Content
Typography Spacing Information Hierarchy Grid System
Typography refers to the Arrangement of Text on a page, and appears in some form or another in all instances of Written Communication.
TYPE CLASSIFICATION
Roman
Roman type has proportionally spaced letters and serifs, and was originally derived from Roman inscriptions. It is the most readable type and is commonly used for body text.
Gothic
Gothic, San-serif or Lineale typeface do not have the decorative touches that typify Roman typefaces. Their clean and simple design makes them ideal for display text, but may make them difficult to read in long passages.
Black Block, Blackletter, Gothic, Old English, Black or Broken typeface are based on the ornate writing style prevalent during the Middle Ages. Nowadays, they appear heavy and difficult to read in large text blocks, and seem antiquated.
Script Script typeface are designed to imitate handwriting so that when printed the characters appear to be joined up. As with human handwriting, some variations are easier to read than others.
San Serif
Serif
Script
The first assigment is the penmanship exercise, the aim is to distinguish the differences between serif, san serif and script typeface.
TYPE CLASSIFICATION
Old Style Old style (or Antiqua), typefaces were developed in the 16th and 17th centuries to replace Block typefaces as the standard letterforms in use. They are distinguished by their irregularity and slanted ascender serifs that have low contrast between thick and thin strokes. They also possess bracketed serifs and a left-inclined stress.
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TYPE CLASSIFICATION
Transitional Transitional typefaces have a medium contrast between thick and thin strokes and a lower degree of left-inclined stress. A distinguishing feature of a transitional typeface is a flat or triangular tip where the diagonal strokes meet, as can be seen tn the ‘W’.
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TYPE CLASSIFICATION
Modern
(or Classicist or Empire)
These typefaces were developed towards the end of the 18th century and are recognisable by the high contrast between the thick and thin strokes of each glyph, as well as the flat, unbracketed and often thin serifs.
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TYPE CLASSIFICATION
Geometric Geometric is a descriptive term applied to cetain Gothic typefaces and also to some Graphic typefaces. The Geometric Gothic variations have a very rounded shape and distinguishable by their splayed ‘M’, ‘N’, ‘V’ and ‘W’ characters. The legof the ‘R’ joins the bowl near stem and the ‘G’ is chinless.
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TYPE CLASSIFICATION
Humanistic Humanistic typefaces are similar to Geometric ones as they also possess splayed ‘M’, ‘N’, ‘V’ and ‘W’, a chinless ‘G’ and an ’R’ with a leg joining the bowl near the stem. However, they have more stroke weight contrast and a double-storey ‘g’.
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In typography, a typeface (also known as Font family) is a set of one or more fonts each composed of glyphs that share common design features. Each font of a typeface has a specific weight, style, condensation, width, slant, italicization, ornamentation, and designer or foundry (and formerly size, in metal fonts).
Typeface : Font Family
MYRIAD PRO
Myriad Pro - Bold
Myriad Pro - Regular
Myriad Pro - Italic
Myriad Pro - Condensed
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Classic Typeface Avenir Avenir is design by Adrian Frutiger in 1988 after being inspired to create san serif similar to Futura and Erbar but with more modern approach. After years of experience and interest to typefaces, he finally made out Avenir that means “future” in English. Osterer, H., & Stamm, P. (2014). Adrian Frutiger–Typefaces: The Complete Works. Walter de Gruyter. The Walt Disney Company uses Avenir as the font for their My Disney Experience Web sites.
Avenir is good in communication and printing. It has a comfor t look and feel where it is neat and clean.
Classic Typeface Futura Futura is design by Paul Renner way back in 1927 that inspired many typeface creators to create their own font designs too. This font is one of the oldest san serif classic fonts that Renner has created along with many other beautiful font collections. Walsh, C. (2006). Posttranslational modification of proteins: expanding nature's inventory. Roberts and Company Publishers. Futura has seen widespread use in many films and video games
Futura the very best typeface for poster usage and any other advertising material. However it’s boldly look might not be proper for long essay as it become heavy to the eye.
