Type Composition

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Exploration One Glyph Set

01

TYPE COMPOSITION PROJECT COLLECTION 2015 GR.619

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Exploration 1 _Paragraph Indicators _Indent

A d o b e g a ra mo n d l i g h t 1 0 / 1 4 Indent 0.1875In

02

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 wordstypographic signs can be mnipulated by 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, represent 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 detemine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a largevoid may signify isolation. These quaities, 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 thei value vis-Ă -vis other words through opposition and contrast. Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is bothvisual 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.

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Exploration 1 _Paragraph Indicators _Hanging Indent

H e l v e t i c a N e u e L T P R O 5 5 R o ma n 7 / 1 0 Indent -1.11 In

03

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 Sign soperate in two dimensions: syntactic and semantic. When the mind is concerned with the form of a sign, it is involved with typographic syntax. When it associates a particular meaning with a sign, it is operating in the semantic dimension.

All objects in the environment can potentially function as signs, representing any number of concepts. A smog-filled city signifying pollution, a beached whale representing extinction, and confetti implying a celebration-each functions as a sign relating a specific concept.

Signs may exist at various levels of abstraction. A simple example will illustrate this point. Let us consider something as elemental as a red dot. It is a sign only if it carries a particular meaning. It can represent any number of things: balloon, ball, or Japanese flag. The red dot can become a cherry, for example, as the mind is cued by forms more familiar to its experience.

The particular syntactic qualities associated with typographic signs detemine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a large void may signify isolation. These qualities,derived from the operating principles of visual hierarchy and ABA form, function as cues, permitting the mind to form concepts. Simple syntactic manipulations, such as the repetition of letters, or the weight change of certain letters, enable words visually to mimic verbal meaning.

In language,signs are joined together to create messages.

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

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Exploration 1 _Paragraph Indicators _Extra Leading

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.

The particular syntactic qualities associated with typographic signs detemine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a largevoid 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 thei value vis-Ă -vis other words through opposition and contrast. Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in a nonlinear manner, with elements existing in many syntactic combinations.

H e l v e t i c a N e u e L T P R O 5 5 R o ma n 8 / 1 0 E x t ra l e a d i n g 5 P o i n t

04

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.

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Exploration 2 _Paragraph Indicators2 _Initial Cap

L anguage, 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.

The particular syntactic qualities associated with typographic signs detemine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a largevoid 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 thei value vis-Ă -vis other words through opposition and contrast. Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in a nonlinear manner, with elements existing in many syntactic combinations.

H e l v e t i c a N e u e L T P R O 5 5 R o ma n 8 / 1 0 E x t ra l e a d i n g 5 P o i n t

05

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.

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Exploration 2 _Paragraph Indicators2 _Drop Cap

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 associates a particular meaning with a sign, it is operating in the semantic dimension.

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 detemine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a largevoid 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 thei value vis-Ă -vis other words through opposition and contrast. Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in a nonlinear manner, with elements existing in many syntactic combinations.

H e l v e t i c a N e u e L T P R O 5 5 R o ma n 2 4 / 8 / 1 0 E x t ra l e a d i n g 5 P o i n t

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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.

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Exploration 2 _Paragraph Indicators2 _Graphic Element

A d o b e A ra b i c R e g u l a r 9 / 1 1

07

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

Let us consider something as elemental as a red dot. It is a sign only if it carries a particular meaning. It can represent any number of things: balloon, ball, or Japanese flag.

The red dot can become a cherry, for example, as the mind is cued by forms more familiar to its experience. >The particular syntactic qualities associated with typographic signs detemine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a largevoid 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 thei value vis-Ă -vis other words through opposition and contrast. Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in a nonlinear manner, with elements existing in many syntactic combinations.

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Exploration 3 _Paragraph Indicators3 _First word

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 associates a particular meaning with a sign, it is operating in the semantic dimension.

ALL

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 detemine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a largevoid 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 thei value vis-Ă -vis other words through opposition and contrast. Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in a nonlinear manner, with elements existing in many syntactic combinations.

H e l v e t i c a N e u e L T P R O 5 5 R o ma n 2 4 / 8 / 1 0 E x t ra l e a d i n g 5 P o i n t

08

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.

