DA MING CHEN
TYPE ANATOMY
Capline
Baseline
Vignelli
X- height
Meanline X-height
Ascender
Counter
Serif
Descender
Capline
Baseline
Vignelli Serif
Descender
Vignelli Vignelli Differences between Serif and San Serif type of the same size.
X- height
Meanline X-height
Ascender
Counter
Font Weights
vvvvvv VV Light
Regular
Medium
Condensed
Semibold
Bold
Heavy
Extended
Type Alignments
FLUSH LEFT 24/14
ABCDEFGHIJK LMNOPQR STUVWXYZ
FLUSH RIGHT 24/24
ABCDEFGHIJK LMNOPQR STUVWXYZ
Mixing sizes, weights, shapes, and
CENTERED 24/30
ABCDEFGHIJK LMNOPQR STUVWXYZ JUSTIFIED 24/36
ABCDEFGHIJK L M N O P Q R S T U V W X Y Z
Five Families of Type
OLD STYLE: Garamond, Brmbo, Caslon, Jensen, Palatino
ABCDEFGHI abcdefghi TRANSTIONAL: Baskerville, Time Roman, Century
ABCDEFGHI abcdefghi Modern: Bodoni, Didot, Bell, Coladonia
ABCDEFGHI abcdefghi EGYPTIAN OR SLAB SERIF: Clarendon, Rockwell, Serick, Memplis
ABCDEFGHI abcdefghi SANS SERIF: Helvetica, Gill Sans, Futura, Optima, Univers, Meta, Franklin Gothic
ABCDEFGHI abcdefghi
TYPE ALIGNMENT
Seymour Chwast “If you dig a hole and it’s in the
wrong place, digging it deeper
isn’t going to help.” F/L It would be difficult to imagine contemporary American and European graphic design and illustration without the presence of Seymour Chwast. By the middle of the 1950s, as the Norman Rockwell epoch drew to a close, Chwast was already known for his unique style of illustration.Influenced by Walt Disney, the Sunday funnies and serial movies, he gave life to his own cartoon heroes, including “Jim Lightning” and F/R His playful, expressive approach to type and layout was the point of a new design wave based on revivalism—a radical alternative to the Swiss formalism of the time. For over 30 years he has continued to ride above the twists and turns of fashion; today his art is even more energized and varied than when it originally altered a generation’s perceptions. Chwast’s work is widely recognized on posters, in books for children and adults, magazines and advertisements. His strength is not in rendering, like so many of the “sentimentalists” before him, but in concept and design. A beguiling sense of humor underpins his illustration, and a keen understanding of traditional design governs his method. Justified
Centered Chwast and his Push Pin colleagues helped reintroduce the long divorced principles of illustration and design. Moreover, he helped formulate a new graphic lexicon based on knowledge, appreciation and reapplication of past styles and forms—one that has had long term effects on graphic design. He was enrolled in Abraham Lincoln High School. On the outside this was an ordinary New York City public school. Born in 1931 in The Bronx, New York, Chwast began drawing in earnest at the age of seven, and soon attended WPA-sponsored art classes. He became profoundly aware of the difference between museum and street art and seemed to instinctively prefer the allure of billboards and advertisements to Picassos and Mondrians. Forced Justified
ed f o rmu la t e a ne w
Seymour Chwast was helped formulate a new graphic lexicon based on knowledge, appreciation and reapplication of past styles and forms—one that has had long term effects on graphic design. Seymour Chwast was helped formulate a new graphic lexicon based on knowledge, appreciation and reapplication of past styles and forms—one that has had long term effects on graphic design.
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Moreover, he helped formulate a new graphic lexico Chwast and his Push Pin colleagues helped reintroduce the long divorced principles of illustration and design. Moreover, he helped formulate a new graphic lexicon based on knowledge, appreciation and reapplication of past styles and forms—one that has had long term effects on graphic design.
