TYPO GRAPHY Nikita Jain Vyas
Introduction This book is a collection of five typography assignments developed over three months for the typography class at UC Berkeley Extension. The first project constitutes designing a typography postcard that consists of typefaces which was designed by enhancing an existing typeface. The second project introduces various structural elements of a typeface in a visually appealing manner. The third project demonstrates how aesthetically pleasing typesetting requires alignment of text and its associated usage of space. The fourth project introduces the life and work of Max Meidinger, a Swiss typographer, and his contribution to the field. The final project introduces various methods of classifying typefaces and their specific characteristics and history. This book was designed by Nikita Jain Vyas, a graphic designer based in California and who has worked as a freelance artist with several education and health-care organizations in India and the United States.
01 02 03 04 05
P RO TO T Y P E FAC E T Y P E A N ATO MY TYPESET TING S W IS S D E S I G N E R T Y P E C L A S S I FI C AT I O N
PROTOTYPEFACE
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P RO J EC T 1 : P R O TO T Y P E FAC E - P O S TC A R D
Objective: To design more accessible and unique postcards for adults between 20-30 years of age to share with the public - both hard copy and digitally. Create a unique card that can be proudly displayed by focusing on typography, page layout, color and concept by selecting 9 characters from an existing typeface and reconstructing them to convey emotion and great design. Design Process: For adults between 20-30 years of age, I wanted to provide a blend of harmony of two elements in a font — bluntness and sharpness compounded with smoothness and waviness. These two elements stand apart when brought together in a floral typeface. For this font, I also researched various other floral fonts which were found to be too smooth and wavy. My concept, therefore, combines these two elements building upon the existing font Atiba. This construction provides a clean yet a clear expression to the duality of youth life — harsh challenges of life (depicted by sharp and blunt component) coupled with youthful energy and exuberance (depicted by the floral add-on). Design Solution: To create this duality of bluntness and smoothness, I sharpened the edges and made incisions to the existing font using Adobe Illustrator. After that, for each letter, I added the floral component, which is thinner, smoother, and wavier next to it. The flower component is added only to the longer linear edge of each letter. I have also used vibrant colors to depict the exuberant energy of the youth.
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P RO J EC T 1 : P R O TO T Y P E FAC E - P O S TC A R D
Prototype Sketches
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Typeface derived from ‘Atiba’
P RO J EC T 1 : P R O TO T Y P E FAC E - P O S TC A R D
Postcard Variation 1
Postcard Variation 2
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P RO J EC T 1 : P R O TO T Y P E FAC E - P O S TC A R D
Postcard Variation 1
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P RO J EC T 1 : P R O TO T Y P E FAC E - P O S TC A R D
Postcard Variation 2
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TYPE ANATOMY
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2
2
P RO J EC T 2 : T Y P E A N ATO M Y
Objective: Introduce type terminology via an infographic with a focus on the target audience. Identify the structural aspects of type. Label the different kinds of strokes, junctions & negative spaces used to create letterforms. Identify a variety of differently shaped terminals and serifs. Increase awareness of letterforms and glyphs. Gain layout skills: hierarchy, negative space, focal point, color, and impact. Design Process: I wanted to create a piece that could be used by designers as flashcards to remember typography terms that are used in professional conversations on a regular basis. Initially, I experimented with several typefaces but eventually selected the typeface Clarendon for its bold and elegant look. An enlarged alphabet on each page is accompanied by another small letter. Additionally, the specific terminology to be described is visually highlighted with an outline stroke or a different color. This theme was inspired by the bold titles and drop caps that are often used in newspapers. I wanted to apply a similar design to my typography pamphlet. I noticed that when concepts are visually highlighted and made prominent, it becomes easy to retain in memory. Design Solution: I chose black and white as the base color theme to give the design a feel of an old newspaper. Specific terminologies and concepts are highlighted with a different color or an outline stroke. I experimented with different typefaces and finalized the typeface “Clarendon” since it has a clean, bold and classic appearance. Moreover, this typeface had all the necessary features such that all the relevant concepts which were to be included in the pamphlet could be highlighted. Since the typeface would occupy substance space on the page, I wanted to highlight each relevant concept in a simple yet elegant manner making sure that the design does not get crowded. To do so, I had to choose contrasting colors and outline strokes. It was important to be consistent by including equal number of Capitals and small caps in alternate pages. I have also selected equal number of left, right and center alignments in alternate pages to make it uniform but not monotonous. This could be a tiny pamphlet size of a flashcard that any designer could fold and carry around in their pocket.
