Typography Fundamentals Portfolio by jamienorthrup

!!! ! ! ! ! ! ! !! "" " " " " " " " " "# $##### ####$# %$$$ $ $ $ $ $$%# &%%%%% %%%%&# ' & & & & & & & & & '## (''' ' ' ' ' ''(# $##### ####$# )((((( (((()# "" " " " " " " " " " !"#$%&'#(%)* ! " # $ % " & ' "(

) * + ' , ( - " # $ . # / 0(

!"#$%&'(#)%" This is a collection of the work I produced for Typography Fundamentals, taught by Victoria Arriola during the fall of 2021. This course is foundational in the Professional Program in Graphic Design at UC Berkeley Extension. The course began with an exploration of the forms of letters—close up. Our first project had us creating abstract designs with zoomed-in parts of letters. Then we moved to breaking down a typeface and recreating it in a new way. With our new typeface we designed postcards. We then learned about the anatomy of typography, and designed a multiple-page pamphlet to illustrate our new understanding. We next zoomed-out to typesetting words, sentences, paragraphs and finally whole pages of text. We learned about the systems used to classify typefaces and created a campaign of posters to highlight this. Now we are designing type in its most zoomed-out view by creating a book which is a collection of all of our work for the semester.

!"#$%&' "

6%''%"1#"/7+8+!"#'#')*%1.&%

!"#$%&' !

()*%+,-.'#/)+0-1#2".*34&+!./*35%'

!"#$%&' #

()*%7%''4-2+8+9"4:+8+;4%"."&3)

!"#$%&' $

<%7%."&3+!.*%"+8+()*%+=5.77414&.'4#-+!#7'%"7

!"#$%&'

!"#$%&'#( Part 1: Letterforms The goal for this part of the project is to explore creative uses of typefaces to create interesting compositions. The compositions need to show evidence of time spent trying out different ideas and typefaces in order to create a strong, aesthetically pleasing set of compositions. The main purpose is to start seeing letters as lines, shapes and forms that have been created in much the same manner as any other element of design, with some sort of visual impact in mind. Part 2: Prototypeface Design accessible and unique postcards for adults between 20-30 years of age to share with the public - both hard copy and digitally. Create a unique card that can be proudly displayed by focusing on typography, page layout, color and concept by selecting 9 characters from an existing typeface and reconstructing them to convey emotion and great design.

!"#&%77+>+?#5@'4#Part 1: Letterforms For each of the 9 compositions I chose a different typeface and searched for a letter that had some unique attribute. I played with each letter inside of it’s frame, looking for exciting angles, sweeping curves, and rhythm between the different parts of the letter. I treated each of the 9 squares as separate compositions and focused on finding interesting negative space and relationships between the letterform and the frame of the composition. I tried to have variety in the design solutions, some evoking structure, some with sweeping curves, some with repetition, some bold, and some delicate. Part 2: Prototypeface My goal was to create a postcard that expressed a sense of playfulness and whimsy while celebrating the forms of a typeface in a visually interesting layout. I first explored the many ways that an existing typeface could be modified and played with making additions, taking elements away, exaggeration, distortion, and characterization. I chose to modify Futura Medium, as it’s a typeface that I use often and was curious to get to know it better. I used paper and pencil to explore the many ways that I could modify Futura. My favorite modification involved distorting each individual letter as if the wind were blowing the top of the letter to the right. I had fun choosing which letters to modify and landed on the letters that spell out the word ‘wuthering’. These letters gave me a good mix of ascenders, a descender, the counter of the ‘g’, and the complexity of the letter ‘e’. I modified each letter using Illustrator, with a combination of skewing and rotating the top of each letter, with an eye to the line of action. I used my chosen modification to inform each letter, some of which were very challenging. Letters with ascenders were easy and fun to ‘blow in the wind’. Shorter and rounder letters like the ‘e’ and the ‘r’ were more challenging. Each letter is unique and has its own character, but I strived to make the letters function as a font, so the letters can be placed next to each other to form words. The design of the postcard comes from experimentation with how the letters fit together in space. I chose a design that has movement and expresses a sort of play between the letters. I chose a color palette of both warm and cool muted colors to express a friendly youthfulness. In the version with a spot color, I found it fun to highlight the single dot on the ‘i’ with a muted blue.

