A Typographic Journey by inbaloknin

A A

Typographic

Journey By Inbal Okanin | 2019

What

Did Did II Learn? Learn?

Contents Prototypeface Type Anatomy Type Setting Type Composition Swiss Designer Type Classification

4 12 19 25 45 50

2 A Typographic Journey

1 1

PROTOTYPEFACE Character Set Creating a set of Nine original letterforms, Three of them must be based on existing characters in English.

4 A Typographic Journey

Sketching After exploring different concepts I choose the one I felt had the most potential to create an interesting design. I wanted to use the missing part of the letter as a visual element that will lead the viewerâ&#x20AC;&#x2122;s eye and help interpret the letter.

5 Character Set

6 A Typographic Journey

I used Illustrator to design and refine my characters. Each letter went through many changes and ultimately for my final letters I decided to duplicate the swosh I created to give the letters more volume.

7 Character Set

8 A Typographic Journey

Final Postcards

9 Character Set

10 A Typographic Journey

2 2

Type Anatomy Poster Design Identify the structural aspects of type. Increase awareness of letterforms. Learn typeface terminology, and Gain layout skills.

12 A Typographic Journey

Inspiration Creating a mood board of different textures colors and shapes helps me to start the design process, and also helps me in creating the color palette for my project.

12 Type Anatomy

13 A Typographic Journey

K It Si mt uppl ei d S 7

1. Serif 2. Leg 3. Arm 4. Finial 5. Eye 6. Bowl 7. Descender 8. Uppercase 9. Terminal 10. Crossbar

11. Spine 12. Bracket 13. Shoulder 14. Stem 15. Lowercase 16. Aperature 17. Spur 18. Counter 19. Title 20. Ascender

The poster design was challenging. I learned how hard it is to create an interesting composition and yet to keep a clean and simple look without boring the viewer. With all the knowledge I have now I would redesign this poster, Improve the contrast and readability of the text.

14 Type Anatomy

15 A Typographic Journey

Acordion Book The second part of this project was creating an accordion book. We had to use the same content as the poster only now we needed to rearrange the content to better fit the foldable book. We had to considre the front and back of the book and the folding lines in our layout. This little book required research and a lot of experiments.

16 Type Anatomy

17 A Typographic Journey

3 3

Typesetting

Understand typesetting rules. Learn how different type treatments and alignments require unique handeling of type.

19 A Typographic Journey

Justified 8/12 Adobe Garamond + 20 Tracking LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve well-chosen letters; these in their turn deserve to be set with affection, intelligence, knowledge and skill. Typography is a link, and it ought, as a matter of honor, courtesy and pure delight, to be as strong as others in the chain. Typography is just that: idealized writing. Writers themselves now rarely have the calligraphic skill of earlier scribes, but they evoke countless versions of ideal script by their varying voices and literary styles. To these blind and often invisible visions, the typographer must respond in visible terms. In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages they must occupy, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles. Simple as it may sound, the task of creative non-interference with letters is a rewarding and difficult calling. In ideal conditions, it is all that typographers are really asked to doand it is enough. â&#x20AC;&#x201D;Robert Bringhurst, The Elements of Typographic Style

20 Typesetting

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

Center 8/12 Adobe Garamond + 20 Tracking

21 A Typographic Journey

Right Alignment 8/12 Adobe Garamond + 20 Tracking

22 Typesetting

Left Alignment 8/12 Adobe Garamond + 20 Tracking

23 A Typographic Journey

Type Composition

Explore the typographic differences of paragraphs indicators, Beginning of text and text hierarchy.