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SEVERAL WAYS TO USE TYPE AND SET A PARAGRAPH IN AND AROUND SHAPES
KERNING AND TRACKING
Kern ing
SPACE between Letters
My Favorite designer My Favorite designer Tracking
SPACE b e t we e n WOR D S +50 It would be difficult to imagine contemporary American and European graphic design and illustration without the presence of Seymour Chwast. By the middle of the 1950s, as the Norman Rockwell epoch drew to a close. +100
-50 It would be difficult to imagine contemporary American and European graphic design and illustration without the presence of Seymour Chwast. By the middle of the 1950s, as the Norman Rockwell epoch drew to a close.
-100
It wou l d b e d i f f ic u lt to imag ine conte mp or ar y Ame r ic an and Eu rop e an g r aph ic de s ig n and i l lust r at i on w it hout t he pre s e nc e of S e y mou r C hw ast . By t he midd le of t he 1 950s , as t he Nor man R o ckwel l ep o ch d re w to a clos e.
ItwouldbedifficulttoimaginecontemporaryAmerican andEuropeangraphicdesignandillustrationwithoutthe presenceofSeymourChwast.Bythemiddleofthe1950s, astheNormanRockwellepochdrewtoaclose.
+200 It would be dif f icult to imagine contemporary American and European graphic design and illustration without the presence of Seymour Chwast. By the middle of the 1950s, as
-200 ItwouldbedifficulttoimaginecontemporaryAmericanandEuropeangraphic designandilustrationwithoutthepresenceofSeymourChwast.Bythemiddleofthe 1950s,astheNormanRockwelepochdrewtoaclose.
LEADING 12/12
12/14
12/18
12/24
Chwast and his Pushw Chwast and his Push Chwast and his Push Chwast and his Push Pin colleagues helped Pin colleagues helped Pin colleagues helped reintroduce the long Pin colleagues helped reintroduce the long divorced principles reintroduce the long divorced principles of illustration and reintroduce the long divorced principles of illustration and design. Moreover, he helped formulate a new design. Moreover, he of illustration and divorced principles graphic lexicon based on helped formulate a new design. Moreover, he knowledge, appreciation graphic lexicon based on of illustration and and reapplication of past knowledge, appreciation helped formulate a new styles and forms—one that and reapplication of past graphic lexicon based on design. Moreover, he has had long term effects styles and forms—one that knowledge, appreciation helped formulate a new on graphic design. has had long term effects and reapplication of past graphic lexicon based on on graphic design. styles and forms—one that has had long term effects knowledge, appreciation on graphic design. and reapplication of past
TYPE COLOR Type Weight in paragraphs shows up as textural shapes from light to dark Chwast and his Push Pin colleagues help reintroduce the long divorced principles of illustration and design. Moreover, he helped formulate a new graphic lexicon based on knowledge, appreciation and reapplication
Chwast and his Push Pin colleagues help reintroduce the long divorced principles of illustration and design. Moreover, he helped formulate a new graphic lexicon based on knowledge, appreciation and reapplication
Chwast and his Push Pin colleagues help reintroduce the long divorced principles of illustration and design. Moreover, he helped formulate a new graphic lexicon based on knowledge, appreciation and
Chwast and his Push Pin colleagues help reintroduce the long divorced principles of illustration and design. Moreover, he helped formulate a new graphic lexicon based on knowledge, appreciation and
Chwast and his Push Pin colleagues help reintroduce the long divorced principles of illustration and design. Moreover, he helped formulate a new graphic lexicon based on knowledge,
Chwast and his Push Pin colleagues help reintroduce the long divorced principles of illustration and design. Moreover, he helped formulate a new graphic lexicon based on
TYPE PATTERN
TYPE PATTERN
TYPE OUTLINE SCALABLEART
FLASE ITALICS BRACKETED/UNBRACKETED SERIFS CONTRAST BETWEEN TYPE STYLES
False Italics
A A A A A A
AAAAA
Bracketed Serif - Old and Transitional curves into the serif Unbracketed Serif -
A modern with no curves
AAAAA
Low Contrast
High Contrast
No Contrast
COLOR LEGIBILITY
100 Black Type
100 BlackType
100 White Type
100 White Type
SEYMOUR CHWAST
SEYMOUR CHWAST
SEYMOUR CHWAST
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SEYMOUR CHWAST
SEYMOUR CHWAST
SEYMOUR CHWAST
SEYMOUR CHWAST
SEYMOUR CHWAST
SEYMOUR CHWAST
SEYMOUR CHWAST
SEYMOUR CHWAST
SEYMOUR CHWAST
SEYMOUR CHWAST
SEYMOUR CHWAST
SEYMOUR CHWAST
SEYMOUR CHWAST
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SEYMOUR CHWAST
100%
SEYMOUR CHWAST 80%
SEYMOUR CHWAST 60%
SEYMOUR CHWAST 40%
SEYMOUR CHWAST 20%
SEYMOUR CHWAST 10%
COLUMNS OF TYPE
To creat a two column layout, select the type tool and creat a text box slightly less than half the size of the column. Duplicate the box and place it on the right hand side of the page. Linking Text boxes. Flow text into one box, then dick on the red squre with your cursor, dick on a space and the extra text will flow into it.
