Tyography Journal by hslichtefeld

Process Journal

Typography I ART 571 Hannah Lichtefeld

Typography I Journal

Contents Project 1| Examining Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

The most challenging

Project 2| Six Factorials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

project 7.

Project 3| Pairing Typefaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Project 4| Visual System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Project 5| Dissecting Grids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Project 6| Visual Hierarchy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Project 7| Design Heroes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Paper Rep. Visit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

First Build Visit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Dafi Kühne| Workshop . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Colophon| Fonts and Grid Used . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Welcome! This booklet is a guide to my work, method of design,

packed, the “block of gray” you see will likely appear

and thoughts about the course Typography I or ART

darker—the same is applicable to the

571. Taking this class has opened my eyes to the

reverse situation.

vastness and nuance of typography. I know I have

Furthermore, I started to realize that nuance is

improved from taking this course because I already

what makes a good graphic designer. Like a chef

find myself cringing at my old typographic work as

that adds spice to taste, it can take a piece of art

well as the typographic works in the world around me.

from “good” to “extraordinary” or from “amateur” to

Before this class, I couldn’t understand the reasoning

“professional.” While this kind of careful revision has

between using one serif typeface vs the next because

proven to be tedious work, I find that it is worth it at

they all seemed the same to me. Even the differences

the end of the day when you can admire the fruit of

I could see did not seem significant enough to warrant

your labor. Then—as artists are used to—you can

a whole class—let alone two (I will take Typography II

put it on display for all to see and have it mercilessly

in the spring).

critiqued by your mentors and peers. Then, you can

However, immediately with the first assignment,

start the process again but with more information this

I realized that subtle differences can significantly add

time. Each time, repeating the process and inching

up. Gradually, concepts such as bodies of text having

ever closer to perfection—the peak of the mountain.

“color” began to make sense to me. This concept in

However, as all artists know, there is no legitimate

particular refers to the block of gray you see when you

peak to the mountain. Perfection in design as well as

squint your eyes at a body of text. It is a method used

in art does not exist. So, neither does the limits of our

to describe the density and readability of long-form

individual potentials. Hopefully, the envisioned peak

text. If the text has a thick stroke and/or is tightly

of my own mountain will continue to grow as I do and keep luring me further towards the stars.

and fun project was

Typography I Journal

Project 1

Examining type

Photo courtesy of Weape Design on Youtube

Project Description Before class, we were asked to look at many different

as oppose to whether individual letters of a word can

examples of long-form text in the print world—from

be distinguished. Because of its large-scale approach,

very good to very bad design. After carefully observing

readability is a more prevalent factor when examining

what the different factors seem to be for determining

the success of long-form text design.

readability we brought in two differing examples of

During class we met in small groups with our peers

text that we found: one where we thought the text was

to discuss why ours and others’ text examples were

working and one where we thought the text was not

successful or not. We assigned adjectives to the bodies

working. Readability differs from legibility in typography

of text and came up with factors that need to be

in that it refers to how easily lines of text can be read,

considered when working with body text.

Project 1 2 3 4 5 6 7

Photo courtesy of Creative Curiousity.com

I find the many factors that collectively influence type and the way we percieve it to be fascinating! I l might look into designing my own typeface one day.

What is Typography? This is the first question we were asked to answer at

I think my definition at the time was pretty accurate,

the beginning of the semester. I answered as follows.

but after taking the class, I would add some things.

Typography is the art of communicating a tone

Typography can be expressed in many ways for

through visual symbols that depict a language. It is a

different reasons. For communicating content in

major part of graphic design and can easily make or

long bodies of text—legibility and readability are

break a design. Typography is important because it

generally most important; for display typography—

is how we are able to add character and voice to text

grabbing the attention of the reader can often

in works of art! Otherwise, when we read anything,

take precedence over legibility; in some cases,

the voice in our head would sound monotone and

typography doesn’t even have to be legible.

dull and nobody wants that (unless it’s an instruction

Typography can be blown up, distorted, or drawn

manual, maybe). I can’t wait to master typography

to function as a graphic instead of content-carrying

and make huge improvements in my work as well as

text. Discovering this versatility of typography has

improve my ability to adequately evaluate

given me a greater sense of appreciation for its

other type designs.

design as well as its endless possibilities.

Examining Type | 5

Typography I Journal

Good Typography

This work has been scaled down to fit this page

I think that this design does a good job of presenting information in a clean, organized fashion. The white space on the left is something I wouldn’t have thought about doing, but it adds a nice spacious feel to the otherwise dense, information-heavy content.

Syllabus571 art 571 :: Typography I :: fa 2019

p1 of 4

Leslie Friesen Power Agency Designer-in-Residence

Course description

Course structure

Typography — a key component of graphic design — not only conveys information, but also has expressive qualities. Typography I explores the purpose and function of typography in visual communication and design, with an emphasis on body text in print and digital formats.

Studio time

Students gain an understanding of various ways typography is used — text, display, image — and develop design solutions in a variety of formats using typography as the key design element. We will focus on not just learning information, but on how that knowledge can be applied in your design. Prerequisites: ART 205; BFA candidacy or faculty consent. This course fulfills a Department of Fine Arts requirement for the Graphic Design BFA track.

Course objectives

» Learn and apply basic principles of good typography (focus on body text), visual hiearchy, and grids. » Become familiar with typographic terminology and type history. » Grow creative and critical thinking abilities through design process methodology: › problem definition; › research; › exploration and concept development; › editing and selection; › composition; › refinement; › production (including proficient software usage); › evaluation. » Develop self and peer feedback and assessment abilities » Reinforce professional practice habits: › working with project objectives; › project and time management; › self initiative; › meeting deadlines. » Produce finished projects that demonstrate understanding of and proficiency in designing with typography as a key component. » Expose students to examples of work in this field through: › lectures and demonstrations; › field trips and/or guest designers; › resources in Art Library and on the web;

6 | Examining Type

Instructor

office hours Tu: 2 – 3:30 pm or by appointment leslie.friesen@louisville.edu

The majority of class time will be spent actively working on design and production of assignments. Lectures & demonstrations

Lectures pertinent to the course or specific assignments, demonstrations on design and production issues, as well as presenting examples of related work are given on a both a planned and ad hoc basis. Those presentations will generally be limited to 20 to 30 minutes (typically at the beginning of the class time). Field trips & guest designers

Field trips and/or guest designers will be scheduled to supplement your course content. Discussions

Small group discussions may be held on particular assignments to dive into some of the considerations needed for those projects. Feedback & critiques

Giving and receiving feedback is a critical ability for successful designers. We will use a variety of feedback and critique methods throughout the semester — from one-on-one conversations, more formal group critique, or written peer assessment. Be an active participant and listener. Textbooks

We do not use a textbook for this course. However, selected books will be on reserve in the Art Library. Additional educational resources…

» Bridwell Art Library: “Spend an hour a week in the art library and double the value of your education.” —Steve Skaggs » Web resources: The web is full of resources on typography — some better than others. Some good web references will be posted on Basecamp. If you come across an especially good website related to this class, please share it. » AIGA is the national professional association for design with more than 70 chapters including Louisville. Their website — AIGA.org — is a very valuable resource. All graphic design students should become members. Benefits include event discounts, access to job postings, and many more. » Lynda.com is a premier resource for online tutorials. If you have Louisville Free Public Library card, you get free access.

Project 1 2 3 4 5 6 7

A Closer Look

Syllabus571 art 571 :: Typography I :: fa 2019

p1 of 4

Instructor

Leslie Friesen Power Agency Designer-in-Residence

office hours Tu: 2 – 3:30 pm or by appointment leslie.friesen@louisville.edu

Course description

Course structure

Studio time

Each of the boxes

The majority of class time will be spent actively working on design and production of assignments.

depicted are the same

Lectures & demonstrations

relationships between

Course objectives

size and display the size different areas of spacing. The different colors represent different areas .

Field trips & guest designers

Field trips and/or guest designers will be scheduled to supplement your course content. Discussions

Small group discussions may be held on particular assignments to dive into some of the considerations needed for those projects.

» Learn and apply basic principles of good typography Feedback & critiques Giving and receiving feedback is a critical ability for (focus on body text), visual hiearchy, and grids. successful designers. We will use a variety of feedback » Become familiar with typographic terminology and critique methods throughout the semester — from and type history. » Grow creative and critical thinking abilities through one-on-one conversations, more formal group critique, design process methodology: or written peer assessment. Be an active participant › problem definition; and listener. › research; Textbooks › exploration and concept development; We do not use a textbook for this course. However, › editing and selection; selected books will be on reserve in the Art Library. › composition; Additional educational resources… › refinement; » Bridwell Art Library: “Spend an hour a week in the › production (including proficient software usage); library and double the value of your education.” › evaluation. Even more so than other fields, I feel like graphic In thisartdesign, I particularly enjoy the careful —Steve Skaggs » Develop self and peer feedback and Web resources : The webkinds is full ofof resources onrelate to » assessment abilities design is a field well-learned from example. As a planning of how different spaces typography — some better than others. Some good » Reinforce professional practice habits: seemingly mysterious art, it › can sometimes difficult each other size. This handout was designed webin references will be posted on Basecamp. If you using a working with projectbe objectives; come across ancan especially good website to projectto anddo time to articulate what to do and› how it.management; But, looking grid, so the spaces be divided uprelated into even ratios this class, please share it. › self initiative; at examples can often make› meeting an explanation possible. and used consistently asprofessional depicted above.for is the national association » AIGA deadlines. design with more than 70 chapters including » Produce finished projects that demonstrate The example above and understanding to the left of is and theproficiency syllabusin designing Whenever I see a design like this—one where the Louisville. Their website — AIGA.org — is a very valuable resource. All graphic design students shouldrather with is typography a key component. for the course that this journal about, asTypography I, main focus is the presentation of the content become members. Benefits include event discounts, » Expose students to examples of work in this and was designed by my professor, Leslie Friesen. In than the access design—I am reminded of how difficult it can to job postings, and many more. field through: » Lynda.com is a premier resource for online tutorials. lectures and demonstrations; this design, there are three ›different typeface families be to notice good informative design. This is because If you have Louisville Free Public Library card, you › field trips and/or guest designers; get free › resources in Art Library being used, but it doesn’t feel conflicting. This and is on the web; the purpose ofaccess. the design is to facilitate the content

Breaking It Down

because each typeface is only there to serve a specific

to the reader rather than draw attention to the design

purpose: the display typeface for the title, a contrastive

itself and therefore works behind the scenes.

sans serif for the sub headers, and a readable serif

If too much attention is drawn to the design, then

typeface for the body text to keep the contrast. In

it is steering from its goal. This is why it is easier and

Addition, the visual hierarchy of text is clear, consistent,

more common to notice bad design than good design.

and therefore easy to understand and navigate.

In a way, informational design is reminiscent of an underappreciated waiter—you only notice his service when your food shows up cold.

Examining Type | 7

Typography I Journal

Bad Typography Upon first glance, I thought this menu looked fine—good, even. However, upon trying to read it, I noticed that the design of visual hierarchy makes reading and understanding the menu difficult.

When I was searching for examples of bad typographic design, I noticed that there are entirely too many bad designs out in the world, but this only motivates me to make better ones!

8 | Examining Type

Project 1 2 3 4 5 6 7

A Closer Look

The lines and boxes indicate inconsistency in spacing between places of similar importance. The category of space is depicted by the box/ circle color.

Breaking It Down Pictured above and to the left is an example of bad

However, the top red “omelette” item encircled only

typography. It is a menu from one of my classmate’s

differs from the two in the smaller inner circle by

work place. He explained that costumers often

having a slightly larger header typeface, making the

complain that it is difficult to navigate and understand.

hierarchy unclear.

After taking a look at the menu myself, I could

There are also inconsistencies regarding spacing

understand their frustration. In the “breakfast” area,

and type-sizing. In the smaller red circle, the two items

the typeface of the menu items does not contrast

seem to be of equal importance but the subheadings

enough with the text below it. This could cause the

are slightly different. It is the same situation in the

reader to misinterpret the relationship between

green areas, except it is the body text that differs.

the two different categories of information and

The spacing between paragraph rules and subheads

cause confusion.

is outlined above by the small green and red boxes.

Furthermore, the large area circled in red above

When you compare these boxes side by side, you

seems to be the “omelette section.” Naturally, it

can see that their sizing is inconsistent. The designer

would make sense for the categories that go “under”

clearly—and unfortunately—did not use a grid.

this section to be contrastively smaller and less hierarchical; alternatively, they could display equal importance by being consistent with one another.

Examining Type | 9

Typography I Journal

Six Factorial Type Specimens This work andlength, the othersstyle/weight, in this section have been scaled down size, leading, x-height, line letterspacing Georgia Regular 9/14 3 columns Line length = 14 picas

Legibility in typography

characteristics. While this may seem like

story ‘a’ such as the one found in Stellar

Typographic clarity comes in two flavors:

a typographic oxymoron, it’s not. “Big

or Exlibris is much more legible than the

legibility and readability. What’s the

features” refers to things such as large,

single-story ‘a’ found in Futura or Erbar.

difference? Legibility is a function of

open counters, ample lowercase x-heights,

The lowercase ‘g’ based on Roman letter

typeface design. It’s an informal measure

and character shapes that are obvious and

shapes is more legible then the simple

of how easy it is to distinguish one letter

easy to recognize.

‘g’ found in Helvetica or Glypha. In Old

from another in a particular typeface.

Style typefaces such as Monotype Plantin,

Readability, on the other hand, is

The most legible typefaces are also

dependent upon how the typeface is used.

restrained. They are not excessively

Oldstyle, individual characters have

Readability is about typography. It is a

light or bold, weight changes within

more personality than those in traditional

gauge of how easily words, phrases and

character strokes are subtle, and serifs,

“legibility” faces with virtually no loss in

blocks of copy can be read.

if the face has them, do not call attention

character legibility.While the argument

to themselves.Counters, the white space

continues to rage about whether sans

Galena and ITC Berkeley

within letters such as ‘o,’ ‘e,’ ‘c,’ etc., Project Description

serifs are easier to read than serif fonts

Legibility: A Trait, Not Always a Goal First, not all typefaces are–or should

help to define a character. Typographers

be–created with legibility as a primary

believe that large counters are an aid to

design function. Many faces are

character recognition. A byproduct of

in text copy, sans serif typefaces, because

In print or on the web, readability or feel of long-form

Once we had found a type face among those

body text is influenced by at least six important factors:

explorations that seemed well-resolved and pleasing

point size, leading, tracking, x-height, line length, and

to look at it, we were directed to explore at least two to

structure/weight/style. This is not even factoring in

three different versions of that typeface and ultimately

drawn for the purpose of creating a

their letter shapes are simpler, have been pr

open counters is usually a large lowercase

x-height. typographic statement, or for providing the context in which the body text appears or the

a particular spirit or feeling to graphic white space that may or may not be surrounding it. longtoasexplore the x-height not communication. Some typefaces With are just this, we wereAs asked differentisvariations

oven to be slightly more

legible than their serifed cousins.

create a type specimen page for that specific font.

Little Serifs and Light We repeated this process two Weights more times with two of serifOn the other Another typefacespotential for a totaldrawback of three samples.

large, thisidea canofalso improve following typefaces thatdisplayed the legibility designed to stand out from the crowd. of typeTo and getexcessively generally used to the making pages Iis have some of of these font legibility in a typeface. Because over 95%samples individual letters suffers when serifs the degree that a typeface has personality, type feel “resolved.” and explorations. Our specific assignment were larger ofinstructions the letters for wethis read are lowercase, spirit, or distinction, however, it almost

have exaggerated shapes. Long serifs,

to isolate the six factors that influence typeresult and in a more letter proportions usually always suffers proportionally on the

those that are exceptionally heavy and

legibility scale.

observe their varying on different typefaces. legible effects typeface.While virtually any serif

those with unusual shapes all detract

typeface can benefit from large open

from legibility. Ideal serifs are somewhat

Three Aspects of Legibility

counters, “Clarendons” like Nimrod or

short and slightly bracketed. They are

So what makes a typeface legible? A long-

Scherzo and contemporary interpretations

also heavy enough to be obvious yet not

standing typographic maxim is that the

of “Old Style” designs, such as Monotype

conspicuous. Typefaces such as Monotype

most legible typefaces are “transparent” to

Bembo and ITC Weidemann, tend to

Sabon and ITC Stone have great serifs.

the reader–that is, they don’t call undue

come by this trait most naturally. Lighter typefaces are usually more

attention to themselves. Additionally, the most legible typefaces contain big features and have restrained design

10 | Six Factorial

Individual letter shapes can also affect typeface legibility. For example: the two-

legible than heavier weights of type. They allow for full, open counters and

Explorations by Hannah Lichtefeld

Six factorial

Project 2

Project 1 2 3 4 5 6 7

Exploring Typeface Options From this page of type explorations, I chose to Six Factorial Type Specimens size, leading, x-height, line length, style/weight, letterspacing

further explore Minion Pro (red), Georgia

typeface exploration 3 columns

(green), and Malgun Gothic (Blue). Looking

Line length = 14 picas

Legibility: A Trait, Not Always a Goal First, not all typefaces are–or should be–created with legibility as a primary design function. Many faces are drawn for the purpose of creating a typographic statement, or for providing a particular spirit or feeling to graphic communication. Some typefaces are just designed to stand out from the crowd. To the degree that a typeface has personality, spirit, or distinction, however, it almost always suffers proportionally on the legibility scale. Three Aspects of Legibility So what makes a typeface legible? A longstanding typographic maxim is that the most legible typefaces are “transparent” to the reader–that is, they don’t call undue attention to themselves. Additionally, the most legible typefaces contain big features and have restrained design characteristics. While this may seem like a typographic

oxymoron, it’s not. “Big features” refers to things such as large, open counters, ample lowercase x-heights, and character shapes that are obvious and easy to recognize. The most legible typefaces are also restrained. They are not excessively light or bold, weight changes within character strokes are subtle, and serifs, if the face has them, do not call attention to themselves. Counters, the white space within letters such as ‘o,’ ‘e,’ ‘c,’ etc., help to define a character. Typographers believe that large counters are an aid to character recognition. A byproduct of open counters is usually a large lowercase x-height. As long as the x-height is not excessively large, this can also improve legibility in a typeface. Because over 95% of the letters we read are lowercase, larger letter proportions usually result in a more legible typeface. While virtually any serif typeface can benefit from large open counters, “Clarendons” like Nimrod or Scherzo and contemporary interpretations of “Old Style” designs, such as Monotype Bembo and ITC Weidemann, tend to come by this trait most naturally. Individual letter shapes can also affect typeface legibility. For example: the two-story ‘a’ such as the one found

in Stellar or Exlibris is much more legible than the single-story ‘a’ found in Futura or Erbar. The lowercase ‘g’ based on Roman letter shapes is more legible then the simple ‘g’ found in Helvetica or Glypha. In Old Style typefaces such as Monotype Plantin, Galena and ITC Berkeley Oldstyle, individual characters have more personality than those in traditional “legibility” faces with virtually no loss in character legibility. While the argument continues to rage about whether sans serifs are easier to read than serif fonts in text copy, sans serif typefaces, because their letter shapes are simpler, have been proven to be slightly more legible than their serifed cousins.

back, I probably would Explorations by Hannah Lichtefeld

not have picked these typefaces if I were doing this assignment now. But, I still I don’t think that any one these are bad typefaces.

