. Process I sketched various concepts of each letterform on a notepad, then transferred to a grid layout for more precision. With final sketches chosen, I imported an clean image into Illustrator and built the final letterforms with the pen tool and combining shapes and lines with pathfinder. Outcome Inspired by the architectural style of Art Deco, I created letterforms with thick bold lines contrasted with thin delicate lines as well as incorporating rounded geometric features. Through this project, I became familiar with the mechanics and characteristics that constitute the forms of the alphabet. With that understanding, I also learned how type is manipulated to achieve its different styles.
01
Prototypeface
Sketch to Digital 2
Project 01
Color Variations 3
Prototypeface
Postcard mockup 4
Project 01
Color Mockup 5
Laura Worthington
Display type is a visual voice. Without reading, it imparts its message.
type anatomy
Objective Introduce type terminology and identify the structural aspects of type. Label the different kinds of strokes, junctions & negative spaces used to create letterforms. Identify a variety of differently shaped terminals and serifs. Increase awareness of letterforms and glyphs. Gain layout skills: hierarchy, negative space, focal point, and impact. Brief Use the typeface Adobe Garamond Pro and twenty-six letters from the alphabet, identify the anatomy of a typeface, choosing at least twenty-six anatomical words, indicating one of the main elements. Use letterforms, numbers and/or special characters. Process I used plain paper to decide the type of pamphlet fold and sketched the information each panel should hold. Using Illustrator’s selection and shapebuilder tools, I outlined the text and anatomical characteristics. I relied heavily on guides and alignment tools to create my grid. I also ensured the rules were straight hairlines (max 0.25 pt.) and did not cut across letters. Outcome This project challenged me to utilize layout design elements to achieve a presentation of typographic information without overwhelming the audience. I was inspired by the idea of the “ABC’s” of typography. In researching ways to present my poster, I discovered various pamphlet methods—in this case, a french/ quarter fold. Learning the type anatomy provided me with a deeper understanding of the characteristics of type and how they define the personality of the letterforms.
02
apex
counter (open)
ascender
bowl
eye crossbar
tittle
type anatomy
hook
link stem
terminal
leg
shoulder
descender
foot
axis
counter (closed)
tail
bracket
spine
cross stroke
arm
beak
vertex
hairline
arc of stem
Terminology infographic 10
presented by Jennifer Chang
Caslon •
designed by William Caslon I (c. 1692–1766)
of
Type
cap line
base line
mean line
Project 02
•
Anatomy
descender line
The Caslon font was designed by William Caslon in 1722. It was used widely in the early days of the American Colonies and used for the U.S. Declaration of Independence. Caslon has gone through various redesigns with technological changes. It continues to be a standard in typography to this day.
ABCDEFGHI JKLMNOPQR STUVWXYZ abcdefghijklm nopqrstuvwxyz 1234567890
Cover and informational Panels 11
type anatomy
Poster mockup - Inner Panel 12
Project 02
Poster Mockup - Outer Panel 13
Hermann Zapf
Typography is a two-dimensional architecture, based on experience and imagination, and guided by rules and readability.
Typesetting
Objective The emphasis on this project is on craftsmanship and accurate handling of type. Typesetting skill is a basic building block of graphic design. Demonstrate accurate and aesthetically pleasing typesetting by recognizing how different type treatments and alignments require unique handling of type. Brief Exercise 1 - Create four pages, each page showing one of these alignments: (a) Set left, (b) Set right, (c) Justify, (d) Center. Exercise 2 - Explore the typographic differences in five ways of indicating paragraphs: (a) Indent, (b) Hanging indent, (c) Extra leading, (d) First word, (e) First sentence/phrase. Exercise 3 - Explore these methods of indicating the beginning of a text: (a) Initial cap, (b) Drop cap, (c) Intro paragraph. Exercise 4 - Create four pages, each indicating hierarchy of title/ subtitle/byline: (a) Scale/style change, (b) Scale/style change + typeface change, and (c) Scale/style change + Typeface change + a graphic element. Process I utilized InDesign’s typesetting tools particularly the character styles, paragraph styles, and alignment settings. I chose to use a variety of serif and san serif typefaces to gain experience with different styles. Outcome The typesetting process combines the fine details of the tracking and leading of individual words and lines as well as the larger picture of treating the paragraphs as objects rather than words. It was also important to ensure the flow of words as the audience would read it. I learned to approach text in a way that takes into account the shape and space while becoming acutely aware of rivers, widows, orphans, and rags.
