Sarah Olushoga
GRDS 205 Typography I Professor Henry Kim SCAD 2014
in.sight n.
the capacity to gain an accurate and deep intuitive understanding of a person or thing.
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Garamond
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B&W image
Rule or Geometric shape
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Futura
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Helvetica
Bodoni
Baskerville
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COMPOSITION MATRIX
type, type and type
Summer 2011. SCAD-Atlanta 342 Tue. & Thu. 2:00 pm – 4:30 pm
Communication Arts SCAD
pet i-1
Typography I | GRDS 205
Graphic Design
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1 serif and
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G4 your choice of
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Henry Hongmin Kim
Professor
Matrix
A
in路sight
Name of typeface Designer Year 5 adjectives
A1
Garamond (1615) Classic Versatile Consistent Legible Relaxed
Claude Garamond Jean Jannon
1 size+weight 4 columns
in路sight
Name of typeface Designer Year 5 adjectives
1 size+weight 4 columns
A2
1757
Baskerville
Generous Consistent Gentle Refined Elegant
John Baskerville
in路sight
Name of typeface Designer Year 5 adjectives
1 size+weight 4 columns
A3
1798
giambattista BODONI geometric heavy modern contrast abstract
in路sight
Name of typeface Designer Year 5 adjectives
A4
HELVETICA +1957 MAX MEIDINGER Organized Balanced Solid Invisible Simple
1 sizes+weights 4 columns
Name of typeface Designer Year 5 adjectives
in路sight
1 sizes+weights 4 columns
A5
1
9
2
7
F U T U R A
S L E N D E R UNIFORM EFFICIENT GEO METR IC FORWARD
PAUL RENNER
B
in路sight
Name of typeface Designer Year 5 adjectives
1 sizes+weights 5 columns
B1
GARAMOND (1615)
Classic, versatile, consistent, legible & relaxed.
Claude Garamond Jean Jannon
Name of typeface Designer Year 5 adjectives
in路sight
1 sizes+weights 5 columns
B2
BASKERVILLE |1757
Generous Consistent
Gentle
Refined
Elegant
John Baskerville
in路sight
Name of typeface Designer Year 5 adjectives
1 sizes+weights 5 columns
B3
1798
giambattista BODONI
profound heavy modern contrast abstract
Name of typeface Designer Year 5 adjectives
in路sight
1 sizes+weights 5 columns
B4
HELVETICA MAX MIENDINGER
organized solid invisible simple balanced
1957
Name of typeface Designer Year 5 adjectives
in·sight
1 sizes+weights 5 columns
B5
F
U
T
U
CONDENSED › FORWARD › GEOMETRIC › EFFICIENT › CONSISTENT. PAUL RENNER 1927
R
A
C
in·sight
Name of typeface Designer Year 5 adjectives Paragraph
Various sizes+weights Higher than 72pt 4 columns
C1
GARAMOND |1615
Garamond is an Old Style typeface. Claude Garamond, who died in 1561, was originally credited with the design of this elegant French typeface; however, it recently has been discovered that this typeface was designed by Jean Jannon in 1615. Many of present-day versions of this typeface are based on Jannon’s design, although they are all called Garamond. This is a typical Old Style face, having very little contrast between the thicks and thins, heavily bracketed serifs, and oblique stress. The letterforms are open and round, making the face extremely readable. The capital letters are shorter than the ascenders of the lowercase letters.
Classic | Versatile | Consistent | Legible | Relaxed
CLAUDE GARAMOND & JEAN JANNON
Name of typeface Designer Year 5 adjectives Paragraph
in路sight
Various sizes+weights Higher than 72pt 4 columns
C2
BASKERVILLE
Generous
Baskerville, an elegant, well-designed elegant typeface is an excellent example of a Transitional typeface. Transitional typefaces are so called because they form a bridge between the Old Style and the Modern face. Compared to the old style, Baskerville shows g reater contrast between the thicks and thins, serif are less heavily bracketed, and the stress is almost vertical. The letters are very wide for their x -height, are closely fitted, and are of excellent proportions-making Baskerville one of the most pleasant and readable typefaces.