Little Serifs and Light Weights Another potential drawback of serif typefaces is that the legibility of individual letters suffers when serifs have exaggerated shapes. Long serifs, those that are exceptionally heavy and those with unusual shapes all detract from legibility. Ideal serifs are somewhat short and slightly bracketed. They are also heavy enough to be obvious yet not conspicuous. Typefaces such as Monotype Sabon and ITC Stone have great serifs. Lighter typefaces are usually more legible than heavier weights of type. They allow for full, open counters and unmodified character shapes. Studies have shown that the

Text from It’s About Legibility | A post by Allan Haley

Six Factorial | 11

Typography I Journal

Exploration Within a Typeface Minion Pro From this set of explorations, I chose to Six Factorial Type Specimens size, leading, x-height, line length, style/weight, letterspacing

go with 9.5/14 because it seemed the most

Minion Pro Exploration 3 columns

balanced compared to the others. I particularly

Line length = 14 picas

enjoyed the spacious

surrounding it.

Legibility in typography Typographic clarity comes in two flavors: legibility and readability. What’s the difference? Legibility is a function of typeface design. It’s an informal measure of how easy it is to distinguish one letter from another in a particular typeface. Readability, on the other hand, is dependent upon how the typeface is used. Readability is about typography. It is a gauge of how easily words, phrases and blocks of copy can be read. Legibility: A Trait, Not Always a Goal First, not all typefaces are–or should be–created with legibility as a primary design function. Many faces are drawn for the purpose of creating a typographic statement, or for providing a particular spirit or feeling to graphic communication. Some typefaces are just designed to stand out from the crowd. To the degree that a typeface has personality, spirit, or distinction, however, it almost always suffers proportionally on the legibility scale. Three Aspects of Legibility So what makes a typeface legible? A longstanding typographic maxim is that the most legible typefaces are “transparent” to the reader–that is, they don’t call undue attention to themselves. Additionally, the most legible typefaces contain big features and have restrained design characteristics. While this may seem like a typographic oxymoron, it’s not. “Big features” refers to things such

as large, open counters, ample lowercase x-heights, and character shapes that are obvious and easy to recognize.

The most legible typefaces are also restrained. They are not excessively light or bold, weight changes within character strokes are subtle, and serifs, if the face has them, do not call attention to themselves. Counters, the white space within letters such as ‘o,’ ‘e,’ ‘c,’ etc., help to define a character. Typographers believe that large counters are an aid to character recognition. A byproduct of open counters is usually a large lowercase x-height. As long as the x-height is not excessively large, this can also improve legibility in a typeface. Because over 95% of the letters we read are lowercase, larger letter proportions usually result in a more legible typeface.

While virtually any serif typeface can benefit from large open counters, “Clarendons” like Nimrod or Scherzo and contemporary interpretations of “Old Style” designs, such as Monotype Bembo and ITC Weidemann, tend to come by this trait most naturally. Individual letter shapes can also affect typeface legibility. For example: the twostory ‘a’ such as the one found in Stellar or Exlibris is much more legible than the single-story ‘a’ found in Futura or Erbar. The lowercase ‘g’ based on Roman letter shapes is more legible then the

simple ‘g’ found in Helvetica or Glypha. In Old Style typefaces such as Monotype Plantin, Galena and ITC Berkeley Oldstyle, individual characters have more personality than those in traditional “legibility” faces with virtually no loss in character legibility. While the argument continues to rage about whether sans serifs are easier to read than serif fonts in text copy, sans serif typefaces, because their letter shapes are simpler, have been proven to be slightly more legible than their serifed cousins. Little Serifs and Light Weights Another potential drawback of serif typefaces is that the legibility of individual letters suffers when serifs have exaggerated shapes. Long serifs, those that are exceptionally heavy and those with unusual shapes all detract from legibility. Ideal serifs are somewhat short and slightly bracketed. They are also heavy enough to be obvious yet not conspicuous. Typefaces such as Monotype Sabon and ITC Stone have great serifs. Lighter typefaces are usually more legible than heavier weights of type. They allow for full, open counters and unmodified character shapes. Studies have shown that the best character stroke thickness for text typefaces is about 18% of the x-height. Typefaces with weights similar to of Albertina Regular, ITC Officina Sans Book and Cartier Book Roman fall into this general category.

Text from It’s About Legibility | A post by Allan Haley

12 | Six Factorial

Explorations by Hannah Lichtefeld

leading of it compared to the dense paragraphs

Project 1 2 3 4 5 6 7

Continued Georgia I chose to go with Georgia next because Six Factorial Type Specimens size, leading, x-height, line length, style/weight, letterspacing

It seemed to be a nice, basic serif typeface.

Body text: Georgia Exploration 3 columns

I chose this specific font (9/14) because

Line length = 14 picas

is, they don’t call undue attention

Legibility: A Trait, Not Always a Goal

restrained. They are not excessively

First, not all typefaces are–or should

light or bold, weight changes within

be–created with legibility as a primary

character strokes are subtle, and

design function. Many faces are

serifs, if the face has them, do not call

drawn for the purpose of creating a

attention to themselves.

to themselves. Additionally, the

Individual letter shapes can also

most legible typefaces contain big

affect typeface legibility. For example:

features and have restrained design

the two-story ‘a’ such as the one found

characteristics. While this may seem

in Stellar or Exlibris is much more

like a typographic oxymoron, it’s not.

legible thale ‘g’ found in Helvetica or

“Big features” refers to things such as large, open counters, ample lowercase x-heights, and character shapes that are obvious and easy to recognize.

communication. Some typefaces are just designed to stand out from the crowd. To the degree that a typeface has personality, spirit, or distinction, however, it almost always suffers proportionally on the legibility scale.

Three Aspects of Legibility So what makes a typeface legible? A

as Monotype Plantin, Galena and ITC

the most balanced and it simply looked the most appealing to me.

Berkeley Oldstyle, individual characters have more personality than those in traditional “legibility” faces with

The most legible typefaces are also

virtually no loss in character legibility. While the argument continues to rage about whether sans serifs are easier to read than serif fonts in text copy, sans serif typefaces, because their letter shapes are

typographic statement, or for providing a particular spirit or feeling to graphic

Glypha. In Old Style typefaces such

I thought it seemed Explorations by Hannah Lichtefeld

simpler, have been proven to be slightly

Counters, the white space within

more legible than their serifed cousins.

letters such as ‘o,’ ‘e,’ ‘c,’ etc., help to define a character. Typographers believe that large counters are an aid to character recognition. A byproduct of open counters is usually a large lowercase x-height. As long as the x-height is not excessively large, this can also improve legibility in a typeface. Because over 95% of the letters we read arepen counters, “Clarendons” like Nimrod or Scherzo and contemporary

long-standing typographic maxim is

interpretations of “Old Style” designs,

that the most legible typefaces are

such as Monotype Bembo and ITC

“transparent” to the reader–that

Weidemann, tend to come by this trait

most naturally.

Text from It’s About Legibility | A post by Allan Haley

Six Factorial | 13

Typography I Journal

My Favorite Font Looking back on this font choice, I would say it is Six Factorial Type Specimens

not a bad choice, but

size, leading, x-height, line length, style/weight, letterspacing

It is uninteresting and

Georgia Regular 9/14

dull. If I were to go back

3 columns Line length = 14 picas

and do this assignment again, I would pick

as Merriweather.

Legibility in typography

characteristics. While this may seem like

story ‘a’ such as the one found in Stellar

Typographic clarity comes in two flavors:

a typographic oxymoron, it’s not. “Big

or Exlibris is much more legible than the

legibility and readability. What’s the

features” refers to things such as large,

single-story ‘a’ found in Futura or Erbar.

difference? Legibility is a function of

open counters, ample lowercase x-heights,

The lowercase ‘g’ based on Roman letter

typeface design. It’s an informal measure

and character shapes that are obvious and

shapes is more legible then the simple

of how easy it is to distinguish one letter

easy to recognize.

‘g’ found in Helvetica or Glypha. In Old

from another in a particular typeface.

Style typefaces such as Monotype Plantin,

Readability, on the other hand, is

The most legible typefaces are also

dependent upon how the typeface is used.

restrained. They are not excessively

Oldstyle, individual characters have

Readability is about typography. It is a

light or bold, weight changes within

more personality than those in traditional

gauge of how easily words, phrases and

character strokes are subtle, and serifs,

“legibility” faces with virtually no loss in

blocks of copy can be read.

if the face has them, do not call attention

character legibility.While the argument

to themselves.Counters, the white space

continues to rage about whether sans

Legibility: A Trait, Not Always a Goal

within letters such as ‘o,’ ‘e,’ ‘c,’ etc.,

serifs are easier to read than serif fonts

First, not all typefaces are–or should

help to define a character. Typographers

in text copy, sans serif typefaces, because

be–created with legibility as a primary

believe that large counters are an aid to

their letter shapes are simpler, have been

design function. Many faces are

character recognition. A byproduct of

drawn for the purpose of creating a

open counters is usually a large lowercase

legible than their serifed cousins.

typographic statement, or for providing

x-height.

Galena and ITC Berkeley

a particular spirit or feeling to graphic communication. Some typefaces are just

oven to be slightly more

Little Serifs and Light Weights As long as the x-height is not

Another potential drawback of serif

designed to stand out from the crowd. To

excessively large, this can also improve

typefaces is that the legibility of

the degree that a typeface has personality,

legibility in a typeface. Because over 95%

individual letters suffers when serifs

spirit, or distinction, however, it almost

of the letters we read are lowercase, larger

have exaggerated shapes. Long serifs,

always suffers proportionally on the

letter proportions usually result in a more

those that are exceptionally heavy and

legibility scale.

legible typeface.While virtually any serif

those with unusual shapes all detract

typeface can benefit from large open

from legibility. Ideal serifs are somewhat

Three Aspects of Legibility

counters, “Clarendons” like Nimrod or

short and slightly bracketed. They are

So what makes a typeface legible? A long-

Scherzo and contemporary interpretations

also heavy enough to be obvious yet not

standing typographic maxim is that the

of “Old Style” designs, such as Monotype

conspicuous. Typefaces such as Monotype

most legible typefaces are “transparent” to

Bembo and ITC Weidemann, tend to

Sabon and ITC Stone have great serifs.

the reader–that is, they don’t call undue

come by this trait most naturally.

attention to themselves. Additionally, the most legible typefaces contain big features and have restrained design

Lighter typefaces are usually more Individual letter shapes can also affect typeface legibility. For example: the two-

legible than heavier weights of type. They allow for full, open counters and

Text from It’s About Legibility | A post by Allan Haley

14 | Six Factorial

Explorations by Hannah Lichtefeld

a more interesting typeface to explore such

Project 1 2 3 4 5 6 7

My Thoughts I understood the purpose and intent behind this

another. In the past, I never took the time to

assignment, however I found it frustrating because

notice all the subtleties of type, but they really do

I felt like I was missing a part of the problem I was

make a difference!

asked to solve. Normally, designers pick type for a

When I first did this assignment, I found that I am quite fond

specific purpose. The appropriateness of a typeface

“feel” for how to appropriately size and lead type, I am

and its treatment are almost completely dependent on

still left with lots of confusion on the topic with the lack

the context of the assignment that requires it.

of concrete ground rules. I know we are supposed to

With no context being given to us and no real

break rules and be creative, but I just can’t shake the

problem being presented I was at a loss for how to

feeling that my instincts and intuition aren’t enough in

judge whether a body of text was “fit” or not, as I did

this department.

not have anything to “fit” it into. I suppose I felt like

Baskerville and Avenir Next. Unfortunately, I did not have enough typeface variations for Baskerville and so I did not explore this typeface further.

During this assignment, I stumbled along many

I had no specific aim and it confused me. I think

“tiebreakers” when choosing my favorite version of a

I would have much rather been given a set of ‘feelings”

typeface for the body text. I feel like this is because

and readability for picking out a type pairing and then

I was paying the most attention to the “color” of the

try to actualize that vision as opposed to thinking

text, so I found it difficult to choose between two types

hypothetically about it. I must learn better through

of differing size and leading when the ratio between

practicality and doing than through hypothetical or

those two factors were the same in each case! In

theoretical means.

general, I found this exercise to be difficult because

Nevertheless, I still enjoyed doing this assignment

of the typefaces

Although this assignment did seem to hep me get a

of my lack of experience and a lack of context specific

because it gave me the chance to really look at

goals. Regardless, I still feel like I gained knowledge and

different typefaces and how they differ from one

experience from this exercise, and I am glad I did it.

Six Factorial Type Specimens Six Factorial Type Specimens Six Factorial Type Specimens size, leading, x-height, line length, style/weight, letterspacing size, leading, x-height, line length, style/weight, letterspacing size, leading, x-height, line length, style/weight, letterspacing

