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A to Z of Graphic Language A to Z An 06 Visual & Cultural Theory - Intro LEO LUCAS - 07961515106
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Graphic Communication Designer
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Animation, Action, Age, Acceleration.
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Bookbinding, Books, Bibliotheca, Banal Biography
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Colours, Chart, Currency, Cash, Comparison
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Direction, Driving, Destination, Diagonal, Deconstruction
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Electronic Data, Eye, Digital Encryption, Code Evolution
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Forms, Flora, Figure, Fruits
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Geometry & Games
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Hieroglyphs (Maya), Heads, Humanity, Hierarchy
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Isotype, Pictogram, Symbols, Signs
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A to Z of A to Z An Graphic Language
Justification, Alignment, Flush, Right, Left, Typesetting
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Typography, Display Letters
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Kerning, Letter Spacing
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Unofficial, Urban, Signs, Urbanization, Graffiti, Walls
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Light, Lines, Lightning, Lots, Long, Low, Lux, Language, Love
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Vernacular Typography
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Multiple, Materials, Making, Mixing, Mess
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Words, Writing, Written
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Numbers, Names, Nothing
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X-Ray, Electromagnetic Radiation, Human Skeleton.
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Onaomapoeic Type
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Yes & No
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People, Position, Proximity, Point, Positive, Personality, Profile
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Zoom, Zooming, Zoology, Zoomusicology, Fly, Bee, Mosquito
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Queue, Queuing, Perspective, Coffee
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of An A to Z A to Z Research of Graphic Language
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Reading, Readers, Recognition, Representation.
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A to Z Sketches
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Scale, Spaces - Positive & Negative - Shadows, Skyline, Simulation, Small, Simple
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A to Z Bibliography & Typography
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LEO LUCAS - 07961515106
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Graphic Communication Designer
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The term visual representation is used to refer to the actual presentation of information through a visible medium such as text or images. Graphic Language communicates mainly through visual aid and it can be described as the conveyance of ideas and information in formats that can be read or looked upon. Visual language solely relies on vision, and is primarily presented or expressed with two-dimensional images, including signs, typography, drawing, graphic design, illustration, colour and electronic resources. It also explores the idea that a visual message accompanying text has a greater power to inform, educate or persuade an audience. In representing and communicating information, how are we to benefit from colour’s great dominion? Human eyes are exquisitely sensitive to colour variation: a trained colourist can distinguish among 1,000,000 colours, at least when tested under contrived conditions of pair wise comparison. Some 20,000 colours are accessible to many viewers with the constraints for practical applications set by the early limits of human visual memory rather than the capacity to discriminate locally between adjacent tints. For encoding abstract information, however, more than 20 or 30 colours frequently produce not diminishing but negative returns. Tying colour to inform is an elementary and straightforward as colour technique in art, “to paint well is simply this: to put the right colour in the right place,” in Paul Klee’s ironic prescription.1 The often scant benefits derived from colouring data indicate that even putting a good colour in a good place is a complex matter. Indeed, so difficult and subtle that avoiding catastrophe becomes the first principle in bringing colour to information: Above all, do no harm. (Tufle 1990, p.81) Harris (2005, p.6) said, colour is the most immediate form of nonverbal communication. We naturally react to colour as we have evolved with a certain understanding of it, partly because the survival of our ancestors depend on it with regard to what to consume and avoid. Colours is used to represent thoughts and emotions in a way that no other element
of design can, and it can act as an instant attention grabber whether in print, on screen or on a supermarket shelf. As such, colour preferences that inform our decisions when dealing with colour, and we are subject to all the cultural norms and understanding of colour usage that surround us.
Click on the icon above, please!
