Typography Book by nikitajv

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

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.

Prototype Sketches

Typeface derived from ‘Atiba’

Postcard Variation 1

Postcard Variation 2

Postcard Variation 1

Postcard Variation 2

TYPE ANATOMY

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.

Type Anatomy Pamphlet - Cover and center Page

Type Anatomy Pamphlet - Pages

Type Anatomy Pamphlet - Inner Pages

Type Anatomy Pamphlet - Outer Pages

TYPE SETTING

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.

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

Nikita Jain Vyas Project 3: Typesetting Alignment: Left Font: 8/13 Adobe Garamond Pro +25 Tracking

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

EXERCISE 1 .3: Justified Alignment

Nikita Jain Vyas Project 3: Typesetting Alignment: Justified Font: 8/13 Adobe Garamond Pro +35 Tracking

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

EXERCISE 2.1: Paragraph Indicator - Indent EXERCISE 2.1: Paragraph Indicator - Indent

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 Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence we know it today if F. T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state we know it today if F. T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea their principles in compact, incendiary speech. of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state A manifesto is a short incendiary document speech. that “manifests” or makes public a set of ideas and goals. A manifesto is their principles in compact,

passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is by more business like, professionally oriented statements of purpose and principle. But at the turn of the new passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” by more business like, professionally oriented statements of purpose and principle. But at the turn of the new to spell out the defining features of their products, and software companies and design firms started posting century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” manifestos to publicize their approach in an edgy, direct way. to spell out the defining features of their products, and software companies and design firms started posting Designers seem especially drawn in to an manifestos. A well-written manifesto is like a well designed product. manifestos to publicize their approach edgy, direct way.

It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And Designers seem especially drawn to manifestos. A well-written manifesto is like a well designed product. drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function—they It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And serve to bring together members of a group. Ten years ago, Bruce Mau published his “Incomplete Manifesto,” drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function—they written as a list of commandments. serve to bring together members of a group. Ten years ago, Bruce Mau published his “Incomplete Manifesto,” These principles became the established creed of Mau’s own design office, but they can be used by written as a list of commandments.

anyone. Other designers with intriguing and influential personal manifestos include product designer Karim These principles became the established creed of Mau’s own design office, but they can be used by Rashid and the infamous post-typographers Bruce Willen and Nolen Strals. anyone. Other designers with intriguing and influential personal manifestos include product designer Karim

Sterling’s “Manifesto of JanuaryBruce 3, 2000” helped galvanize RashidBruce and the infamous post-typographers Willen and Nolen Strals.the contemporary green movement,

which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of all social, Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, political and military systems, pushed designers to create “intensely glamorous environmentally sound which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of all social, products; entirely new objects of entirely new materials; replacing material substance with information; a new political and military systems, pushed designers to create “intensely glamorous environmentally sound relationship between the cybernetic and the material” (iPhone, anyone?). Also, in 2000, Rick Poynor published products; entirely new objects of entirely new materials; replacing material substance with information; a new the “First Things First 2000” manifesto, based on a text written by Ken Garland in 1964, a controversial relationship between the cybernetic and the material” (iPhone, anyone?). Also, in 2000, Rick Poynor published document that called for designers to use their skills to improve environmental, social and cultural life rather the “First Things First 2000” manifesto, based on a text written by Ken Garland in 1964, a controversial than to sell hair gel and dog biscuits. document that called for designers to use their skills to improve environmental, social and cultural life rather —excerpted fromgel Manifesto by Ellen and Julia Lupton than to sell hair and dog Mania biscuits. —excerpted from Manifesto Mania by Ellen and Julia Lupton

Nikita Jain Vyas Project 3: Typesetting Nikita Jain Vyas Indicator: Indent ProjectJain 3: Typesetting Nikita Alignment:Vyas Justified Paragraph Indicator: Indent Project 3: Typesetting Font: 8/14 Cambria Regular Alignment:Indicator: Justified Indent Paragraph -10 Tracking Font: 8/13 Cambria Alignment: Justified Regular -10 Tracking Font: 8/13 Cambria Regular -10 Tracking

