Lanier Typography Portfolio 2019 by lanier_teri

ITS

PLACE

TYPE: Everything In Its Place Teri Lanier November 2019

The goal of typography is effective visual communication. This book represents 12 weeks of typographical studies, skills practice, and projects. The following exercises have set me on a journey to improve my visual etiquette.

CONTENTS

PROJECT ONE: LETTERFORMS 4

PROJECT TWO: TYPE ANATOMY & HISTORY BOOKLET

PROJECT THREE: TYPESETTING EXERCISES 18

PROJECT FOUR: TYPECLASS POSTERS 36

one

LETTERFORMS OBJECTIVE: Create nine letterforms of an original typeface that work together as a set. Make variations consisting of color, black and white, and patterned.

INS

PIR

AT IO

C PEN

IL SK

ETCH

Prairie Window Letterforms was inspired by Frank Lloyd Wrightâ&#x20AC;&#x2122;s stained glass series designed for the Frederick C. Robie House in 1909. The letterforms explore the interplay of thick/thin lines and positive/negative spaces found in the windows. An orange palette was chosen to emulate the light and warmth of Wrightâ&#x20AC;&#x2122;s interiors from this time period.

DIGITA

L FO R

FI N A

L FO

Letterforms:

Black and White

Letterforms:

Color and Pattern

two

TYPE ANATOMY & HISTORY BOOKLET OBJECTIVE: Profile the history of a typeface and identify standard elements and anatomy used in letterform studies.

Sabonâ&#x20AC;&#x2122;s history reveals its vocation as typeface of choice for two notable spiritual texts. By imitating the actual size and typesetting style of the 1979 edition of The Book of Common Prayer, this booklet became a celebration of its distinguished past. Sabon is particularly useful in presenting dense amounts of text. Textural paper for cover and interiors were used to emulate the look and feel of a prayer book.

Sabon

GR CE When we behold beauty, it creates a heightened attention to harmony, balance, symmetry, and fairness. All these phenomena are offended by injustice in the world. â&#x20AC;&#x201D;Paul Fromburg The Art of Transformation: Three Things

Booklet:

Back Cover

Churches Do That Change Everything

The Book of Sabon Prayer & Typeface Anatomy According to the use of

Teri Lanier

Booklet: Cover

The Jan Tschichold Creed I believe in a typeface, created for harmony and efficiency; And in a nostalgic return to 16th Century serif styling, inspired by Claude Garamond. I believe in one font, that met the needs of three technologies; Having the same width and weight, be it roman or italic, roman or bold, or ligature. I believe that Sabon honored the classic style of Garamond, while saving space and money for Linotype, Monotype, and Stempel foundries. I believe in adapting a typeface to contemporary media, while honoring the beauty of the past. I believe that Sabon Next, a 2002 revision by Jean Franรงois Porchez, will carry the elegance of Garamond and Sabon into the digital typesetting future. AMEN

Booklet:

Interior Spread

History

A Vocation in Spiritual Texts After its 1967 release, Sabon was attractive to designers for providing style options without sacrificing space in settings with dense amounts of text. Designer Bradbury Thompson advised on the 1973 Washburn College Bible. It featured Sabon as a coherent system, with left justification, use of italics, and a larger character size. He created a more accessible text that reads as if one is speaking in natural cadence. Many of these innovations would be incorporated in the 1979 edition of Book of Common Prayer.† A review declared the advantages of setting The Book of Common Prayer in Sabon. “The type conveys [...] gracefulness, strength, and integrity. [...] You’ll see the type in six or eight different sizes, regular and bold and italic, but it’s all Sabon.”‡

Robert W. Prichard, Issues in Prayer Book Revision: Volume 1. New York, NY: Church Publishing Incorporated, 2018. Ebook. †

‡ Isabel Baumgartner, “Proposed Prayer Book a Massive Print Job” Episcopal News Service. Feb. 10, 1977 [77039] Online article.

