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TYPOGRAPHY PROCESS BOOK

TYPOGRAPHY PROCESS BOOK DIEGO VELAZCO SPRING 2018

TABLE OF CONTENTS

PART 1

A N ATO MY OF T Y P OG RA P H Y

12-17

PART 2

BASICS OF WORD TYPOGRAPHY

18-27

PART 3

BASICS OF TEXT TYPOGRAPHY

28-39

PART 4

TYPE POSTERS

40-50

PART 5

PROCESS BOOK

51- 57

preface

This book has given me the opportunity because of the cutout aspect of the to create a professional documentation book alluding to â&#x20AC;&#x153;Papel cortadoâ&#x20AC;? or cut of my progress in my Loyola Marymount paper, a Mexican traditional art that Typography 1 class in Spring 2018. The bring a connection to my culture. Each assignments of this book are separated section confronts a design problem that by their own chapter color from an comes when using typography from orange to blue gradient, each section word placement to font decisions. I can be quickly turned to by the tabs believe I have grown as a designer this with each color of the sections. I was semester taking this class and am glad I inspired to create this colorful theme have this way to document my progress. Diego Velazco

PART

ANATOMY OF TYPOGRAPHY

OBJECTIVE

Typography includes the terminology of each part of a letter. These terms are used to describe and to be able to distinguish certain strokes and curves in each character. To know the terms also allows one to be able to articulate the differences between fonts. In this assignment hand drawing the words creates an opportunity to be able to not only find out what each term means but to also draw an example of them. Drawing the word also creates a challenge to recognize the design that goes into typography and appreciate the history of typography before computers.

T PROCESS

When drawing the word “Typography” I noticed the difficulty it took to plan out my tracking so I would be able to maximize the space on my page, but not write so big I would not fit. The most difficult part was not the drawing of the letters but the spacing between them. It is almost impossible to not sketch out your whole word before inking I, if one kerning is off the whole word looked off.

ANALYSIS

Going into drawing the individual parts of type that makes the font unique gave me a real understanding of how to begin to differentiate fonts by how they have a curve in the beak of the ‘T’ or how the loop of the ‘g’ is oriented. There is a real architecture in letter design. The best typefaces find a way to perfectly connect beauty with function, like all great design should.

1 7 13 18

2 8 14 20

3 9 15 21

BASELINE MEANLINE

ARC OF STEM

LINK

SERIF

CROTCH

LOOP

BRACKET

CAPLINE

DESCENDER

EAR

ASCENDER

4 10 16 22

X-HEIGHT

COUNTER

TEARDROP TERMINAL

5 11 17 23

STEM

AXIS

BALL TERMINAL

SHOULDER BILATERAL SERIF

6 12 18 22

BE AK

BOWL

FINIAL

ARM

PART

BASICS OF WORD TYPOGRAPHY

OBJECTIVE

Word Typography includes Becoming familiar with the 5 type classifications. Including Its Kerning, font family, hand drawn words, and two fonts that go well together. This assignment emphasized the importance of good letter-spacing and choosing the right font family and type of font . To create the best design you have to know how the different variations of letter-spacing and fonts can do for your design. Every font and style comes with a connotation, like Didot is perceived as elegant and Helvetiva is seen as the standard font seen everywhere. It is the decision of the designer what direction to go.

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counter

meanline

serif

ball term

baseline

descender

PROCESS This assignment included six parts. First we researched letterspacing and font examples. Then we choose a ten letter word with a ascender and descender and drew it by hand and identified each part. We tested this word in twelve font and style variations. Combined two different typefaces and styles and tracking to form one word that looked aesthetic together. To end the project we wrote an analysis that told our discoveries.

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acked

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x-height

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highjacked highjacked

highjacked ANALYSIS I have learned the different emotions and moods a type of font can make. For example Didot for me brings a organized elegant yet modern feel to me, while Rockwell conveys a much more urgent condensed feeling. By combining the inherent effects the font family gives and adding boldness, italics, or all caps you can curate how you want the reader to experience the text. This all goes even further when you manipulate the leading effecting the readability of the type. I found the use of to fonts in the same word really fun because the word looked almost like a logo and each part of the word really stood out. I imagine that I will be much more open to using different kinds of fonts in my design projects. I never really messed with the leading of text but now i think i will never overlook it. I now can be sure to match x-heights and to never manipulate the text other than with kerning and leading. I will make sure to use type that matches the feeling I want to convey.