EXERCISE 2.2: Paragraph Indicator - Hanging Indent EXERCISE 2.2: Paragraph Indicator - Hanging Indent

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 Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigated Futurism. By in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigated Futurism. By designers after him to state their principles in compact, incendiary speech. inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and A manifesto is aafter short document that “manifests” makes public a setspeech. of ideas and goals. A manifesto is designers him to state their principles in or compact, incendiary passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is replaced by more business like, professionally oriented statements of purpose and principle. But at passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses replaced by more business like, professionally oriented statements of purpose and principle. But at started using “brand manifestos” to spell out the defining features of their products, and software the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses companies and design firms started posting manifestos to publicize their approach in an edgy, direct way. started using “brand manifestos” to spell out the defining features of their products, and software Designers seemand especially drawn to manifestos. A well-written manifesto is like a well product. companies design firms started posting manifestos to publicize their approach in andesigned edgy, direct way. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. Designers seem especially drawn to manifestos. A well-written manifesto is like a well designed product. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. function–they serve to bring together members of a group. Ten years ago, Bruce Mau published his And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social “Incomplete Manifesto,” written as a list of commandments. function–they serve to bring together members of a group. Ten years ago, Bruce Mau published his These“Incomplete principles Manifesto,” became thewritten established creed of Mau’s own design office, but they can be used by as a list of commandments. anyone. Other designers with intriguing and influential personal manifestos include product designer These principles became the established creed of Mau’s own design office, but they can be used by Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals. anyone. Other designers with intriguing and influential personal manifestos include product designer

Nikita Jain Vyas Project 3: Typesetting Nikita Jain Vyas Indicator: Hanging Indent Project 3: Typesetting Nikita Jain Vyas Alignment: Justified Paragraph Indicator: Hanging Indent Project 3: Typesetting Font: 8/13 Roboto Regular Alignment: Justified Hanging Indent Paragraph Indicator: -20 to +20 Tracking Font: 8/13 Roboto Alignment: JustifiedRegular -20 to 8/13 +20 Tracking Font: Roboto Regular -20 to +20 Tracking

BruceKarim Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary Rashid and the infamous post-typographers Bruce Willen and Nolen Strals. green movement, which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, of all social, political and military systems, pushed designers to create “intensely glamorous which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul environmentally sound products; entirely new objects of entirely new materials; replacing material of all social, political and military systems, pushed designers to create “intensely glamorous substance with information; a new relationship between the cybernetic and the material” (iPhone, environmentally sound products; entirely new objects of entirely new materials; replacing material anyone?). Also in 2000, Rick Poynor published the “First Things First 2000” manifesto, based on a substance with information; a new relationship between the cybernetic and the material” (iPhone, text written by Ken Garland in 1964, a controversial document that called for designers to use their anyone?). Also in 2000, Rick Poynor published the “First Things First 2000” manifesto, based on a skills to improve environmental, social and cultural life rather than to sell hair gel and dog biscuits. text written by Ken Garland in 1964, a controversial document that called for designers to use their —excerpted Manifesto Mania by Ellen Lupton skills tofrom improve environmental, socialand andJulia cultural life rather than to sell hair gel and dog biscuits. —excerpted from Manifesto Mania by Ellen and Julia Lupton

EXERCISE 2.3: Paragraph Indicator - Extra Leading EXERCISE 2.3: Paragraph Indicator - Extra Leading

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—excerpted from Manifesto Mania by Ellen and Julia Lupton

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EXERCISE 2.4: Paragraph Indicator - First Word EXERCISE 2.4: Paragraph Indicator - First Word 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 Karl hadifone. Unibomber one. When Thomas Jefferson wrote Futurism. the Declaration of Independence knowMarx it today F. T. The Marinetti hadn’t had published his manifestos and instigated By inventing the idea of in draftedpublic the manifesto thatMarinetti launched the American Graphic would nothim existtoasstate we art1776, as ahe branded enterprise, compelled manyRevolution. poets, painters anddesign designers after know it today if in F. compact, T. Marinetti hadn’t published their principles incendiary speech. 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 A manifesto short document that “manifests” or makes public a set of ideas and goals. A manifesto is their principlesisinacompact, incendiary speech.