History

Booklet: Interior Spread

Where There are Two, Let There be One In most roman and italic faces the letter f reaches into the space beyond it, not so with the narrow serif in Sabon. Top: 50pt Sabon Italic 0 Tracking Bottom: 50pt Garamond Italic 0 Tracking

Sabon ligatures are seldom needed; though, ligatures may add a note of refinement to text. The bespoke narrowness of letter f allows close kerning without collisions. Top: 50pt Sabon Roman Ligatures Bottom: 50pt Sabon Roman 0 Tracking

Booklet:

Interior Spread

Ligatures

Concerning the Letter Structures On average, Tschicholdâ&#x20AC;&#x2122;s Sabon letterforms have larger counters than those cut by Garamond. They also feature a generous x-height, short descenders, and bracketed serifs.

Ascender Height X-Height

06 Descender Line

09 10 13

01. Bracketed Serif 02. Open Counter 03. Shoulder 04. Ascender 05. Closed Counter

Cap Height

06. Descender 07. Arc 08. Cross Bar 09. Loop 10. Tail

11. Stem 12. Bowl 13. Ear 14. Apex

Baseline

Anatomy of Type

Booklet: Interior Spread

Letter Styles and Structures Roman style

Italic style

Bold Roman style

Oldstyle numbers have varying heights, ascenders, and descenders

Roman style

Interior Spread

Anatomy of Type

01. Overshoot 02. Open Counter 03. Tail 04. Bilateral Serif

Bold Roman style

Oldstyle numbers have varying heights, ascenders, and descenders

Booklet:

Italic style

05. Dot/Tittle 06. Serif 07. Axis 08. Eye

09. Terminal 10. Stem 11. Cross Stroke 12. Hairline

Letter Sizes and Structures King

10pt

King

12pt

King

18pt

King

24pt

King

36pt

02 01

50pt

05 Upper Case Text 04

08 Lower Case Text 09

01. Leg 02. Link 03. Loop

04. Hook 05. Vertex 06. Spine

07. Arm 08. Axis 09. Open Counter

Anatomy of Type

Booklet: Interior Spread

three

TYPESETTING EXERCISES OBJECTIVE: Build skills in craftsmanship and handling of type by using variations in weight, size, alignment, and paragraph indicators. Use new skills to write a brief essay about a Swedish designer.

By applying different variables to blocks of text, I practiced the fundamentals of typesetting. I gained core skills in looking for common typesetting pitfalls and learned to improve overall balance without sacrificing readability. Variations to the texts are detailed by a colophon at the bottom of each page. The exercises are categorized: I. Basic Type Composition II. Paragraph Indicators III. Text Beginnings IV. Hierarchy and Modular Grids The paragraph skills were applied to research about Armin Hofmann, a Swiss Designer.

LET TERS HAVE A LIFE AND DIGNIT Y OF THEIR OWN Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve well-chosen letters; these in their turn deserve to be set with affection, intelligence, knowledge and skill. Typography is a link, and it ought, as a matter of honor, courtesy and pure delight, to be as strong as others in the chain. Typography is just that: idealized writing. Writers themselves now rarely have the calligraphic skill of earlier scribes, but they evoke countless versions of ideal script by their var ying voices and literar y styles. To these blind and of ten invisible visions, the typographer must respond in visible terms. In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages they must occupy, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles. Simple as it may sound, the task of creative non-interference with letters is a rewarding and difficult calling. In ideal conditions, it is all that typographers are really asked to do —and it is enough.

I. Type Composition

— Robert Bringhurst, The Elements of Typographic Style

Teri Lanier, Exercise 1 // Right Justiﬁed 8/12 Charter Roman +50 Tracking

LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve well-chosen letters; these in their turn deserve to be set with affection, intelligence, knowledge and skill. Typography is a link, and it ought, as a matter of honor, courtesy and pure delight, to be as strong as others in the chain. Typography is just that: idealized writing. Writers themselves now rarely have the calligraphic skill of earlier scribes, but they evoke countless versions of ideal script by their varying voices and literary styles. To these blind and often invisible visions, the typographer must respond in visible terms. In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages they must occupy, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles. Simple as it may sound, the task of creative non-interference with letters is a rewarding and difficult calling. In ideal conditions, it is all that typographers are really asked to do—and it is enough. —Robert Bringhurst, The Elements of Typographic Style

I. Type Composition

Teri Lanier, Exercise 1 // Centered 8/12 Palatino +20 Tracking

LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve well-chosen letters; these in their turn deserve to be set with affection, intelligence, knowledge and skill. Typography is a link, and it ought, as a matter of honor, courtesy and pure delight, to be as strong as others in the chain. Typography is just that: idealized writing. Writers themselves now rarely have the calligraphic skill of earlier scribes, but they evoke countless versions of ideal script by their varying voices and literary styles. To these blind and often invisible visions, the typographer must respond in visible terms. In a badly designed book, the letters mill and stand like starving horses in a ﬁeld. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages they must occupy, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles. Simple as it may sound, the task of creative non-interference with letters is a rewarding and difﬁ cult calling. In ideal conditions, it is all that typographers are really asked to do—and it is enough.

