Fundamentals Of Typography by Prerna Pandya

Fundamentals Of Typography

Project 1 Prototypefaces/Postcards

04 Project 2 Type Anatomy

08 Project 3 Typesetting

14 Project 4 Swiss Designer Research Paper

32 Project 5 Type Classification Poster

34 2

Introduction

This book is an essential tool for understanding the Fundamentals of Typography. It is a collection of projects that I got a chance to do and therby understand the importance of correct typography usage that we usually do not pay attention to. I had a fun as well great understanding of priciples of typography which will help me in my future endeavours. I hope you enjoy the book.

Prototypefaces

Project 1: Prototypeface/Postcards

PROJECT TITLE: Prototypes: Creating / Recreating Letter forms Postcard CATEGORY: Typography TARGET AUDIENCE: 20-30 year olds who are interested in creative communication, downloading and sending unique predesignated cards to friends and family - both hard-copy and digitally. Background: Most cards are meant to be displayed but are not that unique or accessible. Unique cards are difficult to fine and mostly found in boutique shops or museum shops. Design Problem: 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: My creative process for this assignment started with the part 1 exercise. Part 1 exercise helped me to understand different typefaces, their construction, characteristics and emotions. I got a chance to see the fonts taking a form/shape/composition when deconstructed. It therefore worked as a base to prepare myself for the part 2 of the assignment. The part 2 was an interesting assignment to work on as I got a chance to use my ideas, perspective to apply to an existing letter-form and create a new version thereby creating a new typeface. DESIGN SOLUTION: Part 1 of the assignment helped me to compare different typefaces in their shape, style, legibility, emotions. The process of deconstruction made me understand the use of negative spaces, line, curves, proportion and a composition as a whole, this process helped me to solve the problem for the part 2 of the assignment as I could see the letter forms dissected and taking different forms to come out as a new font/composition. For the part 2, I worked on the existing typeface i.e.LUCIDA HANDWRITING ITALIC. I was drawn to this typeface because it has an artistic feel, and that was an interesting typeface for me to work on. Lucida Handwriting Italic has sharp edges, so I wanted to change the emotion of this Typeface by making the edges go round which created a more softer version. In addition to it I wanted to give a more wavy look to the new typeface so that the whole feel could turn to be a free flowing artistic Typeface. I used 6 alphabets and 3 glyphs to see if the whole family of the new typeface works well together. SOFTWARE: InDesign | Illustrator |

Project 1: Prototypeface/Postcards

Type Anatomy

Project 2: Type Anatomy

PROJECT TITLE: Type Anatomy/Infographic pamphlet CATEGORY: Type Anatomy TARGET AUDIENCE: Individuals above 18 years who are interested in knowing more about Typography. 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. Background: The anatomy of type refers to standard elements that exist in typefaces. The variation of these elements is what gives a typeface its legibility, character, cultural and historical context. Design Problem: Use a format that best fits your design, Using a simple typeface and 26 letters from the alphabet, which allows you to easily identify the anatomy of that typeface, choosing at least 26 type anatomicaldescriptives, indicating one (don’t indicate the same thing over and over) of all the main elements, for example, the items on the list to the left. Use letterforms and/or numbers and/or special characters. You can use a phrase,a sentence or group of words - they can relate to your interests or cultural background. DESIGN PROCESS: My creative process for this assignment started with deciding on a theme for the brochure. I decided to work on the theme MEMPHIS. Memphis was a design movement which gained a lot of popularity in the the 80’s. Inspired by the pop art Memphis major characteristics were clashing colors and Geometric patterns. Being inspired by its characteristics I planned to use the theme’s idea in my brochure’s background layout with different geometric blocks with clashing colors as platforms for different words. The Phrase used is a line from the song of Bob Dylan song titled “ Stuck Inside Of Mobile With The Memphis Blues Again” inspired from which Memphis name was taken. The color pallet I preferred was pastels, as I did not want the the brochure to loose its objectives of describing the anatomy of typeface clearly. I have also used painterly style to go along along with the Memphis pattern to play with the subtle texture in the background DESIGN SOLUTION: The typeface that I used to describe the anatomy of type in the brochure is Adobe Caslon Pro, semi bold . This typeface is an old serif typeface which I thought would be good to describe the anatomy clearly. Different parts of the letters have been highlighted in black color (which also forms a design element of Memphis theme)so that the audience can clearly understand the parts of the type. SOFTWARE: Illustrator | Photoshop |