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EXERCISE 2.5: Paragraph Indicator - First Sentence/ Phrase EXERCISE 2.5: Paragraph Indicator - First Sentence/ Phrase 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 Karl wouldMarx not exist had as one. we The knowUnibomber it today if had F. T. one. Marinetti When hadn’t Thomas published Jefferson his manifestos wrote the Declaration and instigated of Independence Futurism. By inventing in 1776, he thedrafted idea ofthe art manifesto as a branded thatpublic launched enterprise, the American Marinetti Revolution. compelled Graphic many design poets, would painters notand exist designers as we know after him it today to state if F. their T. Marinetti principles hadn’t in compact, published incendiary his manifestos speech.and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, A manifesto is a short document “manifests” or makes public a set of ideas speech. and goals. A manifesto painters and designers after him tothat state their principles in compact, incendiary is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century,

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anyone. Other designers with intriguing and influential personal manifestos include product designer Karim

These Rashid principles and the infamous became post-typographers the establishedBruce creedWillen of Mau’s and Nolen own design Strals.office, but they can be used by anyone. Other designers with intriguing and influential personal manifestos include product designer Karim Bruce Sterling’s “Manifesto of January 3,Bruce 2000” helped the contemporary green movement, Rashid and the infamous post-typographers Willen andgalvanize Nolen Strals. which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of all social,

Bruce politicalSterling’s and military “Manifesto systems,ofpushed January designers 3, 2000”tohelped creategalvanize “intenselythe glamorous contemporary environmentally green movement, sound which products; is the entirely epicenter newofobjects manifesto-writing of entirely today. new materials; Sterling, in replacing additionmaterial to demanding substance an overhaul with information; of all social,a political new relationship and military between systems, the cybernetic pushed designers and the material” to create (iPhone, “intensely anyone?). glamorous Also environmentally in 2000, Rick Poynor sound products; publishedentirely the “First newThings objects First of entirely 2000” manifesto, new materials; based replacing on a text material writtensubstance by Ken Garland with information; in 1964, aa new controversial relationship document betweenthat thecalled cybernetic for designers and the material” to use their (iPhone, skills to anyone?). improve Also environmental, in 2000, Rick social Poynor and published cultural lifethe rather “First than Things to sellFirst hair 2000” gel andmanifesto, dog biscuits. 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 —excerpted from than Manifesto byand Ellen and Julia Lupton cultural life rather to sellMania hair gel dog biscuits. —excerpted from Manifesto Mania by Ellen and Julia Lupton

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EXERCISE 3.1: Text Beginning: Initial Cap EXERCISE 3.1: Text Beginning: Initial Cap

K 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 arl Marx had one. The Unibomber one. Thomas Jefferson wrote the Declaration of instigated Futurism. By inventing the ideahad of art asWhen a branded public enterprise, Marinetti compelled

Independence in 1776, drafted after the manifesto that launched theinAmerican Graphic many poets, painters andhe designers him to state their principles compact, Revolution. incendiary speech. A design would not exist as we that know it today iforF.makes T. Marinetti hadn’t published his manifestos and manifesto is a short document “manifests” public a set of ideas and goals.

instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the midmany poets, painters and designers after him to state their principles in compact, incendiary speech. A 20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. manifesto is a short document that “manifests” or makes public a set of ideas and goals. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses A manifesto passionate, personaltoand vivid. calls to action wentofout of fashion during midstarted usingis“brand manifestos” spell outSuch the defining features their products, and the software 20th century, by more businesslike, professionally orientedtheir statements of in purpose and principle. companies andreplaced design firms started posting manifestos to publicize approach an edgy, direct way. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed started using “brand manifestos” to spell out the defining features of their products, and software product. It communicates directly, it is broken into functional parts, and it has elements of poetry and companies and design firms started posting manifestos to publicize their approach in an edgy, direct way. surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a Designers seem especially manifestos. A well-written manifesto is Bruce like a Mau well-designed social function—they serve todrawn bring to together members of a group. Ten years ago, published