I. Type Composition

—Robert Bringhurst, The Elements of Typographic Style

Teri Lanier, Exercise 1 // Left Justiﬁed 9/13 Didot +20 Tracking

LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve well-chosen letters; these

in their turn deserve to be set with affection, intelligence, knowledge and skill. Typography is a link, and it ought, as a matter of honor, courtesy and pure delight, to be as strong as others in the chain.

Typography is just that: idealized writing. Writers themselves now rarely have the calligraphic skill of earlier scribes, but they evoke countless versions of

ideal script by their varying voices and literary styles. To these blind and often invisible visions, the typographer must respond in visible terms.

In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on

the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages they must occupy, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles.

Simple as it may sound, the task of creative non-interference with letters is a

rewarding and difﬁcult calling. In ideal conditions, it is all that typographers are really asked to do—and it is enough.

—Robert Bringhurst, The Elements of Typographic Style

I. Type Composition

Teri Lanier, Exercise 1 // FLRR 8/13 Charter Roman +10 Tracking

II. Paragraph Indicators

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

Teri Lanier, Exercise 2 // Indent, Left Justiﬁed 9/13 Iowan Old Style +40 Tracking

II. Paragraph Indicators

Teri Lanier, Exercise 2 // Hanging Indent, FLRR 9/13 MrEaves +20 Tracking

II. Paragraph Indicators

—excerpted from Manifesto Mania by Ellen and Julia Lupton

Teri Lanier, Exercise 2 // Extra Leading, Left Justiﬁed 9/13 Kepler +30 Tracking

II. Paragraph Indicators

Teri Lanier, Exercise 2 // First Word, Left Justiﬁed 9/14 MrEaves +40 Tracking

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

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

DESIGNERS SEEM ESPECIALLY DR AWN TO MANIFESTOS. A well-written manifesto is like a well-designed product. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function—they serve to bring together members of a group.

TEN YEARS AGO, BRUCE MAU PUBLISHED HIS “INCOMPLETE MANIFESTO,” written as a list of commandments. These principles became the established creed of Mau’s own design office, but they can be used by anyone. Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals.

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

III. Text Beginnings

—excerpted from Manifesto Mania by Ellen and Julia Lupton

Teri Lanier, Exercise 2 // First Phrase, FLRR 8/16 Catamaran +30 Tracking

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

—excerpted from Manifesto Mania by Ellen and Julia Lupton

III. Text Beginnings

Teri Lanier, Exercise 3 //Cross Column Intro, Left Justiﬁed 9/13 MrEaves +20

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

manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the

defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way.

ruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of esigners seem especially drawn all social, political and military to manifestos. A well-written systems, pushed designers to create manifesto is like a well-designed “intensely glamorous environmenproduct. It communicates directly, tally sound products; entirely new it is broken into functional parts, objects of entirely new materials; and it has elements of poetry and replacing material substance with surprise. And drafting one is more information; a new relationship like writing an ad than writing a between the cybernetic and the novel. Manifestos typically have a material” (iPhone, anyone?). Also social function—they serve to bring in 2000, Rick Poynor published the together members of a group. “First Things First 2000” manifesto, based on a text written by Ken en years ago, Bruce Mau published Garland in 1964, a controversial his “Incomplete Manifesto,” writ- document that called for designers ten as a list of commandments. These to use their skills to improve principles became the established environmental, social and cultural creed of Mau’s own design office, but life rather than to sell hair gel and they can be used by anyone. Other dog biscuits. designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals.

