Class book

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TITLE PAGE

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PROJECT11

GLYPHS CHARACTER SET

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EXPLORATION 11

DRAWING GLYPHS

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EXPLORATION 11

DRAWING GLYPHS

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EXPLORATION 11

DRAWING GLYPHS

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EXPLORATION 11

DRAWING GLYPHS

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EXPLORATION 11

DRAWING GLYPHS

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EXPLORATION 11

DRAWING GLYPHS

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EXPLORATION 2

Truth LU XIA EXPLORATION TWO

TYPE SETTING

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EXPLORATION 2

TYPE SETTING

The quick brown fox jumped over the lazy dog.

LU XIA EXPLORATION TWO

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EXPLORATION 2

TYPE SETTING

The rules of typography can be broken, but never ignored.

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LU XIA EXPLORATION TWO

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EXPLORATION 2

TYPE SETTING

Type design is rarely, if ever, about being wholly original. At root, there is the need to conform to a great tradition of letterforms, a tradition which enables us to have the notion of a readable alphabet. And yet, a totally unreadable font driven out the familiar territory of a keyboard is created within the context of language-making tools. Something familiar through which we know our instructions are being codified, our orders remembered. Forget the book the magazine, or the television — they are secondary realizations of typography. It is the keyboard and screen that are our typographic mediators now, and our typographic intelligence is bonded with that of computers.

Type is about much more than questions of legibility or readability. Fashions and technological change are just part

of the backdrop. What makes typography fascinating, and an essential enquiry for anybody involved in design, is that this activity is a manifestation of our search for greater efficiency and greater power in the written word. It reveals personalities, politics, and economic factors, along with advances in science. It is a celebration of humanity, and a vital and subtle indicator of values.

— Lewis Blackwell, Twentieth Century Type

LU XIA EXPLORATION TWO

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EXPLORATION 2

TYPE SETTING

Type design is rarely, if ever, about being wholly original. At root, there is the need to conform to a great tradition of letterforms, a tradition which enables us to have the notion of a readable alphabet. And yet, a totally unreadable font driven out the familiar territory of a keyboard is created within the context of language-making tools. Something familiar through which we know our instructions are being codified, our orders remembered. Forget the book the magazine, or the television — they are secondary realizations of typography. It is the keyboard and screen that are our typographic mediators now, and our typographic intelligence is bonded with that of computers.

Type is about much more than questions of legibility or readability. Fashions and technological change are just part of the backdrop.

What makes typography fascinating, and an essential enquiry for anybody involved in design, is that this activity is a manifestation of our search for greater efficiency and greater power in the written word. It reveals personalities, politics, and economic factors, along with advances in science. It is a celebration of humanity, and a vital and subtle indicator of values. — Lewis Blackwell, Twentieth Century Type

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LU XIA EXPLORATION TWO

GR. 6 17 TYPE FORMS 617

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EXPLORATION 2

TYPE SETTING

Type design is rarely, if ever, about being wholly original. At root, there is the need to conform to a great tradition of letterforms, a tradition which enables us to have the notion of a readable alphabet. And yet, a totally unreadable font driven out the familiar territory of a keyboard is created within the context of language-making tools. Something familiar through which we know our instructions are being codified, our orders remembered. Forget the book the magazine, or the television — they are secondary realizations of typography. It is the keyboard and screen that are our typographic mediators now, and our typographic intelligence is bonded with that of computers.

Type is about much more than questions of legibility or readability. Fashions and technological change are just part of the

backdrop. What makes typography fascinating, and an essential enquiry for anybody involved in design, is that this activity is a manifestation of our search for greater efficiency and greater power in the written word. It reveals personalities, politics, and economic factors, along with advances in science. It is a celebration of humanity, and a vital and subtle indicator of values. — Lewis Blackwell, Twentieth Century Type

LU XIA EXPLORATION TWO

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PROJECT 2

TYPE POSTER

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PROJECT 2

TYPE POSTER

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PROJECT 2

TYPE POSTER

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EXPLORATION 3

KERNING

Truth LU XIA EXPLORATION THREE 270/270 Berkeley Italic

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EXPLORATION 3

KERNING

WORD & IMAGE

LU XIA EXPLORATION THREE 140/140 Didot

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EXPLORATION 3

KERNING

“artistic” license.