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P RO J EC T 2 : T Y P E A N ATO M Y
Type Anatomy Pamphlet - Cover and center Page
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P RO J EC T 2 : T Y P E A N ATO M Y
Type Anatomy Pamphlet - Pages
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P RO J EC T 2 : T Y P E A N ATO M Y
Type Anatomy Pamphlet - Pages
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P RO J EC T 2 : T Y P E A N ATO M Y
Type Anatomy Pamphlet - Pages
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P RO J EC T 2 : T Y P E A N ATO M Y
Type Anatomy Pamphlet - Inner Pages
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P RO J EC T 2 : T Y P E A N ATO M Y
Type Anatomy Pamphlet - Outer Pages
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TYPE SETTING
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3
3
P RO J EC T 3 : T Y P E S E T T I N G
Objective: Understand typesetting rules. Demonstrate accurate and aesthetically pleasing typesetting. Recognise how different type treatments and alignments require unique handling of type. Design Process: I started with the alignment exercises where I set up the content in the center of the page which wide margins for a cleaner look. For the orphans and rivers, I adjusted the tracking. I also made sure the rags were even on the left alignment page. The rags on the right alignment set were the most challenging to adjust, but I did them by increasing the tracking by 20+ pts. For the paragraph, indicators exercise, I started with paragraph indents followed by hanging indent with the values of left indent set to +0.25 in and the first line left indent as – 0.25 in. To highlight the beginning of the first paragraph, I have used a bold font for the first phrase. The last two parts of this exercise included highlighting each paragraph’s first word and first phrase, respectively. The typefaces I used in the five pages are Cambria, Roboto, Lucida Bright, Acumin Pro, and Arial. For the second part of the paragraph indicator exercise, I created three pages, one with an initial cap, drop cap, and first paragraph highlight to indicate the beginning of the text. The last exercise demonstrates hierarchy in three different forms by combining different parameters like scale, style, typeface and graphic element. Design Solution: I kept the layout as simple and clean as possible. The font size is small enough to create those wide margins and breathing space that I intended to keep but big enough so that it is readable. There were a lot of adjustments done to adjust the tracking to remove rivers or orphans or simply to create a beautiful rag. There are a variety of typefaces used in this project, and it was fun seeing how different typefaces react to the same type setup.
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P RO J EC T 3 : T Y P E S E T T I N G - L E F T A L I G N M E N T
EXERCISE 1.1: Left Alignment
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
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Nikita Jain Vyas Project 3: Typesetting Alignment: Left Font: 8/13 Adobe Garamond Pro +25 Tracking
P RO J EC T 3 : T Y P E S E T T I N G - R I G H T A L I G N M E N T
EXERCISE 1 .2: RIGHT ALIGNMENT
LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN Nikita Jain Vyas Project 3: Typesetting Alignment: Right Font: 8/13 Adobe Garamond Pro +25 Tracking
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
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P RO J EC T 3 : T Y P E S E T T I N G - J U S T I F I E D A L I G N M E N T
EXERCISE 1 .3: Justified Alignment
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
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Nikita Jain Vyas Project 3: Typesetting Alignment: Justified Font: 8/13 Adobe Garamond Pro +35 Tracking
P RO J EC T 3 : T Y P E S E T T I N G - C E N T E R A L I G N M E N T
EXERCISE 1 .4: Center Alignment
LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN Nikita Jain Vyas Project 3: Typesetting Alignment: Center Font: 8/13 Adobe Garamond Pro +20 Tracking
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
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EXERCISE 2.1: Paragraph Indicator - Indent P RO J EC T 3 : T Y P E S E T T I N G - PA R AG R A P H I N D I C ATO R - I N D E N T
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 business like, 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
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Nikita Jain Vyas Project 3: Typesetting Nikita Jain Vyas Indicator: Indent Project 3: Typesetting Alignment: Justified Paragraph Indicator: Indent Font: 8/14 Cambria Regular Alignment: Justified -10 Tracking Font: 8/13 Cambria Regular -10 Tracking
EXERCISE 2.2: Paragraph Indicator - Hanging Indent P RO J EC T 3 : T Y P E S E T T I N G - PA R AG R A P H I N D I C ATO R - H A N G I N G I N D E N T
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 business like, 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.