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Exploration 3 _Paragraph Indicators3 _First Sentence

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

A d o b e A ra b i c R e g u l a r 9 / 1 1 F i rs t s e n t e n c e A d o b e A ra b i c I t a l i c 1 1 / 1 0

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the meaning of our spoken words,typographic signs can be manipulated by a designer to achieve more lucid and expressive typographic communication > Signs operate in two dimensions: syntactic and semantic. When the mind is concerned with the form of a sign, it is involved with typographic syntax. When it associates a particular meaning with a sign, it is operating in the semantic dimension. > All objects in the environment can potentially function as signs, representing any number of concepts. A smog-filled city signifying pollution, a beached whale representing extinction, and confetti implying a celebration-each functions as a sign relating a specific concept. > Signs may exist at various levels of abstraction. A simple example will illustrate this point.

Let us consider something as elemental as a red dot. It is a sign only if it carries a particular meaning. It can represent any number of things: balloon, ball, or Japanese flag.

The red dot can become a cherry, for example, as the mind is cued by forms more familiar to its experience. > The particular syntactic qualities associated with typographic signs detemine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a largevoid 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 thei value vis-Ă -vis other words through opposition and contrast. Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in a nonlinear manner, with elements existing in many syntactic combinations.

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Exploration 3 _Paragraph Indicators3 _Intro Paragraph

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.

The particular syntactic qualities associated with typographic signs detemine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a largevoid 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 thei value vis-Ă -vis other words through opposition and contrast. Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in a nonlinear manner, with elements existing in many syntactic combinations.

Helvetica Neue LT Pro 55 Roman 8/10 First paragraph A d o b e G a ra mo n d I t a l i c 8 / 1 0 E x t ra l e a d i n g 5 P o i n t

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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.

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Exploration 4 _Hierarchy _Scale Change / Style Change

Excerpted from Typographic Design: Form and Communication

Verbal/Visual Equations Language, in any of its many forms, is a self-contained system of

The particular syntactic qualities associated with typographic signs detemine a

interactive signs that communicates ideas. Just as elocution and diction

specific meaning. A series of repeated letters, for example, may signify motion

enhance and clarify the meaning of our spoken words,typographic signs can be

or speed, while a small letter in a largevoid may signify isolation. These qualities,

manipulated by a designer to achieve more lucid and expressive

derived from the operating principles of visual hierarchy and ABA form,

typographic communication

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.

syntax. When it associates a particular meaning with a sign, it is

In language,signs are joined together to create messages Words as verbal sign,

operating in the semantic dimension.

grouped together in a linear fashion, attain thei value vis-Ă -vis other words

All objects in theenvironment can potentially function as signs, representing

through opposition and contrast. Words can also evoke meaning through

any number of concepts. A smog-filled city signifying pollution, a beached

mental association. These associative relations are semantically derived. Since

whale representing extinction, and confetti implying a celebration-each

typography is both visual and verbal, it operates in a linear fashion,

functions as a sign relating a specific concept.

with words following each other in a specific sequence, or in a

Signs may exist at various levels of abstraction. A simple example will

nonlinear manner, with elements existing in many syntactic combinations

illustrate this point. Let us consider something as elemental as a red

By Rob Carter, Ben Day and Philip Meggs

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.

Scale Change / Style Change Title: Adobe Garamond LT regular 30pt Subtitle: Adobe Garamond LT regular 10 / 14 Bodycopy: Adobe Garamond LT italic/regular bold 8/11

011

Signs operate in two dimensions: syntactic and semantic. When the mind is concerned with the form of a sign, it is involved with typographic

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Exploration 4 _Hierarchy _Scale Change / Style Change+Typeface

Verbal / Visual Equations 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 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

All objects in theenvironment 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 detemine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a largevoid 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 thei value vis-Ă -vis other words through opposition and contrast. Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in a nonlinear manner, with elements existing in many syntactic combiations.

By Rob Carter, Ben Day and Philip Meggs

Scale Change / Style Change+Typeface Title: Didot Regular 18/31 Subtitle: Univers CE 45 Light 8/14 Bodycopy: Univers CE 45 Light regular 8/12 Univers CE 45 Light italic 6/12 Indent: 1.1in

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semantic dimension.

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Exploration 4 _Hierarchy _Scale Change / Style Change+Typeface+Graphic Elements

Verbal / Visual Equations 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*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 theenvironment can potentially function as signs, representing any number of concepts. A smog-filled city signifying pollution, a beached whale

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 detemine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a largevoid 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 thei value vis-Ă -vis other words through opposition and contrast. Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in a nonlinear manner, with elements existing in many syntactic combiations.