03
Jennifer Chang Project 3 / Typesetting Left Alignment 8/11.5 Adobe Garamond Pro +21 Tracking
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.
typesetting
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. — Robert Bringhurst, The Elements of Typographic Style
1a Left Alignment 18
Jennifer Chang Project 3 / Typesetting Right Alignment 8/11.5 Adobe Garamond Pro +21 Tracking
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.
Project 03
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. — Robert Bringhurst, The Elements of Typographic Style
1b Right Alignment 19
Jennifer Chang Project 3 / Typesetting Justified Alignment 8/11.5 Adobe Garamond Pro +21 Tracking
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.
typesetting
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. — Robert Bringhurst, The Elements of Typographic Style
1c Justified Alignment 20
Jennifer Chang Project 3 / Typesetting Center Alignment 8/11.5 Adobe Garamond Pro +21 Tracking
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.
Project 03
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. — Robert Bringhurst, The Elements of Typographic Style
1d Centered Alignment 21
Jennifer Chang Project 3.3 / Paragraph Indicators Indent Aligned Left Libre Baskerville 8/12 +18 Tracking
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
typesetting
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 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 social, environmental and cultural life rather than to sell hair gel and dog biscuits. —excerpted from Manifesto Mania by Ellen and Julia Lupton
2a Paragraph Indent 22
Jennifer Chang Project 3.3 / Paragraph Indicators Hanging Indent Aligned Left Helvetica Light 8.5/13 +20 Tracking
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
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
Project 03
novel. Manifestos typically have a social function—they serve to bring
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
2b Hanging indent 23
Jennifer Chang Project 3.3 / Paragraph Indicators Extra Leading Justified Left Adobe Caslon Pro 10/14 +25 Tracking
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.
typesetting
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 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
2c extra leading 24
Jennifer Chang Project 3.3 / Paragraph Indicators First Word/Phrase Aligned Left Bodoni 72 Book 9/14 Italic 9.5/14 +20 Tracking
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
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
Project 03
poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos
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 social, environmental and cultural life rather than to sell hair gel and dog biscuits. —excerpted from Manifesto Mania by Ellen and Julia Lupton
2d first word 25
Jennifer Chang Project 3.3 / Paragraph Indicators First Sentence/Line Lato 8/12 +15 Tracking
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,
typesetting
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
2e first sentence/phrase 26
Jennifer Chang Project 3.3 / Paragraph Indicators Initial Cap // Extra Leading Justified Left Canto 18/13 +30 Tracking Brandon Grotesque 9/12 +8 Tracking
K
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.
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.
Project 03
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.
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
3a Initial Cap 27
Jennifer Chang Project 3.3 / Paragraph Indicators Drop Cap // Extra Leading Justified Left Luminari 9/14 +50 Tracking Baskerville 9/14 +10 Tracking
K
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
typesetting
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
3b Drop Cap 28
Jennifer Chang Project 3.3 / Paragraph Indicators First Paragraph // Extra Leading Justified Left Futura Pt Book 9.5/13 +20 Tracking Futura Pt Light 9/13 +24 Tracking
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.
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.
Project 03
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.
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
3c Intro Paragraph 29
Verbal and Visual Equations An examination of interactive signs excerpted from Typographic Design: Form and Communication
typesetting
by 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 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-Ă -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.