Nikita Jain Vyas Project 3: Typesetting Nikita Jain Vyas Indicator: Hanging Indent Project 3: Typesetting Alignment: Justified Paragraph Indicator: Hanging Indent Font: 8/13 Roboto Regular Alignment: Justified -20 to +20 Tracking Font: 8/13 Roboto Regular -20 to +20 Tracking
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
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EXERCISE 2.3: Paragraph Indicator - Extra Leading P RO J EC T 3 : T Y P E S E T T I N G - PA R AG R A P H I N D I C ATO R - E X T R A L E A D I N G
K
arl 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 business like, 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
26
Nikita Vyas Nikita Jain Jain Vyas Project 3: Typesetting Project 3: Typesetting Paragraph Indicator: Extra Leading Indicator: Extra Leading Alignment: Justified Alignment: Justified Font: Font: 8/14 8/14 Lucida Lucida Bright Bright Regular -20 -20 to to +20 +20 Tracking Tracking
EXERCISE 2.4: Paragraph Indicator - First Word P RO J EC T 3 : T Y P E S E T T I N G - PA R AG R A P H I N D I C ATO R - F I R S T W O R D
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 business like, 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.
Nikita Jain Vyas Nikita Jain Vyas Project 3: Typesetting Project 3: Typesetting Paragraph Indicator: First Word Indicator: First Word Alignment: Left Alignment: Left Font: 8/14 Acumin ProAcumin Light Pro Light Font: 8/14 -10 Tracking -10 Tracking
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 Luptonupton
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EXERCISE 2.5: Paragraph Indicator - First Sentence/ Phrase P RO J EC T 3 : T Y P E S E T T I N G - PA R AG R A P H I N D I C ATO R - F I R S T P H R A S E
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 business like, 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
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Nikita Jain Vyas Nikita Vyas ProjectJain 3: Typesetting Project 3: Typesetting Indicator: First Phrase Paragraph Alignment:Indicator: Justified First Phrase Alignment: Justified Font: 8/13 Arial Regular Font: 8/13 Arial Regular +20 Tracking +20 Tracking
EXERCISE 3.1: Text Beginning: Initial Cap P RO J EC T 3 : T Y P E S E T T I N G - T E X T B E G I N N I N G - I N I T I A L C A P
K
arl 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
Nikita Jain Vyas Nikita Jain Vyas Project 3: Typesetting Project 3: Typesetting Indicator: Initial Cap Indicator: Initial Cap Alignment: Justified Alignment: Justified Font: 9/14 Adobe Caslon Pro Regular Font: 9/14 Adobe Caslon Pro +20 Tracking +20 Tracking
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
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EXERCISE 3.2: Text Beginning: Drop Cap P RO J EC T 3 : T Y P E S E T T I N G - T E X T B E G I N N I N G - D R O P C A P
K
arl 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
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Nikita Jain Vyas Nikita Jain Vyas Project 3: Typesetting Project 3: Typesetting Indicator: Drop Cap Indicator: Drop Cap Alignment: Justified Alignment: Justified Font: 8/14 Franklin Gothic Font: 8/14 Franklin Gothic +30 Tracking +30 Tracking
EXERCISE 3.3: Text Beginning: Intro Paragraph P RO J EC T 3 : T Y P E S E T T I N G - T E X T B E G I N N I N G - I N T R O PA R AG R A P H
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.
Nikita Jain Vyas Nikita Jain Vyas Project 3: Typesetting Project 3: Typesetting Indicator: First Paragraph Indicator: First Paragraph Alignment: Justified Alignment: Justified Font: 9/13 Bodoni Font: 9/13 Bodoni +10 Tracking +10 Tracking
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 mate-rials; 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
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P RO J EC T EXERCISE 3 : T4.1: Y P E SHeirarchy E T4.1: T I N GHeirarchy - H -E IScale R A R C-HScale Y - S C Change ALE CHANGE EXERCISE Change
Scale Scale
VERBAL VISUAL EQUATIONS VERBAL ANDAND VISUAL EQUATIONS An examination of interactive signs excerpted from
An examination of interactive signsand excerpted from Typographic Design: Form Communication Typographic Design: Form and Communication By Ben Day and Philip Meggs
Bymany Benforms, Dayisand Philip Meggs Language, in any of its a self-contained system of interactive signs that communicates ideas.