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product. It communicates directly, into functional parts, and it has elements of poetry and his “Incomplete Manifesto,” writtenitasis abroken list of commandments. surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a These principles became the established creed of Mau’s own design office, but they can be used by social function—they serve to bring together members of a group. Ten years ago, Bruce Mau published anyone. Other designers with intriguing and influential personal manifestos include product designer his “Incomplete Manifesto,” written as a list of commandments. Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals. These principles became the established creed of Mau’s own design office, but they can be used by Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, anyone. Other designers with intriguing and influential personal manifestos include product designer which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of all Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals. social, political and military systems, pushed designers to create “intensely glamorous environmentally Bruce Sterling’s Januaryof3, entirely 2000” helped galvanize the contemporary movement, sound products; “Manifesto entirely newofobjects new materials; replacing materialgreen substance with which is the epicenter of manifesto-writing today. Sterling, in the addition to demanding an overhaul of all information; a new relationship between the cybernetic and material” (iPhone, anyone?). Also in social, Rick political and published military systems, pushed designers to create “intensely glamorous 2000, Poynor the “First Things First 2000” manifesto, based on a textenvironmentally written by Ken sound products; new objects of entirely new materials; replacing substance with Garland in 1964,entirely a controversial document that called for designers to usematerial their skills to improve information; a new the than cybernetic material” (iPhone, anyone?). Also in environmental, socialrelationship and culturalbetween life rather to sell and hair the gel and dog biscuits. 2000, Rick Poynor published the “First Things First 2000” manifesto, based on a text written by Ken —excerpted from Manifesto Mania document by Ellen andthat Julia Lupton Garland in 1964, a controversial 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

EXERCISE 3.2: Text Beginning: Drop Cap EXERCISE 3.2: Text Beginning: Drop Cap

K 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 arl Marxwould had one. The as Unibomber had one.if When Thomashadn’t Jefferson wrote his the manifestos Declarationand of design not exist we know it today F. T. Marinetti published Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many

designand would not exist as him we know it their todayprinciples if F. T. Marinetti hadn’t published his manifestos poets, painters designers after to state in compact, incendiary speech. A manifestoand is a instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many short document that “manifests” or makes public a set of ideas and goals. poets, painters and designers after him to state their principles in compact, incendiary speech. A manifesto is a A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th short document that “manifests” or makes public a set of ideas and goals. century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at manifesto is passionate, and vivid. Such action went out back. of fashion during the mid-20th the Aturn of the new century, justpersonal as at the turn of the oldcalls one, to manifestos came Businesses started using century, replaced by tomore professionally statements purposecompanies and principle. But at “brand manifestos” spellbusinesslike, out the defining features oforiented their products, and of software and design the turn of theposting new century, just as the turntheir of the old one,inmanifestos cameway. back. Businesses started using firms started manifestos to at publicize approach an edgy, direct “brand manifestos” to spell out the defining features of their products, and software companies and design Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product. firms started posting manifestos to publicize their approach in an edgy, direct way. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And Designers manifestos. well-written manifesto is like a well-designed product. drafting one isseem moreespecially like writingdrawn an adtothan writing aAnovel. Manifestos typically have a social function—they Itserve communicates directly, it is broken into functional and it Mau has elements and surprise. And to bring together members of a group. Ten yearsparts, ago, Bruce published of hispoetry “Incomplete Manifesto,” drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function—they written as a list of commandments. serve to bring together members of a group. Ten years ago, Bruce Mau published his “Incomplete Manifesto,” These principles became the established creed of Mau’s own design office, but they can be used by anyone. written as a list of commandments. Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and principles became the Bruce established of Mau’s own design office, but they can be used by anyone. the These infamous post-typographers Willencreed and Nolen Strals. Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which the infamous post-typographers Bruce Willen and Nolen Strals. is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of all social, political Bruce Sterling’s “Manifesto January 3, to 2000” helped galvanize the contemporary green movement, which and military systems, pushedof designers create “intensely glamorous environmentally sound products; is the epicenter of manifesto-writing today. Sterling, in addition demanding aninformation; overhaul of aallnew social, political entirely new objects of entirely new materials; replacing materialtosubstance with relationship and military createanyone?). “intenselyAlso glamorous sound products; between the systems, cyberneticpushed and thedesigners material” to (iPhone, in 2000,environmentally Rick Poynor published the “First entirely new objects of entirely new materials; material substance with information; a new relationship Things First 2000” manifesto, based on a textreplacing written by Ken Garland in 1964, a controversial document that between cybernetic andtheir the skills material” (iPhone, anyone?). Also in 2000, Rick Poynor published called forthe designers to use to improve environmental, social and cultural life rather than tothe sell“First hair Things manifesto, based on a text written by Ken Garland in 1964, a controversial document that gel andFirst dog 2000” biscuits. called for designers to use their skills to improve environmental, social and cultural life rather than to sell hair —excerpted from Manifesto Mania by Ellen and Julia Lupton gel and dog biscuits. —excerpted from Manifesto Mania by Ellen and Julia Lupton