The challenge of visually representing any subject either on paper, digitally or mentally, is around since visual representation itself, but fortunately, the principles of information design are universal, much like mathematics, and are not tied to unique features of a particular language or culture. There are numerous ways, in both verbal and nonverbal communication, to express and capture visual information using digital or analogue systems, including two and three-dimensional images, gestures, body language, colour, moving image, animations, drawing, etc. Tufle (1990, p.9) said that charts, diagrams, graphs, signs, table, guide, instructions, direction and maps comprise an enormous accumulation of material. It embodies tens of trillions of images created and multiplied over every year. Despite the beauty and utility of the best work, design of information has engaged little critical nor aesthetic notice. Visual communication on the World Wide Web is perhaps the most important form of communication that takes place while users are interact with the Internet. When experiencing the web, one uses the eyes as the primary sense, and therefore the visual presentation of a web site is very important for users to understand the message or of the communication taking place. Colours, shapes and hierarchy among many other elements, defines and indicating where the user should click next. A collaborative group of Cuban artists, Los Carpinteros was described by Merewether (cited Dexter 2005, p.56), the group was formed by Alexandre Arrechea, Marco Castillo and Dagoberto Rodriguez. Working together since 1991, they officially started to use their collective name in 1994. Although Arrechea left the trio, the others continued, producing over the years a major body of work of sculpture and installations - and related drawings - that, as their name connotes, utilizes wood and associated building materials not only as media and in the threedimensional work, but also as subject matter as in their drawings. This approach is captured in many of the drawings, which take the form of architectural and carpentry plans that seem less than functional, bordering on the absurd, ironic or nonsensical.
1 Paul Klee’s, Notebooks: The Thinking Eye, translated by Ralph Manheim (London, 1961; Basel,1956), p.39, n.1.
The subjects seem to most sharply reflect on Cuba’s urban environment, where the decaying elegance of colonial mansions and modernist apartments slowly give way to raw concrete communist-style government buildings. It is a contrast that symbolizes a large sense of impoverishment and dereliction of cities as much as the swallowing of people into the anonymity of the urban landscape. Yet, the significance of the group’s work is their ability to both reference not only the local but equally the global in with such cityscape are not uncommon to other large cities from New York to New Delhi or Beijing.
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Los Carpinteros world/sketches:
Model Library
The tiles of Los Carpinteros exhibitions in Tampa Bay Festival of the Americas in 2005 was Transportable City, suggesting the breadth of their ideas. Central to the group’s conceptual framework is the deconstruction of architectural and design practice. To Los Carpinteros, these concepts are reduced to the point of nonfunctionality, thus evoking outmode, obsolete craft practice or an aesthetic gesture of little or no value. Drawing becomes then an utopian act that, while proposing a blueprint for the future, loses its power through the process of its realization. The concept of non-order or non-coherence in a sequence of symbols or steps, that there is no intelligible pattern or combination is also known as randomness. The visual principles that tell us how to put the right mark in the right place, randomness meanings has been used in several fields described as made, done, happening, or chosen without method or conscious decision that may have lost connections with some of those more definite meanings. The idea of shared framework in which to invent and organize visual content, dates back to the origins of modern graphic design. In 1920, institutions such as the Bauhaus, which explore design as universal and perceptually based language of vision. Lupton and Phillips (2008 p.8) comment that whereas the Bauhaus promoted rational solutions through planning and standardization designers and artists today are draw to idiosyncrasy, systemization, and sublime accidents as well as to standards and norms. The modernist preference for reduced, simplified forms now coexists with a desire to build a system that yield unexpected results. Today, the hybrid hold as much allure as forms that are sleek and perfected. Visual thinkers often seek to spin out intricate results from simple rules of concepts rather than reduce an image or idea to its simplest part.
Los Carpinteros world/sketches:
Plano of Havana City
Evaluation of visual design always have been based on measuring its comprehension by the audience, and aesthetic and/or artistic preference may also effect the meaning of the image, as there are no universally agreed principles of beauty and ugliness. This book is the result of a complex, dynamic and multidimensional world, expressing alphabetical connections and understanding of graphic language, representing each letter of the alphabet graphically, in colour, with a variety of rich, visual, informational and varied content. A collection of digitally reproduced pages with intuitive navigational design and definitive oriented graphical usability, that could serve as a partial catalogue for theoretical counsel from the Graphic Language assimilation. It intersects images, words, interaction and navigation, refined into sub categories associated with instruments used in writing, typography, image collection and construction, lines, layout, lots of colour and randomness. A great variation of design techniques and craft skills has been employed to create this project with intentions to allow users to click wherever the eyes and the mouse wishes using memory as navigational tool. (better in full screen mode using Adobe Reader - [click here for free Adobe download]) Marking the basis of this project, the idea deriving from the visual principles that tell us how to put the right mark in the right place, generates the idea of a semi-random navigational system for this virtual book. Twenty-six different interpretations and representations of each letters of the alphabet, organized and consisted of images with direct and indirect connections. An arrays of twentysix spreads, designed focusing on random visual association and assimilation towards Graphic Language, as well as towards colour and navigation. There are hidden objects or parallel subjects in each spread such as perspective, layout, quantity, versatility, forms, simplicity and minimalism, etc. In order to visually facilitate the navigation around this virtual book, please consider click in the bold text format to discover hidden online encyclopedia links in each spreads, containing more information about the subject. Or in some spreads there are few hidden animations, videos, a simple game, slide shows and other items related to its research. Hopefully you will enjoy navigate through the pages of these simple and personal view of "what graphic language is", as much I have enjoying making it! - LĂŠo Lucas 9
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Animation
Animation is the rapid display of a sequence of images of 2D or 3D artwork or model positions in order to create an illusion of movement. It is an optical illusion of motion due to the phenomenon of persistence of vision, and can be created and demonstrated in a number of ways.