Project 2: Type Anatomy

Typesetting

Project 3: Typesetting

PROJECT TITLE: Typesetting Project // Exercise 1-4 CATEGORY: Typesetting TARGET AUDIENCE: Individuals who are interested in knowing more about details of correct typography usage. BACKGROUND: Typesetting skill is a basic building block of graphic design. The emphasis on this project is on craftsmanship and accurate handling of type. Mastering these exercises will pay dividends in your design career. OBJECTIVE: Understand typesetting rules. Demonstrate accurate and aesthetically pleasing typesetting. Recognize how different type treatments and alignments require unique handling of type. DESIGN PROCESS: This project was full of learning as well as quiet challenging. Various important elements of typography was made clear which are very important for a correct use of topography. I learn various elements like widows, orphans, alignments, paragraph and character settings that are very important but often used incorrectly. The process of solving the typesetting problems was challenging. There was a lot of trial and error to come up with a good solution. DESIGN SOLUTION: The design solution that I used for all the exercises within the project were very different from each other. Every solution helped improve the composition on a whole with the correct use of different elements of Typography. The typesetting is not only important for a easy readability but also is pleasing to the eyes of the readers. The project also helped me to enhance my InDesign skills. SOFTWARE: InDesign.

Project 3: Typesetting

Prerna Pandya Project Three // Typesetting Left Alignment 8/12 Adobe Garamond + 25 Tracking

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

Project 3: Typesetting

Prerna Pandya Project Three // Typesetting Right Alignment 8/12 Adobe Garamond + 25 Tracking

Project 3: Typesetting

LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN Prerna Pandya Project Three // Typesetting Justify Alignment 8/12 Adobe Garamond + 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

Project 3: Typesetting

LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN Prerna Pandya Project Three // Typesetting Center Alignment 8/12 Adobe Garamond + 25 Tracking

Project 3: Typesetting

Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifestow that launched the American Revo. Graphic design would not exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigate Futurism. By inventing the idea of art as a branded public enterprise, Marinetticompelled many poets, painters and designers after him to state their principles incompact, 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 posttypographers 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.

Prerna Pandya Project 3 Exercise 3a: Paragraph Indicators, Indent, Adobe Cslon Pro 9/11, +25tracking

Project 3: Typesetting

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 abranded 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 welldesigned 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 posttypographers 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.

Prerna Pandya Project 3 Exercise 3a: Paragraph Indicators, Hanging Indent, Calibri Regular 9/12

Project 3: Typesetting

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 abranded 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 manifestowriting 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.

Prerna Pandya Project 3 Exercise 3a: Paragraph Indicators, First word, Athelas Regular 9/12,

Project 3: Typesetting

Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifestow that launched the American Revo. Graphic design would not exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigate 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 startedusing “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.

Prerna Pandya Project 3 Exercise 3a: Paragraph Indicators, First Line, Bahnschrift light and semi bold 9/11,

Project 3: Typesetting

Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifestow that launched the American Revo. Graphic design would not exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigate Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state theirprinciples 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 posttypographers 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.

Prerna Pandya Project 3 Exercise 3a: Paragraph Indicators, Extra Leading, Bell MT 9/11, +25tracking

Project 3: Typesetting

Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifestow that launched the American Revo. Graphic design would not exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigate 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 welldesigned 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.

Prerna Pandya Project 3 Exercise 3b: Drop Cap, Adobe Caslon Pro 8/12.

Project 3: Typesetting

arl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of independence in 1776, he drafted the manifestow that launched the American Revo. Graphic design would not exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigate 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.

Prerna Pandya Project 3 Exercise 3b: Initial Cap, Arial 10/12.

26 Project 3: Typesetting

Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of independence in 1776, he drafted the manifestow that launched the American Revo. Graphic design would not exist as we know it today if F. T. Marinetti hadn’t published his manifestos and instigate Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelledmany 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.

Prerna Pandya Project 3 Exercise 3b: Intro Paragraph, Corbel Regular 9/12.

Project 3: Typesetting 27

Verbal and Visual Equation 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 self-contained 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 confetti implying a celebration--each functions 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 welements existing in many syntactic combinations

Prerna Pandya • Project 3 Exercise 4, Modular Grid / Hierarchy/ Scale and Style Change + Typeface Change + Title—36/29 Athelas Italic; Subtitle—19/22 Athelas Regular ; Byline—13/15.6 Athelas Bold ; Body text—9/16 Athelas Regular+25 Tracking

Project 3: Typesetting

Verbal and Visual Equation An examination of interactive signs excerpted from Typographic Design: Form and Communication By Ben Day and Philip Language, in any of its many forms, is a self-contained

as verbal sign, grouped together in a linear fashion,

system of interactive signs that communicates ideas.

