TYPEFORMS
SURIYA XIAOHERETI
TYPEFORMS
SURIYA XIAOHERETI
PROJECT COLLECTIONS
Suriya Xiaohereti
Project one // Proyotypeface
Miniors Party
SURIYA XIAOHERETI
PROJECT ONE GLYPHS
TYPEFORMS
PROJECT NAME MINIONS PARTY
Shoulder
Stroke
TYPEFORMS
Tail
Uppercase
Hairline
PROJECT TWO TYPE ANATOMY
Eye
Arm
Meanline X-height
Spine
Baseline
SURIYA XIAOHERETI
PROJECT NAME MINIONS PARTY
R e sexto i k g Anatomy Cap height
Ascender
Stem
Leg
Serif
Bowl
Ear
Link
Apex
Crossbar
Suriya Xiaohereti Type Anatomy // Adobe Garamond Pro Crossword Puzzle
Loop
Counter
Stress
Bracket
Descender Terminal
Suriya Xiaohereti
SURIYA XIAOHERETI
LETTERHEAD / BUSINESS CARD
TYPEFORMS
555 Mission Rock St. San Francisco, CA 94158
suriyashuhrat.com
suriyashuhrat@outlook.com
415 463 9852
“Humanist” is a label commonly used to characterize type designs today. However, historically its applications have been inconsistent. For example, Maximilien Vox’s employment of “humanes” in his influential 1954 classification scheme did not codify an already accepted category; before Vox the term was rarely used for type, and when it was it sometimes referred to types other than those which Vox would group under the labels. Moreover, the stylistic features that distinguish a humanist serifed font in Vox’s scheme are not the same features that distinguish the faces later named humanist sans types. Given these vagaries of definition, it is worth asking how and why “humanist” has persisted as a label.
This category includes the first Roman types, originally created between the late 15th and mid 18th centuries, as well as typefaces patterned after those designed in this earlier period. The axis of curved strokes is normally inclined to the left in these designs, so that weight stress is at approximately 8:00 and 2:00 o’clock. The contrast in character stroke weight is not dramatic, and hairlines tend to be on the heavy side. Serifs are almost always bracketed in old style designs and head serifs are often angled. Some versions, like the earlier Venetian old style designs, are distinguished by the diagonal cross stroke of the lowercase e. www.fonts.com
ABCDEFGH I J KLMNOPQRS TUVWXYZ abcdefghijklmn opqrstuvwxyz 0123456789
TYPEFORMS POSTERS
SURIYA XIAOHERETI
Humanist
Humanist Garalde Transitional Didone Slab-serif Lineale Humanist Lineale Neo-grotesque Lineale Geometric
Jenson
e b
Gill’s lettering is based on classic roman proportions, which give the sans-serif a less mechanical feel than its geometric contemporaries. Each weight retains a distinct character of its own. The light font, with its heavily kerned ‘f ’ and tall ‘t’, has an open, elegant look. The regular font has a more compact and muscular appearance, with its flat-bottomed ‘d’, flat-topped ‘p’ and ‘q’, and short, triangular-topped ‘t.’ The bold font tends to echo the softer, more open style of the light, while the extra bold and ultra bold have their own vivid personalities.
The typeface was initially recommended for advertising and headline use, but as the public got used to reading sans-serif, Gill Sans turned out to work just as well for body text. These are based on the proportions of Roman inscription letters. Frequently, contrast in stroke weight is readily apparent. Typographic experts claim that these are the most legible and most easily read of the sans serif typefaces. Humanistic sans serif typefaces also closely match the design characteristics and proportions of serif types, often with a strong calligraphic influence. www.fonts.com
ABC DE FG H I J KLMNOPQRS TUVWXYZ abcdefghijklmn opqrstuvwxyz 0123456789
SURIYA XIAOHERETI
POSTERS
TYPEFORMS
Lineale Humanist
Humanist Garalde Transitional Didone Slab-serif Lineale Humanist Lineale Neo-grotesque Lineale Geometric
Gill Sans
e b
Didone typefaces (also referred to as Neoclassical and Modern) enjoyed great popularity from the late 18th through the 19th centuries. The term Didone is a melding of Didot and Bodoni, the two most characteristic typeface designs of this era. Early on, however, it became apparent to printers that these were not updated versions of classic type styles, but altogether new designs. As a result their classification name was changed to “modern.” Since the mid 20th century, they have also been classified as neoclassical or Didone.