Style
Style
Just as elocution and diction enhance and clarify the meaning of our spoken words, typographic signs can be
Language, in any of its many forms, is a self-contained system of interactive signs that communicates ideas.
manipulated by a designer to achieve more lucid and expressive typographic communication. Signs operate in
Just as elocution and diction enhance and clarify the meaning of our spoken words, typographic signs can be
two dimensions: syntactic and semantic. When the mind is concerned with the form of a sign, it is involved with
manipulated by a designer to achieve more lucid and expressive typographic communication. Signs operate in
typographic syntax. When it associates a particular meaning with a sign, it is operating in the semantic dimension.
two dimensions: syntactic and semantic. When the mind is concerned with the form of a sign, it is involved with
All objects in the environment can potentially function as signs, representing any number of concepts. A smog-
typographic syntax. When it associates a particular meaning with a sign, it is operating in the semantic dimension.
filled city signifying pollution, a beached whale representing extinction, and confetti implying a celebration each
All objects in thefunction environment potentially function as signs, representing any number of concepts. A smogas a signcan relating a specific concept. filled city signifying pollution, a beached whale representing extinction, and confetti implying a celebration each
Signs may exist at various levels of abstraction. A simple example will illustrate this point. Let us consider something
function as a sign relating a specific concept.
as elemental as a red dot. It is a sign only if it carries a particular meaning. It can represent any number of things:
or Japanese flag. The red dotexample can become a cherry, for as us theconsider mind is cued by forms more Signs may exist atballoon, variousball, levels of abstraction. A simple will illustrate thisexample, point. Let something toItitsisexperience. qualities associated with typographic signs determine as elemental as afamiliar red dot. a sign onlyThe if itparticular carries asyntactic particular meaning. It can represent any number of things:a specific
Typeface
Typeface
meaning. Aflag. series repeated letters, for example, may motion or speed, a small letter more in a large void balloon, ball, or Japanese Theofred dot can become a cherry, forsignify example, as the mindwhile is cued by forms may signify isolation. These qualities, derived from the operating principles of visual hierarchy and ABA form,
familiar to its experience. The particular syntactic qualities associated with typographic signs determine a specific
function as cues, permitting the mind to form concepts. Simple syntactic manipulations, such as the repetition of
meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a large void
letters, or the weight change of certain letters, enable words visually to mimic verbal meaning. In language, signs
may signify isolation. These qualities, derived from the operating principles of visual hierarchy and ABA form,
are joined together to create messages. Words as verbal sign, grouped together in a linear fashion, attain their value
function as cues, permitting the mind to form concepts. Simple syntactic manipulations, such as the repetition of
vis-à-vis other words through opposition and contrast. Words can also evoke meaning through mental association.
letters, or the weight change of certain letters, enable words visually to mimic verbal meaning. In language, signs These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a
are joined together to create messages. Words as verbal together in a linear attain their with valueelements linear fashion, with words following eachsign, othergrouped in a specific sequence, or in fashion, a nonlinear manner, vis-à-vis other words through opposition and contrast. Words can also evoke meaning through mental association. existing in many syntactic combinations. 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.