My Three Picks Malgun Gothic 9/13

thanoxymoron, the single-story found in Futura it’s not. “Big features” refers to shapescharacteristics. is more legible then the simple Legibility in‘a’ typography While this may ‘g’ seem like or Erbar. The lowercase ‘g’ based oninample things such as large,clarity open counters, foundaintypographic Helvetica oroxymoron, Glypha. In it’s Oldnot. Style“Big Typographic comes two flavors: Roman letter shapes is readability. more legible lowercase x-heights, and character shapesthe typefaces such asrefers Monotype Plantin, legibility and What’s features” to things suchGalena as large, thenthat the are simple ‘g’ found in to Helvetica obvious and easy recognize. Berkeley Oldstyle, difference? Legibility is a function of and ITC open counters, ampleindividual lowercase x-heights, or Glypha. In Old Style typefaces such typeface design. It’s an informal measure of characters have moreshapes personality thanobvious those and typeface design. It’s an informal measure and character that are as Monotype Plantin, Galena and ITC The most legible typefaces are also how easy it is to distinguish one letter from of how easy it is to distinguish one letterin traditional easy to “legibility” recognize. faces with virtually Berkeley The most legible typefaces are also are not another in a particular typeface. Readability, restrained. fromThey another in aexcessively particular light typeface. no loss in character legibility. Oldstyle, individual characters restrained. They are not excessively light or bold, weight changes within on the other hand, is dependent upon how The most legible typefaces are also Readability, on the othercharacter hand, is or bold, weight changes within character have more personality than those in strokesdependent are subtle, upon and serifs, ifvirtually the face hasis used. While the are typeface is used. Readability the argument continues to rage restrained. They are not excessively how typeface “legibility” faces withthe strokes subtle, and serifs, if theis about traditional them, do not call legibility.While attention themselves.It is a about light It isnot a gauge of how easily whether sans serifs arechanges easier towithin or bold, weight is about to typography. no loss in Readability character face typography. has them, do call attention to

words, phrases andthe blocks of copy themselves.Counters, white spacecan be read. within letters such as ‘o,’ ‘e,’ ‘c,’ etc., help to define a character. Typographers believe that large counters are ana aid Legibility: A Trait, Not Always Goal to character A byproduct First, notrecognition. all typefaces are–or should of open counters is legibility usually aaslarge be–created with a primary lowercase designx-height. function. Many faces are drawn

serif fonts in text sans serif character strokes arecopy, subtle, and serifs, gauge of how easily words, phrases and read than the argument continues to rage about thecopy white space within if thebecause face has them, doshapes not call blocks of can beto read. typefaces, their letter areattention whetherCounters, sans serifs are easier read letters thansuch serifasfonts sans serif to have themselves.Counters, white space ‘o,’ ‘e,’in‘c,’text etc.,copy, help to define a simpler, been proven to be the slightly typefaces, because their letter shapes Legibility: A Trait, Not Always a Goal more legible within than letters such as ‘o,’cousins. ‘e,’ ‘c,’ etc., character. Typographers believe that large their serifed are simpler, have proven toare–or be First, all to typefaces should help to define a character. Typographers counters arenot anbeen aid character recognition. slightly more legible than their serifed be–created with legibility as a primary Little believe thatLight largeWeights counters are an aid to A byproduct of open counters is usually Serifs and cousins. function. Many facesas are character recognition. byproduct of a largedesign lowercase x-height. As long Another potential drawback ofA serif

open is usually large lowercase drawnisfor purpose of creating the x-height notthe excessively large, this a for the purpose of creating a typographic typefaces is counters that the legibility of aindividual Little Serifs and Light Weights As long as the x-height is not typographic statement, for providing lettersx-height. can also improve legibility in a or typeface. statement, or for providing a particular suffers when serifs have exaggerated Another potential drawback of serif excessively large, this can also improve a particular spirit or feeling to graphic Because over 95% of the letters we read are spirit or feeling to graphic communication. shapes. Long serifs, those that are typefaces is that the legibility of legibility in a typeface. Because As long asand the those x-height not communication. Some typefaces are justexceptionally lowercase, larger letter proportions usually Some typefaces are just designed to heavy withisunusual individual letters suffers when serifs over 95% of the letters we read are large,legibility. this can Ideal also improve designed to standtypeface.While out from the crowd. To in a moreshapes. legible stand out fromletter the crowd. To the degree haveresult shapesexcessively all detract from serifs exaggerated Long serifs, lowercase, larger proportions legibilityshort in a typeface. Because over 95% degree a typeface has personality, any serif that typeface can benefit thatresult a typeface has personality, spirit, or thosevirtually are somewhat and slightly bracketed. thatthe are exceptionally heavy and usually in a more legible typeface. of the read to arebelowercase, spirit, or distinction, however, it almost They are open counters,all“Clarendons” distinction, however, it almost always alsoletters heavy we enough obvious larger thosefrom withlarge unusual shapes detract While virtually any serif typeface can suffers proportions usually result in a more always suffers proportionally on the Nimrod or Scherzo andsomewhat contemporary proportionally the counters, legibility scale. yet notletter conspicuous. fromlike legibility. Ideal serifs are benefit from large on open shortinterpretations and legibility slightly bracketed. They are such legible typeface.While virtually any serif “Clarendons” like Nimrod or Scherzo scale. of “Old Style” designs, also as heavy enough to beand obvious yet and Three contemporary interpretations of typeface benefit from large Monotype Bembo ITC Weidemann, Aspects of Legibility Typefaces such can as Monotype Sabon andopen ITC Typefaces such “OldSo Style” as Monotype like Nimrod of Legibility tend toThree comeAspects by this trait most as naturally. whatdesigns, makes a such typeface legible? A long- not conspicuous. Stone counters, have great“Clarendons” serifs.Lighter typefaces are or Sabon ITCa Stone have Bembo and ITC Weidemann, tend to the MonotypeSo and contemporary interpretations what and makes typeface legible? A longstanding typographic maxim is that usuallyScherzo more legible than heavier weights come by this trait most naturally. ofThey “Oldallow Style”for designs, such as Monotype standingletter typographic maxim is that the of type. Individual shapes can also affect most legible typefaces are “transparent” to great serifs. full, open counters Bembo and ITC Weidemann, tend to most legibleFor typefaces arethe “transparent” to unmodified typeface legibility. example: twothe reader–that is, they don’t call undue and character shapes. Studies Lighter typefaces are usually more Individual letter shapes can also come by naturally. the reader–that theyin don’t call unduehave shown story ‘a’ such as the oneis, found Stellar attention to themselves. Additionally, the thatthis thetrait best most character stroke legible than heavier weights of type. affect typeface legibility. For example: attention to themselves. or Exlibris is much more legibleAdditionally, than the most legible typefaces contain big features thickness for text typefaces is about 18% of They allow for full, open counters and the two-story ‘a’ such as the one found Individual letter shapes can also affect the most legible single-story ‘a’ found intypefaces Futura or contain Erbar. big the x-height. and have restrained designmore characteristics. Typefaces with weights similar character shapes. Studies in Stellar or Exlibris is much legible unmodified typeface legibility. ForOfficina example: the twofeatures‘g’ and haveonrestrained design The lowercase based Roman letter While this may seem like a typographic to of Albertina Regular, ITC Sans

story ‘a’ such as the one found in Stellar or Exlibris is much more legible than the single-story ‘a’ found in Futura or Erbar. The lowercase ‘g’ based on Roman letter shapes is more legible then the simple ‘g’ found in Helvetica or Glypha. In Old Style typefaces such as Monotype Plantin, Galena and ITC Berkeley Oldstyle, individual characters have more personality than those in traditional “legibility” faces with virtually no loss in character legibility.While the argument continues to rage about whether sans serifs are easier to read than serif fonts in text copy, sans serif typefaces, because their letter shapes are simpler, have been pr

oven to be slightly more

legible than their serifed cousins. Little Serifs and Light Weights Another potential drawback of serif typefaces is that the legibility of individual letters suffers when serifs have exaggerated shapes. Long serifs, those that are exceptionally heavy and those with unusual shapes all detract from legibility. Ideal serifs are somewhat short and slightly bracketed. They are also heavy enough to be obvious yet not conspicuous. Typefaces such as Monotype

Six Factorial |great 15 serifs. Sabon and ITC Stone have Lighter typefaces are usually more legible than heavier weights of type. They allow for full, open counters and

Explorations by Hannah Lichtefeld

f Legibility a typeface legible? A ypographic maxim is egible typefaces are the reader–that is, they e attention to themselves. e most legible typefaces ures and have restrained ristics. While this may ographic oxymoron,

Georgia Regular 9/14 3 columns Line length = 14 picas

Explorations by Hannah Lichtefeld

t, Not Always a Goal efaces are–or should legibility as a primary Many faces are urpose of creating a tement, or for providing it or feeling to graphic Some typefaces are o stand out from the egree that a typeface spirit, or distinction, ost always suffers on the legibility scale.

it’s not. “Big features” refers to things Legibility in typography suchTypographic as large, open counters, ample clarity comes in two flavors: lowercase x-heights, and character legibility and readability. What’s the shapes that areLegibility obvious isand easy toof difference? a function recognize.

Body text: Minion Pro Regular 9.5/14 3 columns Line length = 14 picas Georgia Regular 9/14 Explorations by Hannah Lichtefeld

ography rity comes in two and readability. What’s Legibility is a function gn. It’s an informal easy it is to distinguish another in a particular bility, on the other hand, pon how the typeface is y is about typography. It ow easily words, phrases opy can be read.

Malgun Gothic Regular 9/13 3 columns Line length = 14 picas 10/14 Minion pro 9.5/14

Typography I Journal

Pairing typefaces

Project 3 All of the text samples presented in this sections are to scale

Typefaces | Sub-header Jubilat Semibold 2/12 | Body Text Jubilat Light 6/13

Print and Digital — The New Paradigm

Today, the simultaneity of diverse content streams is a given. Alongside

Today

the archetype of the printed page, the new digital archetype of the

Along

window has taken hold. The window is a scrolling surface of unlimited

archet

length, whose width adjusts at the will of reader or writer. In both print and digital media, graphic designers devise ways to navigate bodies of information by exploring the structural possibilities of pages and windows, boxes and frames, edges and margins.

The w

width

digital

of info

and w

Soft C

In 197

at mit

contexts. It is the ubiquitous medium of word-processing, desk-top

of “so

publishing, e-mail, and the Internet. The burgeoning of soft copy had an

The ba

Project Description for print, soft copy largely eliminated the mediation of the typesetter, the

enormous impact on graphic design in the 1980s and 1990s. In design

typogr

technician previously charged manuscript—which Selecting a pair of typefaces is a common practice in with converting For thisthe assignment, we were asked to create a had been painstakingly marked up by hand with instructions from the the design world whether you are developing a brand visual reference of font combination options suitable designer-into galleys, or formal pages of type. Soft copy flows directly to identity, designing your resume, working in publication for body copy and subheads in long-form text. The designers in digital form from authors and editors. design, catalogs, magazines, website design, etc. first step to exploring type pairings was to focus

contex

Pairing typefaces is a good practice because it provides

elimin

Body Text as a Mass

primarily on good matchmaking and contrast, through

both variety and continuity, creates visual hierarchy, exploring different weights. Once we found a few font Viewed distance, a field of textcombinations is a block of gray. But when one we became more helps create a visual system, andfrom maya enhance we found pleasing, closecues. to read, the individualgranular, characters predominate oversubhead the readability via giving thecomes readerinvisual especially with the treatment. We field. Text is a body of separate objects that move together as a mass, The art of pairing is finding suitable companions delved into weight change, stylelike change, color, all caps/ cars in a flow of but traffic or work individuals small in a crowd. Text is a fluid made from that not only enhance visual hierarchy, also caps, tracking, graphic elements, etc. From there, hard, dry crystals of the alphabet.we picked our favorite combinations and produced a well together. Exploring the these nuances was the goal of this exercise.

specimen page for each Typeface designs in the Renaissancetype reflected the curving lines of of the combinations. handwriting, formed by ink flowing from the rigid nib of a pen. The cast metal types used for printing converted these organic sources into fixed, reproducible artifacts.

Explorations by Hannah Lichtefeld

16 | Pairing Typefaces

Typefac

is will

desk-

of soft

the 19

previo

been p

the de flows

editor

Project 1 2 3 4 5 6 7

29 Principles for Making Great Font Combinations Screenshotted from bonfx.com

I was appreciative that our professor Leslie provided us with some sources on this otherwise mystifying topic of design! Be that as it may, I am slightly suspicious of the tip count for this article... It seems like they may have repeated and reworded some tips... But, it could just be my lack of understanding at work.

A Short Reading This reading was just as confusing as it was

“matching” meant, but after a few more projects, I feel

enlightening for me. At the time I started this

that I understand what the article was trying

assignment, the nature of typeface pairing was an

to convey, now.

absolute mystery to me. I had—and to an extent, still

On the other hand, I don’t know if I completely

do— a lot of difficulty finding a rhyme or reason for

agree with everything the article said. They advised not

pairing a typeface. I really had no idea where to start or

to pair fonts from homogeneous typeface categories

how to evaluate the effectiveness of a pairing beyond

like pairing a serif with another serif. Yet, I found that

a simple “this just doesn’t look good.” I knew that

they can look nice together in cases such as Bebas

something was wrong, but I didn’t know why and that

Neue paired with Open Sans (two typefaces paired

only made me feel frustrated and cuckoo

in this booklet). In reality, I was having more trouble

for Cocoa Puffs.

pairing fonts from contrastive categories like serif and

Nevertheless, after reading this article, I felt like

sans serif. I felt like even if they were similar in build,

I was given some guidance. The article gave many tips,

they tended to have a different “feeling” that made the

tricks, and general guidelines to pairing typefaces. In

pairing feel unresolved.

summary, it suggested making sure that your fonts

Nonetheless, by doing more projects and reading

contrast enough to make a difference, while still

more articles on the topic, I think I have mostly

“matching” one another. I was still confused by what

overcome this hurdle.

Pairing Typefaces | 17

Typography I Journal

Pairing Explorations

I normally try not to use fonts I haven’t heard of, but I love Jubilat. It makes a beautiful subhead. On the other hand, the body text does seem a bit difficult to

Subhead Jubilat Semi-bold 12/12 Body text Jubilat Light 8/12.5

Fluid Typography | An Essay by Ellen Lupton

Fluid

with additional subheads inserted for the exercise

with ad

Visual Expression of Language

Visu

Liquidity, saturation, and overflow are words that describe the

Liq

information surplus that besets us at the start of the twenty-first century.

the

in this media-rich environment, and so too does the written word. Far from diminishing in influence, text has continued to expand its power

read. I would probably

and pervasiveness. The visual expression of language has grown

pair it with a sans serif

increasingly diverse, as new fonts and formats evolve to accommodate

for the body text

the relentless display of the word.

in the future. I am not a huge fan of this typeface pairing. I think that it is mostly the styles of the two and so, they clash.

Subhead Candara Bold, 13/14

What is Typography Typography is the art of designing letterforms and arranging them in space and time. Since its invention during the Renaissance,

Body text IMB Plex Serif, Regular, 8/13

typography has been animated by the conflict between fixed architectural elements-such as the page and its margins-and the fluid substance of written words. Evolutions in the life of the letter arise from dialogs between wet and dry, soft and hard, slack and taut, amorphous and geometric, ragged and flush, planned and unpredicted. With unprecedented force, these conflicts are driving typographic innovation today. Typography is going under water as designers submerge themselves in the textures and transitions that bond letter, word, and surface. As rigid formats become open and pliant, the architectural hardware of typographic systems is melting down. The flush, full page oich text is poured, spilling over from one leaf to the next. By the early twentieth century, the classical page had given

Explorations by Hannah Lichtefeld

18 | Pairing Typefaces

too

tex

per

inc

due to the fact that typefaces are too similar

twe

acc

Typo arran the R confl page fluid the l hard flush these Typo them word the a down

Project 1 2 3 4 5 6 7

Fluid Typography | An Essay by Ellen Lupton with additional subheads inserted for the exercise

Visual Expression of Language Liquidity, saturation, and overflow are words that describe

ury.

ate

the information surplus that besets us at the start of the twenty-first century. in this media-rich environment, and so too does the written word. Far from diminishing in influence,

Subhead Merriweather black 11/13.5 Body text Merriweather Regular, 7.5/14

I chose to stay within the same typeface family for this font pairing because I thought that the different weights carried enough contrast on their own.

text has continued to expa Far from diminishingpower and pervasiveness. The visual expression of language has grown increasingly diverse, as new fonts and formats evolve to accommodate the relentless display of the word.

them

the

etter

iving

ions

pen is

leaf

had

What is Typography Typography is the art of designing letterforms and arranging them in space and time. Since its invention during the Renaissance, typography has been animated by the conflict between fixed architectural elements-such as the page between fixed architectural and its margins-and the fluid substance of written words. Evolutions in the life of the letter arise from dialogs between wet and dry, soft and hard, slack and taut, amorphous and geometric, ragged and flush, planned and unpredicted. With unprecedented force, these conflicts are driving typographic innovation today. Typography is going under water as designers submerge themselves in the textures and transitions that bond letter, word, and surface. As rigid formats become open and pliant, the architectural hardware of typographic systems is melting down.

Subhead Rockwell Bold 13/13.5 Body text Rockwell, Regular, 9/13

Though I do really like this typeface a lot, I feel like pairing them together was not successful because there is simply not enough contrast. Maybe if I changed the weights to differ more, it could work.

Pairing Typefaces | 19

Typography I Journal

Pairing Explorations Continued

This font pairing is successful because there is significant contrast between both fonts, without conflict.

According to general rule and the article I read, pairing two serif typefaces together is

Subhead Gill Sans MT Bold Italic 12.5/13.5 Body text cormorant Garamond, semi-bold, 9.5/13

Subhead Bookman Old Style Bold 13/13.5

not recommended. Yet, I feel like in this case, Bookman Old Style Bold and Calisto MT Regular go well together.

This is what the

Body text Calisto MT Regular 9.5/13.5

Fluid Typography | An Essay by Ellen Lupton

Fluid

with additional subheads inserted for the exercise

with ad

Print and Digital —The New Paradigm

Inte

Today, the simultaneity of diverse content streams is a given. Alongside the archetype of the printed page, the new digital archetype of the window has taken hold. The window is a scrolling surface of unlimited length, whose width adjusts at the will of reader or writer. In both print and digital media, graphic designers devise ways to navigate bodies of information by exploring the structural possibilities of pages and windows, boxes and frames, edges and margins.

Digita writer the go struct the di have about of dig its siz devel a mod electr

Soft Copy — A Chameleon In 1978, Nicholas Negroponte and Muriel Cooper, working at mit’s Media Lab, published a seminal essay on the notion of “soft copy,” the linguistic raw material of the digital age. The bastard offspring of hard copy, soft text lacks a fixed typographic identity. Owing allegiance to no font or format, it is willingly pasted, pirated, output, or repurposed in countless contexts. It is the ubiquitous medium of word-processing, desk-top publishing, e-mail, and the Internet. The burgeoning of soft copy had an enormous impact on graphic design in the 1980s and 1990s. In design for print, soft copy largely eliminated the mediation of the typesetter, the technician previously charged with converting the manuscript—which had been painstakingly marked up by hand with instructions from the designer-into galleys, or formal pages of type. Soft copy flows directly to designers in digital form from authors and editors.

Soft copy— A Chameleon

subhead would look like if It was kept as Calisto. Bookman Old Style maintains the same tone of Calisto, while bumping up the contrast.