John Baskerville, 1757 Consistent
Gentle
Refine
Elegant
Name of typeface Designer Year 5 adjectives Paragraph
in路sight
Various sizes+weights Higher than 72pt 4 columns
C3
BODONI Giambattista Bodoni, 1798
Abstract
Profound
Heavy
Modern
Bodoni is a Modern typeface, designed in the late 1700s by the Italian typographer Giambattista Bodoni. At the end of the eighteenth century a fashion grew for faces with a strong contrast between the thicks and thins, unbracketed serifs, and a strong vertical stress. These were called Modern faces. All the older faces became known as Old Style, while the most recent faces-just prior to the change-were referred to as Transitional.Although Bodoni has a small X-height, it appears very wide and black. Because of the strong vertical stress, accentuated by its heavy thicks and hairline thins, the horizontal flow necessary for comfortable reading is impaired. To compensate for this effect, Bodoni therefore must be well leaded.
Contrast
Name of typeface Designer Year 5 adjectives Paragraph
in·sight
Various sizes+weights Higher than 72pt 4 columns
C4
Helvetica is a contemporary typeface of swiss origin. Although typefaces without serifs were used in the nineteenth century, it was not until the twentieth century that they became widely used. Helvetica was introduced in 1957 by Haas type foundry and was first presented in the United States in the early 1960’s.
Although Helvetica has large x-height and narrow letters, it’s clean design makes it very readable. Sans serif types in general have relatively little stress, and strokes are optically equal. Because there is no serif to aid the horizontal flow that we have seen is so necessary to comfortable reading, sans serif type should always be leaded.
MAX MIEDINGER 1957
HELVETICA
ORGANIZED
SOLID
INVISIBLE
SIMPLE
BALANCED
in·sight
Name of typeface Designer Year 5 adjectives Paragraph
Various sizes+weights Higher than 72pt 4 columns
C5
Futura is the classic example of a geometric sans serif type. Its original concept was based on the Bauhaus design philosophy that “form allows function.” Futura uses basic geometric proportions with no weight stresses, serifs, or frills, with long ascenders and descenders that give it more elegance than most sans serif typefaces. The wide range of weights plus condensed faces provide a variety of ways to set short text blocks and display copy with a strong, no-nonsense appearance.
Paul Renner
FUTURA CONSISTENT CONDENSED
EFFICIENT GEOMETRIC
FORWARD
D
in·sight
Name of typeface Designer Year 5 adjectives Paragraph
Various sizes+weights Higher than 72pt 5 columns
D1
GARA MO ND
Classic Versatile Consistent Legible Relaxed
1615
Garamond is an Old Style typeface. Claude Garamond, who died in 1561, was originally credited with the design of this elegant French typeface; however, it recently has been discovered that this typeface was designed by Jean Jannon in 1615. Many of present-day versions of this typeface are based on Jannon’s design, although they are all called Garamond. This is a typical Old Style face, having very little contrast between he thicks and thins, heavily bracketed serifs, and oblique stress. The letterforms are open and round, making the face extremely readable. The capital letters are shorter than the ascenders of the lowercase letters.
Claude Garamond & Jean Jannon
Name of typeface Designer Year 5 adjectives Paragraph
in路sight
Various sizes+weights Higher than 72pt 5 columns
D2
John
Baskerville
1 7 5 7
Baskerville, an elegant, well-designed elegant typeface in an excellent example of a Transitional typeface. Transitional typefaces are so called because they form a bridge between the Old Style and the Modern face. Compared to the old style, Baskerville shows greater contrast between the thicks and thins, serif are less heavily bracketed, and the stress is almost vertical. The letters are very wide for their x-height, are closely fitted, and are of excellent proportions-making Baskerville one of the most pleasant and readable typefaces.