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Nikita Jain Vyas Project 3: Typesetting Heirarchy: Scale Change
Nikita Jain Vyas Alignment: Justified Project Typesetting Font:3:8/13 Cambria
Heirarchy: Scale Change -20 Tracking Alignment: Justified
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Font: 8/13 Cambria -20 Tracking
Scale + Style Scale + Style
EXERCISE Change and P RO J ECEXERCISE T 4.2: 3 : T YHeirarchy P E S E4.2: T T I NHeirarchy G- Style, - H E I R AScale R- CStyle, H Y and - SScale T Typeface YLE, S C A LTypeface E A N D T Y PChange E FAC E
Verbal andand Visual Verbal Visual Scale + Typeface Scale + Typeface
Equations Equations An examination of interactive excerpted Typographic An examination of signs interactive signsfrom excerpted from Typographic Design: Form and Communication Design: Form and Communication By Ben Day andBy Philip Ben Meggs Day and Philip Meggs
Scale + Style Scale+ +Typeface Style + Typeface
Nikita Jain Vyas Nikita Jain Vyas Project 3: Typesetting Project 3: Typesetting Heirarchy: Style, Scale and Typeface Heirarchy: Style, Scale and Typeface Alignment: Justified Alignment: Justified Font: 8/11 Lora/ +45 Futura Font: 8/11 Lora/ +45 Futura -20 to +30 Tracking -20 to +30 Tracking
syntactic qualitiessyntactic associated with typographic Language, in anyLanguage, of its many forms, is amany self- forms, qualities associated with typographic in any of its is a selfsigns determine asigns specific meaning. A seriesmeaning. of contained system of interactive that determine a specific A series of contained system signs of interactive signs that repeated letters,repeated for example, communicates ideas. Just as elocution letters,may for signify example, may signify communicates ideas.and Justdiction as elocution and diction or speed,motion while aor small letter in aalarge enhance and clarify the meaning of our speed, while small letter in a large enhance and clarify thespoken meaning ofmotion our spoken void may by signifyvoid isolation. Theseisolation. qualities,These qualities, words, typographic signstypographic can be manipulated may signify words, signs canby be manipulated derived from the operating of principles of a designer to achieve more lucid and expressive derived from principles the operating a designer to achieve more lucid and expressive visual hierarchy and ABA form, function typographic communication. Signs operate inSigns visual hierarchy and ABA as form, function as typographic communication. operate in cues, permitting the mind to form two dimensions: two syntactic and semantic. When cues, permitting theconcepts. mind to form concepts. dimensions: syntactic and semantic. When Simple manipulations, as the the mind is concerned with form of with a sign, Simple syntactic such manipulations, such as the the mind is the concerned the form of a syntactic sign, repetition or theofweight change it is involved with syntax. When it syntax. repetition letters, or theofweight change of it typographic is involved with typographic When of it letters, certain words visually towords mimicvisually to mimic associates a particular meaning with a sign, it is with certain letters, enable associates a particular meaning a sign,letters, it is enable verbal meaning. verbal In language, signs joined signs are joined operating in the semantic meaning. In are language, operatingdimension. in the semantic dimension. together to create messages. Wordsmessages. as verbal Words as verbal together to create All objects in the environment can potentially All objects in the environment can potentially sign, grouped together in a linear fashion, sign, grouped together in a linear fashion, function as signs,function representing anyrepresenting number of any number of as signs, attain their value attain vis-à-vis other words through their value vis-à-vis other words through concepts. A smog-filled city signifying pollution, concepts. A smog-filled city signifying pollution, opposition and contrast. Words also evoke opposition and can contrast. Words can also evoke a beached whalearepresenting extinction, and extinction, and beached whale representing meaning throughmeaning mental through association. These mental association. These confetti implyingconfetti a celebration each function as each function as implying a celebration associative relations are semantically derived. associative relations are semantically derived. a sign relating a specific concept. a sign relating a specific concept. Since typographySince is both visual and verbal, typography is both visual and verbal, Signs may exist atSigns various levels may existofatabstraction. various levels ofitabstraction. operates in ait linear fashion, operates in a with linearwords fashion, with words A simple exampleAwill illustrate thiswill point. Let us thisfollowing simple example illustrate point. Leteach us other in a specific sequence, or following each other in a specific sequence, or consider something as elemental as a as red dot. It asina ared consider something elemental dot. It manner, nonlinear with elements existing in a nonlinear manner, with elements existing is a sign only if itiscarries a particular meaning. a sign only if it carries a particular meaning. in many syntacticincombinations. many syntactic combinations. It can represent any number of things: balloon,of things: balloon, It can represent any number ball, or Japanese flag. TheJapanese red dot flag. can become ball, or The red adot can become a cherry, for example, as the is cued cherry, formind example, asby theforms mind is cued by forms more familiar to more its experience. particular The particular familiar toThe its experience.