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EXERCISE 3.3: Text Beginning: Intro Paragraph EXERCISE 3.3: Text Beginning: Intro Paragraph

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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 designMarx would exist as Unibomber we know it had today if F. T. Marinetti published his manifestos Karl hadnot one. The one. When Thomashadn’t Jefferson wrote the Declarationand of instigated Futurism. Byhe inventing of art as a branded public enterprise,Revolution. Marinetti compelled Independence in 1776, drafted the the idea manifesto that launched the American Graphic many poets, himiftoF.state their principles compact,his incendiary speech. design wouldpainters not existand as designers we know after it today T. Marinetti hadn’tinpublished manifestos and A manifesto is a short “manifests” makes public set of ideas and goals. instigated Futurism. 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Businesses started using the turn of theposting new century, just astoatpublicize the turn their of theapproach old one, manifestos “brand manifestos” to spell out the defining features of their products, and software companies and design Designers seem especially drawn manifestos. well-written is like firms started posting manifestos to to publicize their Aapproach in anmanifesto edgy, direct way. 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 antoadmanifestos. than writingAa well-written novel. Manifestos typically have a social function—they Designers seem especially drawn manifesto is like a well-designed product. to bring together members of a group. Ten years ago, “Incomplete Manifesto,” Itserve communicates directly, it is broken into functional parts,Bruce and itMau haspublished elements his of poetry and surprise. 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EXERCISE 4.1: Heirarchy Change EXERCISE 4.1: Heirarchy - Scale- Scale 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

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

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.

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

Font: 8/13 Cambria -20 Tracking

Scale Scale Scale+ +Style Style+ Style

EXERCISE 4.2: Heirarchy - Style,- Style, Scale and Typeface Change Change EXERCISE Heirarchy - Style, Scale andTypeface Typeface Change EXERCISE 4.2: 4.2: Heirarchy Scale and

Verbal and Visual Verbal and Visual Verbal and Visual Scale + Typeface Scale + Typeface

Scale + Typeface

Equations Equations Equations

An examination of interactive excerpted Typographic An examination of signs interactive signsfrom excerpted from Typographic Design: and Communication An Form examination ofand interactive signs excerpted from Typographic Design: Form Communication

Form and Communication By Ben Design: Day andBy Philip Meggs Ben Day and Philip Meggs

Scale + Style Scale+ +Typeface Style + Typeface

Scale + Style + Typeface

Nikita Jain Vyas Nikita Jain Vyas Project 3: Typesetting Project 3: Typesetting Heirarchy: Style, Scale and Typeface Heirarchy: Style, Scale and Typeface