Please click on 20 zone image above to Play animation.
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Books
A book is a set or collection of written, printed, illustrated, or blank sheets,
, made of paper, parchment, or any other various material, usually fastened together to hinge at one side.
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No Value
No Value
Colour Chart is a physical arrangement of standardised colour samples, used for colour comparisons and measurements such as in checking the colour reproduction of an imaging system. They are used to calibrate and to profile graphic devices for either input and output.
Colour Chart
No Value
No Value
e Currencies colour classification: up to six colours: U$ Dollar, ÂŁibra Sterling and R$ Real
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D Directions
Direction is the information contained in the relative position of one point with respect to another point without the distance information. It may be either relative to some indicated reference or absolute according to some previously agreed upon frame of reference. On a vertically oriented sign representing a horizontal plane, such as a road sign, which usually indicate using arrows. Mathematically, direction may be uniquely specified by a unit vector in a given basis, or equivalently by the angles made by the most direct path with respect to a specified set of axes.
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E Encryption & Encoding
Encryption is the process of transforming information using an algorithm to make it unreadable to anyone except those possessing special knowledge, usually referred to as a key. The result of the process is encrypted information. In many contexts, the word encryption also implicitly refers to the reverse process, decryption to make the encrypted information readable again.
general product category identification
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manufacturer identification number
product identification number
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Encoding is the process of transforming information from one format into another. The opposite operation is called decoding. Represented data in the widths (lines) and the spacings of parallel lines, and may be referred to as linear or 1D (1 dimensional) barcodes or symbologies. They also come in patterns of squares, dots, hexagons and other geometric patterns within 2 dimensional images (2D) matrix codes or symbologies. They are generally referred to as barcodes.
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F Form & Figure
In Flourish Flora forest the finest fruits are formed by a fresh foliage figure and some fabulously fragrant flowers.
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Geometr y & Games
Game objective (above) to complete exactly 21 points. Ace = 1 | Figure = 10 | Joker = game over (Click cards to play)
P l a y i n g C a r d s | A set of geometric rectangular pieces of cardboard or other material with an identical pattern on one side and different numbers and symbols on the other. Regular standard deck quantity is fifty-two cards which are divided into four suits and used to play various games.
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H Hieroglyphic Heads
The characters made by graphical figures, be it animals, objects, heads or any other concepts is known as hieroglyphs.
The Maya civilization existed over an extensive area of southern Mexico, Guatemala and Belize. The Mayas had a system of pictorial writing, and an extremely accurate calendar system. Its remains include stone temples built on pyramids and ornamented with sculptures. Scholars are in the course of the deciphering the Mayan hieroglyphic script, but it has become evident that it was a fully functioning writing system in which it was possible to express any sentence of the spoken language unambiguously. The type system is best classified as logo syllabic, in which symbols (glyphs or graphemes) can be used as either logograms or syllables.
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I Isotype Information
Isotype or pictogram is the method of communication by pictorial forms to inform using connections and concept formed by many meanings, from everyday usage to technical settings.
The concept of information is closely related to notions of constraint, communication, control, data, form, instruction, knowledge, meaning, mental stimulus, pattern, perception, and representation. In its most restricted technical meaning, information is an ordered sequence of symbols.
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Thy father was delighted and cried out to the servant, ‘Give him a hundred and three gold pieces with a robe of honour!’ The man obeyed his orders, and I awaited an auspicious moment, when I blooded him; and he did not baulk me; nay he thanked me and I was also thanked and praised by all present. When the blood-letting was over I had no power to keep silence and asked him, ‘By God, O my lord, what made thee say to the servant, Give him an hundred and three dinars?’; and he answered, ‘One dinar was for the astrological observation, another for thy pleasant conversation, the third for the phlebotomisation, and the remaining hundred and the dress were for thy verses in my commendation.’” “May God show small mercy to my father,” exclaimed I, for knowing the like of thee.