Classic Typeface Helvetica Helvetica is a typeface design by Eduard Hoffmann, Max Miedinger and Matthew Carter in 1957 with simplicity in mind but with professional approach. You can use this typeface for any type of theme designs and layouts you may want. Helvetica is one of the most used classic typefaces ever since 1950s up to this day.
Helvetica is a popular choice for commercial word marks.
Hustwit, G., Siegel, S., Geissbuhler, L., & Dots, S. (2007). Helvetica.
Helvetica has great ability to communicate and easy on the eye while printing. A long passage using Helvetica won’t cause any dizzy or nausea feeling.
Terms of Anatomy of Letters are uses throughout typography learning. Type designers and font providers use these terms for communication. Paying attention to “parts� of letters can help you to choose a font.
ascender
h serif
ascent line body height cap height x-height
cap line mean line
baseline descender line descent line
Simply
Cap height
Sans-serif
shoulder
bowl
counter
ascender
mean line
spin e
descender
x-height stroke
baseline
stem
tail
descender line descender
Elegant serif
Serif Cap height
ascender line
counter
bowl
ear
terminal
ascender line
serif
shoulder
cross bar
mean line
cross bar
bar
x-height
final
leg
baseline
stem
descender line
stress
link
loop
spur
serif
terminal
Apex
Bar Cross Bar
Terminal
Cross Stroke
Bilateral Serif
Teardrop Terminal
Cap Height
Open Counter
Stem
Leg
Descender
Ascender
Bilateral Serif
Loop
Link
Ear
Shoulder
Aperture
Stroke
Hook
Ball Terminal
Vertex
x-height
Hairline
Swash
Dot/Tittle
Arc of Stem
Diagonal Stroke
Crotch
Lower Case
Arm
Axis
Tail
Counter
Beak
Spine
Final
Eye
Lobe
Bowl
A LONG TIME AGO IN A GALAXY FAR, FAR AWAY...
Crotch Bowl Inkwell Arm Shoulder eye Stem Counter Terminal Stress
Word Wars
Cross Bar Vertex Tittle Stroke
Word Wars is a typographic anatomy poster design inspired by Star Wars. It includes playful element and clever word such as X-Wing height and CAP-tain Han height to present the anatomy of letters. It is easy to differentiate the two party of serif and san serif. With the punchline said by two rivals, the tension increases but yet found the balance of it.
AT-AT Ascender Cockpit
CAP-tain Han Height Meanline Beam X-Wing Height
Rebel Baseline
Cap Height
Open Counter
Spine
Bowl
The text became lighter to the eye. These formal changes accompanied texts that were both new and devoid of commentaries, provided to readers for critical reading and study. Careful observation also reveals the disappearance of a number of ligatures and abbreviations that made the act of reading more complex. This formal balance between movement and stability is reminiscent of the canons of classical antiquity as expressed in architecture and sculpture.
Typography and Architecture Changing Attitudes, Shifting Forms
Serif
Terminal Eye
Ascender
Tear Drop Terminal Stem
Baseline
X-height
Ascender Line
Times New Roman is a serif typeface commissioned by the British newspaper The Times in 1931, created by Victor Lardent. It was commissioned after Stanley Morison of the English branch of printing equipment company Monotype criticised the Times for being badly printed and typographically antiquated.
Descender
Tittle
Times New Roman
Times New Roman Bowl
Terminal
Roman Type
Tittle Tear Drop Terminal
Spine
Eye
Stem
Serif
Open Counter
Descender
Roman Typeis a typographic anatomy poster design inspired by the creation of roman typeface. It includes architectural writing, the correct order in writing alphabet, and sophisticated calculation in proportion of the letters. This poster is more settle and balance, representing the stability of a building can be.
Ascender Ascender Line
Cap Height
X- height Baseline
Typography and Architecture Changing Attitudes, Shifting Forms The text became lighter to the eye. These formal changes accompanied texts that were both new and devoid of commentaries, provided to readers for critical reading and study. Careful observation also reveals the disappearance of a number of ligatures and abbreviations that made the act of reading more complex. This formal balance between movement and stability is reminiscent of the canons of classical antiquity as expressed in architecture and sculpture.