Nikita Jain Vyas Alignment: Justified Alignment: Justified

Project Typesetting Font: 8/113: Lora/ +45 Futura Font: 8/11 Lora/ +45 Futura Heirarchy: Style, Typeface -20 to +30 Tracking -20Scale to +30and Tracking Alignment: Justified Font: 8/11 Lora/ +45 Futura -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 selfBy Ben Day and Philip Meggs signs 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 letters, forqualities example, may communicates ideas. as elocution and repeated letters, for signify example, may signify communicates ideas. Justdiction as elocution diction syntactic associated with typographic Language, inJust any of its many forms, is repeated a and selfor speed, while aor small in ameaning. enhancecontained and clarify the meaning of our speed, while alarge small letter in a large enhance andof clarify thespoken meaning ofmotion our spoken signsmotion determine a letter specific A series of system interactive signs that void may signify isolation. These qualities, words, typographic signs can be manipulated by void may signify isolation. words, typographic signs can be manipulated by repeated letters, for example,These may qualities, signify communicates ideas. Just as elocution and diction derived from the operating principles a designer to achieve more and expressive derived fromwhile the aoperating principles aand designer tothe achieve moreof lucid expressive motion or speed, smallof letter in a largeof enhance clarifylucid meaning ourand spoken visual and ABA form, function as typographic communication. Signs operate inSigns hierarchy and ABAThese form, qualities, function as typographicsigns communication. operate invoid visual may signify isolation. words, typographic can be manipulated byhierarchy 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 derived from the operating principles of a designer to achieve more lucid and expressive 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, visual hierarchy and ABA form, function as typographic communication. Signs operate in 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, cues, permitting the mind to form concepts. two dimensions: syntactic and semantic. When 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, it is enable Simple syntactic manipulations, suchare as joined the the mind is concerned with the form of a sign, verbal meaning. verbal In language, signs joined signs operating in the semantic meaning. In are language, operatingdimension. in the semantic dimension. of to letters, ormessages. the weight change of it is involved with typographic syntax. When it to repetition together create messages. Words as verbal together create Words as verbal All objects in the environment potentially can potentially All objects in can the environment certain letters, words visually to fashion, mimic associates a particular meaning with a sign, it isgrouped sign, together in enable a linear fashion, sign, grouped together in a linear function as signs,function representing anyrepresenting number of any number of as signs, verbal meaning. Inwords language, signswords are joined operating in the semantic dimension. attain their value vis-à-vis other through attain their value vis-à-vis other through concepts. A smog-filled cityAsignifying pollution, concepts. smog-filled city signifying pollution, opposition and contrast. Words can also evoke together to create messages. Words as verbal opposition and contrast. Words can also evoke a beached whale extinction, andpotentially arepresenting beached representing extinction, and All objects in thewhale environment can meaning through mental through association. These meaning mental association. These sign, grouped together in a linear fashion, confettifunction implyingconfetti a celebration each function implying a celebration each function as as signs, representing anyasnumber of associative attain relations arevalue semantically derived. associative relations semantically derived. their vis-à-visare other words through a sign relating a specific concept. aA sign relating a specific concept. concepts. smog-filled city signifying pollution, Since typography is both and verbal, Since typography is Words both visual and evoke verbal, opposition and visual contrast. can also beached representing extinction, and Signsamay exist atwhale various levels Signs may existofatabstraction. various levels ofitabstraction. operates in ait linear fashion, operates in mental a with linearwords fashion, withThese words meaning through association. a celebration each asLeteach A simpleconfetti exampleimplying illustrate thiswill point. Let usfunction Awill simple example illustrate thisfollowing point. us other in a specific sequence, or following each other in a specific sequence, or associative relations are semantically derived. consider as elemental as a as red dot. It asina ared a something sign relating a specific concept. consider something elemental dot. It manner, nonlinear with elements existing in a nonlinear manner, with elements existing Since typography is both visual and verbal, is a sign only if itiscarries a particular meaning. a sign only if it carries a particular meaning. in many syntacticincombinations. many syntactic combinations. Signs may exist at various levels of abstraction. It can represent any number of things: balloon,of things: balloon,it operates in a linear fashion, with words It can represent any number A simple flag. example willdot illustrate this point. Let us ball, or Japanese The red can become ball, or Japanese flag. The red adot can become afollowing each other in a specific sequence, or consider something as iselemental as a red dot.byItformsin a nonlinear manner, with elements existing cherry, for example, as the cued cherry, formind example, asby theforms mind is cued is a sign only if it carries a particular meaning. more familiar to more its experience. The particular familiar to its experience. The particularin many syntactic combinations.