25 A Typographic Journey

Exercise .1

26 Type Composition

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

First Sentence Set Left, 9/12 Georgia

—excerpted from Manifesto Mania by Ellen and Julia Lupton

27 A Typographic Journey

Indent Justified, 8/11 Gadugi

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

28 Type Composition

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

First Word Set Left, First Word, 9/12 Cambria

—excerpted from Manifesto Mania by Ellen and Julia Lupton

29 A Typographic Journey

Exdent Set Left, 9/11 Minion Pro

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

30 Type Composition

Extra Leading Justified, 8/12 Adelle Sans

31 A Typographic Journey

Exercise .2

Initial Cap Set Left, 8/12 Gadugi

32 Type Composition

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

published his manifestos and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state their principles in compact, incendiary speech. A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product. It communicates directly, it is broken into functional parts, and it has elementsofpoetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function they serve to bring together members of a group. Ten years ago, Bruce Mau published his “Incomplete Manifesto,” written as a list of commandments. These principles became the established creed of Mau’s own design office, but they can be used by anyone. Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals. Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which is the epicenter of manifesto-writing today. A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product. It communicates directly, it is broken into functional parts, and it has elementsofpoetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function they serve to bring together members of a group. —excerpted from Manifesto Mania by Ellen and Julia Lupton

33 A Typographic Journey

Drop Cap Set Left, 8/12 Sitka

34 Type Composition

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

A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function they serve to bring together members of a group. Ten years ago, Bruce Mau published his “Incomplete Manifesto,” written as a list of commandments. These principles became the established creed of Mau’s own design office, but they can be used by anyone. Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous posttypographers Bruce Willen and Nolen Strals. Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of all social, political and military systems, pushed designers to create “intensely glamorous environmentally sound products; entirely new objects of entirely new materials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Also in 2000, Rick Poynor published the “First Things First 2000” manifesto, based on a text written by Ken Garland in 1964, a controversial document that called for designers to use their skills to improve environmental, social and cultural life rather than to sell hair gel and dog biscuits. A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function they serve to bring together members of a group. —excerpted from Manifesto Mania by Ellen and Julia Lupton

35 A Typographic Journey

First Paragraph Set Left, 8/12 Corbel

36 Type Composition

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

A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and softwarecompanies and design firms started posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A well-written manifesto is like a welldesigned product. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function they serve to bring together members of a group. Ten years ago, Bruce Mau published his “Incomplete Manifesto,” written as a list of commandments. These principles became the established creed of Mau’s own design office, but they can be used by anyone. Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals. Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which is the epicenter of manifesto-writing today.Sterling, in addition to demanding an overhaul of all social, political and military systems, pushed designers to create “intensely glamorous environmentally sound products; entirely new objects of entirely new materials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Also in 2000, Rick Poynor published the“First Things First 2000” manifesto, based on a text written by Ken Garland in 1964, a controversial document that called for designers to use their skills to improve environmental, social and cultural life rather than to sell hair gel and dog biscuits. A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and softwarecompanies and design firms started posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A well-written manifesto is like a welldesigned product. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function they serve to bring together members of a group. —excerpted from Manifesto Mania by Ellen and Julia Lupton

37 A Typographic Journey

Exercise .3

Scale Change Set Left, 7.5/10 Athelas

38 Type Composition

Verbal and Visual Equations An examination of interactive signs excerpted from Typographic Design: Form and Communication â&#x20AC;&#x201D;Ben Day and Philip Meggs

Language, in any of its many forms, is self-contained

a celebration each functions as a sign relating

such as the repetition of letters, or the weight change

system of interactive signs that communicates ideas.

a specific concept.

of certain letters, enable words visually to mimic

Just as elocution and diction enhance and clarify the

verbal meaning.

meaning of our spoken words, typographic signs can

Signs may exist at various levels of abstraction.

be manipulated by a designer to achieve more lucid

A simple example will illustrate this point. Let us

In language, signs are joined together to create mes-

and expressive typographic communication.

consider something as elemental asa red dot.

sages. Words as verbal sign, grouped together

It is a sign only if it carries a particular meaning.

linear fashion, attain their value visĂ vis other words

Signs operate in two dimensions: syntactic and

It can represent any number of things: balloon, ball,

through opposition and contrast. Words can also

semantic. When the mind is concerned with the

or Japanese flag. The red dot can become a cherry,

evoke meaning through mental association. These

form of a sign, it is involved with typographic syntax.

for example, as the mind is cued by forms more

associative relations are semantically derived. Since

When it associatesa particular meaning with a sign,

familiar to its experience.

typography is both visual and verbal, it operates

it is operating in the semantic dimension.

in a

in a linear fashion, with words following each other The particular syntactic qualities associated with

in a specific sequence, or in anonliear manner, with

All objects in the environment can potentially func-

typographic signs determine a specific meaning.

elements existing in many syntactic combinations.

tion as signs, representing any number of concepts.