LU XIA EXPLORATION THREE 68/72 Frutiger Roman Black

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EXPLORATION 3

KERNING

(415 ) 621 8019 LU XIA EXPLORATION THREE 96/96 Gill Sans Light

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EXPLORATION 3

LU XIA LU XIA EXPLORATION THREE 96/96 Rockwell

KERNING

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PROJECT 3

LETTERHEAD + BUSINESS CARD

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EXPLORATION 5 5

TYPOGRAPHIC HIERARCHY

Letters of Introduction From Twentieth Century Type by Lewis Blackwell Type design is rarely, if ever, about being wholly original. At root, there is the need to conform to a great tradition of letterforms, a tradition which enables us to have the notion of a readable alphabet. And yet, a totally unreadable font driven out the familiar territory of a keyboard is created within the context of language- making tools. Something familiar through which we know our instructions are being codified, our orders remembered. Forget the book the magazine, or the television — they are secondary realizations of typography. It is the keyboard and screen that are our typographic mediators now, and our typographic intelligence is bonded with that of computers.

LU XIA EXPLORATION FIVE 14/30 Frutiger Bold, Tracking +5 10/30 Frutiger Italic, Tracking +5 10/30 Frutiger Roman, Tracking +5

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GR. 6 17 TYPE FORMS 617

FALL 2013 2013

EXPLORATION 5

TYPOGRAPHIC HIERARCHY

Letters of Introduction From Twentieth Century Type by Lewis Blackwell Type design is rarely, if ever, about being wholly original. At root, there is the need to conform to a great tradition of letterforms, a tradition which enables us to have the notion of a readable alphabet. And yet, a totally unreadable font driven out the familiar territory of a keyboard is created within the context of languagemaking tools. Something familiar through which we know our instructions are being codified, our orders remembered. Forget the book the magazine, or the television — they are secondary realizations of typography. It is the keyboard and screen that are our typographic mediators now, and our typographic intelligence is bonded with that of computers.

LU XIA EXPLORATION FIVE 12/30 Frutiger Bold 12/30 Frutiger Italic 12/30 Frutiger Roman

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GR. 6 17 TYPE FORMS 617

FALL 2013 2013

EXPLORATION 5

TYPOGRAPHIC HIERARCHY

Letters of Introduction From Twentieth Century Type by Lewis Blackwell Type design is rarely, if ever, about being wholly original. At root, there is the need to conform to a great tradition of letterforms, a tradition which enables us to have the notion of a readable alphabet. And yet, a totally unreadable font driven out the familiar territory of a keyboard is created within the context of language- making tools. Something familiar through which we know our instructions are being codified, our orders remembered. Forget the book the magazine, or the television — they are secondary realizations of typography. It is the keyboard and screen that are our typographic mediators now, and our typographic intelligence is bonded with that of computers.

LU XIA EXPLORATION FIVE 14/30 Frutiger Bold 10/30 Frutiger Italic 10/30 Frutiger Roman

26

GR. 6 17 TYPE FORMS 617

FALL 2013 2013

EXPLORATION 5

TYPOGRAPHIC HIERARCHY

Letters of Introduction From Twentieth Century Type by Lewis Blackwell Type design is rarely, if ever, about being wholly original. At root, there is the need to conform to a great tradition of letterforms, a tradition which enables us to have the notion of a readable alphabet. And yet, a totally unreadable font driven out the familiar territory of a keyboard is created within the context of language- making tools. Something familiar through which we know our instructions are being codified, our orders remembered. Forget the book the magazine, or the television — they are secondary realizations of typography.

It is the keyboard and screen that are our typographic mediators now, and our typographic intelligence is bonded with that of computers.

LU XIA EXPLORATION FIVE 30/30 Helvetica Neue Condensed Black, Tracking +10 14/30 Helvetica Neue Italic, Tracking +5 12/30 Helvetica Neue Light

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EXPLORATION 5

TYPOGRAPHIC HIERARCHY

Letters of Introduction From Twentieth Century Type by Lewis Blackwell

Type design is rarely, if ever, about being wholly original. At root, there is the need to conform to a great tradition of letterforms, a tradition which enables us to have the notion of a readable alphabet. And yet, a totally unreadable font driven out the familiar territory of a keyboard is created within the context of language- making tools. Something familiar through which we know our instructions are being codified, our orders remembered. Forget the book the magazine, or the television — they are secondary realizations of typography.

It is the keyboard and screen that are our typographic mediators now, and our typographic intelligence is bonded with that of computers.

LU XIA, EXPLORATION FIVE TYPEOGRAOHIC HIERARCHY BODONI

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