Type Form1

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,

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-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