6%''%"1#"/7+8+!"#'#')*%1.&%

R s g IN CLASS EXERCISE / LETTERFORM TEMPLATE

!"#$%&'()*(!"##"$%&$'()*)+$&#&#,-"%./"

Bodoni 72 Book Italic- l.c. s

Krungthep- u.c. S

Rockwell Italic- l.c. m

Snell Roundhand- u.c. R

Baskerville Bold- l.c. x

Big Caslon Medium- l.c. g

Copperplate Lightu.c. E

Athelas- l.c. e

Letterforms Abstract exploration of various typefaces

# Sketch Development of typeface based on Futura

Sketch Designing the letters to work together

!"#$%&'()*(!"##"$%&$'()*)+$&#&#,-"%./"

$% Postcard Black & white

Postcard Black, white & spot color

Mockup freepik.com yeven_popov

$$ Postcard Full color

Mockup freepik.com yeven_popov

!"#$%&'

(3%+A"4%1 Introduce type terminology via an infographic with a focus on the target audience. Identify the structural aspects of type. Label the different kinds of strokes, junctions & negative spaces used to create letterforms. Identify a variety of differently shaped terminals and serifs. Increase awareness of letterforms and glyphs. Gain layout skills: hierarchy, negative space, focal point, color, and impact. Use a format that best fits your design, Using a simple typeface and 26 letters from the alphabet, which allows you to easily identify the anatomy of that typeface, choose at least 26 type anatomical descriptives, indicating one of all the main elements Use letterforms and/or numbers and/or special characters. You can use a phrase, a sentence or group of words - they can relate to your interests or cultural background.

!"#&%77+>+?#5@'4#The pangram I choose is the basis for my theme, and also adds a bit of humor to my project. Music and dancing are very special to me, so I chose a theme that celebrates a night out dancing. My target audience is adults age 20-50 who enjoy nightlife and are curious about design. I selected a color palette that tries to simulate the colorful light, contrasted with the darkness, that you would find in a night club. The palette contains three colors and black and white. The type anatomy is highlighted with labels that are a contrasting color from the background, and reverses between the different panels, to simulate the flashing of lights. I chose Baskerville Display PT which is a contemporary take on the transitional typeface. I wanted a typeface that had some sophistication with nice thick and thin, rounder letters, and held up and didn’t look out of place with my subject. For my secondary typeface, I chose Gil Sans Nova Book which has an upright axis, similar x-height, and similar shapes. I struggled finding a multi-page pamphlet layout that would accommodate my pangram, which has five words, four of which are very long. I had to go back to the drawing board several times with my layout. In the end, I chose a trifold square. I found a layout for my pangram that has energy, moves across the folds, accommodates the flow of the phrase and the length of the words.

()*%+,-.'#/)+0-1#2".*34&+!./*5%'

Sketches Typographic anatomy

!"#$%&'(+*(0,-")12.#&',)32%&4$.-56/)+.'-57"#

$( Sketches Typographic anatomy

ear

cap height

Anatomy

x-height baseline

Amazingly aperture

Type

tail

loop

spur

terminal

few

apex

cross stroke

foot

featuring

Baskerville Display PT

head serif

discotheques eye

shoulder

bowl

finial

descender

!"#$%&'(+*(0,-")12.#&',)32%&4$.-56/)+.'-57"#

Baskerville

is a typeface that was developed by John Baskerville in England in the 1750s. Baskerville is considered a transitional serif typeface, which has a more pronounced contrast between thick and thin and a more upright axis than typefaces that were based on calligraphy. Baskerville Display PT is a newer take on Baskerville, designed by Arina Alaferdova, and released by Paratype in 2016.

ascender

arm

provide counter

cross bar

axis

“Amazingly few discotheques provide jukeboxes” is a pangram, which is a phrase that contains all of the letters of the alphabet, making it perfect to showcase the anatomy of letters. Plus it’s fun.

tittle

stem

jukeboxes.

spine

leg

hairline

$) Layout Each page in its final form

Feature Text Baskerville PT Poster Regular

Labels Gill Sans Nova

Body Text 15/18 Gill Sans Nova Book 0 Tracking

$! Mockup freepik.com yeven_popov

!"#$%&'

!"#$%&'#( Understand typesetting rules. Demonstrate accurate and aesthetically pleasing typesetting. Recognize how different type treatments and alignments require unique handling of type. Typeset the provided text using left alignment, right alignment, justified, and centered. Devise a system of colophons for each page. Explore the typographic differences in the following five ways of indicating paragraphs: indent, hanging indent, extra leading, first word, first sentence / phrase. Then design three pages using an initial cap, a drop cap, and a first paragraph which is styled differently. Typeset the text supplied text including title, subtitle and byline and show three levels of typographic hierarchy, using any of the variables of placement, size, weight, style, or tonal value. Keep it simple. Read and consider the text with which we are working. It does relate to the assignment at hand and should influence it accordingly. Produce three pages: scale and style + 1 typeface family, scale and style + 2 different typefaces which work together, and scale and style + typeface + a graphic color element.