Jennifer Chang | Project 3.4 Hierarchy | Scale & Style Change | Granville 9.5 / 14 | +10 Tracking
4a Scale or Style Change 30
Verbal and Visual Equations An examination of interactive signs excerpted from Typographic Design: Form and Communication by Ben Day and Philip Meggs
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-Ă -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.
Project 03
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.
Jennifer Chang | Project 3.4 Hierarchy | Scale, Style, Typeface Change | Lato 9.5 / 13 | +20 Tracking
4b Scale or STyle + Typeface Change 31
VERBAL AND VISUAL EQUATIONS An examination of interactive signs excerpted from Typographic Design: Form and Communication
typesetting
by 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 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-Ă -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.
Jennifer Chang | Project 3.4 Hierarchy | Scale, Style, Typeface & Graphic Element | Timeless 10 / 15 | +10 Tracking
4c Scale and Style + Typeface Change + Graphic Element 32
Project 03
Typsetting Book Mockup 33
Robert Bringhurst
Typography is the craft of endowing human language with a durable visual form.
Design Research
Objective Research a major Swiss designer. Taking into consideration of design elements, examine the designer’s style and note any particular characteristics of their working methods and typefaces created or used. Brief Create a page highlighting the designer’s history and any unique contributions to the world of design. Process I chose to research Emil Ruder because I found his use of asymmetrical layouts particularly notable. I appreciate his use of sans-serif typefaces, and his method of using a page grid for structure to create a cohesive asymmetrical layout. Outcome This research taught me the importance of typography as a tool for visual communication. This also reinforced my understanding for the use of grids. Although my focus was on Emil Ruder, this exercise also allowed me to become familiar with various Swiss designers and their approaches and contributions to many aspects of design.
04
38 Design Research
Emil Ruder was a typographer and graphic designer known as one of the leading figures in the International Typographic Style of the 1950s. Born in Switzerland in 1914, Emil Ruder was 15 when he completed training as a typesetter, studying the principles of the New Typography and the Bauhaus. In 1965, he was named Director of the Kunstgewerblichen Abteilung (Applied Arts Department) and the Industrial Arts Museum. He held this position until his death in 1970. Ruder helped Armin Hofmann form the Basel School of Design and establish the style of design known as Swiss Design. He believed that typography’s purpose was to communicate ideas through writing and placed heavy importance on sans-serif typefaces. Ruder brought a holistic approach to design–blending philosophy, theory and a systematic practical methodology, promoting “the good and the beautiful in word and image and to open the way to the arts.” No other designer was as committed to the discipline of letterpress typography.
Project 04
He discarded many conventional rules of traditional typography, favoring new laws of composition. Ruder published “Typographie”, a basic grammar on typology, which became famous throughout the world for the use of asymmetric layouts, grid structures, white space, sans-serif typefaces and the flush left, ragged right text. Emil Ruder’s grid philosophy has also influenced the development of web design.
far left : Typographie: A Manual of Design, 1967 top: Farbige Graphik in Grenchen, 1961 bottom: 10 Zürcher Maler (10 Zurich Painter), 1957 39
Emil Ruder
Typography has one plain duty before it and that is to convey information in writing. No argument or consideration can absolve typography from this duty.
Type Classification
Objective Research the various periods and design from its influence. Visually communicate the evolution of type and practice the principles of typography. The goal is to have enough information to educate the viewer on the particular category, and to reflect the typographic landscape (aesthetic). Brief Design three (3) type classification posters, two Serif and one Sans Serif font. Utilize the Vox System, a nine-type classification which groups typefaces according to their main characteristics such as downstroke and upstroke, forms of serifs, stroke axis, x-height, etc. Process I began by sketching out the various elements of each poster to determine a layout. This allowed for visualization of various components and establishing hierarchy without worrying about the finer details. Using Illustrator, I outlined the larger text components to treat them as shapes rather than text. With these initial pieces in place, I was able to add in bodies of text and carefully adjust alignments, tracking and leading. Due to the variation of each layout, I used consistent colors throughout to associate them as individual posters of a larger series. Outcome These posters allowed me to work with a variety of styles categorized through the Vox system. Jenson has an organic design with minimal contrast in thickness, so the poster design was less contrasting and followed the organic forms of the typeface. Didot is known for its high contrast features, so I incorporated contrast in allowing areas of negative space contrasted with areas filled with text. To compliment Avenir’s geometric style, I kept the elements simple and followed the geometric lines.