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Old Style: Garamound

highjacked highjacked highjacked HIGHModern: Didot

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HIGHJACKED Transitional: Baskerville

highjacked highjacked highjacked HIGHJACKED

Slab Serif: Rockwell

highjacked highjacked highjacked HIGHJACKED didot 120 pt didot (0) leading 120 pt hand drawn (0) leading hand drawn

highjacked highjacked highjacked HIGHJACKED Sans Serif: Helvetica

highjacked highjacked highjacked T R A C

highjacked highjacked highjacked

highjacked highjacked highjacked K I N G

HIGHJACKED HIGHJACKED HIGHJACKED 25

ditot bold 120 pt (0) tracking

highjacked helvetia bold 120 pt -50 tracking

garamond bold 100 pt -10 tracking

highJACKED baskerville italic 150 pt (0) tracking

ROCKWELL REGULAR 120 PT -50 RACKING

highJACKED garamound regular 150 pt (0) tracking

helvetica oblique 112 pt (0) tracking

HIGHjacked ROCKWELL BOLD ITALIC 120 PT -20 TRACKING

PART

BASICS OF TEXT TYPOGRAPHY

OBJECTIVE

The basics of text typography teaches you how the arrange text in a functional and interesting way. Working with type means to layout your text in a way that attracts the reader and help guide them through the hierarchy of importance. Challenge yourself to only use limited thicknesses and sizes to orient your text in a way that responds with the reader and guides them through your page.

PROCESS This assignment consisted of using different weight and sizes. We had to create 5 square layouts of a certain text with a header, subheader, body, and author ,using only one size and thickness the font Univers. We repeated the same text 5 more times with two sizes and thicknesses and 10 more times with three sizes and thicknesses. The last part was to choose three favorites and revise them.

D A MANIFESTO OF MODERN DESIGN

“Neue Typographie lays out test by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, color, etc. Neue typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shape as design elements of equal value. With that, Neue Typorgaphie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.” Translation by Wolfgang Oertl

Die a Neue manifesto of Typographie modern design “Neue Typographie lays out test by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, color, etc.Neue typographie uses the possible effects of the former background consciously and considers both

the white background segments and the black type and shape as design elements of equal value. With that, Neue Typorgaphie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.” Translation by Wolfgang Oertl

ANALYSIS Working with 20 layouts causes me to think of many different variations of designs for the same text. It was challenging finding new and better ways to layout text. But I believe they improved more than got worse in every new iteration. I got to experiment a lot with positive and negative space and found new personal favorites like using up the whole page and adding text inside of letters and words.

SKETCHES

ONE SIZE ONE WEIGHT Die Neue Typographie

Die Neue Typographie, a manifesto of modern design

a manifesto of modern design

Neue typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shape as design elements of equal value. With that, Neue Typorgaphie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.” Translation by Wolfgang Oertl

Die Neue Typogrophie

Neue Typogapie uses the possible effects of the former backround consciously and considers both the whote backround segments and the black type and shapes as design elements of equal value.

With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.” Translation by Wolfgang Oertl

a manifesto of modern design

round er back ts the form fects of round segmen ssible ef ck lue. es the po th the whote ba ents of equal va us e pi poga ers bo n elem id sig ns de Neue Ty co sly and apes as consciou ack type and sh bl and the

Translation by Wolfgang Oertl

“Neue Ty po word, on graphie lays ou e using di group to the ne t text by leadin g the ey fferences xt. Thus e of w in sizes boldness e need to struct the viewer fro m on ure , posistio n in spac the text meani e ngfully, e, color, etc.

Neue Ty po consciou gapie uses th e possib sly and le consider and the black ty s both th effects of the fo pe and shapes e whote backro rmer backroun d as desig un n elemen d segments ts of equa l value.

Die Neue Typogrophie

“Neue Typographie lays out text by leading the eye of the viewer from one word, one group to the next.

Neue Typogapie uses the possible effects of the former backround consciously and considers both the whote backround segments and the black type and shapes as design elements of equal value.

With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.”

Translation by Wolfgang Oertl

Neue Typogapie uses the possible effects of the former backround consciously and considers both the whote backround segments and the black type and shapes as design elements of equal value.

Translation by Wolfgang Oertl

Thus we need to structure the text meaningfully, using differences in sizes boldness, posistion in space, color, etc.

a manifesto of modern design

Die Neue Typogrophie, a manifesto of modern design

TWO SIZES TWO WEIGHTS DIE NEUE NEUE TYPOGRAPHIE

Translation by Wolfgang Oertl “Neue Typographie lays out test by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, color, etc. Neue typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shape as design elements of equal value. With that, Neue Typorgaphie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.”

of modern design

DIE

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TYPOGRAPHIE

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Neue Typogapie uses the possible effects of the former backround consciously and considers both the whote backround segments and the black type and shapes as design elements of equal value.

A MANIFESTO OF MODERN DESIGN

NEUE

“Neue Typographie lays out text by leading the eye of the viewer

fromlays one word, one group to the “Neue Typographie out text next. Thus we need to structure by leading the eye of the viewer the text meaningfully, using differfrom one word, one group to the ences in sizes boldness, posistion next. Thus we need to structure in space, color, etc. the text meaningfully, using differences in sizes boldness, posistion in space, color, etc.

Translation by Wolfgang Oertl

Typograpie, Manifesto

Die Neue

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D i e N e u e Ty p o g r o p h i e

Translation by Wolfgang Oertl

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Typographie lays out text by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in sizes boldness, posistion in space, color, etc.

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uses the possible effects of the former backround consciously and considers both the whote backround segments and the black type and shapes as design elements of equal value.