Generous Refine
Consistent Elegant
Gentle
in路sight
Name of typeface Designer Year 5 adjectives Paragraph
Various sizes+weights Higher than 72pt 5 columns
D3
BODONI
Giambattista Bodoni, 1798
Bodoni is a Modern typeface, designed in the late 1700s by the Italian typographer Giambattista Bodoni. At Abstract the end of the eighteenth century a fashion grew for Profound faces with a strong contrast between the thicks and Heavy thins, unbracketed serifs, and a strong vertical stress. Modern These were called Modern faces. All the older faces Contrast became known as Old Style, while the most recent faces-just prior to the change-were referred to as Transitional. Although Bodoni has a small X-height, it appears very wide and black. Because of the strong vertical stress, accentuated by its heavy thicks and hairline thins, the horizontal flow necessary for comfortable reading is impaired. To compensate for this effect, Bodoni therefore must be well leaded.
Name of typeface Designer Year 5 adjectives Paragraph
in·sight
Various sizes+weights Higher than 72pt 5 columns
D4
Helvetica is a contemporary typeface of swiss origin. Although typefaces without serifs were used in the nineteenth century, it was not until the twentieth century that they became widely used. Helvetica was introduced in 1957 by Haas type foundry and was first presented in the United States in the early 1960’s. Although Helvetica has large x-height and narrow letters, it’s clean design makes it very readable. Sans serif types in general have relatively little stress, and strokes are optically equal. Because there is no serif to aid the horizontal flow that we have seen is so necessary to comfortable reading, sans serif type should always be leaded.
1957
Max Miedinger
HELVETICA.
in·sight
Name of typeface Designer Year 5 adjectives Paragraph
Various sizes+weights Higher than 72pt 5 columns
D5
FUTURA
Paul Renner
CONSISTENT › CONDENSED › EFFICIENT › GEOMETRIC › FORWARD
1927
Futura is the classic example of a geometric sans serif type. Its original concept was based on the Bauhaus design philosophy that “form allows function.” Futura uses basic geometric proportions with no weight stresses, serifs, or frills, with long ascenders and descenders that give it more elegance than most sans serif typefaces. The wide range of weights plus condensed faces provide a variety of ways to set short text blocks and display copy with a strong, no-nonsense appearance.
E
Name of typeface Designer Year 5 adjectives Paragraph
in·sight
Various sizes+weights Higher than 72pt 4 columns
E1
GARAMOND Classic Versatile
Consistent
Legible Relaxed
Claude Garamond Jean Jannon 1615 Garamond is an Old Style typeface. Claude Garamond, who died in 1561, was originally credited with the design of this elegant French typeface; however, it recently has been discovered that this typeface was designed by Jean Jannon in 1615. Many of present-day versions of this typeface are based on Jannon’s design, although they are all called Garamond. This is a typical Old Style face, having very little contrast between the thicks and thins, heavily bracketed serifs, and oblique stress. The letterforms are open and round, making the face extremely readable. The capital letters are shorter than the ascenders of the lowercase letters.
Name of typeface Designer Year 5 adjectives Paragraph
in·sight
Various sizes+weights Higher than 72pt 4 columns Rule/ geometric shape
E2
1972
consistent
condensed
Fu•tu•ra
Paul Renner
efficient
geometric
forward
Futura is the classic example of a geometric sans serif type. Its original concept was based on the Bauhaus design philosophy that “formallows function.” Futura uses basic geometric proportions with no weight stresses, serifs, or frills, with long ascenders and descenders that give it more elegance than most sans serif typefaces. The wide range of weights plus condensed faces provide a variety of ways to set short text blocks and display copy with a strong,no-nonsense appearance.
Name of typeface Designer Year 5 adjectives Paragraph
in路sight
Various sizes+weights Higher than 72pt 5 columns Rule/ geometric shape
E3
profound
heavy
abstract
modern
contrast
GIAMBATTISTA
BODONI
Bodoni is a Modern typeface, designed in the late 1700s by the Italian typographer Giambattista Bodoni. At the end of the eighteenth century a fashion grew for faces with a strong contrast between the thicks and thins, unbracketed serifs, and a strong vertical stress. These were called Modern faces. All the older faces became known as Old Style, while the most recent faces-just prior to the change-were referred to as Transitional. 1798
in·sight
Name of typeface Designer Year 5 adjectives Paragraph
Various sizes+weights Higher than 72pt 5 columns Rule/ geometric shape
E4
HEL 1957 MAX MIEDINGER
VET ICA.
