GR.617 TYPE FORMS
Project Collection
DAVID HAKE INSTRUCTOR
FALL 2014
01
GR:617
SHENG PANG
T YP E F O RMS P RO J E C T C O LL E C T ION 2014
SHENG PANG
GR.617 TYPE FORMS
Project One // Prototypeface
DAVID HAKE INSTRUCTOR
FALL 2014
02
HAN D M AK E
SHENG PANG
GR.617 TYPE FORMS
Project Two // Type Anatomy
DAVID HAKE INSTRUCTOR
FALL 2014
03
SHENG PANG
GR.617 TYPE FORMS
Project Three // Basic Typesetting
DAVID HAKE INSTRUCTOR
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.
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 typogra- phers are really asked to do — and it is enough. — Robert Bringhurst, The Elements of Typographic Style
04
Typography is just that: idealized writing. Writers themselve now rarely have the calligraphic skill of earlier scribes, but they evoke countless ver- sions of ideal script by their varying voices and literary styles. To these blind and often invisible visions, the typographer must respond in visible terms.
FALL 2014
Type Set LeftAligned 8/12 Adobe Garamond LT +25 Trancking
SHENG PANG
GR.617 TYPE FORMS
Project Three // Basic Typesetting
DAVID HAKE INSTRUCTOR
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-chosenwords 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.
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 dsigner, 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 contions, it is all that typogra- phers are really asked to do— and it is enough. — Robert Bringhurst, The Elements of Typographic Style
05
Typography is just that: idealized writing. Writers themselve now rarely have the calligraphic skill of earlier scribes, but they evoke countless ver- sions of ideal script by their varying voices and literary styles. To these blind and often invisible visions, the typographer must respond in visible terms.
FALL 2014
Type Set Right Aligned 8/12 Adobe Garamond LT +25 Trancking
SHENG PANG
GR.617 TYPE FORMS
Project Three // Basic Typesetting
DAVID HAKE INSTRUCTOR
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 link, and it ought as a matter of honor, courtesy and pure delight, to be as strong as others in the chain.
In a badly designed book, the letters mill and stand like starving horses in a field. 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 alive. they dance in their srats. sometimes they rise and dance in the margins and aisles. Simple as it may sound, the task of creative ono-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. — Robert Bringhurst, The Elements of Typographic Style
06
Typography is just that: idealized writing. Writers themselve now rarely have the calligraphic skill of earlier scribes, but they evoke countless versions of idea script by their varying voices and literary styles. To thesse blind and often invisible bisions, the typographer must respond in visible terms.
FALL 2014
Type Set Justify Aligned 8/12 Adob Garamond LT +25Tracking
SHENG PANG
GR.617 TYPE FORMS
Project Three // Basic Typesetting
DAVID HAKE INSTRUCTOR
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
FALL 2014
Type Set Center Aligned 8/14 Adobe Garamond LT +25 Trancking
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 but they evoke countless ver- sions 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 typogra- phers are really asked to do— and it is enough. — Robert Bringhurst, The Elements of Typographic Style
07
themselve now rarely have the calligraphic skill of earlier scribes,
-5
-5
10
08
35
FALL 2014
-5 25
25
20
50
50
50
60
DAVID HAKE INSTRUCTOR
Project Four // Kerning
50
GR.617 TYPE FORMS
SHENG PANG
75 50
25
10
Typography TYPOGR APH Y Bauer Bodoni / 72pt
GR.617 TYPE FORMS
SHENG PANG
Times New Roman / 45pt
5
25
25 -10
-5
Humanist HUMANIST
FALL 2014
Centaur / 45pt
25
DAVID HAKE INSTRUCTOR
Project Four // Kerning
10
09
5
-10
+5
+5
-10
-10
-5 -25
Garalde GARALDE -50
25
50
25
-15
-35
GR.617 TYPE FORMS
SHENG PANG
Didot / 60pt
25
5
25
35
-5
-5
5
15
10
-25
50
-70
-20
30
-75
-60
2
5
-60
Didone DIDONE -75
25
-65
-75
30
5
-65
-75
-75
010
Transitional TRANSITIONAL
FALL 2014
Baskerville Old Face / 60pt
-10
DAVID HAKE INSTRUCTOR
Project Four // Kerning
-10
GR.617 TYPE FORMS
SHENG PANG
TradeGothic LT / 72pt
-25
10
-10
5
5
Slab - Serif SLAB - SERIF -50
50
-75
5
40
-75
-40
-50
20
-55 -50
Sans Serif SANS SERIF -40
-45
-50
-75
-60
-110 -100
011
-25
FALL 2014
Rockwell / 72pt
25
DAVID HAKE INSTRUCTOR
Project Four // Kerning
10
GR.617 TYPE FORMS
SHENG PANG
DAVID HAKE INSTRUCTOR
Project Five // Specs Why Design Now?
National Design Triennial Cooper-Hewitt, National Design Triennial Museum
Cooper-Hewitt, National Design Triennial Museum
Why Design Now?