!"#&%77+>+?#5@'4#I researched methods of justifying text in InDesign, learned about H&J violations and learned a trick for visualizing the spaces between words using a GREP style. This helped me visualize and fine tune tracking in samples that used justification. I also researched the use of grids in book and magazine layout, both column and modular grids. I looked through magazines and design books for examples of initial cap, drop cap, and the use of hierarchy. I tried to create interesting negative space and used a grid for each page. I explored a wide range of typefaces and used some of the major typefaces like Helvetica, Bodoni, Gill Sans, and Caslon. For the exercises that called for hierarchy, I used fonts that contained many weights. When using multiple typefaces I strove for contrast as well as harmonious x-heights.

()*%7%''4-2+8+9"4:+8+;4%"."&3)

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.

!"#$%&'(,*(0,-"("##624)*)8$69)*):6"$.$/5,

—Robert Bringhurst, The Elements of Typographic Style

*% Alignment Flush Left/ Ragged Right

Body Text 8/12 Adobe Garamond Pro Reg +20 Tracking

*$ Alignment Flush Right/ Ragged Left

Body Text 8/12 Adobe Garamond Pro Reg +20 Tracking

!"#$%&'(,*(0,-"("##624)*)8$69)*):6"$.$/5,

—Robert Bringhurst, The Elements of Typographic Style

** Alignment Justified

Body Text 8/12 Adobe Garamond Pro Reg +20 Tracking

*& Alignment Center

Body Text 8/12 Adobe Garamond Pro Reg +20 Tracking

Karl Marx had one. The Unibomber had one. When Thomas

!"#$%&'(,*(0,-"("##624)*)8$69)*):6"$.$/5,

*' Targets Paragraph Indicators Manuscript Grid Indent

Body Text 9/11 Helvetica Neue Regular 0 Tracking

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

*( Targets Paragraph Indicators Manuscript Grid Hanging Indent

Body Text 8/11 PT Serif Regular +25 Tracking

!"#$%&'(,*(0,-"("##624)*)8$69)*):6"$.$/5,

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

*) Targets Paragraph Indicators Manuscript Grid Extra Leading

Body Text 9/11 Gill Sans Regular +10 Tracking

KARL Marx had one. The Unibomber had one. When Thomas

Jefferson wrote the Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state their principles in compact, incendiary speech.

A manifesto is a short document that “manifests” or makes public

a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way.

Designers seem especially drawn to manifestos. A well-written

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

*! Targets Paragraph Indicators Manuscript Grid First Word

First Word 14/14 Minion Pro Bold +50 Tracking

Body Text 10/14 Minion Pro Regular 0 Tracking

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

!"#$%&'(,*(0,-"("##624)*)8$69)*):6"$.$/5,

environmental, social and cultural life rather than to sell hair gel and dog biscuits.

*" Targets Paragraph Indicators Manuscript Grid First Phrase

First Phrase 8/13 Semplicita Pro Bold +25 Tracking

Body Text 18/13 Caslon Pro Regular +25 Tracking

arl Marx had one. The Unibomber

*# Targets Text Column Grid Initial Cap

Initial Cap 88/12 Henriette Black Italic 0 Tracking

Body Text 9/12 Helvetica Neue Regular 0 Tracking

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.

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.

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.

Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which is the epicenter of manifestowriting today. Sterling, in addition to demanding an overhaul of all social, political and military systems, pushed designers to create “intensely glamorous environmentally sound products; entirely new objects of entirely new materials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Also in 2000, Rick Poynor published the “First Things First 2000” manifesto, based on a text written by Ken Garland in 1964, a controversial document that called for designers to use their skills to improve environmental, social and cultural life rather than to sell hair gel and dog biscuits.

!"#$%&'(,*(0,-"("##624)*)8$69)*):6"$.$/5,

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

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.