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EXERCISE 4.1: Heirarchy - Style, Scale and Typeface Change with Graphic Element
P RO J EC T 3 : T Y P E S E T T I N G - H E I R A R C H Y - S T Y L E , S C A L E , T Y P E FAC E W I T H G R A P H I C E L E M E N T
VERBAL AND VISUAL EQUATIONS An examination of interactive signs excerpted from Typographic Design: Form and Communication By Ben Day and Philip Meggs Language, in any of its many forms, is a selfcontained 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
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confetti implying a celebration each function 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-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.
Nikita Jain Vyas Project 3: Typesetting Heirarchy: Scale, Style, Typography, Graphic Element Alignment: Justified Font: 8/12 Franklin Gothic / Adobe Garamond -20 to +40 Tracking
SWISS DESIGNER
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P RO J EC T 4 : S W IS S D E S I G N E R
Max Miedinger Max Miedinger Interestingly, Max Miedinger is not a famous designer, but he created the most popular typeface used today - “Helvetica.” Max Miedinger was born in 1910 in Zurich, Switzerland. He began his career as a typesetter at a book printing office at 16. He completed his studies in Zurich at the School of Arts and Crafts. Several years later, he worked as a typographer in the advertising studio of the Globe department store chain, where he further developed his typography skills. Ten years later, he made his mark in graphic design by redesigning an old sans serif font called - Akzidenze Grotesk. His new design was known as “Neue Haas Grotesk,” which was later renamed “Helvetica” as we know it today.
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After creating Helvetica, he continued his work as a typographer, but he was never as famous as the typeface itself. Throughout 1957 and 1958, Hoffman and Miedinger collaborated continuously to fine-tune each character. This can be read in more detail in the book “Story of a Typeface: Helvetica Forever.” It is known that Miedinger was very decisive during the entire process and hence had a significant role to play. He was also very knowledgeable and had excellent relations with the customers of the type foundry, which made the typeface e real success. Today Helvetica has many variants and is widely used in many places like online, print, advertising, currency, etc.
P RO J EC T 4 : S W I S S D E S I G N E R
The engraving room at the Haas Type Foundry. Lintoype ceased the type casting operations at Haas in 1989.
A page from Eduard Hoffmann’s Helvetica notebook dated November 27, 1957.
A sampling of corporate identities that use Helvetica.
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5
TYPE
CLASSIFICATION
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P RO J EC T 5 : T Y P E C L A S S I FI C AT I O N
Objective: To research the various periods and design from its influence to visually communicate the evolution of type to practice the principles of typography that we have studied. The ultimate goal is to have enough information to educate the viewer on the particular category and to reflect the typographic landscape. Design Process: I researched the most common fonts used in fashion magazines and posters as I wanted to create this project in the theme of fashion. I also picked three different fonts from three type classifications. The typefaces that I finalized were: Garamond, Didot, and Futura. I looked through various fashion hoardings, posters, and magazines online to understand the look and feel. I noticed that they are clean, elegant, and feminine. I created sketches for the three posters to make a layout that has these three characteristics. I took the initial letter of the name of each typeface as the main element of the posters. To emphasize it even further, I duplicated the letter and inverted it vertically and horizontally so that when placed together, they fit like a puzzle. To make the two not compete, I reduced the opacity of one of the two letters. Then I added the other elements of the posters like a brief history, characteristics, other font variations, subtitle, and type classification terms. To bring elegance to the layout, I made sure to have all the elements space out. I chose a pastel pink color with black and white as my color palette for the feminine look. Finally, I adjusted the elements to keep consistent margins around the content and placed the pieces in the mockups. Design Solution: This project helped me dive deeper into the history of type and different times they come from and the characteristics that they bring from those times. It is interesting to see types evolve. The minor details of the typeface are lost when we see them in a group. However, seeing them individually while creating the project helped me appreciate and learn how such minute characteristics can change the look, readability, and aesthetics of type.
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P RO J EC T 5 : T Y P E C L A S S I FI C AT I O N
Type Classification Posters
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P RO J EC T 5 : T Y P E C L A S S I FI C AT I O N
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DESIGNER Nikita Jain Vyas INSTRUCTOR Victoria Ariola TYPEFACE D-DIN Exp COURSE Typography Fundamentals SCHOOL University of California Berkeley Extension PROGRAM Professional Program in Graphic Design
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Typography needs to be audible, Typography needs to be felt, Typography needs to be experienced. - Helmut Schmid