By Rob Carter, Ben Day and Philip Meggs

Scale Change / Style Changee+Typeface+Graphic Elements Title: Didot Bold 18/30 Subtitle: Univers CE 45 Light 8/14 Bodycopy: Univers CE 45 Light regular/bold 8/14 Univers CE 45 Light italic 6/14 Indent: 1.1

013

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

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Exploration 5 _Grid _Scale Change

Verbal Visual Equations

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

Excerpted from Typographic Design: Form and Communication

and expressive typographic communication Signs operate in two dimensions: syntactic and semantic.

When the mind is concerned

involved with typographic syntax. When it associates a particular meaning with a sign, it is operating in the semantic dimension.

All objects in theenvironment

“ In the digital age, people are writing more, not less. The alphabet isn’t dead; it just has a lot more company.”

The particular syntactic qualities associated with typographic signs detemine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a

can potentially function as signs,

small letter in a largevoid may signify isolation. These qualities,

representing any number of

derived from the operating principles of visual hierarchy and ABA

concepts. A smog-filled city

form, function as cues, permitting the mind to form concepts. Simple

signifying pollution, a beached

syntactic manipulations, such as the repetition of letters, or the

whale representing extinction,

weight change of certain letters, enable words visually to mimic

and confetti implying a cele-

verbal meaning.

bration-each functions as a

In language,signs are joined together to create messages Words

sign relating a specific concept.

as verbal sign, grouped together in a linear fashion, attain thei

Signs may exist at various

value vis-à-vis other words through opposition and contrast.

levels of abstraction. A simple

Words can also evoke meaning through mental association.

example will illustrate this point.

These associative relations are semantically derived. Since

Let us consider something as

typography is both visual and verbal, it operates in a linear

elemental as a red dot. It is a

fashion, with words following each other in a specific sequence,

sign only if it carries a particular

or in a nonlinear manner, with elements existing in many

meaning. It can represent any

syntactic combinations

number of things balloon,

By Rob Carter, Ben Day and Philip Meggs

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.

Scale Change Title: Adobe Garamond LT regular 24pt Subtitle: Adobe Garamond LT regular 10 / 14 Bodycopy: Adobe Garamond LT regular 8/15

014

with the form of a sign, it is

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Exploration 5 _Grid _Scale Change / Style Change

Excerpted from Typographic Design: Form and Communication

Verbal/Visual Equations

“ In the digital age, people are writing more, not less. The alphabet isn’t dead; it just has a lot more company.”

The particular syntactic qualities associated with typograph-

letters, for example, may signify motion or speed, while a small letter in a largevoid 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 Where Is My Mind Language, in any of its many forms, is a self-contained system

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,

of interactive signs that communicates ideas. Just as elocution

attain thei value vis-à-vis other words through opposition and

and diction enhance and clarify the meaning of our spoken

contrast. Words can also evoke meaning through mental associ-

words,typographic signs can be manipulated by a designer to

ation. These associative relations are semantically derived. Since

achieve more lucid and expressive typographic communication

typography is both visual and verbal, it operates in a linear

Signs operate in two dimensions: syntactic and semantic. When

fashion, with words following each other in a specific sequence,

the mind is concerned with the form of a sign, it is involved with

or in a nonlinear manner, with elements existing in many

typographic syntax. When it associates a particular meaning with

syntactic combinations

a sign, it is operating in the semantic dimension.All objects in

By Rob Carter, Ben Day and Philip Meggs

theenvironment 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.

Scale Change / Style Change Title: Adobe Garamond LT regular 30pt Subtitle: Adobe Garamond LT regular 10 / 14 Bodycopy: Adobe Garamond LT italic/regular bold 8/11

015

ic signs detemine a specific meaning. A series of repeated

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Exploration 5 _Grid _Scale Change / Style Change+Typeface

Verbal Visual Equations Excerpted from Typographic Design: Form and Communication

016

“ In the digital age, people are writing more, not less. The alphabet isn’t dead; it just has a lot more company.”