&% Targets Text Column Grid Drop Cap

Drop Cap 80/12 Helvetica Neue Condensed Black

Body Text 10/12 LTC Goudy Oldstyle Pro Regular +10 Tracking

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

&$ Targets Text Column Grid First Paragraph

Intro Paragraph 12/15 Source Code Pro Bold +10 Tracking

Body Text 9/13 Optima Regular +10 Tracking

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

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

!"#$%&'(,*(0,-"("##624)*)8$69)*):6"$.$/5,

Signs may exist at various levels of abstraction. A simple example will illustrate this point. Let us consider something as elemental as a red dot. It is a sign only if it carries a particular meaning. It can represent any number of things: balloon, ball, or Japanese flag. The red dot can

become a cherry, for example, as the mind is cued by forms more familiar to its experience. The particular syntactic qualities associated with typographic signs determine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a large void may signify isolation. These qualities, derived from the operating principles of visual hierarchy and ABA form, function as cues, permitting the mind to form concepts. Simple syntactic manipulations, such as the repetition of letters, or the weight change of certain letters, enable words visually to mimic verbal meaning. In language, signs are joined together to create messages. Words as verbal sign, grouped together in a linear fashion, attain their value vis-à-vis other words through opposition and contrast. Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in a nonlinear manner, with elements existing in many syntactic combinations.

&* Targets Modular Grid Hierarchy Scale and Style Change

Title 23/27 Bodoni URW Etra Bold 0 Tracking

Subhead 13/16 Bodoni URW Medium and Oblique 0 Tracking

Byline 10/12 Bodoni URW Light 0 Tracking

Body Text 9/11 Bodoni URW Regular 0 Tracking

Verbal and Visual Equations

An examination of interactive signs excerpted from Typographic Design: Form and Communication Language, in any of its many forms, is a self-contained system of interactive signs that communicates ideas. Just as elocution and diction enhance and clarify the meaning of our spoken words, typographic signs can be manipulated by a designer to achieve more lucid and expressive typographic communication.

By Ben Day & Philip Meggs

Signs operate in two dimensions: syntactic and semantic. When the mind is concerned with the form of a sign, it is involved with typographic syntax. When it associates a particular meaning with a sign, it is operating in the semantic dimension. All objects in the environment can potentially function as signifying pollution, a beached whale representing extinction, and confetti implying a celebration—each functions as a sign Signs may exist at various levels of abstraction. A simple example will illustrate this point. Let us consider something as elemental as a red dot. It is a sign only if it carries a particular meaning. It can represent any number of things: balloon, ball, as the mind is cued by forms more familiar to its experience.

for example, may signify motion or speed, while a small letter from the operating principles of visual hierarchy and ABA form, function as cues, permitting the mind to form concepts. Simple syntactic manipulations, such as the repetition of letters, or the weight change of certain letters, enable words visually to mimic verbal meaning. In language, signs are joined together to create messages. Words as verbal sign, grouped together in a linear fashion, attain their value vis-à-vis other words through opposition and contrast. Words can also evoke meaning through derived. Since typography is both visual and verbal, it operates

many syntactic combinations.

&& Targets Modular Grid Hierarchy Scale, Style and Typeface Change

Title 67/85 Kepler Std Medium Condensed Display 0 Tracking

Subtitle 18/19 Kepler Std Medium Subhead and Medium Italic Subhead 0 Tracking

Byline 11/14 Kepler Std Subhead 0 Tracking

Body Text 9/12 Seravek Regular 0 Tracking

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

!"#$%&'(,*(0,-"("##624)*)8$69)*):6"$.$/5,

All objects in the environment can potentially function as signs, representing any number of concepts. A smog- filled city signifying pollution, a beached whale representing extinction, and confetti implying a celebration—each functions as a sign relating a specific concept. Signs may exist at various levels of abstraction. A simple example will illustrate this point. Let us consider something as elemental as a red dot. It is a sign only if it carries a particular meaning. It can represent any number of things: balloon, ball, or Japanese flag. The red dot can become

a cherry, for example, as the mind is cued by forms more familiar to its experience. The particular syntactic qualities associated with typographic signs determine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a large void may signify isolation. These qualities, derived from the operating principles of visual hierarchy and ABA form, function as cues, permitting the mind to form concepts. Simple syntactic manipulations, such as the repetition of letters, or the weight change of certain letters, enable words visually to mimic verbal meaning. In language, signs are joined together to create messages. Words as verbal sign, grouped together in a linear fashion, attain their value vis-à-vis other words through opposition and contrast. Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in a nonlinear manner, with elements existing in many syntactic combinations.