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

33 33

EXERCISE 4.1: Heirarchy - Style, Scale and Typeface Change with Graphic Element EXERCISE 4.1: Heirarchy - Style, Scale and Typeface Change with Graphic Element

VERBAL VERBAL AND VISUAL VISUAL AND EQUATIONS EQUATIONS An examination of interactive signs An examination of interactive signs excerpted from Typographic Design: excerpted Typographic Design: Form and from Communication

Form and Communication By Ben Day and Philip Meggs Language, in any of its many forms, is a selfcontained system of interactive signs Language, in any of its many forms, is a selfthat communicates ideas. Just as elocution contained system of interactive signs and diction enhance and clarify the meaning that communicates ideas. Just as elocution of our spoken words, typographic signs and diction enhance and clarify the meaning can be manipulated by a designer to of our spoken words, typographic signs achieve more lucid and expressive can be manipulated by a designer to typographic communication. Signs operate achieve more lucid and expressive in two dimensions: syntactic and semantic. typographic communication. Signs operate When the mind is concerned with the form in two dimensions: syntactic and semantic. of a sign, it is involved with typographic When the mind with form syntax. Whenis itconcerned associates a the particular of meaning a sign, itwith is involved with typographic a sign, it is operating in the syntax. When it associates a particular semantic dimension. meaning with a sign, it is operating in the All objects in the environment can potentially semantic dimension. function as signs, representing any number of All objects in Athe environment can potentially concepts. smog-filled city signifying pollution, function as signs, representing any number of a beached whale representing extinction, and concepts. A smog-filled city signifying pollution,

a beached whale representing extinction, and

By Ben Day and Philip Meggs

confetti implying a celebration each function as a sign relating a specific concept. confetti implying a celebration each function

asSigns a sign relating a specific concept.levels of may exist at various abstraction. A simple example will illustrate Signs may exist at various levels of this point. Let us consider something as abstraction. A simple example will illustrate elemental as a red dot. It is a sign only if it this point. Let us consider something as carries a particular meaning. It can represent elemental as a red dot. It is a sign only if it any number of things: balloon, ball, or carries a particular meaning. It can represent Japanese flag. The red dot can become a any number of things: balloon, ball, or cherry, for example, as the mind is cued by Japanese flag. The red dot can become a forms more familiar to its experience. The cherry, for as qualities the mind associated is cued by particularexample, syntactic forms more familiar to its experience. The with typographic signs determine a specific particular syntactic qualities associated meaning. A series of repeated letters, for with typographic signsmotion determine a specific example, may signify or speed, while meaning. A series repeated letters, for a small letter in aoflarge void may signify example, signify motionderived or speed, while isolation.may These qualities, from the a operating small letter in a large void hierarchy may signify principles of visual and 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 ABA form, function as cues, permitting the manipulations, such as the repetition mind to form concepts. Simple syntactic of letters, or the weight change of certain manipulations, such as the repetition letters, enable words visually to mimic of letters, or the weight change of certain verbal meaning. In language, signs are letters, enable words visually to mimic joined together to create messages. Words verbal meaning. In language, signs are as verbal sign, grouped together in a linear joined together to create messages. Words fashion, attain their value vis-à-vis other as verbal sign, grouped together in a linear words through opposition and contrast. fashion, attain their value vis-à-vis other Words can also evoke meaning through words opposition contrast. mentalthrough association. Theseand associative Words can also evoke meaning through relations are semantically derived. Since mental association. These associative typography is both visual and verbal, relations arein semantically derived. Since it operates a linear fashion, with words typography is both visual and verbal, following each other in a specific sequence, itoroperates in a linear fashion, words in a nonlinear manner, withwith elements following each other in a specific sequence, existing in many syntactic combinations. or in a nonlinear manner, with elements

existing in many syntactic combinations.

Nikita Jain Vyas Project 3: Typesetting Nikita Jain Vyas Heirarchy: Scale, Style, Project 3: Typesetting Typography, Graphic Element Heirarchy: Scale, Style, Alignment: Justified Typography, Graphic Element Font: 8/12 Franklin Gothic Alignment: Justified / Adobe Garamond Font: 8/12 Franklin Gothic -20 to +40 Tracking / Adobe Garamond

-20 to +40 Tracking

SWISS DESIGNER

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.

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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TYPE

CLASSIFICATION

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.

Type Classification Posters

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

Typography needs to be audible, Typography needs to be felt, Typography needs to be experienced. - Helmut Schmid