A series of repeated letters, for example, may signify

A smog-filled city signifying pollution, a beached

motion or speed, while a small letter in a large void

whale representing extinction, and confetti implying

may signify isolation. These qualities, derived from the operating principles of visual hierarchy and ABA form, function as cues, permitting the mind to form concepts. Simple syntactic manipulations,

39 A Typographic Journey

Scale + Typeset Change Set Left, 10/12 Athelas, 36/43 18/21 Corbel

40 Type Composition

Verbal and Visual Equations An examination of interactive signs excerpted from Typographic Design: Form and Communication â&#x20AC;&#x201D;Ben Day and Philip Meggs

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

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

In language, signs are joined together to create messages. Words as verbal sign, grouped together in a linear fashion, attain their value visĂ vis other words through opposition and contrast. Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in anonlinear manner, with elements existing in many syntactic combinations.

Graphic Element Set Left, 8/12 Adobe Garamond Pro, 36/43 18/21 Corbel

42 Type Composition

Verbal and Visual Equations An examination of interactive signs excerpted from Typographic Design: Form and Communication â&#x20AC;&#x201D;Ben Day and Philip Meggs

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

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

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

43 A Typographic Journey

What Swiss

Designer Research Did I Learn?

45 A Typographic Journey

Adrian Frutiger Adrian Frutiger is a renowned twentiethcentury Swiss graphic designer. For over 45 years he was a hugely influential figure in typography. Although he was interested in many fields including woodcutting and metal punches his passion was typeface design and he is responsible for the advancement of typography into digital typography. It’s difficult to find a designer who hasn’t used his typefaces and probably impossible to find someone who hasn’t learned typography from using them. Frutiger called type design his “main life’s work” and created typefaces in almost every imaginable style. He designed more than 30 typefaces through his career including Univers, Frutiger, and Avenir, the sans serif ones were considered his best work. Three of the sans-serifs he created contributed greatly to the definition and development of the sans-serif genre. Frutiger was driven to develop forms that would be contemporary and timeless and his work is seen today in publications and signage across the world, as well in passports and barcodes. He gave significant importance to the use of space in type and claimed that forms are defined as much by what they are as where they are not.

46 Swiss Designer

47 A Typographic Journey

5 5

Type Classification

Research various periods and design from its influence. Visually communicate the evolution of type. Practice the principles of typography.

50 A Typographic Journey

Poster Series This project started with research on the six typeface categories that appear in the book the Letter Fountain. Learning about the categories helped me focus on the typefaces I wanted to use, and gather all the elements for the poster. The next step was to sketch the layouts to understand how to best place the different elements and to create an interesting composition For my posters. I choose to use: Chapparal Pro - Slab-Serif Jenson - Humanist Frutiger - Sans Serif I wanted to create a colorful, fun, elegant and soft series of posters that will attract the viewers and educate them about the different typefaces.

Using the knowledge I obtained throughout the course helped me to create better layouts and color combinations. Looking back and comparing this project to the first poster I created I can see how knowing basic typography fundamentals helped me improve as a designer and create better, more interesting compositions. I had fun creating these posters and I canâ&#x20AC;&#x2122;t wait to start my next design project.

Designer: Inbal Okanin Instructor: Ayca Kilicoglu UC Berkeley Extension UX Design Program Typography Fundamentals Typefaces: Abril Fatface, Roboto.

“Design is so simple, That’s Why it is so complicated.” Paul Rand