Language, in any of its many

Signs operate in two dimen-

The particular syntactic

In language,signs are joined

forms, is a self-contained sys-

sions: syntactic and semantic.

qualities associated with typo-

together to create messages

tem of interactive signs that

When the mind is concerned

graphic signs detemine a specific

Words as verbal sign, grouped

communicates ideas. Just as

with the form of a sign, it is

meaning. A series of repeated

together in a linear fashion, attain

elocution and diction enhance

involved with typographic

letters, for example, may sig-

thei value vis-à-vis other words

and clarify the meaning of our

syntax. When it associates a

nify motion or speed, while a

through opposition and contrast.

spoken words,typographic

particular meaning with a sign,

small letter in a largevoid may

Words can also evoke meaning

signs can be manipulated by

it is operating in the semantic

signify isolation. These qualities,

through mental association.

a designer to achieve more

dimension.

derived from the operating prin-

These associative relations are

Signs may exist at various

ciples of visual hierarchy and ABA

semantically derived. Since

levels of abstraction. A simple

form, function as cues, permitting

typography is both visual and

All objects in theenviron-

example will illustrate this

the mind to form concepts. Simple

verbal, it operates in a linear

ment can potentially function

point. Let us consider some-

syntactic manipulations, such as

fashion, with words following

as signs, representing any number

thing as elemental as a red dot.

the repetition of letters, or the

each other in a specific sequence,

of concepts. A smog-filled

It is a sign only if it carries

weight change of certain letters,

or in a nonlinear manner, with

city signifying pollution, a

a particular meaning. It can

enable words visually to mimic

elements existing in many

beached whale representing

represent any number of things

verbal meaning.

syntactic combinations

extinction, and confetti implying

balloon, ball, or Japanese flag.

By Rob Carter, Ben Day and

a celebration-each functions as

The red dot can become a cherry,

Philip Meggs

a sign relating a specific concept.

for example, as the mind is

lucid and expressive typogr aphic communication

cued by forms more familiar to its experience.

Scale Change / Style+Typeface Title: Helvetica Neue LT Pro 55 roman 24/30 Subtitle: Adobe Garamond LT regular 10 / 14 Bodycopy: Adobe Garamond LT regular italic 8/15 Pull quote: Helvetica Neue LT Pro 55 roman 11/13

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Exploration 5 _Grid _Scale Change / Style Change+Typeface+Graphic Element

Verbal Visual Equations Excerpted from Typographic Design: Form and Communication

The particular syntactic

In language,signs are joined

qualities associated with typo-

together to create messages

graphic signs detemine a specific

Words as verbal sign, grouped

meaning. A series of repeated

together in a linear fashion, attain

letters, for example, may sig-

thei value vis-à-vis other words

nify motion or speed, while a

through opposition and contrast.

small letter in a largevoid may

Words can also evoke meaning

signify isolation. These qualities,

through mental association.

derived from the operating prin-

These associative relations are

ciples of visual hierarchy and ABA

semantically derived. Since

form, function as cues, permitting

typography is both visual and

the mind to form concepts. Simple

verbal, it operates in a linear fashion, with words following each other in a specific sequence,

weight change of certain letters,

or in a nonlinear manner, with

By Rob Carter, Ben Day and

enable words visually to mimic

elements existing in many

Philip Meggs

verbal meaning.

syntactic combinations

“ In the digital age, people are writing more, not less. The alphabet isn’t dead; it just has a lot more company.”

Language, in any of its many

Signs operate in two dimen-

forms, is a self-contained system

sions: syntactic and semantic.

of interactive signs that commu-

When the mind is concerned

nicates ideas. Just as elocution

with the form of a sign, it is

and diction enhance and clarify

involved with typographic

the meaning of our spoken words,

syntax. When it associates a

typographic signs can be manip-

particular meaning with a sign,

ulated by a designer to achieve

it is operating in the semantic

more lucid and expressive

dimension.

typographic communication

Signs may exist at various levels

All objects in theenviron-

of abstraction. A simple example

ment can potentially function

will illustrate this point. Let us

as signs, representing any number

consider something as elemental

of concepts. A smog-filled city

as a red dot. It is a sign only if

signifying pollution, a beached

it carries a particular meaning.

whale representing extinction,

It can represent any number of

and confetti implying a cel-

things balloon, ball, or Japanese

ebration-each functions as a

flag. The red dot can become

sign relating a specific concept.

a cherry, for example, as the mind is cued by forms more familiar to its experience.