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HhIiJjKkL l MmNnOoPp QqRrSsTt
slanted cross-stroke
AaBbCc DdEeFfGg
UuVvWw XxYyZz
{humanist} old style transitional didone slab serif sans serif
typeface drawn for Adobe Systems by its chief type designer Robert Slimbach. Its Roman styles are based on a text face cut by Nicolas Jenson in Venice around 1470, and its italics are based on those created
low stroke contrast
Adobe Jenson is a humanist serif
by Ludovico Vicentino degli Arrighi fifty years later. The combined strength and beauty of these two icons of Renaissance type result in an elegant typeface suited to a broad spectrum of applications. Adobe Jenson was first released in 1996 as a multiple master font. It was created using sophisticated interpolation or multiple-master technology, to create a range of weights and optical sizes suitable organic design, with a low x-height. It is considered a highly readable typeface and is accordingly often used in book design for body text. Jenson's type used an 'M' with two-way top serifs and a 'Q' with a
Type Classification
curled tail, both now not commonly
44
seen; the default characters are more contemporary forms but both
were
included
alternate characters.
as
short thick serifs
for different text sizes. Jenson is an
unbracketed serifs
Project 05
At the same time, Firmin’s brother Pierre used the types they created in printing, such as the copy he printed of La Henriad by Voltaire, which is a beautiful study in the Didot font. The Didot style fonts were known for high-contrast typefaces with increased stress. The high contrast designs of the Didot alphabets reflect the style of another designer during the same period — Giambattista Bodoni.
humanist old style transitional {didone} slab serif sans serif
high contrast strokes
hairline foots
A a BbC cDd E eFf G g H h I i JjK k L l M m NnOoP pQqR rSsTtUuVvWwX xYyZ z Didot is a group of typefaces named after the famous French printing and type producing Didot family. The classification is known as modern, or Didone. Firmin Didot created most of the original Didot typefaces between 1784 and 1811 by cutting out the letters and developing the type.
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humanist old style transitional didone slab serif {sans serif}
Avenir is a geometric sans-serif typeface designed by Adrian Frutiger in 1987. The word avenir is French for "future". As the name suggests, the family takes inspiration from the geometric style of sans-serif typeface developed in the 1920s that took the circle as a basis. Frutiger intended Avenir to be a more organic interpretation of the geometric style, more even in colour and suitable for extended text, with details recalling more traditional typefaces such as the two-storey 'a' and 't' with a curl at the bottom, and letters such as the 'o' that are not exact circles but optically corrected. Frutiger described Avenir as his finest work: "The quality of the draftsmanship – rather than the intellectual idea behind it – is my masterpiece...It was the hardest typeface I have worked on in my life…My personality is stamped upon it. I'm proud that I was able to create Avenir."
minimal thickness variation
simple geometric shapes Aa Bb Cc Dd Ee FfG gH hIi JjK kL lM mN oP pQ qR rSs TtU uV vW wX xY yZ z
Type Classification
nO
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Type Classification Poster Mockup 47
Paula Scher
Words have meaning. Type has spirit. The combination is spectacular.
designer Jennifer Chang Instructor Victoria Arriola Typeface Lemon Milk // Mr Eaves Sans School UC Berkeley Extension Program Professional Program in Graphic Design Course Typography Fundamentals
Type is what meaning looks like.
Max Phillips