attain their value vis-à-vis other words through oppo-

Just as elocution and diction enhance and clarify the

sition and contrast. Words can also evoke meaning

meaning of our spoken words, typographic signs can

through mental association. These associative relations

be manipulated by a designer to achieve more lucid

are semantically derived. Since typography is both

and expressive typographic communication. Signs

visual and verbal, it operates in a linear fashion, with

operate in two dimensions: syntactic and semantic.

words following each other in a specific sequence, or in

When the mind is concerned with the form of a sign,

a nonlinear manner, with welements existing in many

it is involved with typographic syntax. When it associ-

syntactic combinations.

ates 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 whalerepresenting extinction, and confetti implying a celebration--each functions 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

Prerna Pandya • Project 3 Exercise 4, Modular Grid / Hierarchy/ Scale and Style Change + 2 Typeface Change + Title—38/29 Clarendon BT bold; Subtitle—20/24 Clarendon BT Light ; Byline—13/15.6 Athelas Regular; Body text—10/16 Futura Bk BT+0 Tracking

Project 3: Typesetting

Verbal and Visual Equation

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 self-contained 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 confetti implying a celebration each functions 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 welements existing in many syntactic combinations

Prerna Pandya • Project 3 Exercise 4, Modular Grid / Hierarchy/ Scale and Style Change + Typeface Change +Symbol+ Title—36/29 Adobe Caslon Pro Semi Bold; Subtitle—19/22.8 Adobe Caslon Pro Italic ; Byline—13/15.6 Adobe Caslon Pro Regular ; Body text—10/17 Adobe Caslon Pro +0 Tracking

Project 3: Typesetting

Research Paper

Project 4: Swiss Designer Research Paper

Armin Hofmann Swiss Graphic Designer

Hofmann was born in Winterthur, Switzerland, in 1920. He studied at the School of Arts and Crafts in Zurich, then worked as a lithographer in Basel and Bern. He then went on to open his own studio in Basel. In 1947 he taught at Allgemeine Gewerbeschule Basel School of Art and Crafts at the age of 26 and followed Emil Ruder as head of the Basel School of Design’s graphic design department. Hofmann felt that one of the best and most efficient forms of communication was the poster and he spent much of his career designing posters Hofmann’s work, especially his poster designs, always seemed to emphasize an economical and efficient use of colour and typefaces. The aesthetic Hofmann taught emphasized harmony among point, line, and plane in two-dimensional compositions, highlighting contrast and tension between forms. While he used flexible grid systems to create his posters, he did not rigidly adhere to them, prioritizing clarity of communication above all else. He also experimented with the incorporation of black-and-white photography in his works, often pushing the imagery beyond the point of factual representation and into the realm of the abstract. Hofmann’s work, especially his poster designs, always seemed to emphasize an economical and efficient use of colour and typefaces. This was in reaction to what Hofmann called the “trivialization of colour.” His posters have been exhibited as works of art in major galleries all around the world, including the New York Museum of Modern Art. He retired in 1987 but his legacy lives on in his hugely influential body of work.

Project 4: Swiss Designer Research Paper

Poster Design

Project 5: Type Classification Posters

PROJECT TITLE: TYPE CLASSIFICATION POSTER CATEGORY: Typography TARGET AUDIENCE: Anyone interested in knowing Different Typefaces. OBJECTIVES: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 DESIGN PROBLEM: Design three (3) type classification posters in the Vox System. The book Letter Fountain lists 9 categories—5 Serif and 4 Sans Serif—Humanist, Old Style, Transitional, Modern, Slab-Serif and Sans serif (4). You will design a poster for two Serif and one Sans Serif font DESIGN PROCESS: My creative process for this assignment started with studying different typefaces of different time periods. I also got a chance to study various Swiss designers who designed great posters which were a source of inspiration. From selecting the typeface, creating the layout to deciding the color pallet was a process that I followed. It was interesting to see the different typeface having such different characteristics and forms. DESIGN SOLUTION: The design Solution for this project was using different elements of typography studied and practiced in the previous projects. I designed the poster keeping in mind those elements and thereby composing a composition. Use of Hierarchy, right colors, alignment was kept in mind while designing the poster. The poster aim is to demonstrate various typefaces and their major characteristics and so my idea was to keep the composition simple so that it does not loose its meaning. The Process was quiet challenging but it gave me a chance to understand the elements of typography in a better manner. SOFTWARE: InDesign | Illustrator |

Project 5: Type Classification Posters

DESIGNER: Prerna Pandya INSTRUCTOR: Prof. Victoria Arriola TYPEFACE: Times New Roman SCHOOL:UC Berkeley Extension PROGRAM: Proffesional Program in Graphic Design COURSE: Typography Fundamentals

“Typography is the craft of endowing human language with a durable visual form.” ― Robert Bringhurst..