Scale Change / Style Change+Typeface+Graphic Element Title: Helvetica Neue LT Pro 55 roman 24/30 Subtitle: Adobe Garamond LT regular 10 / 14 Bodycopy: Adobe Garamond LT regular italic 8/15 Pull quote: Helvetica Neue LT Pro 55 roman 11/13

Where Is My Mind

017

syntactic manipulations, such as the repetition of letters, or the

17.54 7.09

"Snack pack" almonds Aimonds (bulk) BEVERAGES (per half gallon) Almind milk Cow's milk Soy milk

4.49 4.29 3.99

15.84 12.48 10.40 1.89 1.59 1.49

17.54 7.09

"Snack pack" almonds Aimonds (bulk) BEVERAGES (per half gallon) Almind milk Cow's milk Soy milk

4.49 4.29 3.99

15.84 12.48 10.40 1.89 1.59 1.49

6.24 5.92 1.86 1.09

2.99 2.79 2.29 0.99

29.45 17.00 9.45 9.29 7.49 7.44

Pre-cut/pre-washed broccoli Yam chips Pre-trimmed/pre_washed lettuce Broccoli Head of lettuce Yams NUTS AND SEEDS

SUPPLEMENTS Vega Metabolic drive Whey protein (bulk) Hemp protein Rice protein Pea protein NUTRITION BARS (per bar) Vega bars Organic food bars Greens+protein bars homemade bars Homemade bars WHOLE GRAINS Boxed, pre-flavored, quick rice Instant oatmeal packets Brown rice (bulk) Oats (bulk) VEGGIES

19.99 19.99 10.88 10.00 9.99 9.49 7.99 5.00 5.00 3.99 3.00 1.69

5

10

15

20

25

30

SHENG PANG

6.24 5.92 1.86 1.09

2.99 2.79 2.29 0.99

29.45 17.00 9.45 9.29 7.49 7.44

Free-range grass-fed rib-eye steak Wild salmon Soy butgers Wild salmon (bulk) Free-range grass-fed rib eye steak (bulk) Free_range chicken Free-range cage-free eggs Tempeh Dehydrated beans Tofu Canned lentils Dry lentils

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

Pre-cut/pre-washed broccoli Yam chips Pre-trimmed/pre_washed lettuce Broccoli Head of lettuce Yams NUTS AND SEEDS

SUPPLEMENTS Vega Metabolic drive Whey protein (bulk) Hemp protein Rice protein Pea protein NUTRITION BARS (per bar) Vega bars Organic food bars Greens+protein bars homemade bars Homemade bars WHOLE GRAINS Boxed, pre-flavored, quick rice Instant oatmeal packets Brown rice (bulk) Oats (bulk) VEGGIES

19.99 19.99 10.88 10.00 9.99 9.49 7.99 5.00 5.00 3.99 3.00 1.69

SPRING 2015

018

Free-range grass-fed rib-eye steak Wild salmon Soy butgers Wild salmon (bulk) Free-range grass-fed rib eye steak (bulk) Free_range chicken Free-range cage-free eggs Tempeh Dehydrated beans Tofu Canned lentils Dry lentils

GR.619

Exploration 6 _ Alignment

SHENG PANG

Smion & Schuster 1230 Avenue of the Americas New Yourk, NY 10020 ISBN: 978-1-4767-5571-7

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

By Bill Browder Smion & Schuster

RED NOTICE

SPRING 2015

019

I’ve read a lot of Russian and Soviet history and I am interested in hedge funds, so I picked this book off the Amazon Vine list. What I did not expect was abook that was so hard to put down that it would keep me up late reading. Bill Browder has written a remarkable and compelling book.

Red Notice is the story of Bill Browder’s hedge fund, Hermitage Capital, which at one time was the largest foreign investor in Russia.

Hermitage produced extremely high returns and, before its demise, Browder had four and a half billion dollars under management. Unlike hedge funds like Long Term Capital Management (Inventing Money), the fund didn’t blowup (although it came close in 1998). Instead, it was destroyed by the corrupt Russian government. This the story of Heritage Capital’s rise and fall. It is also the story of the murder of a Russian tax lawyer, Sergei Magnitsky who worked for Browder. Red Notice is also an account of Bill Browder’s crusade for at least some measure of justice for Magnitsky.