&' Targets Modular Grid Hierarchy Scale, Style and Typeface Change Graphic Element

Title 36.5/44 Degular Regular +12 Tracking

Subtitle 16/19 Acumin Pro ExtraCondensed Regular and Italic +17 Tracking

Byline 11/13 Acumin Pro Condensed Regular 0 Tracking

Body Text 10/12 Acumin Pro Regular 0 Tracking

!"#$%&'

!"#$%&'#( Part 1: Research paper on Swiss Designer Research a major Swiss designer and submit 250 words and examples of their work. Take into consideration what we have covered thus far. Part 2 : Type Classification Posters Design three type classification posters in the Vox System. The book Letter Fountain lists 9 categories—5 Serif and 4 Sans Serif—Humanist, Old Style, Transitional, Modern, Slab-Serif and Sans serif. You will design a poster for two Serif and one Sans Serif font. Research the various periods and design from its influence, to visually communicate the evolution of type, and to practice the principles of typography that we have studied. Poster size 11 x 17 inches. Your ultimate goal is to have enough information to educate the viewer on the particular category, and to reflect the typographic landscape (aesthetic).

!"#&%77+>+?#5@'4#Part 1: Research paper on Swiss Designer I did image searches for examples Swiss International Style. I chose to research Emil Ruder. I learned about his life, schooling, career in design, teaching, and writing. I downloaded examples of his work. I designed a grid in InDesign to showcase his work and used Helvetica to typeset my paper which was a typeface that came out of this period of design history. Part 2 : Type Classification Posters I read about different type classification systems and researched the Vox-ATypI categories that I chose- Didone, Slab-Serif, and Sans-Serif: Neo-Grotesque. I chose typefaces that have a rich history to represent each of the categories- Didot, Clarendon, and Helvetica. I drew a grid in my sketchbook and did 50 thumbnail sketches of ideas for posters. This was very challenging and I’m glad I did it. Then I took the most successful ideas and made larger sketches where I tried to work out the details of each of the 3 posters. I then moved to the computer and refined my ideas and the proportions of all of the elements, as well as experimenting with color schemes. The campaign that I chose has a unique layout for each of the three posters. For each of the three typefaces, I tried to capture an aspect of the typeface with my layout. The Didot poster has a very vertical layout, the Helvetica poster reimagines Swiss International Style with it’s tilted grid, and the Clarendon poster has more bottom heavy and horizontal layout. My color scheme came from experimentation- I wanted a simple, but bold scheme that ties the three posters together. The two serif posters share a dark background, while the sans-serif has a white background for contrast. I tried to tie the posters together by having similar elements in each and playing with their rotation and placement. The typeface for the body copy is Source Serif Pro which I felt was more readable at a small size and ties the posters together.

<%7%."&3+!.*%"+8+()*%+=5.77414&.'4#-+!#7'%"7

!"#$%&'(-*(;"(".$/5)+.-"$)*)0,-")<7.((6%6/.#6&2)+&(#"$(

-Emil Ruder

Emil Ruder (1914–1970) Emil Ruder was one of the pioneers of the International Typographic Style in the 1950s. He was a typographer, teacher, and author. He believed that the highest purpose of typography was to communicate clearly and that text should be legible. In many of his explorations he used text as imagery, freely mixing typeface sizes, weights, and slant. Emil Ruder was born in Zürich, Switzerland in 1914. He began his career as an apprentice compositor at age 15 and later received training as a typesetter. In his late twenties he studied at the Zürich School of Arts and Crafts where he was exposed to the principles of Bauhaus and Tschichold’s New Typography. In 1942 he was given a full time teaching position at the Basel School of Design, and in 1947 was promoted to head of the Department of Apprentices in Applied Arts. There he met and collaborated with Armin Hofmann, another innovator of the Swiss Style. Their classes developed an international reputation and were in high demand. Ruder was a contributing writer and editor of . He contributed a series of articles that became the basis of his later book—‘The Plane’, ‘The Line’, ‘The Word’ and ‘Rhythm’. In 1962 he co-founded the International Center for the Typographic Arts in New York. In 1967, after 25 years of teaching, he published , a compilation of his design philosophy and teaching methods, which became a standard typography textbook in Europe and the United States.