National Design Triennial
Designers around the world are answering this question by creating products prototypes, buildings, landscapes, messages and more that address social and environmental challenges.
Designers around the world are answering this question by creating products prototypes, buildings, landscapes, mesages and more that address social and evnironmental challenges.
New York, New York May 14, 2019 ̶ January 9, 2020
012
Why Design Now?
FALL 2014
New York, New York May 14, 2019 ̶ January 9, 2020
Why Design Now?
Cooper-Hewitt, National Design Triennial Museum
National Design Triennial
National Design Triennial
Designers around the world are answering this question by creating products prototypes, buildings, landscapes, messages and more that address social and environmental challenges.
Designers around the world are answering this question by creating products prototypes, buildings, landscapes, messages and more that address social and environmental challenges.
Cooper-Hewitt, National Design Triennial Museum New York, New York May 14, 2019 ̶ January 9, 2020
May 14, 2019 ̶ January 9, 2020 New York, New York
Why Design Now?
Why Design Now?
New York, New York May 14, 2019 ̶ January 9, 2020
National Design Triennial
National Design Triennial Designers around the world are answering this question by creating products prototypes, buildings, landscapes, messages and more that address social and environmental challenges.
Designers around the world are answering tthis question by creating products prototypes, buildings, landscapes, messages and more that address social and environmental challenges.
Cooper-Hewitt, National Design Triennial Museum
Cooper-Hewitt, National Design Triennial Museum New York, New York May 14, 2019 ̶ January 9, 2020
GR.617 TYPE FORMS
SHENG PANG
DAVID HAKE INSTRUCTOR
Project Six // Grid Systems Common Typographic Disorders
Typophobia
Typophilia
Typochondria
Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophone can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
013
Common Typographic Disorders Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Typophobia The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophone can often be quieted (but not cured) by steady doses of Helvetica and Times Roman. Typophilia An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
Typochondria A persistent anxiety that one has selected the wrong typeface. This condition is often paired with OKD (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
Typophobia
Typophilia
Typochondria
Common Typographic Disorders Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
FALL 2014
A persistent anxiety that one has selected the wrong typeface. This condition is often paired with OKD (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophone can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
A persistent anxiety that one has selected the wrong typeface. This condition is often paired with OKD (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
GR.617 TYPE FORMS
SHENG PANG
DAVID HAKE INSTRUCTOR
Project Six // Grid Systems
Typophobia
Common Typographic Disorders
Common Typographic Disorders
Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Typophilia
Typophilia
An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
Typophobia
The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and in fatal cases—bullets and daggers. The fears of the typophone can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
Typochondria
An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and in fatal cases—bullets and daggers. The fears of the typophone can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
Typochondria
A persistent anxiety that one has selected the wrong typeface. This condition is often paired with OKD (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
Typophilia An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone. Typophobia The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and in fatal cases—bullets and daggers. The fears of the typophone can often be quieted (but not cured) by steady doses of Helvetica and Times Roman. Typochondria A persistent anxiety that one has selected the wrong typeface. This condition is often paired with OKD (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
Common Typographic Disorders
Common Typographic Disorders
Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
Typophobia
Typophilia
Typophobia
Typophilia
The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and in fatal cases—bullets and daggers. The fears of the typophone can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and in fatal cases—bullets and daggers. The fears of the typophone can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.
An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interests and object choices. Typophiliacs usually die penniless and alone.
Typochondria
Typochondria
A persistent anxiety that one has selected the wrong typeface. This condition is often paired with OKD (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
A persistent anxiety that one has selected the wrong typeface. This condition is often paired with OKD (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
014
Common Typographic Disorders Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions.
FALL 2014
A persistent anxiety that one has selected the wrong typeface. This condition is often paired with OKD (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.
SHENG PANG
GR.617 TYPE FORMS
Project Seven // Personal Stationery
DAVID HAKE INSTRUCTOR
p s
2258 Howard Street, Suite 100 San Francisco CA 94105 415-713-2385
) FALL 2014
23 May 2010 Dear Ms. Jackson, I would like to welcome you as a new client. I look forward to working together on the Academy Project and I am sure that you will be extremely satisfied with the services my business provides. You are invited to make an appointment to visit our office at your earliest convenience. The office manager will be happy to show you around and discuss any aspect of our credit policy with you. I am enclosing several samples and an estimate for your review. Please let me know if these figures fall within your budget for the project. If you have any questions, please don’t hesitate to call. Yours truly,
Shen Pang Designer
015
Lexicon 2258 Howard Street, Suite 100 San Francisco CA 94105
SHENG PANG
GR.617 TYPE FORMS
Project Eight // Type Classifications Poster Serie
DAVID HAKE INSTRUCTOR
FALL 2014
016
SHENG PANG
GR.617 TYPE FORMS
Project Eight // Type Classifications Poster Serie
DAVID HAKE INSTRUCTOR
FALL 2014
017
SHENG PANG
GR.617 TYPE FORMS
Project Eight // Type Classifications Poster Serie
DAVID HAKE INSTRUCTOR
FALL 2014
018