Explorations by Hannah Lichtefeld

20 | Pairing Typefaces

Bod

View when predo that m indiv cryst

Type lines of a p

The c sourc

As th medi forma

lling

gners

phic

It is ing,

In f the the nd ges rom

Project 1 2 3 4 5 6 7

Fluid Typography | An Essay by Ellen Lupton with additional subheads inserted for the exercise

Interactive Typography Digital media enable both users and producers, readers and writers, to regulate the flow of language. As with design for print, the goal of interactive typography is to create “architectural” structures that accommodate the organic stream of text. But in the digital realm, these structures-and the content they supporthave the possibility of continuous transformation. In their essay about soft copy, Negroponte and Cooper predicted the evolution of digital interfaces that would allow typography to transform its size, shape, and color. Muriel Cooper (1925-1994) went on to develop the idea of the three-dimensional “information landscape,” a model that breaks through the window frames that dominate electronic interfaces.

Subhead Ebrima Bold 13/13.5 Body text Ebrima Regular 8.5/11.5

This is another example of two fonts from a single typeface being paired together that I tried. In this case, I was not particularly fond of how it turned out. Much like the Rockwell pairing, I feel like this pairing lacked contrast and therefore felt bland.

Body Text as a Mass Viewed from a distance, a field of text is a block of gray. But when one comes in close to read, the individual characters predominate over the field. Text is a body of separate objects that move together as a mass, like cars in a flow of traffic or individuals in a crowd. Text is a fluid made from the hard, dry crystals of the alphabet.

Typeface designs in the Renaissance reflected the curving lines of handwriting, formed by ink flowing from the rigid nib of a pen.

Subhead Cambria Bold 13/13.5

This type pairing is okay,

Body text Cambria Regular 9.5/12

they don’t give enough

but it doesn’t really stand out to me. The fonts are too similar and contrast. I do like this typeface as a body text though!

The cast metal types used for printing converted these organic sources into fixed, reproducible artifacts.

As the printed book became the world’s dominant information medium, the design of typefaces grew ever more abstract and formalized, distanced from the liquid hand.

Pairing Typefaces | 21

Typography I Journal

Thoughts Throughout this process of picking and choosing

to make sure they fit well together. It gave me a sense

typefaces, I tried my best to stray away from changing

of appreciation for all the decision making and careful

the size and leading of the type to concentrate on the

consideration that goes into typeface design.

differences of the typefaces themselves. This might

The font pairings that I found to be the most

have been a poor decision however, because it also

harmonious with each other were Bookman Old Style

means I wasn’t doing each typeface equal justice.

13/13.5 paired with Calisto MT 9/13.5, Gill Sans MT

At the time, I couldn’t really tell much of a

12.5/13.5 paired with Cormorant Garamond Semibold

difference between many serif type faces and it made

9.5/13, Jubliat Semibold 12/12 paired with Jubliat Light

it confusing when deciding which one to choose. I also

6/13, and Merriweather Black 10/13.5 paired with

kept becoming slightly sad when I found a typeface

Merriweather Regular 7.5/12. At the time, I wasn’t really

family I really liked, but it did not have any variations

sure if choosing different weights from a typeface

beyond “regular” or any of the ones I wanted. So in

family counted as pairing type, but I just went with it

the end, I couldn’t use it. This is what happened to

because I really liked how it turned out. My favorite

me with Baskerville Old Style. The fact that I have

outcome of all of these pairings is probably the Gill

trouble gaining access to popular typefaces might have

Sans and Cormorant Garamond pairing.

something to do with it. Stepping away from the difficulties I faced during this project, I particularly enjoyed the process of comparing the similarities and contrasts of typefaces

is a great example of how homogeneous typefaces can be paired together nicely. Here, the wide, round nature of Montserrat contrasts enough with the tall, angular, condensed Bebas Neue, while still keeping the same crisp, modern tonality of the ad.

22 | Pairing Typefaces

Photo Courtesy of digitalsynopsis.com

In my opinion, this ad

Project 1 2 3 4 5 6 7

My Favorites

Typefaces | Sub-header Bookman Old Style 13/13.5 eader Bookman Old Style 13/13.5

Text Calisto MT 9/13.5

| Body Text Calisto MT 9/13.5

Digital — ThePrint and Digital — The New Paradigm digm

Typefaces | Sub-header Gill Sans

Typefaces MT 12.5/13.5

| Sub-header Gill Sans

MT 12.5/13.5

| Body Text Cormorant Garamond Semibold 9.5/13 | Body Text Cormorant Garamond Sem

and Digital —The New Print and Digital —The NewPrint Paradigm

theissimultaneity of diverse content Today, the simultaneity of diverse contentToday, streams a given.

Today, the is simultaneity Alongside thedigital archetype of the printed pa aneity of diverse content streams a given. of diverse content streams is a given. Alongside the archetype of the printed page, the new Alongside thedigital archetype of the printed page, the new digital of the hetype of the printed page, the new archetype of the window has taken hold. archetype The window is a window scrollinghas taken hold. Th of the adjusts of at unlimited the will oflength, whose width a window has taken hold.archetype The window is awindow has taken hold. The window is a surface of unlimited length, whose widthsurface writer. designers In both print and digital scrolling length, whose width adjusts at the or writer. In both print and digitalreader reader media,orgraphic f unlimited length, whose widthsurface adjustsofatunlimited the devise ways to navigate devise ways to navigate bodies of information by exploring the bodies of informat of reader writer. In both print and digital media, graphic writer. In both print andwill digital media,orgraphic structural boxespossibilities and frames, of pages and windo devise by ways to navigate bodies of information bystructural possibilities of pages and windows, ways to navigate bodiesdesigners of information edges and margins. edges and margins. exploring the structural possibilities of pages and windows, boxes ctural possibilities of pages and windows, boxes and frames, edges and margins. and margins.

Soft Copy — A Chameleon — A Chameleon

Soft Copy — A Chameleon Soft Copy — A Chameleon

1978, Nicholas and Muriel In 1978, Nicholas Negroponte and MurielInCooper, workingNegroponte at mit’s

In 1978, Nicholas Negroponte and Muriel at Lab, published a seminal essay on Media Lab, a seminal Black essay10/13.5 on th Typefaces | Sub-header Merriweather Negroponte and Muriel Cooper, working at Jubilat Semibold Typefaces | Sub-header 2/12 Cooper, working Media the notion ofpublished “soft copy,” Typefaces | Sub-header Merriweather Black 10/13.5 ub-header Jubilat Semibold 2/12 mit’s Media Lab, published a seminal essay on the notion of the linguistic raw material of the digital published a seminal essay on the notion the linguistic raw material of the digital age. The bastard offspring | Body Text Merriweather Regular 7.5/12ag | Bodyof Text Jubilat Light 6/13 | Body Text Merriweather Regular 7.5/12 ody Text Jubilat Light 6/13 of hardidentity. copy, soft text lacks a fixed typogra raw material of the digital age. The of hard copy, soft text lacks a fixed typographic Owing nguistic raw material of“soft the copy,” digital the age.linguistic The allegiance no font or format, it is willin bastard offspring of hard copy, soft text lacks a fixed typographic allegiance to no font or format, it is willingly pasted,topirated, of hard copy, soft text lacks a fixed typographic Print and Digital — The New P Print and Digital — The New Paradigm output, or repurposed output, or repurposed in countless It is the ubiquitousin countless contex Print and Digital — Thecontexts. New Paradigm identity. allegiance to no font or format, it is willingly Digitalto— New Paradigm legiance noThe font or format, itOwing is willingly mediumthe of word-processing, desk-top pub Today, the simultaneity diverse content streams is a given. Alongside Today, simultaneity content medium word-processing, desk-top publishing, e-mail, and the of diverse output, repurposed in countless contexts. ItToday, is ofthe utput, inpasted, countless contexts. Itofisor taneityor of repurposed diverse content streamspirated, is a given. Alongside simultaneity of diverse content streams is a given. the archetype of the printed page, the new digital archetype of the Internet. The burgeoning of soft copy had Alongside the archetype of the printed pag Internet. The burgeoning of soft copy had an enormous impact on the ubiquitous medium of word-processing, desk-top publishing, dium of word-processing, desk-top publishing, the printed page, the new digital archetype of the Alongside the archetype of the printed page, the new digital window has taken hold. The window is a scrolling surface of unlimited graphic design in the 1980s and 1990s. In graphic design in the 1980s and 1990s. In design for print, soft copy archetype of the window has taken hold. d the Internet. The burgeoning of soft copy had an archetype of the window has taken hold. ternet. of softand copy had en hold.The The burgeoning window is ae-mail, scrolling surface of an unlimited length, whose width adjusts at the will of reader or writer. In bothlargely print eliminated the mediation of the typesetter, largely eliminated the mediation of the typ the technician enormous impact onIn graphic idth adjusts at the will reader or and writer. In both print design in the 1980s and 1990s. In on graphic design inofthe 1980s 1990s. The window is a scrolling surface of unlim The window is a scrolling surface of unlimited length, whose and digital media, graphic designers devise ways to navigate bodies previously charged had with converting the ma charged with converting the manuscript—which a, graphic designers devise ways to print, navigate bodies design soft of the oft copy largely eliminated thefor mediation ofcopy the largely eliminated the mediationpreviously width adjusts at the will of reader or write of information by exploring the structural possibilities of pages and width adjusts at marked the will up of reader orwith writer. In both print and been painstakingly marked up by hand wi been painstakingly by hand instructions from y exploring the structural possibilities of pages and typesetter, the technician hnician previously charged with converting the previously charged with converting the digital media, graphic designers devise wa windows, boxes and frames, edges and margins. digital media, graphic designers devise ways to navigate bodies the designer-into galleys, or formal pages o the designer-into galleys, or formal pages of type. Soft copy flows and frames, and margins. manuscript—which had been painstakingly marked up by hand ch had been edges painstakingly marked up by hand of information by exploring the structural directly to designers in digital form from a of information by exploring the structural possibilities of pages directly to designers in digital form from authors and editors. instructions from the designer-into galleys, or formal pages from the designer-into with galleys, or formal pages and windows, boxes and frames, edges an Soft Copy — A Chameleon and windows, boxes and frames, edges and margins. — A Chameleon of type. Soft copy flows directly to designers in digital formflows fromdirectly to designers in digital form from In 1978, Nicholas Negroponte and Muriel Cooper, working at mit’sBody Media Text as a Mass Body Text as a Mass s Negroponte and Murielauthors Cooper, and working at mit’s Media editors. rs.

Soft Copy — A Chameleon Lab, published a seminal essay on the notion of “soft copy,” the linguistic Soft A Chameleon a seminal essay on the notion of “soft copy,” the linguistic from a distance, ViewedCopy from a— distance, a field of text is aViewed block of gray. But whena field of text is a raw material of the digital age. The bastard offspring of hard copy, soft he digital age. The bastard offspring of hard copy, soft one comes inpredominate closeNegroponte to read, theand individual 1978, Nicholas Muriel oneIncomes in close to read, the individualIn characters 1978, Nicholas Negroponte and Muriel Cooper, working text lacks a fixed typographic identity. Owing allegiance to no font or d typographic identity. Owing allegiance to no font or over the field. Text is a body of separate ob at mit’s Media Lab, published a seminal e over the field. Text is a body of separate objects that move together a distance, a pirated, field ofoutput, text isor a block of gray. But when tance, a field of text isViewed a blockitfrom of gray. Butpasted, when format, is willingly repurposed in countless at mit’s Media Lab, published a seminal essay on the notion ngly pasted, pirated, output, or repurposed in countless as a mass, like cars in a flow of traffic or in as a mass, like cars in a flow of traffic or individuals in a crowd. of “soft copy,” the linguistic raw material one comes close to read,medium the individual charactersdesk-top predominate e to read, the individual characters predominate contexts. It isinthe ubiquitous of word-processing, of “soft copy,” the linguistic raw material of the digital age. e ubiquitous medium of word-processing, desk-top Textbastard isofa fluid made from the hard, Text is a fluid made from the hard, dry crystals theoffspring alphabet. The of hard copy,dry softcry te over the field. Text is a body of separate objects that move t is a body of separate objects thate-mail, moveand the Internet. The burgeoning of soft copy hadThe publishing, an bastard offspring of hard copy, soft text lacks a fixed ail, and the Internet. The burgeoning of soft copy had an Typeface designs in the Renaissance reflec Typeface designs in the Renaissance reflected the curving lines of typographic identity. Owing allegiance to a mass, carsdesign in a flow of1980s trafficand or 1990s. individuals enormous impact on like graphic in the In design s,ctlike cars in a flow of together traffic oras individuals typographic identity. Owing allegiance to no font or format, it on graphic design in the 1980s and 1990s. In design handwriting, by ink flowing from handwriting, formed by ink flowing fromis the rigid nibformed of a pen. for print, softcrystals copyislargely eliminated the mediation of thecrystals typesetter, the in a crowd. Text a fluid made from the hard, dry of willingly pasted, pirated, output, or rep spya largely fluid made from the hard, dry of eliminated the mediation of the typesetter, the is willingly pasted, pirated, output, or repurposed in countless technician previously charged with converting the manuscript—which contexts. It is the ubiquitous medium of w iously charged with converting the manuscript—which contexts. It is the ubiquitous medium of word-processing, had been painstakingly marked up by hand with instructions from the desk-top publishing, e-mail, and the Inte akingly marked up by hand with instructions from the desk-top publishing, e-mail, and the Internet. The burgeoning designer-into galleys, or formal pages of type. Soft copy flows directly to Explorations by Hannah Lichtefeld annah Lichtefeld lleys, or formal pages of type. Soft copy flows directly to of soft copy had an enormous impact on g of soft copy had an enormous impact on graphic design in designers in digital form from authors and editors. ital form from authors and editors. the 1980s and 1990s. In design for print, s

as a Mass

Body Text as a Mass

the 1980s and 1990s. In design for print, soft copy largely eliminated the mediation of the typesetter eliminated the mediation of the typesetter, the technician previously charged with converting the m previously charged with converting the manuscript—which had Viewed from a distance, a field of text is a block of gray. But when one distance, a field of text is a block of gray. But when one been painstakingly marked up by hand wi comes in close to read, the individual characters predominate over been the painstakingly marked up by hand with instructions from o read, the individual characters predominate over the the designer-into galleys, or formal pages field. Text is a body of separate objects that move together as a mass,the likedesigner-into galleys, or formal pages of type. Soft copy ody of separate objects that move together as a mass, like flows directly to designers in digital form Pairing Typefaces cars in a flow of traffic or individuals in a crowd. Text is a fluid madeflows from directly to designers in digital form from authors and | 23 traffic or individuals in a crowd. Text is a fluid made from editors. the hard, dry crystals of the alphabet. editors. ystals of the alphabet.

as a Mass

Body Text as a Mass

Typeface designs in the Renaissance reflected the curving lines of ns in the Renaissance reflected the curving lines of handwriting, formed by ink flowing from the rigid nib of a pen.

Typography I Journal

Text samples Bookman Old Style & Calisto I chose this pairing because I liked the way that the typefaces are similar in ways such as x-height, but have

Typefaces | Sub-header Bookman Old Style 13/13.5

Type

| Body Text Calisto MT 9/13.5

different tones to them. Calisto is more jagged and contrastive, so it works well as a body text, while Bookman Old Style is rounder and softer, so it balances it out.

Print and Digital — The New Paradigm Today, the simultaneity of diverse content streams is a given. Alongside the archetype of the printed page, the new digital archetype of the window has taken hold. The window is a scrolling surface of unlimited length, whose width adjusts at the will of reader or writer. In both print and digital media, graphic designers devise ways to navigate bodies of information by exploring the structural possibilities of pages and windows, boxes and frames, edges and margins.

Explorations by Hannah Lichtefeld

24 | Pairing Typefaces

Prin

Today Along arche surfac reade devise struct edges

Soft

In 197 Medi the li of har allegi outpu mediu Intern graph largel previo been the d direct

Bod

Viewe one c over t as a m Text i Typef handw

he hic

oxes

hic

t is ng,

n the the nd ges om

when nate

Project 1 2 3 4 5 6 7

Gill Sans MT & Cormorant Garamond Semibold I chose this type pairing

Typefaces | Sub-header Gill Sans

because the contrast MT 12.5/13.5

| Body Text Cormorant Garamond Semibold 9.5/13

between the subhead and the body text makes it “pop.” It also feels very modern, but

Print and Digital —The New Paradigm

elegant to me. Lastly,

italicized subheads.

I’m fond of the idea of

Pairing Typefaces | 25

Typography I Journal

Jubilat Semibold & Jubliat Light This font pairing is my second favorite because it has contrast as well as spunk to it. I love the subtle round and curly

Typefaces | Sub-header Jubilat Semibold 2/12

Typefac

| Body Text Jubilat Light 6/13

quality to this typeface.