Times New Roman is a serif typeface commissioned by the British newspaper The Times in 1931, created by Victor Lardent. It was commissioned after Stanley Morison of the English branch of printing equipment company Monotype criticised the Times for being badly printed and typographically antiquated.
Space is the Distance Between, Around, Above, Below and Within things.
Space Promotes Legibility
Reading Is a complex process. We can make lt easier for our readers by continuing to promote legibility via case, weight, and style. We can also make reading easier by paying attention to size (not too big or small), line-height (not too loose or tight), line length (not too long or short) and alignment (providing a common left edge helps facilitate reading).
A stable figure exists when a form or figure stands clearly apart from its background
Positive Space (shapes take up space)
Negative Space (empty space)
Kerning increases or decreases the spacing between certain pairs of letters.
cut
cut
Kerning is an
adjustment of space between two specific letters. The goal of kerning is to create a consistent rhythm of space within a group of letters and to create an appearance of even spacing between letters.
Tracking is the spacing between characters in a line of text.
Letter Spacing Tracking Helvetica - Tracking 0
Helvetica - Tracking 50
Helvetica - Tracking 100
Helvetica - Tracking -100
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A BCDEFG H I J K L M N O P Q R S T U V W X Y Z 1 2 3 4 5 6 7 8 9 0 abcdef ghi j k l m n o p q r s t u v w x y z
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Leading determines the amount of space between lines in a paragraph.
Letter Spacing Leading Helvetica - Leading 14 on14 (Set Solid)
Helvetica - Leading 17 on 14 (120%)
Helvetica - Leading 24 on 14
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A BCDEFG H I J K L M N O P Q R S T U V W X Y Z 1 2 3 4 5 6 7 8 9 0 abcdef ghi j k l m n o p q r s t u v w x y z
Helvetica - Leading 10 on 14 (Negative Leading)
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Visual hierarchy refers to the arrangement or presentation of elements in a way that implies importance. This order is created by the visual contrast between forms in a field of perception. Objects with highest contrast to their surroundings are recognized first by the human mind.
Font Size Spacing Colour
Also...
Stand Alone
This title design replicate the french style echoing with the photo of baguette. It has an elegant touch and resound a warm french breakfast.
With some serif typeface were inspired by roman architecture, I figure it would be nice to have a architectural style to fit in with the look and feel.
This photo was taken at the central pier. This old man look utterly sorrow, therefore, I put the word grief in a tombstone to merge the feeling of it.
“ The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style. But one must learn how to use the grid; it is an art that requires practice. â€? Josef MĂźller-Brockmann
Grid System
Grid have gutters, and type fits in perfectly against all the edges. Grid system act as a tool to divide images and words in a satisfying way. Grids give you a tool to create with consistency and allow you to think less about basic design principles and more about finding a design solution. This allows you to design at a more advanced level, being more able to think about advanced concepts like page rhythm. They also give you a structure place your page elements on.
Units are the basic building blocks of a grid. They’re all uniform.
Columns are the grouping of
units that create the visual structure of the page. They are not necessarily uniform.
In general, we want to creat units in multiples of three or four. Twelve is ideal, because it’s a multiple of three and four.
Perfect Bound Spine
Gutter
Gutter
Gutter adjustment to accomodate a perfect bound
Two Column Grid
Three Column Grid
Desktop Publishing defines beauty, every single element is taken into account. This booklet has a more simple approach, where nothing is everything, less is more. There is no high saturated colour, no lavish graphic, only the essential. Peaceful, calm and settle grey are used through out the whole booklet, creating harmony. With no distracted graphic, words can be told, ideas can be express, people can know. DESIGN IS A LANGUAGE.
DESIGN BY CHENG TSZ YIN, BEAR ART WORK BY BEAR DESKTOP PUBLISHING
S D3101_ 2 0151_ A : D e s k t o p P u b l i s h i n g M M Y 2 S e m e s t e r 1 2 015
14 079 8 5 8 D C H E N G Ts z Y i n , B e a r
Tu t o r : L e o P. H . C h a n