GR.619

Exploration 5 _Grid _Scale Change / Style Change+Typeface+Graphic Element

RED NOTICE

By Bill Browder Smion & Schuster

City of Boens

Distributed by Perseus Distribution | www.perseusdistribution.com To place orders through Perseus Distribution: Tel: 800-343-4499 | Fax: 800-351-5073 E-mail: orderentry@perseusbooks.com

Shadow Hunter’s Guide

Copyediting by Debra Manette Editorial Services Proofreading by Michael Fedison and James Fraleigh Cover illustration © 2012 by Cliff Nielsen Rune design by Valerie Freire Cover design by Sarah Dombrowsky Text design and composition by Yara Abuata, Silver Feather Design Printed by Bang Printing

Library of Congress Cataloging-in-Publication Data is available for this title.

978-1-937856-22-9

Printed in the United States of America | 10 9 8 7 6 5 4 3 2 1

SHENG PANG

BenBella Books, Inc. 10300 N. Central Expressway, Suite 400 | Dallas, TX 75231 www.benbellabooks.com | Send feedback to feedback@benbellabooks.com

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

Hunter’s Guide

City of Boens

SPRING 2015

020

Shadow

GR.619

Exploration 5 _Grid _Scale Change / Style Change+Typeface+Graphic Element

By Mimi O'Connor MARGARET K . Mc ELDERRY BOOKS

MARGARET K . Mc ELDERRY BOOKS Ann inprint of Simon & Schuster Children’s Publishing Division

14 15 16 17 18 RRD 6 5 4 3 2 1

Printed in the United States of America

ISBN 978-0-7852-1318-5

Library of Congress Control Number: 2014945329

ISBN 978-0-7180-3567-9 IE

In some instances, names, dates, location, and other details have been changed to protect the identity and privacy of those discussed in this book.

Scripture quotations are taken from the Holy Bible, New International Version, NIV. Copyright © 1973, 1978, 1984, 2011 by Biblica, Inc. ™ Used by permission of Zondervan. All rights reserved worldwide. www. zondervan.com.

Dropping the act and finding ture intimacy

021

Published in Nashville, Tennessee, by Nelson Books, an imprint of Thomas Nelson. Nelson Books and Thomas Nelson are registered trademarks of HarperCollins Christian Publishing, Inc. Thomas Nelson, Inc., titles may be purchased in bulk for educational, business, fund-raising, or sales promotional use. For information, e-mail SpecialMarkets@ThomasNelson.com.

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All rights reserved. No portion of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopy, recording, scanning, or other except for brief quotations in critical reviews or articles, without the prior written permission of the publisher.

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

© 2014 by Donald Miller

SPRING 2015

Foreword by Bob Goff

SCARY CLOSE

DONALD MILLER

GR.619

Project 2_ Book Redesign

DONALD MILLER

SCARY CLOSE New Yourk Times Best-Selling Author of Blue Like Jazz

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Project 2_ Book Redesign

022

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SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Project 2_ Book Redesign

023

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SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Project 2_ Book Redesign

024

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Project 2_ Book Redesign

025

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SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Project 2_ Book Redesign

026

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Project 2_ Book Redesign

027

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

ROCKWELL

Monotype Design Studio

R

028

ROCKWELL By Monotype Design Studio

Project 3 _Type Specimen Promotion

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

ROCKWELL BY MONOTYPE DESIGN STUDIO

Project 3 _Type Specimen Promotion

029

Rockwell Frank Hinman Pierpont

>>

The Rockwell® font family is a slab serif typeface originally modeled after a 1910 font called Litho Antique™. Revived by Morris Fuller Benton in the 1920s, the font was redesigned and published in 1934 by Monotype in a project spearheaded

by Frank Hinman Pierpont.

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE SHENG PANG

ROCKWELL

Font styles

SPRING 2015

030

Monotype 1934

GR.619

Project 3 _Type Specimen Promotion

t TuU vVwWxX yYzZ

nN oOpPqQrRs S

gGhH iI jJkKl LmM

aA bB cCdD eE fF

Bold Italic

Pack my box with five dozen liquor jugs.

Slab serifs in general may remind readers of older poster fonts and Western movie paraphernalia. Early slab serif fonts were created in the nineteenth century, usually from wood, which was notoriously hard to carve into the small details required for intricate type. Slab serif lettering rapidly became very popular in any areas in which wooden faces were commonly used. Later, smaller versions were deliberately cut in metal as an alternative to the regular serif and sans serif fonts available at the time.

One of the earliest manufacturers of such type was the Inland Type Foundry, founded in 1892 by the three Schraubstadter brothers.

Italic

Pack my box with five dozen liquor jugs.