Print and Digital — The New Paradigm

Today, the simultaneity of diverse content streams is a given. Alongside

Today

the archetype of the printed page, the new digital archetype of the

Along

window has taken hold. The window is a scrolling surface of unlimited

archet

The w width

digital

of info

Soft C

In 197

at mit

contexts. It is the ubiquitous medium of word-processing, desk-top

of “so

publishing, e-mail, and the Internet. The burgeoning of soft copy had an

The ba

enormous impact on graphic design in the 1980s and 1990s. In design

typogr

for print, soft copy largely eliminated the mediation of the typesetter, the

is will

technician previously charged with converting the manuscript—which

contex

had been painstakingly marked up by hand with instructions from the designer-into galleys, or formal pages of type. Soft copy flows directly to designers in digital form from authors and editors.

desk-

of soft

the 19

elimin

previo

been p

the de

cars in a flow of traffic or individuals in a crowd. Text is a fluid made from

flows

the hard, dry crystals of the alphabet.

editor

Typeface designs in the Renaissance reflected the curving lines of handwriting, formed by ink flowing from the rigid nib of a pen. The cast metal types used for printing converted these organic sources into fixed, reproducible artifacts.

Explorations by Hannah Lichtefeld

26 | Pairing Typefaces

and w

Project 1 2 3 4 5 6 7

Merriweather Black & Merriweather Regular I picked this font

Typefaces | Sub-header Merriweather Black 10/13.5 | Body Text Merriweather Regular 7.5/12

combination because of the contrast from both the fonts and the indent on the body text.

Print and Digital — The New Paradigm

ide

Today, the simultaneity of diverse content streams is a given. Alongside the archetype of the printed page, the new digital

int

archetype of the window has taken hold. The window is a scrolling surface of unlimited length, whose width adjusts at the will of reader or writer. In both print and digital media, graphic designers devise ways to navigate bodies of information by exploring the structural possibilities of pages and windows, boxes and frames, edges and margins.

edia

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previously charged with converting the manuscript—which had been painstakingly marked up by hand with instructions from the designer-into galleys, or formal pages of type. Soft copy flows directly to designers in digital form from authors and editors.

ces

Pairing Typefaces | 27

Typography I Journal

Publ com

Visual Systems

Project 4

28 | Visual Systems

The photos of these spreads were taken from Pentagram.com

Project Description When designing for multiple pages with long-form

For each design system we chose, we needed to

text—both in print and digital platforms—visual

have at least six spreads to compare. From there, we

systems provide consistency, enhance navigation and

laid out the spreads in thumbnail form onto a template

user experience, and create the desired tone and

given to us to create a visual inventory. Once we had

feel. For this assignment we were instructed to look

the spreads laid out next to each other, we analyzed

at multiple examples of good, systematic publication

what elements were repeatedly used throughout the

design from books and online sources, and select

design and how they were used to create a visual

two—one from the Art Library and one from a design

system. Lastly, we described the tone and feel of

archive online—to analyze.

each publication.

Project 1 2 3 4 5 6 7

My Thoughts I actually really enjoyed this assignment. Publication

think they are no longer reading from the same system

design has always mystified and intimidated me, so

of information. Readers expect the location and design

it was enlightening to be able to bring it down to a

of information they search for to be consistent from

science of sorts. When analyzing these examples,

page to page. If this isn’t the case, a designer might

I realized that there was so much that goes into pulling

produce a frustrated and confused reader.

a visual system together. Consistent layout, placement,

Lastly, I discovered from this assignment how

use of elements, use of typography, use and style of

much you can learn from studying good design. Upon

images, color palettes, graphic elements, patterns, and

studying my favorite of these examples, The Maze, I was

background textures are all examples of factors that

able to see how the desired effects were achieved. This

can contribute to a visual system.

gave me insight into methods of expressing different

In addition, I never realized how important it is for

tonalities in design as well as opened my eyes to new

navigational purposes. When readers turn a page of a

possibilities. Whenever I see good design in the world,

book and search for information, their eye returns to

I find it a good idea to try to figure out why it’s good

a place relevant to what they have seen on previous

or why I like it. Doing this gives me insight into how to

pages. For this reason, if layouts and systems are not

articulate moods and goals of individual designs.

consistent between spreads, the reader may get lost or

I am really fond of this cover and the way that it is composed of the accent color from the inside pages. I took inspiration from this into my own design for this journal by choosing a black cover!

Visual Systems | 29

Typography I Journal

The Maze: A Labrynthine Compendium This is half of the final product I turned in for

Publication Title: The Maze, A labrynthine Compendium

Publication source: https://www.pentagram.com/work/the-maze-a-labyrinthinecompendium?rel=discipline&rel-id=6

this project. I find this thumbnail method useful in deciphering flow lines and common trends within publication design and my own designs.

Feel/tonality

System elements » Repeating Maze graphics » All graphics share the shame light gray-toned, gritty tetureand appearence » Pops of bright, lime green grphics

30 | Visual Systems

» Page boarders » Country identifyer boxes and the top of the page » Text wrapping around graphics

» » » »

Large pictures/graphics on one page Large letters beginnning page text Constitant font and leading The measure bars at the bottom of the page

» Starting the body text directly underneath the information box at the top of the page » Lined boxes surrounding and seperating images and bodies of text.

» » » » »

Informational traditional very clean organized antiquated

System Elements

Feel/Tonality

» Repeatings maze graphics » All graphics have light gray-toned, gritty, textured appearance » Pops of bright, lime green graphics » Page boarders » Country Identifier boxes at the top of each page » Text wrapping around graphics » Large image/graphic on one page

» » » » »

» Drop caps » Consistent fonts and leading » Measure bars at the bottom of each page » Body text starts directly underneath the information box at the top of the page » Lined boxes separate images and bodies of text

Informational Traditional Clean Organized Antiquated

Project 1 2 3 4 5 6 7

Publication Title: The Maze, A labrynthine Compendium I find the way that one of the graphics was incorporated into the title page to be successful in setting up the graphics system.

System elements » Repeating Maze graphics » All graphics share the shame light gray-toned, gritty tetureand appearence » Pops of bright, lime green grphics

» Page boarders » Country identifyer boxes and the top of the page » Text wrapping around graphics

» » » »

Large pictures/graphics on one pag Large letters beginnning page text Constitant font and leading The measure bars at the bottom of

Visual Systems | 31

Typography I Journal

Publication source: https://www.pentagram.com/work/the-maze-a-labyrinthinecompendium?rel=discipline&rel-id=6 A major system element I find to be successful in pulling the design together, is the country folios at the top of the page. Their design is a unique feature, and the presentation of information is consistent in summary and placement.

Feel/tonality

the body text directly underneath the tion box at the top of the page oxes surrounding and seperating and bodies of text.

32 | Visual Systems

» » » » »

Informational traditional very clean organized antiquated

Project 1 2 3 4 5 6 7

mpendium

d the top of the

hics

Publication source: https://www.p compendium?rel=discipline&rel-i The reoccurring, similarly styled, monotone imagery and graphics are most influential in its systematic solidarity. Though, this does seem like something that wouldn’t be applicable in most other situations.

» » » »

Large pictures/graphics on one page Large letters beginnning page text Constitant font and leading The measure bars at the bottom of the page

» Starting the body text directly underneath the information box at the top of the page » Lined boxes surrounding and seperating images and bodies of text.

Visual Systems | 33

Typography I Journal

What is Exhibition Design? I do not feel that this system of design is as

Publication Title: What Is Exhibition Design?

Publication source: T 396.B47 2007x

consistent and even as the last, but you can still tell that these pages are apart of a system.

Feel/tonality Informational casual modern clean inviting

System elements » A clear grid and a standard of two columns » Header and main body text are placed at top left cornor » Captions are divided into a four column grid

» » » »

Bolded headers Consistent type faces Consistant amount of white space Captions on the right side of images

» Images are mostly lined to the left » Images are treated in a similar fashion of lightness, color, and calrity » Images are taken in interesting angles

» Images occupy rougly half the page space for each spread.

System Elements » Clear use of a grid and a standard of two columns » Placement of Header and main body text in the top left corner » Captions are divided into a four column grid » Bolded headers » Consistent fonts used » Consistent amount of white space » Captions are on the right side of images

34 | Visual Systems

» Images are primarily lined to the left » Images are treated in a similar fashion of lightness, color, and clarity » Images are taken from interesting angles » Images occupy roughly half of the page on each spread

» » » » »

Feel/Tonality » » » » »

Informational Casual Modern Clean Inviting

Project 1 2 3 4 5 6 7

Publication Title: What Is Exhibition Design? Looking back on this publication design, I am not sure that its actually very successful. Sometimes the images will bleed off the sides and sometimes they won’t at seemingly random times. Moreover, I’m not a fan of the way the text spans over the two columns. But, that could just be my own preference.

System elements » A clear grid and a standard of two columns » Header and main body text are placed at top left cornor » Captions are divided into a four column grid

» » » »

Bolded headers Consistent type faces Consistant amount of white space Captions on the right side of images

» Images are mostly lined to the left » Images are treated in a similar fash lightness, color, and calrity » Images are taken in interesting ang

Visual Systems | 35

Typography I Journal

Design?

Publication sourc Here, I’m not sure that the transition to a black background works well. Despite this, I feel like the consistent placement of the headers and the consistent fonts used make up for this, for the most part.

headers nt type faces nt amount of white space s on the right side of images

36 | Visual Systems

» Images are mostly lined to the left » Images are treated in a similar fashion of lightness, color, and calrity » Images are taken in interesting angles

» Images occupy rougly half the page space for each spread.

he page space for

Project 1 2 3 4 5 6 7

Publication source: T 396.B47 2007x At this point, having seen all six spreads, I can tell that the placement of text is generally at the top of the left page, and the captions fill in spots where images do not fill.

Feel/tonality » » » » »

Informational casual modern clean inviting Visual Systems | 37

Typography I Journal

Grid Dissection

Project 5 Chartres

Page Title: Cardo Regular 28p (Similar) Scripted Subtitle: Monotype Corsiva 11p (similar) Serif Subheading: Cardo Regular 14p

La Chemin de Jerusalem, Cathidrale Notre-Dame, Chartres, France

Beauce stone and bluestone

he Charres labyrinth is a Chritian classic.

Body Text: Cardo Regular 11/13 (Similar) Boxed Caption: Cardo Regular 18/23 (Similar)

In the mid-seventeenth century the canon of Chartres called the

Project Description Grids are an important underpinning in long-form

For this assignment we were asked to create an

text design and are a way to articulate the rectangular

InDesign file with the same page dimensions as the

space a designer is typically working within and divide

publication design we were analyzing. From there, we

it into harmonious units. From a reader’s perspective,

were instructed to discover and diagram the grid along

grids—along with other visual system elements—

with any margin columns. Our professor informed

provide navigational clues and set up expectations for

us that horizontal divisions aren’t as common or as

the reader about where they should expect certain

easily decipherable as columns are, but we should

kinds of content such as chapter titles, folios, captions,

still diagram any that seem to be repeated with

body copy, and more. Imagine viewing a publication

consistency. Next, we identified the fonts used by

that had no page-to-page consistency. Where elements

recreating them to the best of our abilities and simply

started in random places on each page, with no sense

making a “guesstimate.” At the end, all of this was to

of coherence. Dissecting the grid of another design is

be charted out in a info-graphic of sorts. In addition to

a valuable method to understand possible “rules” you

displaying which fonts were used, I decided to include

might use when creating and using a grid for yourself.

the font samples I made to mimic the source fonts as well.

38 | Grid Dissection

Project 1 2 3 4 5 6 7

As soon as our professor

Chartres

Page Title: Cardo Regular 28p (Similar) Scripted Subtitle: Monotype Corsiva 11p (similar)

told us to pick a design

La Chemin de Jerusalem, Cathidrale Notre-Dame, Chartres, France

Serif Subheading: Cardo Regular 14p

Beauce stone and bluestone

to dissect, I went straight

he Charres labyrinth is a Chritian classic.

back to this one because I think it is so elegant

Body Text: Cardo Regular 11/13 (Similar) Boxed Caption: Cardo Regular 18/23 (Similar)

and clean.

In the mid-seventeenth century the canon of Chartres called the

My Thoughts Because I admired it so much, I decided to dissect a

Looking back, this was probably not a very good

publication design I used for the last project. I found

solution, as using a tracked-out or individually-kerned

this task to have a lot of future potential in breaking

font for long bodies of text is neither standard nor

down other designs out in the world.

practical in the professional world. I should have at

While trying to recreate the sample fonts for this

least listed the tracking amount as apart of the font

design, a problem that I encountered often was that I

information I had listed. Sadly, I didn’t think it of it as

couldn’t figure out which typefaces were being used.

pertinent information at the time. Lastly, I could have

I think this was due to many reasons. First, when I did

done a better job lining the margins up to the live

this assignment, I knew so little about fonts that the

content rather than where I thought they should stop.

vast selection of fonts I had to choose from was a bit

Discerning the vertical grid did not prove to be

overwhelming. Secondly, I only have so many fonts

too difficult with this design, but I couldn’t discern any

downloaded to my computer, so I could not test any

horizontal trends. When I know more about design

more than those that I had. The way I overcame this

and popular typefaces in future I would love to be

problem was by editing the tracking and kerning of my

able to do this sort of task on my own with designs

type samples to match the source fonts.

that I admire.

Grid Dissection | 39

Typography I Journal

Visual Hierarchy

Project 6

Project Description Long-form text—whether in print or online—requires

subheads and numbers. Some of these considerations

a sensitivity to body text and visual hierarchy. They

included different font sizes, weights, styles, caps/

are designed to help navigate the copy as well as

small caps, position, alignment, line spacing, letter

relieve the overall sameness of body text. This project

spacing, indents/hanging indents, run-in heads, color.

explored those nuances via the relationship of three

Optionally, we could include additional elements such

primary text elements.

as rules, glyphs, or graphics. We explored a minimum

Our options for this assignment were to make either a four paged brochure or a six panel tri-fold brochure, each using a 11x17 sized sheet of paper. We

different way to create visual hierarchy. From this set, we selected two or three designs we

were required to have three levels of visual hierarchy

found harmonious and explored slight variations of

for our text: body text—the anchor—subheads, and

each. Next, we selected our final pick and formated

another additional element. Our brochures required

the entire document using that style. Once we had this

a grid, colophon, and credits of the source content. It

basic layout, we continued to design and refine the

limited images and illustrations and allowed no more

entire piece until it felt resolved. Lastly, we designed a

than three colors—black included.

cover and colophon to complement the content pages.

With those parameters in mind, our task was to explore how to handle differentiation and visual hierarchy within the text. Specifically, with the

40 | Visual Hierarchy

of 11 ideas, treating ever numbered section in a

Project 1 2 3 4 5 6 7

Thoughts I chose Merriweather for a few reasons. First,

By the end of this assignment, I was surprised at how much I could do with type alone. At first, my designs

I think the typeface is fun and has spunk without

were minimal and similar. I quickly found myself getting

interfering with its readability. Second, I thought it

bored. However, after looking at some of my peers

was appropriate for the content because its youthful

work, I became inspired to think creatively and push

appearance is similar to the tone of the article. Lastly,

the limits of what I could do with this assignment.

I chose it because It was the typeface I used in my intro

In the process of brainstorming, I decided to

to design course, so it was a bit nostalgic for me. I paired Fira Sans (all caps) with Merriweather

explore options that I didn’t initially think would work. I am glad I did this, because this was how I came up

because it is a contrastive sans serif. I chose Rockwell

with the idea to have drop-shadows on the numbers.

because I wanted a third element of contrast to

I wasn’t going to consider this as an option after

add to places where the body text was not present.

being advised against a similar concept earlier in the

Reviewing it now, I don’t think it was necessary and

semester, but I thought I would at least see how it

the same effect could have been accomplished

looked. To my surprise— and with some editing help

using Merriweather. In addition, I speculate that using

from my professor—the drop-shadows were effective.

Merriweather in place of Rockwell would have better tied

This was a lovely reminder to me that there are no

the title page and content pages together.

hard rules in design, and that sometimes, rules are better broken. As far as type paining goes, I created many options for this assignment. The pairing that I ultimately decided on was Fira Sans with Merriweather and Rockwell for the subheading on the title page.

AFTER SCHOOL SPECIAL: ADVICE FOR

EMERGING DESIGNERS

Building a career is not something that happens overnight. It requires patience and tenacity, and it involves more than raw talent. A career demands an overarching curiosity about the world and how things work, topped off with wellhoned people skills. To rise to the top in your profession, you have to have the guts to be self-aware, to know your own strengths while trying to improve upon your weaknesses. And, come to think of it, raw talent doesn’t hurt. The great thing about a career in design is that you can define success in a number of ways. You can strive to be a renowned creative director at a big firm, to create a small boutique studio, or to savor both your profession and parenthood by working out of your home while raising children. This industry isn’t just about savvy insight and fresh aesthetic perspectives; it’s also largely built from flexibility and potential. In the beginning of a career, the transition from school to work is difficult, to put it mildly. The first thing you learn is that there is more to learn. A lot more.