The Bronx, New York, Chwast began drawing in earnest he gave life to his own cartoon heroes, including “Jim at the age of seven, and soon attended WPA-sponsored Lightning” and “Lucky Day.” His family moved to Coney art classes. He became profoundly aware of the Island, where he was enrolled in Abraham Lincoln High difference between museum and street art and seemed School. On the outside this was an ordinary New York to instinctively prefer the allure of billboards and City public school, but inside it was a hotbed of graphic advertisements to Picassos and Mondrians. Influenced design education. by Walt Disney, the Sunday funnies and serial movies, The multiple column layout is done automatically by creating one large text box, going up to be the number of columns bar and selecting the number of columns you want. Luptaereium voluptatur? Ent antia aspitatendam lacit auta que dnulluptate omni culparum est iniendus pernat et laborit magnimagnam, sinti tem qui con rerupta estesti bustiur? De veliquam, officti ut qui inte
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GRID STYLES
ABCDEF GHIJKLMN OPQRSTU VWXYZ abcdefghijklmnOPQRSTUVWXYZ
HALF VERTICAL
uT uR a A bCd EfGH IJKL MnO PQRS TuvW XYz
GRID STYLES
GRID STYLES
GRID STYLES
abcdefghijklmnopqrstuvwxyz
OR
HE
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78 56
12 34
123
45
67 89
34 5 6
78 9
CLARENDON
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5 67 12
12 3 4
SL SE AB RIF
RANDOM
789 EGYPTIAN
SLAB SERIF 12
56 4 3
DE
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DIDOT
89
XY
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7
DE O M
12
56
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34
C IR C U LA R
AB C
M NOP QR S L K TU J I V H G d e b a
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GRID STYLES
HIERACHY
New York City Tech Presents An Evening with
G
ry e l l a eG c a r
11th Flo
7 pm
April 29, 2016
or N am
m
300 Jay Street Brooklyn, NY
eymour Chwast, regarded as one of the most influential artists of the twentieth century , is founder of the world famous Push Pin Studios. It would be difficult to imagizne contemporary American and European graphic designe. By the middle of the 1950s, as the Norman Rockwell epoch drew to a close, Chwast was already known for his unique style of illustration. His playful, expressive approach to type and layout was the point of a new design wave based on revivalism. He has created a style that is synonymous with the most creative and progressive aspects of graphic art and design. Mr. Chwast's clients number among the most prominent
corporations in the United States and abroad. For over 30 years he has continued to ride. By the middle of the 1950s, as the Norman Rockwell epoch drew to a close, Chwast was already known for his unique style of illustration. His playful, expressive approach to type and
than when it originally altered a generation's perceptions. Chwast's work is widely recognized on posters, in books for children and adults, magazines and advertisements. His strength is not in rendering, like so many of the “sentimentalists� before him, but in concept and design. A beguiling sense of humor underpins his illustration, and a keen understanding of traditional design governs his method. Chwast and his Push Pin colleagues helped reintroduce the layout was the point of long divorced principles of a new design wave illustration and design. based on revivalism a Moreover, he helped radical alternative to the Swiss formalism of formulate a new the time. graphic lexicon based on knowledge, For over 30 years he appreciation and reapplication of past has continued to ride styles and forms one above the twists and turns of fashion; today that has had long term effects on graphic his art is even more design. Chwast's work energized and varied