With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.”

Translation by Wolfgang Oertl

“Neue Typographie lays out text by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in sizes boldness, posistion in space, color, etc. Neue Typogapie uses the possible effects of the former backround consciously and considers both the whote backround segments and the black type and shapes as design elements of equal value. With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.”

a m a ni fe st o o f m o de rn de si gn

Die Neue Typogrophie, a manifesto of modern design

THREE SIZES THREE WEIGHTS Die a Neue manifesto of Typographie

modern design “Neue Typographie lays out test by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, color, etc.Neue typographie uses the possible effects of the former background consciously and considers both

that, Neue Typorgaphie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact

of Neue Typographie.”

Translation by Wolfgang Oertl

MODERN DESIGN

A MANIFESTO

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Translation by Wolfgang Oert

A MANIFESTO OF MODERN DESIGN

Translation by Wolfgang Oertl

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REVISED FINAL THREE

D A MANIFESTO OF MODERN DESIGN

D I E NEUE TYPO GRA PHIE A MANIFESTO

MODERN

DESIGN

PART PART

TYPE POSTERS

4 OBJECTIVE

The Font Poster develops your knowledge on the type history and the visual characteristics of the five type classes. Grid systems are to be researched to maximize visual hierarchy for viewers. The posters are an opportunity to be creative with your font and informative. It is the first time you can create your own text that goes on the page, but it must show all aspects and history of your font and the designer. Color and aesthetic typographical forms can be used to better attracts a reader. Your experimental poster is to show your creativity and craft in printing collage and traditional image making.

PROCESS

The process for the font poster was to research your font until able to create a concise explanation of the history of the designer and the implications of the font. Sketching was very important to visualize your ideas. Creating drafts and evolving your idea was tracked in both posters. The traditional poster was meticulously edited until at a presentable state. Experimental poster traditionally painted on a canvas.

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The Font Posters pushed me to develop an idea and research and implement a completely original text to a design. Each step of the process brought something better top to finalized piece. I believe if i were not forced to go through all this steps and drafts I would settle for something that is not I my best and this project has shown me to work on something until there is no way to make it better. The experimental poster was very fun and relaxing to me because I am more comfortable with physical mediums and had less of a strict guideline to achieve.

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{Didot became the first modern type face, designed by firm didot in 1748. Its success allowed for the didot family of Paris to thrive as the main font foundry family in France. They began in the 1700’s and thrived for 200 years! The family even became the French King’s printers, with Firmin Didot serving as Emperor Napoleons royal printer for most of his life. It was reinvigorated in the 1990’s by print high fashion magazines, becoming the most common font in fashion magazine covers. It’s exaggerated contrast of stroke thicknesses give the typeface a modern, sleek look that attracted various forms of media from editorial to television logos. }

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Type of Modern Fashion*

DIDOT FIRMIN

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Type of Modern Fashion*

Type of Modern * Fashion

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editorial to television logos.

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E X P E R I M E N TA L P O S T E R PR OCE SS

Experimental process

P ROCE SS I found that high fashion magazines began using didot as their cover font because it gave a sleek elegant feeling. I decided to relate this poster to the fashion world by depicting a runway show. I sketched out the figures and painted them on a black canvas. I used the form of the runway in the third image to became the â&#x20AC;&#x153;iâ&#x20AC;? in didot.

T R A DITION A L FIN A L

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e fac of s a F h ion EXAGGERATED CONTRAST OF STROKE THICKNESSES give the typeface a modern , sleek look that attracted various forms of media from editorial to television logos.

EXP ER I M E NTA L FIN A L

PART PART

PROCESS BOOK

PROCESS

OBJECTIVE By organizing the collection of all the documented body of work, this process book is a chance to revisit the content of the materials learned in the class. This reinforces the knowledge and skills, one has learned thought the semester. This growth in increased by putting it into practice and creating the package. This project is a valuable package that also serves as a source of referential consideration for future design projects as well as a valuable portfolio piece.

This Book started with thumbnail sketches with what my vision was. I thought of making a colorful book with cutouts like â&#x20AC;&#x153;papel cortato.â&#x20AC;? I went through many drafts and variations on color and design until deciding to make a simple layout with flat colors. The cutouts of the tabs, cover page, and chapter numbers was done by hand with a exacto knife. Each layout was reviewed and critiqued by typography professor before finalized.

ANALYSIS The Process of making a book seemed like an enormous milestone for any designer. Creating a large group of work in a finalized professional style really helped me understand how the design process is. As a graphic design student this has helped me really think of my layouts, content, color, and fonts as one entity to be designed.

THUMBNAIL SKETCHES

DESIGN INSPIRATION

GRID T A B S

G U T T E R

G U T T E R 57

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This book is printed in April 26, 2018 on 11â&#x20AC;?x17â&#x20AC;? 67 lb white card stock. All cutouts are done by exacto knife, and cover was hand made. Typefaces used as heading and subheading was Futura by Paul Renner. Body text typeface used is Baskerville.

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