III. Text Beginnings

—excerpted from Manifesto Mania by Ellen and Julia Lupton

Teri Lanier, Exercise 3 // Drop Cap, FLRR 8/12 FreightText +20 Tracking

Marx had one. The Unibomber

is more like writing an ad than writing a novel.

had one. When Thomas Jefferson wrote the

Manifestos typically have a social function—they

Declaration of Independence in 1776, he draft-

serve to bring together members of a group.

ed the manifesto that launched the American

Ten YEARS ago, Bruce Mau published

Revolution. Graphic design would not exist as

his “Incomplete Manifesto,” written as a list of

we know it today if F. T. Marinetti hadn’t pub-

commandments. These principles became the

lished his manifestos and instigated Futurism.

established creed of Mau’s own design office,

arl

By inventing the idea of art as a branded public

but they can be used by anyone. Other designers

enterprise, Marinetti compelled many poets,

with intriguing and influential personal mani-

painters and designers after him to state their

festos include product designer Karim Rashid

principles in compact, incendiary speech.

and the infamous post-typographers Bruce

A m a nifesto is a short document that

Willen and Nolen Strals.

“manifests” or makes public a set of ideas

Bruce

Ster ling’s

“Manifesto

and goals. A manifesto is passionate, per-

January 3, 2000” helped galvanize the contempo-

sonal and vivid. Such calls to action went

rary green movement, which is the epicenter of

out of fashion during the mid-20th centu-

manifesto-writing today. Sterling, in addition to

ry, replaced by more businesslike, profes-

demanding

sionally

oriented

statements

purpose

political

and to

overhaul military

create

all

systems,

“intensely

social, pushed

and principle. But at the turn of the new

designers

century, just as at the turn of the old one,

environmentally

manifestos came back. Businesses started using

new objects of entirely new materials; re-

sound

glamorous

products;

entirely

“brand manifestos” to spell out the def ining

placing material substance with information;

features of their products, and software

a new relationship between the cybernetic and

companies and design f irms started posting

the material” (iPhone, anyone?). Also in 2000,

manifestos to publicize their approach in an

Rick Poynor published the “First Things First

edgy, direct way.

2000” manifesto, based on a text written by

Designer s

Ken Garland in 1964, a controversial document

manifestos. A well-written manifesto is like a

that called for designers to use their skills to

well-designed product. It communicates directly,

improve environmental, social and cultural life

it is broken into functional parts, and it has ele-

rather than to sell hair gel and dog biscuits.

seem

especially

drawn

ments of poetry and surprise. And drafting one

—excerpted from Manifesto Mania by Ellen and Julia Lupton

III. Text Beginnings

Teri Lanier, Exercise 3 // Initial Cap, Left Justiﬁed 8/14 News Gothic +75 Tracking

VERBAL AND VISUAL EQUATIONS An examination of interactive signs excerpted from Typographic Design: Form and Communication —Ben Day and Philip Meggs

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 fl ag. The red dot can become a cherry, for example, as the mind is cued by forms more familiar to its experience. The particular syntactic qualities associated with typographic signs determine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a large void may signify isolation. These qualities, derived from the operating

principles of visual hierarchy and ABA form, function as cues, permitting the mind to form concepts. Simple syntactic manipulations, such as the repetition of letters, or the weight change of certain letters, enable words visually to mimic verbal meaning. In language, signs are joined together to create messages. Words as verbal sign, grouped together in a linear fashion, attain their value vis-à-vis other words through opposition and contrast. Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a speciﬁc sequence, or in a nonlinear manner, with elements existing in many syntactic combinations.

IV. Hierarchy

Modular Grids

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-ﬁ lled city signifying pollution, a beached

Teri Lanier, Exercise 4 // Scale Change, Left Justify 9/13 Baskerville +10

Verbal and Visual Equations An examination of interactive signs excerpted from Typographic Design: Form and Communication â&#x20AC;&#x201D;Ben Day and Philip Meggs Language, in any of its many forms, is a self-contained system of interactive signs that communicates ideas. Just as elocution and diction enhance and clarify the meaning of our spoken words, typographic signs can be manipulated by a designer to achieve more lucid and expressive typographic communication. Signs operate in two dimensions: syntactic and semantic. When the mind is concerned with the form of a sign, it is involved with typographic syntax. When it associates a particular meaning with a sign, it is operating in the semantic dimension. All objects in the environment can potentially function as signs, representing any number of concepts.