SHENG PANG

ROCK WELL

Bold

Pack my box with five dozen liquor jugs.

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

rockwell

ROCKWELL

rockwell

ROCKWELL

rockwell

ROCKWELL

Regular

Pack my box with five dozen liquor jugs.

SPRING 2015

031

rockwell

GR.619

Project 3 _Type Specimen Promotion

ROCKWELL Rockwell regular 9pt/10

EYE

T e

ARM

STRESS

A O

APEX

SHENG PANG

ROCKWELL

”

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

Anatomy

“

SPRING 2015

032

The mother art is architecture Frank Lloyd Without an architecture Wright of our own we have no soul of our own civilization.

GR.619

Project 3 _Type Specimen Promotion

ROCKWELL

033

ROCKWELL

SHENG PANG

Licensing

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

LICENSES FOR ELECTRONIC PUBLICATIONS (EBOOKS) An electronic publication license can be used forthe embedding of fonts into electronic documents including e-books, e-magazines and e-newspapers. A license covers only a single title but is valid for the full operating life of that title. Every issue of an e-magazine, e-newspaper or other form of e-periodical is considered a separate, new publication. Format variations do not count as separate publications. If a publication is updated and distributed to existing users, a new license is not required. However, updated versions issued to new customers are defined as new publications and require a separate license.

SPRING 2015

LICENSES FOR MOBILE APPS A mobile app license permits the embedding of the font into the iOS, Android or Windows RT mobile platforms.

Licenses are platform-specific meaning a separate license is required for each platform the font is embedded into. Licenses remain valid for the total operating life of the app and a new license is not required to cover free updates to the app.

LICENSES FOR FONTS.COM WEB FONTS SUBSCRIPTIONS The Fonts.com Web Fonts license provides access to a selection of fonts for use on websites for use with CSS@ font-face. Font delivery from our global network is available through all subscriptions – even our free plan.

Some plans include the option to self-host, access to desktop fonts, and use of our FontExplorer X font manager and Typecast design application. The price of a plan is determined by its pageview allowance and other features .

LICENSES FOR DESKTOP FONTS A typical desktop font EULA will allow you to install the font on your computer for use with authoring tools including word processors, design tools and other applications that permit font selection. Fonts can also be used for creation of print documents, static images (JPEG, TIFF, PNG) and logos. The cost of a desktop font license is determined by the number of workstations on which the font is to be used.

GR.619

Project 3 _Type Specimen Promotion

By Frank Hinman Pierpont

034

Rockwell

Monotype 1934 Even so, the Stymie Bold and Rockwell designs are often confused for one another, not only because of their similarities but because of the fact that in an early Monotype document, the Rockwell font was accidentally referred to as Stymie™ Bold. While there are subtle differences between the two faces, this mistake continues to cause confusion today.

SHENG PANG

Bold Italic

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

When Frank Hinman Pierpont, in collaboration with Monotype, decided to create and release the Rockwell typeface family in 1934, several unique characteristics, including differences in spacing, letter weight and subtle changes in glyph formation, were included.

SPRING 2015

Bold

In January, 1910, ITF released a face known as Litho Antique™, created by William Schraubstadter. Later that decade, the font and several other similar types became popular around greater Europe, so American Type Founders decided to reissue the font. Morris Fuller Benton added a number of new characters to the original Litho Antique face and the modified result, named Rockwell Antique™, was published by ATF in 1931. Later the same year, Benton redrew the font in a heavier style, naming it Stymie™ Bold.

Italic

Slab serifs in general may remind readers of older poster fonts and Western movie paraphernalia. Early slab serif fonts were created in the nineteenth century, usually from wood, which was notoriously hard to carve into the small details required for intricate type. Slab serif lettering rapidly became very popular in any areas in which wooden faces were commonly used.

Later, smaller versions were deliberately cut in metal as an alternative to the regular serif and sans serif fonts available at the time. One of the earliest manufacturers of such type was the Inland Type Foundry, founded in 1892 by the three Schraubstadter brothers.

Regular

GR.619

Project 3 _Type Specimen Promotion

GR.619

SPRING 2015

TYPE COMPOSITION INSTRUCTOR_DAVID HAKE

SHENG PANG

Project 3 _Type Specimen Promotion

Regular Bold Italic Bold Italic

abcdefghijklmnopqrstuvwxyz

ABCDEFGH IJK

035

Rockwell

1934

LMNOPQRSTUVWXYZ