1. RESPECT THE

DIFFERENCE BETWEEN THEORY AND PRACTICE

perspective. They want you to be able to articulate why you believe in your work. Every day you try to find a unique way to express your ideas, so, in that way, school is creative nirvana. A teacher’s objective is to develop students’ skills and to nurture creativity before you set out on your own upon graduation. Once you’re out in the real world,

3 Be Po s i t i v e Having a can-do attitude

makes people want to work with you. There’s an old adage that says, “People work with people they like to work with.” Believe me, it’s true. Who wants to be around someone who is negative or complains about everything?

however, it’s a whole new game; in a professional environment everything changes, and there’s no room for being an isolationist, or demonstrating that you alone are terminally unique. You are now expected to understand your clients and their objectives. In order to do so, you may work in a team, and the emphasis is on how you—collectively, not singularly—are going to meet the aims of the client and the client’s business. Suddenly you are one of many, and no one might even care what you think. Design firms are businesses. They are not created to teach and nurture, although both sometimes happen along the way if you find a great mentor. A design firm’s objective is to be a successful company. You walk into a firm and acquire the processes, culture and the various stylistic methods of the firm. You are a part of a group, and you begin to realize that you thought you knew a lot six months ago, but now you only know a fraction of what everyone else seems to know. The learning curve changes.



DEVELOP REALLY GREAT HABITS

LEARN TO WRITE

Writing is hard. Really hard. Personally, I struggle with constructing and perfecting sentence after sentence, even though I can write a nice headline. Among my daily duties, I have to write proposals, letters and all sorts of text related to press and correspondence. I don’t feel particularly good at it, I simply slog through. In retrospect, I wish I had focused on honing the technical elements of my writing earlier because I think it would make things easier now. The ability to write gives you power. A designer who can structure content can communicate visual ideas more

equity. I look at successful people and I see the same patterns. I know a photographer who, when starting his career, worked literally around the clock, and even spent his own money to make shots memorable. He never looked at an assignment as a job, but as an opportunity to do something outstanding. He is still pushing himself today and branching out into new areas. His renowned career is nothing if not

I hate to say this, but if you really want to be successful, you have to rethink the concept of the so-called work/life

good habits early. This is the time to

people I know do not segregate their

start; it’s harder to break a habit than it

“work” and their “play”—it’s all the

is to practice a new one. Also, as you get

same. They love what they do, and do it

older, your daily obligations are greater,

all the time. If you look at design as a job

and you will have less time and energy

that you do between 9 and 5 every day,

to make new actions routine. Get those

you will earn a paycheck...and that’s all. Talent will take you far, but determination will take you further. I can’t tell you how many people I’ve heard moan about how they could have started a business, gotten the great assignment, scored a better position or whatever. The truth is, most people aren’t willing to put the time and effort into accomplishing their goals. It’s easier

continue your education at the beginning of your career. Reach out. Cultivate relationships with your peers and contacts in the field. Learn from what you see and what you’re told. As you mature, you will have the opportunity to give back to the profession. If you’re lucky enough and work hard enough to make it to the highest levels, you may even be given the ability to affect policy.

When I started my business, I had no

encounter has an immeasurably large

clients and very little money. The first

volume of knowledge that you can learn

year I worked until midnight most

from, free of tuition.

accomplished professional that you

Not only did I work past the point of endurance on my design, I learned how to do basic billing. I wired my own network. I wrote copy. I steeled myself and made cold calls. All of the long nights paid off, I built a client base, and now, years later, I have a thriving practice. You can achieve great things, if you’re willing to put in the effort.

If you craft a good game plan, stay

focused and work incredibly hard, you a friend of mine says, “It’s all about the follow through.” Remember that the most important person to believe in your work is you—then you’ll prove any who doubt you wrong.

7. TRY TO MAKE

EVERY ASSIGNMENT BETTER THAN THE LAST

When you finish a project, look at it, hard. Scrutinize. Nitpick. Be critical. Do more. Do better. Don’t become complacent. Ever. Complacency is death.

about. So if you woke up this morning and didn’t feel excited about what you are striving towards, then change something. Change your attitude, change your environment, change your profession, or change your direction. You deserve to wake up every day with enthusiasm. That’s it. Oh, wait. One more thing...

DON’T LIE

Tell the truth if you

make a mistake. Don’t lie to clients, vendors or

bosses, and, most importantly, don’t lie to yourself. Taking credit for someone else’s work—that’s called stealing. And

experimentation page. I find it interesting to see how the designs get more interesting as I continue to brainstorm. It makes me wonder what I could create if I keep going.

called cheating. The funny thing about

BE KIND

This was our type reer you aren’t completely passionate

misrepresenting your qualifications is

nights, almost seven days a week.

can accomplish just about anything. As

trust. That trust is what leads to getting

This is a great way to

There is strength in numbers. Every

5. Work Harder Than Anyone Else

communicate on their level, they gain

GET INVOLVED

enviable.

more work approved.

oriented, and when designers can

balance. The most successful creative

become easy to maintain them.

heads instead of putting in the sweat

6 IGNORE THE NAYSAYERS

effectively. Clients tend to be word

A great deal of success is about fostering

mental muscles toned now and it will

to just live their dreams inside of their

dishonesty is that people always find out,

Non-designers often feel that designers are arrogant, that they don’t listen, and that they are intent on loudly bullying them on issues of

taste and intellect. A wise man

and you will lose something invaluable: trust. If you mess up, ’fess up.

From https://www.aiga.org/general/

once told me to observe people that I

after-school-special/; created by Decker

thought were really smart. He then said,

Design.Have Passion

“The ones who don’t feel a need to put anyone down are the ones who are most secure in their own ability. They don’t feel they have to prove anything.” It’s true. Your clients, your colleagues and your vendors will all have their separate points of view. And, hey, that’s great, because you are so hardworking, smart and talented, you will use all of your finesse to convert them to your way of thinking. In the end, if they still disagree, you might realize a) the other guy might actually have a point or b) that you can find a happy middle ground.

HAVE PASSION

It seems like the inscription on a greeting card,

but it’s true, everything is

meaningless unless you love what you do, both in the sanctuary of school and out in the real world. Life is too short to spend years acquiring skills for a ca-

Visual Hierarchy| 41

Typography I Journal

Intermediate Critique At this point in time, I was pretty happy with

After School Special: Advice for

the text choices I had Yet, I felt like it was

EMERGING

still lacking something, especially the cover and

DESIGNERS

first page, so I decided to add some graphics.

INTRO

In hindsight, I don’t think this was the best

Hannah Lichtefeld

BUILDING A CAREER... Building a career is not something that happens

overnight. It requires patience and

solution, as the purpose

tenacity, and it involves more than raw talent. A career demands an overarching

of the assignment

curiosity about the world and how things work, topped off with well-honed people skills. To rise to the top in your

was to let the type

profession, you have to have the guts to be self-aware, to know your own

speak for itself.

strengths while trying to improve upon your weaknesses. And, come to think of it, raw talent doesn’t hurt. The great thing about a career in design is that you can define success in a number of ways. You can strive to be a renowned creative director at a big firm, to create a small boutique studio, or to savor both your profession and parenthood by working out of your home while raising children. This industry isn’t just about savvy insight and fresh aesthetic perspectives; it’s also largely built from flexibility and potential. In the beginning of a career, the transition from school to work is difficult, to put it mildly. The first thing you learn is that there is more to learn. A lot more.

The Places highlighted here correlate to the comments on the next page that I focused the most on revising. They are related by color.

AFTER SCHOOL SPECIAL: ADVICE FOR

EMERGING DESIGNERS

Building a career is not something that happens overnight. It requires patience and tenacity, and it involves more than raw talent. A career demands an overarching curiosity about the world and how things work, topped off with well-honed people skills. To rise to the top in your profession, you have to have the guts to be self-aware, to know your own strengths while trying to improve upon your weaknesses. And, come to think of it, raw talent doesn’t hurt. The great thing about a career in design is that you can define success in a number of ways. You can strive to be a renowned creative director at a big firm, to create a small boutique studio, or to savor both your profession and parenthood by working out of your home while raising children. This industry isn’t just about savvy insight and fresh aesthetic perspectives; it’s also largely built from flexibility and potential. In the beginning of a career, the transition from school to work is difficult, to put it mildly. The first thing you learn is that there is more to learn. A lot more.

RESPECT THE DIFFERENCE BETWEEN THEORY AND PRACTICE

42 | Visual Hierarchy

your developing the essence of your design perspective. They want you to be able to articulate why you believe in your work. Every day you try to find a unique way to express your ideas, so, in that way, school is creative nirvana. A teacher’s objective is to develop students’ skills and to nurture creativity before you set out on your own upon graduation. Once you’re out in the real world, however, it’s a whole new game; in a professional environment everything changes, and there’s no room for being an isolationist, or demonstrating that you alone are terminally unique. You are now expected to understand your clients and their objectives. In order to do so, you may work in a team, and the emphasis is on how you— collectively, not singularly—are going to meet the aims of the client and the client’s business. Suddenly you are one of many, and no one might even care what you think. Design firms are businesses. They are not created to teach and nurture, although both sometimes happen along the way if you find a great mentor. A design firm’s objective is to be a successful company. You walk into a firm and acquire the processes, culture and the various stylistic methods of the firm. You are a part of a group, and you begin to realize that you thought you knew a lot six months ago, but now you only know a fraction of what everyone else seems to know. The learning curve changes.

DEVELOP REALLY GREAT HABITS

A great wwdeal of success is about fostering good habits early. This is the time to start; it’s harder to break a habit than it is to practice a new one. Also, as you get older, your daily obligations are greater, and you will have less time and energy to make new actions routine. Get those mental muscles toned now and it will become easy to maintain them.

BE POSITIVE

Having a can-do attitude makes people want to work with you. There’s an old adage that says, “People work with people they like to work with.” Believe me, it’s true. Who wants to be around someone who is negative or complains about everything?

LEARN TO WRITE

WORK HARDER THAN ANYONE ELSE

I hate to say this, but if you really want to be successful, you have to rethink the concept of the so-called work/life balance. The most successful creative people I know do not segregate their “work” and their “play”—it’s all the same. They love what they do, and do it all the time. If you look at design as a job that you do between 9 and 5 every day, you will earn a paycheck...and that’s all. Talent will take you far, but determination will take you further. I can’t tell you how many people I’ve heard moan about how they could have started a business, gotten the great assignment, scored a better position or whatever. The truth is, most people aren’t willing to put the time and effort

into accomplishing their goals. It’s easier to just live their dreams inside of their heads instead of putting in the sweat equity. I look at successful people and I see the same patterns. I know a photographer who, when starting his career, worked literally around the clock, and even spent his own money to make shots memorable. He never looked at an assignment as a job, but as an opportunity to do something outstanding. He is still pushing himself today and branching out into new areas. His renowned career is nothing if not enviable. When I started my business, I had no clients and very little money. The first year I worked until midnight most nights, almost seven days a week. Not only did I work past the point of endurance on my design, I learned how to do basic billing. I wired my own network. I wrote copy. I steeled myself and made cold calls. All of the long nights paid off, I built a client base, and now, years later, I have a thriving practice. You can achieve great things, if you’re willing to put in the effort.

IGNORE THE NAYSAYERS

If you craft a good game plan, stay focused and work incredibly hard, you can accomplish just about anything. As a friend of mine says, “It’s all about the follow through.” Remember that the most important person to believe in your work is you—then you’ll prove any who doubt you wrong.

TRY TO MAKE EVERY ASSIGNMENT BETTER THAN THE LAST

When you finish a project, look at it, hard. Scrutinize. Nitpick. Be critical. Do more. Do better. Don’t become complacent. Ever. Complacency is death.

GET INVOLVED

This is a great way to continue your education at the beginning of your career. Reach out. Cultivate relationships with your peers and contacts in the field. Learn from what you see and what you’re told. As you mature, you will have the opportunity to give back to the profession. If you’re lucky enough and work hard enough to make it to the highest levels, you may even be given the ability to affect policy. There is strength in numbers. Every accomplished professional that you encounter has an immeasurably large volume of knowledge that you can learn from, free of tuition.

BE KIND

Non-designers often feel that designers are arrogant, that they don’t listen, and that they are intent on loudly bullying them on issues of taste and intellect. A wise man once told me to observe people that I thought were really smart. He then said, “The ones who don’t feel a need to put anyone down are the ones who are most secure in their own ability. They don’t feel they have to prove anything.” It’s true. Your clients, your colleagues and your vendors will all have their separate points of view. And, hey, that’s great, because you are so hardworking, smart and talented, you will use all of your finesse to convert them to your way of thinking. In the end, if they still disagree, you might realize a) the other guy might actually have a point or b) that you can find a happy middle ground.

HAVE PASSION

It seems like the inscription on a greeting card, but it’s true, everything is meaningless unless you love what you do, both in the sanctuary of school and out in the real world. Life is too short to spend years acquiring skills for a career you aren’t completely passionate about. So if you woke up this morning and didn’t feel excited about what you are striving

towards, then change something. Change your attitude, change your environment, change your profession, or change your direction. You deserve to wake up every day with enthusiasm. That’s it. Oh, wait. One more thing...

DON’T LIE

Tell the truth if you make a mistake. Don’t lie to clients, vendors or bosses, and, most importantly, don’t lie to yourself. Taking credit for someone else’s work—that’s called stealing. And misrepresenting your qualifications is called cheating. The funny thing about dishonesty is that people always find out, and you will lose something invaluable: trust. If you mess up, ’fess up. From https://www.aiga.org/general/ after-school-special/; created by Decker Design.

Project 1 2 3 4 5 6 7

Peer Feedback These are comments I received during our “Round Robin Review.” They were quite helpful to me. I got feedback on editing my drop shadows, making sure my spacing was consistent with text wraps, and color suggestions.

I was pleasantly surprised to see that people generally enjoyed the drop shadows. On the other hand, I couldn’t believe that no one commented on the accidental overlap of my graphic onto the text (highlighted by the orange circle on the facing page).

Visual Hierarchy| 43

Typography I Journal

The Finished Product Digital For the last part of the

After School Special: Advice for

designing stage, in addition to revising

EMERGING

the elements I received feedback on, I simplified the title text and incorporated

INTRO

the graphics into the inside pages.

BUILDING A CAREER...

Colophon:

Title: Fira Sans Bold 70/65 subtitle: Rockwell Regular 41/36

Building a career is not

DESIGNERS

Subheadings: Fira Sans Boldw 14/14

something that happens

Body text: Merriweather light 9/13

overnight. It requires patience and tenacity, and it involves more than raw

Content by Decker Design

talent. A career demands an overarching

Design by Hannah Lichtefeld

curiosity about the world and how things work, topped off with well-honed people skills. To rise to the top in your profession, you have to have the guts to be self-aware, to know your own strengths while trying to improve upon your weaknesses. And, come to think of it, raw talent doesn’t hurt. The great thing about a career in design is that you can define success in a number of ways. You can strive to be a renowned creative director at a big firm, to create a small boutique studio, or to savor both your profession and parenthood by working out of your home while raising children. This industry isn’t just about savvy insight and fresh aesthetic perspectives; it’s also largely built from flexibility and potential. In the beginning of a career, the transition from school to work is difficult, to put it mildly. The first thing you learn is that there is more to learn. A lot more.

I solidified the shadows, evened out the columns, made the text wrap consistent, and added more space between paragraphs and between sections.

RESPECT THE DIFFERENCE BETWEEN THEORY AND PRACTICE

Don’t get me wrong, school is great, and by all means revel in your trek through academia, because nothing will ever be the same. Appreciate the time you have been given to learn about yourself, and get an education that you can apply to your whole life, not only your job. In school, your instructors push you to express yourself, they insist on your developing the essence of your design perspective. They want you to be able to articulate why you believe in your work. Every day you try to find a unique way to express your ideas, so, in that way, school is creative nirvana. A teacher’s objective is to develop students’ skills and to nurture creativity before you set out on your own upon graduation. Once you’re out in the real world, however, it’s a whole new game; in a professional environment everything changes, and there’s no room for being an isolationist, or demonstrating that

A design firm’s objective is to be a

can structure content can communicate

how to do basic billing. I wired my own

successful company. You walk into a firm

visual ideas more effectively. Clients tend

network. I wrote copy. I steeled myself

and acquire the processes, culture and

to be word oriented, and when designers

and made cold calls. All of the long nights

the various stylistic methods of the firm.

can communicate on their level, they

paid off, I built a client base, and now,

You are a part of a group, and you begin

gain trust. That trust is what leads to

years later, I have a thriving practice. You

to realize that you thought you knew a lot

getting more work approved.

can achieve great things, if you’re willing

six months ago, but now you only know a fraction of what everyone else seems to know. The learning curve changes.

DEVELOP REALLY GREAT HABITS A great wwdeal of success is

plan, stay focused and work

just about anything. As a friend of mine says, “It’s all about the follow through.” Remember that the most important

new one. Also, as you get older, your

what they do, and do it all the time. If

person to believe in your work is you—

daily obligations are greater, and you will

you look at design as a job that you do

then you’ll prove any who doubt you

have less time and energy to make new

between 9 and 5 every day, you will earn

wrong.

actions routine. Get those mental muscles

a paycheck...and that’s all.

toned now and it will become easy to maintain them.

BE POSITIVE Having a can-do attitude makes people want to work with you.

Believe me, it’s true. Who wants to be

do so, you may work in a team, and the

around someone who is negative or

emphasis is on how you—collectively,

complains about everything?