A smog-filled city signifying pollution, a beached whale representing extinction, and confetti implying a celebrationâ&#x20AC;&#x201D;each functions as a sign relating a specific concept. Signs may exist at various levels of abstraction. A simple example will illustrate this point. Let us consider something as elemental as a red dot. It is a sign only if it carries a particular meaning. It can represent any number of things: balloon, ball, or Japanese flag. The red dot can become a cherry, for example, as the mind is cued by forms more familiar to its experience. The particular syntactic qualities associated with typographic signs determine a specific meaning.

A series of repeated letters, for example, may signify motion or speed, while a small letter in a large void may signify isolation. These qualities, derived from the operating principles of visual hierarchy and ABA form, function as cues, permitting the mind to form concepts. Simple syntactic manipulations, such as the repetition of letters, or the weight change of certain letters, enable words visually to mimic verbal meaning. In language, signs are joined together to create messages. Words as verbal sign, grouped together in a linear fashion, attain their value vis-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.

IV. Hierarchy Modular Grids

Teri Lanier, Exercise 4 // Style/Scale Change and Typeface Change, Didot Header and Paragraph beginnings, FLRR 8/12 Caslon +5

Verbal and Visual Equations An examination of interactive signs excerpted from Typographic Design: Form and Communication

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, Language, in any of its many forms, is a beached whale representing permitting the mind to form concepts. a self-contained system of interactive extinction, and confetti implying a Simple syntactic manipulations, such signs that communicates ideas. Just as celebrationâ&#x20AC;&#x201D;each functions as a sign as the repetition of letters, or the weight change of certain letters, enable words elocution and diction enhance and clar- relating a specific concept. ify the meaning of our spoken words, Signs may exist at various levels visually to mimic verbal meaning. In language, signs are joined typographic signs can be manipulated of abstraction. A simple example will together to create messages. Words by a designer to achieve more lucid and illustrate this point. Let us consider as verbal sign, grouped together ina expressive typgraphic communication. something as elemental as a red dot. linear fashion, attain their value vis-Ă Signs operate in two dimensions: It is a sign only if it carries a particular vis other words through opposition and syntactic and semantic. When the mind meaning. It can represent any number contrast. Words can also evoke meanis concerned with the form of a sign, of things: balloon, ball, or Japanese ing through mental association. These it is involved with typographic syntax. flag. The red dot can become a cherry, associative relations are semantically When it associates a particular mean- for example, as the mind is cued by derived. Since typography is both ing with a sign, it is operating in the forms more familiar to its experience. visual and verbal, it operates in a linsemantic dimension. The particular syntactic qualities ear fashion, with words following each All objects in the environment associated with typographic signs other in a specifi c sequence, or in a can potentially function as signs, rep- determine a specific meaning. A sernonlinear manner, with elements existresenting any number of concepts. ies of repeated letters, for example, A smog-filled city signifying pollution, may signify motion or speed, while a ing in many syntactic combinations.

IV. Hierarchy

Modular Grids

â&#x20AC;&#x201D;Ben Day and Philip Meggs

Teri Lanier, Exercise 4 // Typeface/Style Change and Graphic Element, Didot Header, FLRR 8/12 Nimbus +10

Armin Hofmann

is known as an inďŹ&#x201A;uential educator and designer of the Swiss International Style. His work is enormously varied, including posters, stage design, logos, typographic work, and three-dimensional designs, but he is best known for his minimalist poster design and unorthodox teaching style.

Born in 1920

, Armin Hofmann grew up in Winterthur, Switzerland. After attending the School of Arts and Crafts in Zurich, he worked as a lithographer in Basel and Bern. After meeting Emil Ruder on a train, he was hired to teach at the Basel School of Arts and Crafts in 1947. He taught graphic design there for 40 years and was eventually appointed the head of the graphic design department in 1968. He was a frequent guest lecturer at Yale, and retired in 1987.

Hofmann authored

his Graphic Design Manual in 1965, in which he distilled the essential principles of his teaching approach. It remains a relevant design textbook in design schools. Hofmann believed in reduction of form and instruments, always appropriate to the content of an assignment, resisting any dogma.

His poster design

is notable for restricted use of color and the lack of background. He believed that color had driven people away from actually reading what is on the poster. Photography in his posters was always simplified as much as possible. By restricting colors in his posters, he felt that he dematerialized the objects to be more neutral, symbols rather than objects. His posters are credited with changing the perception of Swiss Design from austere typography and rigid grids to a more playful and experimental form of expression.

