TYPOGRAPHY FUNDAMENTALS FINAL BOOK
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Typography is two-dimensional architecture, based on experience and imagination, and guided by rules and readability.
- HERMANN ZAPF
hi
My name is Mei. I come from a business background, but have found that my true passion lies in art, and design. I have always been passionate about art, and interested in creating things. Whether knitting, painting, cooking, photographing or gardening, I enjoy being creative, and exploring the world around me. This book is my collection of work that I did for my Typography Fundamentals class at UC Berkeley Extension.
01 Character Set
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02
Contents .
Type Anatomy
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03 Typesetting
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04 Type Classification Poster
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05 Swiss Designer Research
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01 Character Set
Create nine letterforms of an original type, at least four out of nine forms must be based on an existing character in english.Each should be able to stand alone as an interesting mark as well as work with the other in the set. The characters in the typefaces are designed to look like a group - strokes, shapes, angles, serifs and other parts are reused from character to character. The final design is presented on 5’x7’ postcards in black & white and color versions.
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T Y P O G R A P H Y
F U N DA M E TA L S
P R O J E C T 1 / / C H A R AC T E R
S E T
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Inspirations
Initial work
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Final design (From left to right: A, B, H, R, O, K, P, M, Q)
T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 1 / L E T T E R F O R M S
D E S I G N
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12
T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 1 / L E T T E R F O R M S
D E S I G N
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14
T Y P O G R A P H Y
F U N DA M E TA L S
P R O J E C T 1 / / C H A R AC T E R
S E T
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02 Type Anatomy
Introduce type terminology. Design a booklet by using the serif typeface and 26 letters from the alphabet. Identify the structural aspects of type. Label the different kinds of strokes, junctions & negative spaces used to create letterforms. The variation of those elements is what gives a typeface it’s legibility, character, and historical context. For this project I chose to design a booklet in the anatomy of the serif typeface Garamond.
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T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 2 / / T Y P E
A N ATO M Y
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18
T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 2 / / T Y P E
A N ATO M Y
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20
T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 2 / / T Y P E
A N ATO M Y
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03 Typesetting
Understand typesetting rules. Demonstrate accurate and aesthetically pleasing typesetting. Recognize how different type treatments and alignments require unique handing of type. Create 4 pages, each page showing one of those alignments: Set Left, Set Right, Justify, Center. The emphasis on this project was on craftsmanship and accurate handling of type.
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T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 3 / / T Y P E S E T T I N G
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3.1 Typesetting
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T Y P O G R A P H Y
F U N DA M E TA L S
P R O J E C T 3 / / T Y P E S E T T I N G
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26
T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 3 / / T Y P E S E T T I N G
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28
T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 3 / / T Y P E S E T T I N G
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3.2 Type Composition
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T Y P O G R A P H Y
F U N DA M E TA L S
P R O J E C T 3 / / T Y P E S E T T I N G
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32
T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 3 / / T Y P E S E T T I N G
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34
T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 3 / / T Y P E S E T T I N G
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36
T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 1 / L E T T E R F O R M S
D E S I G N
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3.3 Column Grid
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T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 3 / / T Y P E S E T T I N G
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40
T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 3 / / T Y P E S E T T I N G
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T Y P O G R A P H Y
F U N DA M E N TA L S
P R O PJ RE O C JT E 1C /T L 3E T/ /T ET RY FP O ER SM E TS T D I N EG S I G N
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3.4 Hierarchy / Modular Grid
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T Y P O G R A P H Y
F U N DA M E TA L S
P R O J E C T 3 / / T Y P E S E T T I N G
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T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 3 / / T Y P E S E T T I N G
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04 Type Classification Poster
Design three type classification posters in the Vox System using two Serif and one Sans Serif font. Each poster should have enough information to educate the viewer on the particular category, and to reflect the typography landscape. I picked transitional serif typeface Times New Roman, Didot and Humanist Sans Serif typeface Helvetica for this project.
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T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 4 // T Y P E
C L AS S I F I CAT I O N
P O S T E R S
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Didot Firmin Didot
A very elegant and modern typeface, Didot was widely used in the mid and late 1700s for fashion-related publications, including Harper’s Bazaar and Vogue. I chose to design the Didot poster in the form of a fashion magazine-Vogue.
Didot in use by Alexey Brodovitch for Harper's Bazaar, 1950
Didot in use on Vogue cover dates back to January 15, 1945
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T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 4 / T Y P E
C L AS S I F I CAT I O N
P O S T E R S
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Times New Roman is a Transitional serif typeface that has become a classic since it was first used in The British newspaper The Times in 1932 and was then offered to the public as commercial fonts in 1933. I chose to design the poster for Times New Roman in the form of the newspaper The Times.
The first edition of The Times with its new typeface-Times New Roman.
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T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 4 / T Y P E
C L AS S I F I CAT I O N
P O S T E R S
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Downtown & Brooklyn “Helvetica is the signage typeface of the New York City subway system” The designer who chose Helvetica for the New York Subway, Massimo Vignelli deliberately selected the typeface for its functional invisibility when he rejected Standard and replaced it with Helvetica for the 1989 redesign of the subway system’s signage. I chose to design the poster for Helvetica in the form of the New York Subway system map and signs.
Helvetica typeface It’s been used for the signage of the New York Subway system since 1989.
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T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 4 / T Y P E
C L AS S I F I CAT I O N
P O S T E R S
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05 Swiss Designer Research
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T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 5 // S W I S S
Research on a major Swiss Graphic Designer, A short biography along with some of his design works create a spread page with special attention to typesetting rules and techniques we’ve learned in this class.
D E S I G N E R
R E S E A R C H
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T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 5 // S W I S S
D E S I G N E R
R E S E A R C H
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T Y P O G R A P H Y
F U N DA M E N TA L S
P R O J E C T 1 / L E T T E R F O R M S
D E S I G N
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Thank you UC BERKELEY EXTENSION UX Design Program Typography Fundamentals
GRAPHY
Designer / Mei Costant Instructor / Ayac Kilicoglu Typeface / Orpheus Pro / Roc Grotesk