ORGANIZED SOLID INVISIBLE
SIMPLE
BALANCED
Helvetica is a contemporary typeface of swiss origin. Although typefaces without serifs were used in the nineteenth century, it was not until the twentieth century that they became widely used. Helvetica was introduced in 1957 by Haas type foundry and was first presented in the United States in the early 1960’s. Although Helvetica has large x-height and narrow letters, it’s clean design makes it very readable. Sans serif types in general have relatively little stress, and stroke are optically equal. Because there is no serif to aid the horizontal flow that we have seen is so necessary to comfortable reading, sans serif type should always be leaded.
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in·sight Name of typeface Designer Year 5 adjectives Paragraph Various sizes+weights Higher than 72pt 5 columns Diagonal
F1
A1
in路sight
Name of typeface Designer Year 5 adjectives Paragraph
Various sizes+weights Higher than 72pt 4 columns Vertical
F2
bodoni
Bodoni is a Modern typeface, designed in the late 1700s by the Italian typographer Giambattista Bodoni. At the end of the eighteenth century a fashion grew for faces with a strong contrast between the thicks and thins, unbracketed serifs, and a strong vertical stress. These were called Modern faces. All the older faces became known as Old Style, while the most recent faces-justprior to the change-were referred to as Transitional.
profound heavy abstract modern contrast
Giambattista Bodoni 1798
Name of typeface Designer Year 5 adjectives Paragraph
in路sight
Various sizes+weights Higher than 72pt 5 columns Vertical ...
MAX MIEDINGER
HELVETICA.
F3
1957
ORGANIZED. SOLID. INVISIBLE. SIMPLE. BALANCED.
Helvetica is a contemporary typeface of swiss origin. Although typefaces without serifs were used in the nineteenth century, it was not until the twentieth century that they became widely used.
Name of typeface Designer Year 5 adjectives Paragraph
in路sight
Q
Various sizes+weights Higher than 72pt 4 columns Diagonal
F4
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7 5 7
G
in路sight
Name of typeface Designer Year 5 adjectives Paragraph
Various sizes+weights Higher than 72pt 4 columns Diagonal B&W image
G1
1798
giambattista
BODON I Bodoni is a Modern typeface, designed in the late 1700s by the Italian typographer Giambattista Bodoni. At the end of the eighteenth century a fashion grew for faces with a strong contrast between the thicks and thins, unbracketed serifs, and a strong vertical stress.
in路sight
Name of typeface Designer Year 5 adjectives Paragraph
Various sizes+weights Higher than 72pt 5 columns Diagonal B&W image
helvetica
G2
1957
MAX MIEDINGER
ORGANIZED + SOLID + INVISIBLE + SIMPLE + BALANCED
in路sight
Name of typeface Designer Year 5 adjectives Paragraph
Various sizes+weights Higher than 72pt 5 columns Diagonal B&W image
G3
John
Baskerville
Generous, Consistent, Gentle, Refine & Elegant.
Baskerville, an elegant, well-designed elegant typefaceisanexcellentexampleofaTransitionaltypeface. Transitionaltypefacesaresocalledbecausetheyformabridge between the Old Style and the Modern face.
1757
in·sight
Name of typeface Designer Year 5 adjectives Paragraph
Various sizes+weights Higher than 72pt 4 columns Diagonal B&W image
G4
PAUL RENNER
consistent > condensed > efficient > geometric > forward
1972
Futura is the classic example of a geometric sans serif type. Its original concept was based on the Bauhaus design philosophy that “form allows function.” Futura uses basic geometric proportions with no weight stresses, serifs, or frills, with long ascenders and descenders that give it more elegance than most sans serif typefaces.
FUTURA
Sarah Olushoga
Sarah Olushoga
Sarah Olushoga
in路sight
in路sight
in路sight