&# Research Paper Typeset in Helvetica Neue

Poster Sketches A sample of ideas for poster campaign

!"#$%&'(-*(;"(".$/5)+.-"$)*)0,-")<7.((6%6/.#6&2)+&(#"$(

'$ Poster Sketches Refined ideas for 3 posters

Didot • Bodoni • Walbaum Didones first became popular at the turn of the 18th century and are named after Firmin Didot and Giambattista Bodoni. They are identified by their extreme contrast between thick and thin, vertical axis for curved strokes, very little to no bracketing on serifs, and terminals that often have a ball shape. Didones are commonly used in the fashion industry and create a sense of luxury. They are best used as display text and not for body copy as their high contrast makes them difficult to read at small sizes. Didot was designed by Firmin Didot and

Didone

first used in 1784 in his family’s multigenerational foundry and printing business in Paris. Didot’s characteristics include abrupt and unbracketed serifs, extreme weight contrast, tight apertures, and a vertical axis.

ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz

Didot

!"#$%&'(-*(;"(".$/5)+.-"$)*)0,-")<7.((6%6/.#6&2)+&(#"$(

0123456789

Vertical axis

Non-bracketed, thin serifs

Extreme contrast between thick and thin

'* Didot Poster Didot LT Pro Source Serif Pro

AB CD 89 67 Z 45 XY 23 W xyz 01 TUV vw u RS rst PQ pq NO no M lm KL jk IJ ghi GH ef EF bcd a

t e v l e H ll ma

a ic r sto

leub Do

ase

erc ow

res

rtu

e ap

tic

-S

lve

i ve

i f:

ry go ate n sc thi ion i n i at ms vari off or f d s r s e e le ar ett is qu el re ,s Th d he ifs se fs. .T ser eri l ea ed s s o re a s N b ax l ly san ere na yM ed i w b s g u ri ey as ed nly h th so gn aw ic wa d e s i mo tic It om n wh lve ich d s. o st c an He t wh . ue s o y . y q e r e m squ tes undr Latin eigh d ‘s’, sto ro f th rote -h gle n pe -G Fo lx eo G ”i ha sin eo pe tal iss om es the now e N s Ty es Sw res a quar n h d t s a a i a s“ ’ lu s u th of c t n ‘g H a e a a n r l e e se p fe si by rs, im er ca ue mb n d let te hm sk ds esq me rote whic ce, a w n rot ed an e lo G us , ee fa -G th ito as n i c a t y p e bet w t eo a u fi d e e q N r an lv e bi eH sk ng re ht Th He eu tu ote paci mo eig os s e N m e d z- Gr are ine w ht e m nam n a iden l tig th re e , e s z e i h r h t a Ak tanc rt ate ’. tic he de sl is y ‘a l ve yt un wa a d stor He 9 5 7 It d b d at 1 er. ence ble a g e u r in n o u i o ad ed infl ier t Mi nd ily as ’, a av te y ‘g he si or ke t s a m leing as

51 14

'& Helvetica Poster Helvetica Neue Source Serif Pro

Clarendon Upturned tail

Low contrast between thick and thin

Heavy strokes with thick serifs

Slab-Serif Clarendon • Rockwell • Egyptienne Slab-serifs became popular in the early 19th century and were designed for display purposes in advertising and other large media. They are prized for their visual impact and ability to grab the reader's attention. They are extremely bold, with low contrast, and have thick serifs with very little to no bracketing. Clarendon was created by Robert Besley in 1845 in England. Unlike other slab-serifs, Clarendon has smooth brackets that connect the serif to the body of the letter which gives it a softer feel and the ability to work well at smaller sizes. Clarendon quickly became one of the

!"#$%&'(-*(;"(".$/5)+.-"$)*)0,-")<7.((6%6/.#6&2)+&(#"$(

most popular typefaces of it’s time period and is commonly associated with wanted posters and the American Old West. Clarendon has heavy, bracketed serifs, low contrast between thick and thin, very large x-height, upturned tails on some letters and ball terminals.

A B C DE F GH I J K L M NOP Q R ST U V W X Y Z a b c d efgh ij k l m n o p q r s tuv w x y z 0123456789

'' Clarendon Poster Clarendon URW Source Serif Pro

'( Mockup Adobe Stock SdecoretMockup

*%+%,-%" B%742-%"

&'()*+,-./0.12

0-7'"@&'#"

3)4/-.)'+5..)-6'

=#@"7%

782-9.'208+:1;<'(*;/'6=

?&3##5

>?+@*.A*6*8+BC/*;=)-;

()*%1.&%7

541();+3'.)'D6*+?-;4*2/ 5<-D*+E'.'(-;<+F.-