Justification
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Justification (Right)
In justified text, the spaces between words, and, to a lesser extent, between glyphs or letters (kerning), are stretched or sometimes compressed in order to make the text align with both the left and right margins. When using justification, it is customary to treat the last line of a paragraph separately by left or right aligning it, depending on the language direction. Lines in which the spaces have been stretched beyond their normal width are called loose lines, while those whose spaces have been compressed are called tight lines.
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Justification (Left)
Justification sometimes leads to typog is used in narrow columns, exceptiona two or three words. When the spaces above one another in several loose lin may appear. Rivers appear in right-alig too, but are more likely to flow in just Both of these problems are reduced
– Richard Francis Burton, Tale of the Tailor, The Book of One Thousand and One Nights.
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Thy father was delighted and cried out to the servant, ‘Give him a hundred and three gold pieces with a robe of honour!’ The man obeyed his orders, and I awaited an auspicious moment, when I blooded him; and he did not baulk me; nay he thanked me and I was also thanked and praised by all present. When the blood-letting was over I had no power to keep silence and asked him, ‘By God, O my lord, what made thee say to the servant, Give him an hundred and three dinars?’; and he answered, ‘One dinar was for the astrological observation, another for thy pleasant conversation, the third for the phlebotomisation, and the remaining hundred and the dress were for thy verses in my commendation.’” “May God show small mercy to my father,” exclaimed I, for knowing the like of thee.
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Justification (All Lines)
In typesetting, justification is the typographic alignment setting of text or images within a column to align along both the left and right margin. Any text set this way is said to be “justified”.
graphic anomalies. When justification ally large spaces appear between only between words line up approximately nes, a distracting river of white space gned, left-aligned and centred settings tified text due to extra word spacing. d by the addition of hyphenation. In
the modern WYSIWYG - before, this was at one time done manually with the writer adding hyphenation on a case-by-case basis - word processors which hyphenate automatically, as typesetting systems. In the latter case, automatic hyphenation is required, with manual override as needed, because the writer cannot tell during text preparation where a line will end in the typeset output. 31
K élo 32
Kerning
léo
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ĂŠo l Kerning is used to adjust spacing between letters or characters in a piece of text. Adjusting it contrasted with tracking can improve text readability (or not!). Tracking adjust space between characters evenly, regardless of the characters, whilst Kerning adjust space based on character pairs and adjust space between each letter.
nopqrstuvwxyz l m n o p q r s t u v w xyz 33
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L Light Love
Light is electromagnetic radiation, particularly radiation of a wavelength that is visible to the human eye. In physics, the term light sometimes refers to electromagnetic radiation of any wavelength. It exists in tiny portions called photons, which exhibits properties of waves and matter particles. The study of light , known as optics, is related to the scientific study of sight and the behaviour of light, or the properties of transmission and deflection of other forms of radiation.
Please click on the bigger image above to play the illuminated party slide show. I Love drawing with lights! This project is all about light and love... These images tell a story about a Lightning Bug with a broken heart. His partner (Miss Lightning Bug) left him and run away with a mosquito. "Love is complete rubbish" says Mr. Lightning Bug and to commemorate his solitude he has decided to gather some friends and throw a very illuminated party.
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Marks Materials
Marks are the small area on a surface having a different colour from its surroundings, typically one caused by accident or damage. It can be a spot, area, a visible impression or stain on something, or a point awarded for a correct answer or for proficiency in an examination or competition. To write a word or symbol on an object or feature on a person’s or animal’s body by which they may be identified or recognised is also a mark.
Material is a collection of the matter from which a thing is or can be made. I also relates to facts, information, or ideas for use in creating a book or other work. Sometimes the term “material� is used more narrowly to refer to substances or components with certain physical properties that are used as inputs to production or manufacturing. In this sense, materials are the part required to make something else – from buildings and art to planets and stars.
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N Numbers
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A number is a mathematical object used in counting and measuring. It is an arithmetical value, expressed by a word, symbol, or figure, representing a particular quantity divided in counting and amount, make of calculations, showing order in a series for identification, and quality.