Talent will take you far, but determination will take you further. I can’t tell you how many people I’ve heard moan about how they could have started a business, gotten the great assignment, scored a better position or whatever. The truth is, most people aren’t willing to put the time and effort into accomplishing their goals. It’s easier to just live their dreams inside of their heads instead of putting in the sweat equity. I look at successful people and I

LEARN TO WRITE Writing is hard. Really hard.

are not created to teach and nurture,

Personally, I struggle with constructing

although both sometimes happen along

and perfecting sentence after sentence,

the way if you find a great mentor.

even though I can write a nice headline. Among my daily duties, I have to write proposals, letters and all sorts of text related to press and correspondence. I don’t feel particularly good at it, I simply slog through. In retrospect, I wish I had focused on honing the technical elements of my writing earlier because I think it would make things easier now.The ability to write gives you power. A designer who

44 | Visual Hierarchy

If you craft a good game

incredibly hard, you can accomplish

“play”—it’s all the same. They love

work with people they like to work with.”

think. Design firms are businesses. They

so-called work/life balance. The most not segregate their “work” and their

There’s an old adage that says, “People

and no one might even care what you

really want to be successful,

you have to rethink the concept of the

IGNORE THE NAYSAYERS

successful creative people I know do

about fostering good habits

clients and their objectives. In order to

business. Suddenly you are one of many,

I hate to say this, but if you

to break a habit than it is to practice a

are now expected to understand your

the aims of the client and the client’s

WORK HARDER THAN ANYONE ELSE

early. This is the time to start; it’s harder

you alone are terminally unique. You

not singularly—are going to meet

to put in the effort.

see the same patterns. I know a photographer who, when starting his career, worked literally around the clock, and even spent his own money to make shots memorable. He never looked at an assignment as a job, but as an opportunity to do something outstanding. He is still pushing himself today and branching out into new areas. His renowned career is nothing if not enviable. When I started my business, I had no clients and very little money. The first year I worked until midnight most nights, almost seven days a week. Not only did I work past the point of endurance on my design, I learned

TRY TO MAKE EVERY ASSIGNMENT BETTER THAN THE LAST

When you finish a project, look at it, hard. Scrutinize. Nitpick. Be critical. Do more. Do better. Don’t become complacent. Ever. Complacency is death.

GET INVOLVED This is a great way to continue your education at

the beginning of your career. Reach out. Cultivate relationships with your peers and contacts in the field. Learn from what you see and what you’re told. As you mature, you will have the opportunity to give back to the profession. If you’re lucky enough and work hard enough to make it to the highest levels, you may even be given the ability to affect policy. There is strength in numbers. Every accomplished professional that you

encounter has an immeasurably large

excited about what you are striving

volume of knowledge that you can learn

towards, then change something.

from, free of tuition.

Change your attitude, change your

environment, change your profession, or change your direction. You

BE KIND

deserve to wake up every day with enthusiasm.

Non-designers often feel that designers are arrogant, that

they don’t listen, and that they are intent on loudly bullying them on issues of taste and intellect. A wise man once told me to observe people that I thought were really smart. He then said, “The ones who don’t feel a need to put anyone down are the ones who are most secure in their own ability. They don’t feel they have to prove

That’s it. Oh, wait. One more thing...

DON’T LIE Tell the truth if you make a mistake.

Don’t lie to clients, vendors or bosses, and, most importantly, don’t

anything.” It’s true.

lie to yourself. Taking credit for

Your clients, your colleagues and your

stealing. And misrepresenting your

vendors will all have their separate

qualifications is called cheating. The

points of view. And, hey, that’s great,

funny thing about dishonesty is that

because you are so hardworking, smart

people always find out, and you will

and talented, you will use all of your

lose something invaluable: trust.

finesse to convert them to your way of thinking. In the end, if they still disagree, you might realize a) the other guy might actually have a point or b) that you can find a happy middle ground.

HAVE PASSION It seems like the inscription on a

greeting card, but it’s true, everything is meaningless unless you love what you do, both in the sanctuary of school and out in the real world. Life is too short to spend years acquiring skills for a career you aren’t completely passionate about. So if you woke up this morning and didn’t feel

someone else’s work—that’s called

If you mess up, ’fess up.

Project 1 2 3 4 5 6 7

The Finished Product Physical Overall, I am still pretty happy with this design, but I do wish that I would have experimented with more options instead of just going with one that I liked right away.

Visual Hierarchy| 45

Typography I Journal

Kylar is my beloved cousin and a recent graduate from the University of Louisville’s BFA graphic design program. She is currently a junior designer at a company called Kenmark Eyewear. Kylar’s main focuses in design are print design, hand lettering, and package design. Shortly after graduating, Kylar was commissioned by the University of Louisville to do a set of murals to be displayed in the new seating area of the SAC (Student Activities Center). Kylar said that it was a wonderful opportunity to learn about freelancing and actualizing large-scale projects. Kylar’s comments on the project were:

MAR YEM “I loved being able to dive into my illustration skills and incorporate my hand lettering, and it was also special to be creating something for the university I interned for and graduated from. Also, there’s

just something thrilling about creating something that large.”

Another project she is proud of is her book, Wanderlust—A travel book filled with photography and hand lettering of places from her study abroad

“I fell in love with design when it was presented as creative problem solving. Suddenly I wasn’t just creating pretty things, which is all I ever felt like my art would be, but my art now had a purpose, and could be used to actively make the world a better place.” Kylar is my biggest design hero because she introduced me to the world of design and guided me through its beginning stages. She showed me through word and example that I could turn my passion and love of art into a sustainable career.

page 7 Kylar Marem Ware

Project Description Our Instructions for this assignment were to design a

a brief statement of our own design interests and

publication featuring three people we consider to be

passions, a photo of ourselves, and potentially where

our “design heroes.” Our audience should primarily

we would like to end up in the design world. Lastly, the

consist of people interested in design, but it should be

project required a colophon page listing the fonts used

able to appeal to a broader spectrum of people as well.

and a visual of the underlying grid.

Our production specs were to make 8 pages of content

Our design requirements and restrictions were

on a 8x11 sized sheet of paper in a saddle-stitched

as follows: we were limited to two typeface families

booklet format.

(we could use a third for a headline only we felt it was

The required content was: a contents page, at

essential to the design or pertinent to the designer), we

least one spread per design hero, and a spread about

had to use a grid, and we had to show a visual system

ourselves. Each section should include the birth

throughout the publication. A visual system might

year of the designer (and when they died if they are

include factors such as: use and style of photography

deceased), how they got to be where they are (I.g.

or images, graphic elements, typography treatment,

education, job, history, etc.), something about their

and consistent layout, placement, or use of elements.

philosophy or vision, what they are known for, and our

Naturally, we designed a cover for the project as

own statement about why we picked each designer.

well. In this case however, it had to be designed from

The images needed to include the designer, at least

non-standard paper, be a non-standard size, have a

three examples of their work, and optionally, their

non-standard fold, and/or have die-cuts.

workspace. Our information page needed to include

46 | Design Heroes

KYLAR

experiences in Austria. During her study abroad time, she also created branding for Eiscafe Pinocchio—an ice cream shop in Austria.

@Kylarware

WHO IS SHE?

Photo curtesy of Instagram

Design Heroes

Project 7

Project 1 2 3 4 5 6 7

Forced-Fit Prompts Outlined here are the 61 thumbnail ideas I created during this activity. I produced about 1-3 spreads for each prompt.

A Creative Exercise This exercise was all about creative brainstorming.

results that came from the prompts are highlighted in

For the exercise, we were given between 30 second

colored boxes above. These prompts were “bird’s eye

and a minute and a half to jot down spread design

view” (green), “ant’s view” (blue), and “make it big” (red).

ideas for random prompts given to us. The spread

The only thing that I felt restricted by in this

design must correlate with the prompt, no matter how

activity was the short time limits. I personally like

seemingly ridiculous. Examples of prompts that were

having time to come up with semi-good ideas rather

given to us were “design the spread like you are 5

than producing almost random marks on page. On

years old,” “place based—include elements featuring a

the other hand, maybe that’s just my own way of

location or culture,” “make it small,” and “try angles.”

thinking about it. Or, maybe I still don’t understand the

I personally LOVE creative exercises such as this

complete goal of the exercise. Either way, this activity

and should try to do them more often. I often struggle

gave me lots of ideas to incorporate into designs for

with conceptual creativity, so exercises like this really

this specific project as well as others in the future.

help me come up with ideas for things that I would have never thought of otherwise. Some of my favorite

Design Heroes| 47

Typography I Journal

Forced-Fit Prompts As far as the design of these slides go, the incorporation of the idea of the prompt into the design of the slide (mostly through text treatment) is really eye-catching. I wish all of the slides could be more like that!

Forced Fit

Open your mind

Forced Fit Idea Generation

Idea Generation

Force fitting can jolt you out of a rut. Be prepared to make connections from random places,

triggered by prompts that don’t necessarily relate… Begin with a blank piece of paper and no mental constraints

s e l g n a T r y angles y r T

Forced Fit

Idea Generation

Make it

Pick some element — make it huge

BIG Forced Fit

Idea Generation

Make it

Pick some element — make it huge

BIG

Idea Generation

Giant’s eye view

Forced Fit Idea Generation

Use color (or lack of) as key element

What would it look like if you were 30’ tall?

Forced Fit Idea Generation

Random visual Open a book to a random page,

or check the next picture on your Facebook/Instragram, scan the room… Use something you see as a trigger.

48 | Design Heroes

Forced Fit Idea Generation

Not enough ideas yet… Start over. Or come up with your own forced fit prompts.

Project 1 2 3 4 5 6 7

Layout Sketches and Drafts Next, I decided to sketch thumbnail ideas based on the

But, I was also happy that I had time to think about

actual prompt I needed to work on—this assignment.

what I wanted to do again! So, I took these ideas and

After completing the forced fit prompts, I felt super

thought them out a little more and adjusted them to

inspired to brainstorm. I used some of the ideas from

work for this assignment.

the exercise in my designs such as the “make it big” prompt and the “five year old” prompt.

I When I first Designed

ANDER

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cus dolorem rat ma parcilit fugiam qui derum quam,

inis deliquatia dolenim iliquamus magnatu repellab in rem harios

to me and I struggled to figure out what was missing. With all of these aspects in combination, I decided to scrap this idea and start fresh.

AL AR TS

ISU F TH FV E SCHOOL O

BIOGRAPHY

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AMOUS SF

E SID PRE

NT O

WHY SHE ’

N SO

GAIL

this, it felt very empty

HER WORK undion peliquuntium ut

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rum ditemperfero eos solor min plit lique omnihil lestis quam, tem eossit officius, quias sum faccum volest, ommo dolum

sequias demolori debis natquibus sandign atibusc ieniet latae sitatur esedit ullora simporest aut aspernatem. Offictatqui

ra aliqui sequiae reperum, con cus aut quos nimet es arciusa pitat.

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Tatur sam, senimilist faceati di isciet eaquamust vel isquodit

quae moluptatatet mo mil ex et volupta spiendist, nostibus ni te nihitae nempor sum eiciust voluptiatiur reptatem sinveli quisque ipsandaes

S VA Design Heroes| 49

s s o r o s M s s e o t s r a o o r t K M o a K e M t s e a s s t K Ka oro soonro r e d n M M n A rso on l i e e a de ers t t G n nd n a a A K KGailGail Adersoderson Typography I Journal

The major problem with

this design is that it looks like a poster, rather than

a publication design.

KATE MOROSS

WHO IS KATE?

from 2012 onwarwds. In the same year, Moross founded Studio Moross which also took up music based projects. Currently, a British musician Jessie Ware seeks Moross’ expertise as an art director for her music and video projects. She has given

Moross was born on April 09, 1986, in London, UK. She received her elementary and secondary education from South Hampstead High School. For higher studies she went on to Wimbledon University of the Arts, London. In 2008, she earned her Bachelor of Arts degree with first class from Camberwell University of the Arts.

direction to numerous music videos of Ware including ‘If You’re Never Gonna Move’, ‘Running’ and ‘Wildest Moments’.

WHAT DOES KATE DO?

Kate Moross is a versatile and multitalented graphic designer who worked across a range of illustrative art and designing including motion graphics, photography and moving image. Since graduation she has worked prolifically and created bold artwork for some of the leading clients. Her designing skills can be witnessed in the ads for ESPN, Paul Smith, Mini Cooper, Fabergé, Adidas and Nike.

Besides, her signature clothing range for Topshop, illustrations for Vogue Magazine and a nationwide billboard campaign for Cadbury helped her put her name on the map. In 2012, she sat on the jury for the D&AD Awards. Some of the renowned magazines such as Grafik Magazine, Vice magazine and Dazed & Confused has profiled her in the recent years. She has also been selected for Creative Future award by Creative Review, in 2007. Additionally, Prestel Publishing has recently published her first book, Make Your Own Luck (2014). It was a feather in the cap moment for Kate Moross when she ran with the Torch in Lewisham, in the London Olympics 2012.

KYLAR WARE

WHO IS KYLAR?

and video projects. She has given direction to numerous music videos of Ware including ‘If You’re Never Gonna Move’, ‘Running’ and ‘Wildest Moments’.

WHAT DOES KYLAR DO?

Designing After scrapping the first layout idea, I decided to

GAIL ANDERSON

direction to numerous music videos of Ware including ‘If You’re Never Gonna Move’, ‘Running’ and ‘Wildest Moments’.

WHAT DOES GAIL DO?

n An A il ail a G G

As my professor and peers mentioned to me, the

expand on a different idea. That idea was originally to

background pattern of the designer’s name is

wrap the text and the images around a single large

distracting and pulls away from the focus on the

name spanning across both pages. This was a nice

designer’s work. Even if I was to increase the opacity of

Idea, but I thought to try creating a pattern with their

the white box where my type and images are placed,

name instead, and I was pretty happy with it at first.

then the names in the background wouldn’t be legible.

I was excited to be able to use color in this assignment

So, the parts of text that would be visible (on the

because the previous assignments for this class had

parameter of the page) would then become seemingly

color restrictions.

arbitrary and contribute little to the design. With all this

After taking this draft to class critique, I had completely changed my mind about the design.

50 | Design Heroes

WHO IS GAIL?

in mind, I decided to start fresh yet another time.

Project 1 2 3 4 5 6 7

Redesigning This time around, I had found a system element

put more emphasis on the designer and their work. In

that I liked much more: putting the names into

addition, I thought the layout was the most dynamic.

blocks. With this idea, I could keep the emphasis of

I received feedback from my peers on this design to

the design on their names, as I originally planned,

consider removing the diagonal lines in the center

while simultaneously providing contrast between

of the spreads. I thought they were what made the

the different sections (through different names and

layout interesting, so I decided to keep them despite

different color schemes).

the feedback I received. Looking back on this. I realized

While I liked all of the versions below, I chose the layout that is enlarged because the image bleeds on

that it would have been a better idea to have listened to my peers and removed the lines.

both pages and utilizes more space. This way, I could

Regardless of what WHO IS KATE?

Kate Moross is a rising contemporary London-based graphic designer, illustrator and art director. She is recognized for her typographic illustrations. At the young age of twenty-six she has achieved a prominent position in the world of designing. She is currently the art director of Studio Moross. Her designs follow a certain pattern such as three sided shapes, illegible typography and she is fond of freeform lettering. Moross was born on April 09, 1986, in London, UK. She received her elementary and secondary education from South Hampstead High School. For higher studies she went on to Wimbledon University of the Arts, London. In 2008, she earned her Bachelor of Arts degree with first class from Camberwell University of the Arts.

Mor

oss

& Confused has profiled her in the recent years. She has also been selected for Creative Future award by Creative Review, in 2007. Additionally, Prestel Publishing has recently published her first book, Make Your Own Luck (2014). It was a feather in the cap moment for Kate Moross when she ran with the Torch in Lewisham, in the London Olympics 2012.

WHO IS SHE? Kate Moross is a rising contemporary London-based graphic designer, illustrator and art director. She is recognized for her typographic illustrations. At the young age of twenty-six she has achieved a prominent position in the world of designing. She is currently the art director of Studio Moross. Her designs follow a certain pattern such as three sided shapes, illegible typography and she is fond of freeform lettering. Moross was born on April 09, 1986, in London, UK. She received her elementary and secondary education from South Hampstead High School. For higher studies she went on to Wimbledon University of the Arts, London. In

KATE MOR

OSS

2008, she earned her Bachelor ranked 18th in the NME’s Futuredeo projects. She has given directio

WHATDOES SHE DO?

Kate Moross is a versatile and multi-talented graphic designer who worked across a range of illustrative art and

and ‘Wildest Moments’.

I knew I wanted to keep

WHAT DOES KATE DO?

Kate

Mor

oss

Moross worked closely with the artist with each release. She feels it is crucial to get close to the music so that one can create the definitive visual representation of the sound. The outcome encapsulates the band’s ideas and her vision of the music produced. She was ranked 18th in the NME’s Future 50 innovators who hold the key to the future music, in 2008. However, the Isomorph Records’ website was taken down and it ceased to release music from 2012 onwards. In the same year, Moross founded Studio Moross which also took up music based projects. Currently, a British musician Jessie Ware seeks Moross’ expertise as an art director for her music and video projects. She has

bold artwork for some of the leading clients. Her designing skills can be witnessed in the ads for ESPN, Paul Smith, Mini Cooper, Fabergé, Adidas and Nike.

I would decide to do,

given direction to numerous music videos of Ware including ‘If You’re Never Gonna Move’, ‘Running’

WHAT DOES KATE DO?