â&#x20AC;&#x201D;Teri Lanier, Biography of a Swiss Designer

Swiss Designer

Teri Lanier, Swiss Designer, Josefin Sans, Left Justified 9/13 +10

Typesetting:

ARMIN HOFMANN

DESIGN TEACHER

four

TYPECLASS POSTERS OBJECTIVE: Create 3 posters from the Vox System for two serifs and one sans-serif font. Showcase a principle alphabet and communicate the uniqueness of the font.

Didot and Kennerley are serif typefaces with a book publishing background. Scala Sans is a sans-serif typeface. Each poster incorporates the typeface’s country of origin, with its city of origin marked by an asterisk, in addition to other variations of non-letterform characters. The colorstory was inspired by Didot’s consistent use in the vibrant fashion industry, and in Scala’s case—the drama expressed in musical and theater arts.

DIDOT DIDOT

* ! â&#x20AC;&#x153;&?

designed in Paris, France

narrow, unbracketed serifs

Sans-Serif

SERIF Slab-Serif, Humanist, Garalde, Transitional DIDONE Neoclassical, Grotesque, Geometric

This typeface was cut by Firmin Didot between 1799 and 1811. The Didot family owned an influential print shop and font foundry in France, as well as being the Kingâ&#x20AC;&#x2122;s printers. The Didot typeface is characterized by increased stroke contrast, condensed armature, hairline strokes, vertical stress, and flat, unbracketed serifs. The term Didone is a melding of Didot and Bodoni, the two most characteristic typeface designs of this era; it may also be called Modern.

thick vertical strokes

ABCDE FGHIJ KLMN OPQRS TUVWX YZ abcdef ghijkl mnopq rstuvw xyz

Posters:

12345 67890

Serif

SCALA SANS SANS-SERIF Serif, Slab-Serif HUMANIST Garalde, Transitional, Didone, Neoclassical, Grotesque, Geometric

* !â&#x20AC;?&?

designed in Utrecht, Netherlands

ABCDEF GHIJKLM NOPQRS TUVWXYZ abcdefg hijklmn opqrstu vwxyz

Posters:

San-Serif

1234567890

consistent stroke width for all font styles

companion typeface to Scala, serifs removed

Scala Sans, considered a classic among digital typefaces, is a companion to the serif typeface Scala, created by Dutch designer Martin Majoor in the early 1990s. Both were designed for the Vredenberg Music Center, a concert hall in MajoorĘźs native Netherlands. Scala refers to the famous Teatro alla Scala, a beautiful theatre in Naples Italy that was designed and built in 1776. Both upper and lower cases are structurally modeled on serif old style faces with the serifs trimmed, resulting in low contrast, crisp lines.

K E NNE R L E Y KENNERLEY designed in Chicago, IL

! “&? oblique head serifs

SERIF Slab-Serif, Sans-Serif

HUMANIST ennerley is considered an original American classic with noteable swashes, though most agree that it is similar to Jenson. Frederic Goudy, an American printer, artist and type designer, created the roman typeface for publisher Mitchell Kennerley in 1911, italic in 1918, and bolds in 1824. Goudy described it as a “book letter with strong serifs, firm hairlines, and makes a solid, compact page.”

A B C D E F GHIJKLM NOPQRST UVWXYZ abcdefghi jklmnopqr stuvwxyz 1234567890

Garalde, Transitional, Didone, Neoclassical, Grotesque, Geometric

elegant curls

Posters:

italics have dramatic descenders

Serif

EVERYTHING ABOUT

THIS

BOOK

DESIGNER: TERI LANIER I am a Pacifica, CA crafter who loves design of many disciplines, especially graphic design. I enjoy sewing, baking desserts with my children, hiking in the fog, and brewing strong tea. This portfolio is a project for my graphic design course at UC Berkeley Extension. PORTFOLIO The pages are set in Josefin Sans, a Google font designed by Santiago Orozco. It is inspired by geometric sans serif designs from the 1920s. INSTRUCTION Ayca Kilicoglu, Instructor Type Fundamentals, DesignX450.9, FALL 2019 UC Berkeley Extension