In mathematics, the definition of number has been extended over the years into categories, including the definition of the number zero (0), negative numbers, rational numbers, irrational numbers, and complex numbers.
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Pattern
Pattern is a collection of plane figures that fills the plane with or without overlaps and gaps. An arrangement or sequence regularly found in comparable objects or events. A regular and intelligible form or sequence discernible in certain actions or situations.
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Queue (ing) is a line or sequence of people or objects, awaiting their turn to be attended to or to proceed. 45
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R Readers Reading
Readers use a variety of reading strategies to assist with decoding – to translate symbols into sounds or visual representations of speech – and comprehension. Readers may use morpheme, semantics, syntax and context clues to identify the meaning of unknown words. Other types of reading are not speech based writing systems, such as music notation or pictogram. The common link is the interpretation of symbols to extract the meaning from the visual notations.
>=e +=o Reading is a complex cognitive process of decoding symbols for the intention of deriving meaning (reading comprehension) and/or constructing meaning. It is the mastery of basic cognitive processes to the point where they are automatic so that attention is freed for the analysis of meaning Reading means language acquisition, communication, and act of sharing information and ideas. Like all language, it is a complex interaction between the text and the reader which is shaped by the reader’s prior knowledge, experiences, attitude, and language community which is culturally and socially situated. The reading process requires continuous practices, development, and refinement.
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S Shadow & Space
A shadow is an area where direct light from a light source cannot reach due to obstruction by an object. It occupies all of the space behind an opaque object with light in front of it. The cross section of a shadow is a two-dimensional silhouette, or reverse projection of the object blocking the light.
Shape is defined as an object located in some space is the part of that space occupied by the object, as determined by its external boundary – abstracting from other properties such as colour, content, and material composition, as well as from the object’s other spatial properties e.g. position and orientation in space and size. Shape is all the geometrical information that remains when location, scale and rotational effects are filtered out from an object.
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T Typesetted Typography
Typography is the art and technique of arranging type design, and modifying type glyphs. Type glyphs are created and modified using a variety of illustration techniques. The arrangement of type involves the selection of typefaces, point size, line length, leading (line spacing), adjusting the
spaces between groups of letters (tracking) and adjusting the space between pairs of letters (kerning). Typography is performed by typesetters, compositors, typographers, graphic designers, art directors, comic book artists, graffiti artists, and clerical workers. Until the Digital Age, typography was a specialized occupation. Digitalization opened up typography to new generations of visual designers.
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U Unofficial Urban Signs
Unofficial urban signs or Graffiti are the name for images or lettering scratched, scrawled, painted or marked in any manner on property. Graffiti is any type of public markings that may appear in the forms of simple written words to elaborate wall paintings. Graffiti has existed since ancient times, with examples dating back to Ancient Greece and the Roman Empire. In modern times, spray paint, normal paint and markers have become the most commonly
used materials. In most countries, defacing property with graffiti without the property owner’s consent is considered vandalism, which is punishable by law. Sometimes graffiti is employed to communicate social and political messages. Graffiti has since evolved into a pop culture existence often related to underground hip hop music and b-boying creating a lifestyle that remains hidden from the general public. Graffiti is used as a gang signal to mark territory or to serve as an indicator or “tag� for gang-related activity. The controversies that surround graffiti continue to create disagreement amongst city officials/ law enforcement and graffitists looking to display their work in public locations. There are many different types and styles of graffiti and it is a rapidly developing art form whose value is highly contested, being reviled by many authorities while also subject to protection, sometimes within the same jurisdiction.
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Vernacular terminology used in typefaces opposes architecture, concerning with domestic and functional rather than monumental relevance, not either ensuring consistence to aesthetic reading.
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W Words
Words are the single distinct meaningful element of speech or writing. Them are used with others or alone, to form a sentence and typically shown with a space on either side when written or printed.
Words may refer to a spoken word or a written word, or sometimes, the abstract concept behind either. Spoken words are made up of phonemes, and written words of graphemes.
Typically, a word will consist of a root or stem, and zero or more affixes. Words can be combined to create other units of language, such as phrases, clauses and sentences. A word also consisting of two or more stems joined together to form a compound. And words are the smallest free form in a language in contrast to a morpheme, which is the smallest unit of meaning.