Kate

photo curtesy of gailycurl.com and google.com

WHO IS KATE?

given direction to numerous music videos of Ware including ‘If You’re Never Gonna Move’, ‘Running’

and ‘Wildest Moments’.

bright, varying colors & Confused has profiled her in the recent years. She has also been selected for Creative Future award by Creative Review, in 2007. Additionally, Prestel Publishing has recently published her first book, Make Your Own Luck (2014). It was a feather in the cap moment for Kate Moross when she ran with the Torch in Lewisham, in the London Olympics 2012.

as a design and categorical aspect.

bold artwork for some of the leading clients. Her designing skills can be witnessed in the ads for ESPN, Paul Smith, Mini Cooper, Fabergé, Adidas and Nike. Besides, her signature clothing range for Topshop, illustrations for Vogue Magazine and a nationwide billboard campaign for Cadbury helped her put her name on the map. In 2012, she sat on the jury for the D&AD Awards. Some of the renowned magazines such as Grafik Magazine, Vice magazine and Dazed

designing including motion graphics, photography and moving image. Since graduation she has worked prolifically and created bold artwork for some of the leading clients. Her designing skills can be witnessed in the ads for ESPN, Paul Smith, Mini Cooper, Fabergé, Adidas and Nike. Besides, her signature clothing range for Topshop, illustrations for Vogue Magazine and a nationwide billboard campaign for Cadbury helped her put her name on the map. In 2012, she sat on the jury for the D&AD Awards. Some of the renowned magazines such as Grafik Magazine, Vice magazine and Dazed & Confused has profiled her in the recent years. She has also been selected for Creative

page 4 Kate moross

Design Heroes| 51

Typography I Journal

Cover Design The enormous stack of books on the table are all the paper samples Karen Weaver brought with her. She left them with us to have for reference. One day, I will look through all of them throughly and pick my favorites!

Paper Rep. Visit At the start of our cover design process, we were

exciting to me! Overwhelming as it was, I knew that

Karen Weaver. When I first heard that someone was

I could incorporate this new factor slowly into my

coming to talk to us about paper, I was confused as to

designs until I got the hang of it, so I wasn’t terribly

why someone from a company would come all the way

discouraged by the vastness of it all.

to talk about paper. I thought, “surely, paper can’t be

Applying my new knowledge of paper to my designs

that significant. How many kinds of paper are

for this assignment was the next step. For my cover

there anyways?.”

and pages, I wanted a sleek smooth white paper, or

Well, my preconceived notions of the breadth and

a glossy white paper, so I ordered Burgo Chorus Art

importance of paper in design were very wrong. Upon

gloss 80lbs and Inxwell Papers+ Mohawk Navaho Crystal

Karen’s visit, I was astonished and overwhelmed by

white smooth 80lbs in both text and cover weight stock.

all of the different kinds of paper there was to choose

When I printed out the inside pages on this paper, and

from. Not only was there colored paper, but different

got to flip the pages and see them myself, that was

textures, sizes, opacities, shine, and thicknesses of

when I was officially sold on non-standard paper. I’m

paper! While examining some of the sample booklets,

excited to be able to incorporate paper choice into

I saw for myself the impact paper can have on a

my future projects!

design. Smooth white paper gave off a elegant impression, while pastel French paper printed with foil lettering gave off an indie quality.

52 | Design Heroes

This whole new aspect of paper in design was

visited by a paper representative from Athens Paper,

Project 1 2 3 4 5 6 7

Every time she passed out a booklet filled with paper samples, I was honestly anxious to get my hands on it.

Design Heroes| 53

Typography I Journal

Idea Sketching I was excited to start sketching thumbnails for the

Taking from the design of the inner pages, I tried

cover because I had some ideas in mind that I really

to incorporate the general shape and placement of

liked. One of these ideas was to have a drawing of

the images as well as the diagonal lines and colors.

myself or someone else in a corner, looking up at

In addition, I considered adding an image of each

photos of each of my design heroes (blue). The more

designer on the page as well. I think my cover design

I thought about this though, and as I brought it up to

would have benefited from me designing it at the

my professor, we realized that it would be strange and

same time as the inside pages. I say this, because I feel

against the point of the book to feature myself or a

like they could have been adjusted to fit each other

stranger on the cover, so I tossed this idea.

instead of me designing the cover solely to match the inside pages.

The idea that I stuck with the most throughout the cover design process was the thumbnail in red.

54 | Design Heroes

Project 1 2 3 4 5 6 7

DESIGN HEROES

DES IGN HER OES

I was a fan of the crooked cover idea, but I thought it would have worked better if I had designed the inside

DESIGN H EROES

DESIGN H

pages the same way, so I picked another idea.

EROES

DESIGN HEROES

Design Heroes| 55

Typography I Journal

First Build Visit First Build is a crafting workshop who’s goal is to help

cards... I can make Christmas cards!.” I still fully

creators from different fields—engineering, graphic

intend to go back and die-cut the Christmas cards

design, etc—create real products. We came to First

I will be designing.

Build as a class to learn how to use the laser cutter.

and the fact that we had to come back on our

etchings for our current project and future ones.

own if we wanted to use it made the process a bit

When we arrived, a full-time engineer who works

intimidating for me. Especially because the machine

there ran us through the process a couple of times.

is surely expensive and I am afraid of doing anything

Watching him explain the different functions of the

remotely incorrect while attempting to use it. Needless

machine fueled me with inspiration. I really wanted an

to say, because my cover design required a die cut, I

excuse to use the laser cutting machine and all that

was going back to First Build and would just have to

ran through my mind throughout the walk-through was

hope for the best!

“I can make Christmas cards...I can make Christmas

I was pretty conflicted on where to stand while he was giving us the demo because I wanted to be by the laser printer to see the cutting process, but I also wanted to be able to see what he was doing on the computer...

This is me

56 | Design Heroes

On the other hand, the complexity of the machine

We would be using this resource to create die-cuts and

Project 1 2 3 4 5 6 7

He gave of a lot of detailed instruction and I really wish I would have taken notes.

This is me Deciding to stand next to the laser cutter proved to be worth it, as watching the process was fun.

Design Heroes| 57

Typography I Journal

Making My Own Visit In preparation for returning to first build, I decided

machine, I realized that my plan to cut out the tightly-

on a cover design. Then, I took the design into Adobe

tracked and tightly-leaded title would not work out so

Illustrator and outlined the ares I wanted the laser

well. I realized it would leave big sections cut out and

cutter to cut out.

cut-outs of paper dangling freely. With these technical

Upon returning to First Build, I had some trouble

issues in mind, I decided to redesign my cover.

working the machine. By this, I mean I had no idea

I decided to only have die-cuts for the sections of color,

what I was doing and was desperately asking around

and to die-cut these areas by hand so I wouldn’t have

for help. In addition to not being able to work the

to return to this nightmare of a place (only joking).

Photo Courtesy of firstbuild.com

This is the design I had while attempting to use the laser cutter. The red outlines are a separate file the machine reads to make the cuts.

DESIGN HEROES

58 | Design Heroes

Project 1 2 3 4 5 6 7

Final Results PDF Version For the cover, I decided to pull colors from each of the spreaders to represent each designer. I used the dark gray as a neutral color to

DESIGN HEROES

balance out the others. After revising, I decided to remove the images, to keep it simple.

Examining this now, I find that Kate (the designer in the blue square) being cut-off is inconsistent with the other portraits on the page. I should have shown more of her image.

Design Heroes| 59

Typography I Journal

Final Results PDF Version cont. This spread is very special to me as it features my beloved cousin! She has been a mentor to me ever since I began to pursue graphic design and I hope it continues to

KYLAR

just something thrilling about creating something that large.”

Another project she is proud of is her book, Wanderlust—A travel book filled with photography and hand lettering of places from her study abroad

experiences in Austria. During her study abroad time, she also created branding for Eiscafe Pinocchio—an ice cream shop in Austria. “I fell in love with design when it was presented as creative problem solving. Suddenly I wasn’t just creating pretty things, which is all I ever felt like my art would be, but my art now had a purpose, and could be used to actively make the world a better place.” Kylar is my biggest design hero because she introduced me to the world of design and guided me through its beginning stages. She showed me through word and example that I could turn my passion and love of art into a sustainable career.

Photo curtesy of KateMoro

ssStudios.com

page 7 Kylar Marem Ware

WHO IS KATE? Kate is a non-gender conforming person and identifies through they/them pronouns. Kate Moross is a contemporary graphic designer, illustrator, and art director known for their typographic illustrations. In addition to this, Kate also ranges across different mediums of illustrative art and design including photography/moving images, as well as motion graphics. Kate is Currently the art director of Studio Moross and their work can be seen in prominent areas of pop-culture such as advertising for ESPN, Paul Smith, Mini Cooper, Vogue magazine, Adidas, and Nike. In addition, they also have their own signature clothing range, Topshop, and was selected for page 4 Kate moross

60 | Design Heroes

KATE MOR

OSS the Creative future Award in 2007. Kate’s work at Studio Moross tends towards threesides shapes, illegible typography, and free form lettering.

Lastly, they have even come out with their own book titled Make Your Own Luck in 2014 which accounts the time she ran with Torch Lewi Sham in

the 2012 London Olympics. Kate Moross is one of my design heroes because despite being only 26 years old, they have already achieved a prominent position in the world of design. Kate also strives to eliminate gender stigmas from the world of design by asserting statements such as “Why do we have to be called ‘women in design’ when we could just be called ‘designers?’“ Kate is unapologetically themself through the ways they choose to identify, their political beliefs, and through art and graphic design. Kate’s work is fun, colorful, and care-free. These and more are all aspects that I would like to emulate in my own work.

Photo curtesy of Instagram

WHO IS SHE?

@Kylarware

stay that way!

Project 1 2 3 4 5 6 7

Overall I am pretty happy with these spreads and I am glad that I chose to go with this design! I enjoy the engaging dynamism that comes with the

Gail is currently the creative director of and a teacher at SVA (School of Visual Arts) in New York City, but has been devoting most of her time to artwork and campaigns for Broadway Theatre. In addition, she is also on the review board for US postage stamps and created the first stamp to ever honor the 13th Amendment. Gail worked for Rolling Stones magazine from 1987 to 2002 where she eventually became art

GAIL ANDER

SON director. Gail has received many awards throughout her career such as the AIGIA Lifetime Achievement Medal in 2008, the Richard Gangle Art Director Award in 2009, and the National Design Award in

2018. Gail Anderson is passionate about hand lettering, package design, and most of all—type. She incorporates her own styles of type into old advertising posters, vintage signage, commercial fonts,

and antique specimen books. Gail is one of my design heroes because she is passionate about design and has a very versatile background of work. I came to one of her talks for AIGA design week and was blown away by the mystic, dynamic nature of her work. Her work inspires me to be more creative and step outside of the box. I think that Gail’s work is exceptional because she focuses her time and energy into areas of design that she enjoys and that she’s good at. She’s not afraid to do things that have never been done before.

com and google.co

Originating from the Bronx, New York, Gail Anderson is an American Graphic Designer as well as an educator and author of several books such as American Type Play and New Modernists Type.

Photo curtesy of gailycurl.

WHO IS SHE?

chaos of it.

It has been her life-long dream to become a designer and she achieved that dream. She inspires me to do the same.

Throughout my life I have immersed myself in art and creativity. From a young age, I drew, painted, danced, and sang. I believe that art

reflects the people of its culture while also playing a dominant role in the shaping of a society. In all ways, whether tragic, refined, mystic, or gruesome, art is beautiful in my eyes because it is reflection of the human condition and expresses what it means to be alive.

On the other hand, I have always enjoyed logic and reason in disciplines such as math and science. There was hardly anything more stimulating and satisfying for me than figuring out how to solve a difficult problem. This is why I have always felt incomplete in these sep-

arate divisions of thought alone. Upon discovering graphic design however, I learned that these two forms of thought can be combined to create beautiful, yet functional creations. With graphic design, not only do I get to solve problems like, “what would be the best way to visually communicate this?” or “how could I combine these two concepts into one?” but I get to solve these problems creatively using my imagination and artistic sensibilities to guide me. Graphic design makes me feel complete and I am excited to further discover the reaches of its versatility, the breadth of its discipline, and the bounds of my imagination.

GRID VISUALIZATION

W HO IS KATE?

photo curtesy of gailycurl.com and google.com

ABOUT

I’m Hannah Lichtefeld and I am an aspiring graphic designer studying graphic design at the University of Louisville’s Hite Art Institute. Throughout my brief course of design so far, I have become fond of logo design, poster design, packaging design and motion graphics. I am particularly fond of Japanese package design and its extravagant design of ever day products. With the intention of working for a Japanese company one day, I am learning the language.

photo curtesy of

WHO AM I?

page 3 Gail Anderson

KATE MOR

OSS

versity of the Arts, London. In 2008, she earned her Bachelor ranked 18th in the NME’s Futuredeo projects. She has given directio Besides, her signature clothing range for Topshop, illus-

wned magazines such as Grafik Magazine, Vice magazine and Dazed & Confused has profiled her in the recent years. She has also been selected for Creative Future award by Creative Review, in 2007. Additionally, Prestel Publishing has recently published her first book, Make Your Own Luck (2014). It was a feather in the cap moment for Kate Moross when she ran with the Torch in Lewisham, in the London Olympics 2012.

trations for Vogue Magazine and a nationwide billboard campaign for Cadbury helped her put her name on the map. In 2012, she sat on the jury for the D&AD Awards. Some of the reno

page 4 Kate moross

COLOPHON Body Text | Avenir Next Regular 9/13 Sub-headers | Avenir Next Heavy 16/15 Names | Avenir Next Heavy (personally styized)

page 8 Me

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Final Results Physical Booklet I found the saddle stitch method for this project to be a fun change, and I look forward to doing again sometime.

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I am not quite sure how the colors turned out to be so different, but I am still happy with the way the booklet turned out.

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Dafi Kühne

Workshop

Photo Courtesy of green-coursehub.com

His Visit to Our Class Dafi Kühne is an internationally recognized Swiss

posters. I really enjoyed these videos and found them

letter press artist who specializes in poster design.

interesting, so I was a bit star-struck when I got to meet

He makes each copy he sells himself, so he can

him at the workshop.

control every aspect of the design and the quality.

My favorite thing he discussed during his time with

He came to our class to teach us about his design

us was about his poster titled “Pow!” The inspiration for

work and his personal letterpress methods. It was fun

this poster came form a dispute he had with another

and enlightening to see how he achieves some his

designer about how any font can be a good font, if

signature effects. For his workshop, we went to the

used appropriately. The other designer disagreed with

letter press studio at our school and watched him give

this statement and challenged him to make a “good

demos of unorthodox methods.

poster” using comic sans, and so he did. I personally

Before Dafi Kühne came to our class, I watched

love this poster because it was made out of spite, and

several episodes from his Poster making show, The

succeeded despite having the “drawback” of containing

Dafi Kühne show—where he answers questions about

comic sans. I bought this poster from him for $60 and I

design and letterpress—as well as some process

have no regrets about it.

videos on his website showing how me made various

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This is Mr. Dafi Kühne himself! It was very cool to be able to see all of Dafi Kühne’s work in person. I almost wish I would have touched it, just to say I have!

This is me! I was honestly nervous standing next to Dafi Kühne in this picture because I was aggressively fan-girling internally.

These are some students purchasing posters from Dafi Kühne after the workshop

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The Poster I bought I really enjoy his treatment of type throughout this poster. The unorthodox methods to draw attention to the text and surprise the reader are very effective.

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Photo Courtesy of lars-mueller-publishers.com

This is Dafi’s studio in the

Photo Courtesy of creativeboom.com

More About Dafi

Dafi Kühne is both an

Swiss Alps. He utilizes an old, abandoned factory and gets most of his printing supplies and machines second-hand.

author of his own book and the host of “The Dafi Kühne show.”

Photo Courtesy of printingmattersmag.com

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Project Title

Project #

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68 | Colophon

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con rere prerspe libusae verumquidit eum ent aborpor porio. Itas arum

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Project 1 2 3 4 5 6 7

Colophon Body text| Open sans light 8/13 (1p0 indent) Embedded Journal Quotes| Open Sans Light Italic 8/13 (+50 tracking) Captions|Open Sans Italic 6.5/11 (C=35 M=35 Y=35 K=60) Subheads| Open Sans Extrabold 17/19.5 (C=35 M=35 Y=35 K=60) Italic Subheads| Open Sans Italic 17/19.5 (C+35 M=35 Y=35 K=60) (85% tint) Subsections| Bebas Neue Regular 32/34 (Black tinted 85%) Project number| Bebas Neue Regular 52/48 Project title| Bebas Neue Regular 92/75 Folio Text|Open Sans Extrabold 13/20 (Paper White) Folio Project numbers| Open Sans Bold Italic 13/20 (Black 55% tint) Current project number (Highlighted)| Open Sans Extrabold Italic 12/20 (Paper White)

Text Visualization Body text Embedded Journal Quotes Captions

Subheads Italic Subheads

Subsections

Project number

Project Title Colophon | 69

Typography I Journal

Grid Utilized I used a 12 column grid and essentially lined up the text and images to the four horizontal lines shown.

Thanks for Reading!

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