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X X-Ray
X-Ray refers to electromagnetic radiation of high energy and very short wavelength – between ultraviolet light and gamma rays – that is able to pass through many materials opaque to light. Images of any part of the body, produced by X-rays being passed through it, has to absorb different degrees and levels of radiation by different materials.
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Y Yes & No
Yes and no is a system for expressing affirmatives and negatives in a language. Early Middle English had a four-form system, but Modern English has reduced this to a two-form system consisting of ‘yes’ and ‘no’ but some languages do not answer yes-no questions with single words meaning ‘yes’ or ‘no’.
yes, no, yes, no, yes, yes, no, yes, no, yes, yes, no, yes, no, yes, yes, no, yes, yes, no, yes, no, yes, yes, no, yes, no, yes, yes, no, yes, no, yes, yes, n yes, yes, no, yes, no, yes, yes, no, yes, no, yes, yes, no, yes, no, yes, yes, n yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, ye yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes
iiiih, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes,ooh, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, aah, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, eeh, yes,yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, yes, not... stop. The words yes and no are not easily classified into any of the eight conventional parts of speech. Although sometimes classified as interjections, they do not qualify as such; nor are they adverbs. They are sometimes classified as a part of speech in their own right, sentence words, word sentences or pro-sentences, although that category contains more than yes and no and not all linguists include them in their lists of sentence words. Sentences consisting solely of one of these two words are classified as minor sentences. The differences among the systems, the fact that in different languages the various words for yes and no have different parts of speech and different usages, and the fact that some languages have no yes-no word system at all, makes idiomatic translation difficult.
yes, no, yes, yes, no, yes, no, yes, yes, no, yes, no, yes, yes, no, yes, no, no, yes, no, yes, yes, no, yes, no, yes, yes, no, yes, no, yes, yes, no, yes, no, no, yes, no, yes, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, o, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, es, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, o, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, s, no, yes, no, yes, no, yes, no, yes, no, yes, no, yes, maybe not... stop. 61
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Z Zoom
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Early forms of zoom lenses were used in optical telescopes to provide continuous variation of the magnification of the image, and this was first reported in the proceedings of the Royal Society in 1834. Early patents for telephoto lenses also included movable lens elements which could be
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adjusted to change the overall focal length of the lens. Lenses such as these are now called varifocal lenses, in that as the focal length is changed, the position of the focal plane also moves, requiring refocusing of the lens after each change. They are commonly used with still, video, motion picture cameras, projectors, some binoculars, microscopes, telescopes, telescopic sights, and other optical instruments, making possible viewing and sharing a variety of visual material from micro insects eggs to mega galaxies.
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Words Brain Storm
List of Attended Workshops
Navigational ideas
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68 A to Z Initial Sketches Layout
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Ambrose,Gavin & Harris,Paul. (2005) Basic Design: Colour. Singapore, AVA. Baines, P & Dixon, C (2003) Signs: Lettering in the Built Environment. Thailand, Laurence King. Dexter, Emma. (2005) Vitamin D: New perspectives in drawing. London, Phaison Press. Lupton, Ellen & Phillips, Jennifer C. (2008) Graphic Design: The New Basics. New York, Princeton Architectural Press Lynn, Bernadette. (2004) The development of the western alphabet. [Internet] BBC: h2g2. Available from <http://www.bbc.co.uk/dna/h2g2/A2451890> [Accessed 20 April 2010] Sagmeister, Stefan. (2005) Things I have learned in my life so far. New York, Abrams. Tufte, Edward R. (1990) Envisioning Information. Cheshire, Graphic Press.
(Varied colours)
CongressSans Light Size 8 Leading 10 Kerning optical Baskerville MT Bold Size 300 Leading 300 Kerning optical CongressSans ExtraBold Size 10 Leading 10 Kerning optical Baskerville MT Bold Size 14 Leading 14 Kerning optical Baskerville MT Bold Size 8 Leading 8 Kerning optical
Text
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Alphabetical Chapters
Subheading
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Content Page
69 Folio
Display Type has been formed by photographing high streets' front shops, then transforming them into words and digitally divide them into individual letters. This complex process generated an alphabet with over 700 different characters (letters, numbers and punctuations).
Varied colours A to Z Chapters
All images of this book was created, manipulated and/or elaborated by Leo Lucas.
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LEO LUCAS - 07961515106
Graphic Communication Designer
Copyright © 2010 Léo Lucas. All Rights Reserved.