The Linotype Didot™ typeface was drawn by Adrian Frutiger in 1991, and is based on the fonts cut by Firmin Didot between 1799 and 1811. Frutiger also studied the Didot types in a book printed by the Didots in 1818, La Henriade by Voltaire. This beautifully drawn family has three weights including old style figures, small caps for the roman weight, as well as a headline version and an ornament font. Didones are characterized by extreme weight contrast between thicks and thins, vertical stress, and serifs with little or no bracketing. In many cases, stroke terminals are “ball” shapes rather than an evocation of a broad pen effect. These tend to be highly mannered designs, with clearly constructed letters. www.fonts.com
ABCDEFGHIJ KLMNOPQRS TUVWXYZ abcdefghjklmn opqrstuvwxyz 0123456789
TYPEFORMS POSTERS
SURIYA XIAOHERETI
Didone
Humanist Garalde Transitional Didone Slab-serif Lineale Humanist Lineale Neo-grotesque Lineale Geometric
Didot
e b
TYPE COMPOSITION
SURIYA XIAOHERETI
TYPE COMPOSITION
SURIYA XIAOHERETI
TYPESETTING EXERCISES
—Excerpted from Manifesto Mania by Ellen and Julia Lupton
EXERCISE 1: PARAGRAPH INDICATORS BODYTEXT — BASKERVILLE 8/12 TRACKING = +20
SURIYA XIAOHERETI
Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as we know it today if F.T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state their principles in compact, incendiary speech. A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function—they serve to bring together members of a group. Ten years ago, Bruce Mau published his “Incomplete Manifesto,” written as a list of commandments. These principles became the established creed of Mau’s own design office, but they can be used by anyone. Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals. Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of all social, political and military systems, pushed designers to create “intensely glamorous environmentally sound products; entirely new objects of entirely new materials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Also in 2000, Rick Poynor published the “First Things First 2000” manifesto, based on a text written by Ken Garland in 1964, a controversial document that called for designers to use their skills to improve environmental, social and cultural life rather than to sell hair gel and dog biscuits.
—Excerpted from Manifesto Mania by Ellen and Julia Lupton
EXERCISE 1: PARAGRAPH INDICATORS BODYTEXT — EUROSTILE 8/12 TRACKING = +20
SURIYA XIAOHERETI
Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as we know it today if F.T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state their principles in compact, incendiary speech. A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function—they serve to bring together members of a group. Ten years ago, Bruce Mau published his “Incomplete Manifesto,” written as a list of commandments. These principles became the established creed of Mau’s own design office, but they can be used by anyone. Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals. 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.
These principles became the established creed of Mau’s own design office, but they can be used by anyone. Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals. Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of all social, political and military systems, pushed designers to create “intensely glamorous environmentally sound products; entirely new objects of entirely new materials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Also in 2000, Rick Poynor published the “First Things First 2000” manifesto, based on a text written by Ken Garland in 1964, a controversial document that called for designers to use their skills to improve environmental, social and cultural life rather than to sell hair gel and dog biscuits. —Excerpted from Manifesto Mania by Ellen and Julia Lupton
EXERCISE 1: PARAGRAPH INDICATORS BODYTEXT — OPTIMA 8/12
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.
TRACKING = +20
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.
SURIYA XIAOHERETI
Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as we know it today if F.T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state their principles in compact, incendiary speech.
—Excerpted from Manifesto Mania by Ellen and Julia Lupton
EXERCISE 1: PARAGRAPH INDICATORS BODYTEXT — HELVETICA 8/12 TRACKING = +20
SURIYA XIAOHERETI
Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as we know it today if F.T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state their principles in compact, incendiary speech. A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function—they serve to bring together members of a group. Ten years ago, Bruce Mau published his “Incomplete Manifesto,” written as a list of commandments. These principles became the established creed of Mau’s own design office, but they can be used by anyone. Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals. Bruce Sterling’s “Manifesto of January 3, 2000” helped galvanize the contemporary green movement, which is the epicenter of manifesto-writing today. Sterling, in addition to demanding an overhaul of all social, political and military systems, pushed designers to create “intensely glamorous environmentally sound products; entirely new objects of entirely new materials; replacing material substance with information; a new relationship between the cybernetic and the material” (iPhone, anyone?). Also in 2000, Rick Poynor published the “First Things First 2000” manifesto, based on a text written by Ken Garland in 1964, a controversial document that called for designers to use their skills to improve environmental, social and cultural life rather than to sell hair gel and dog biscuits.
—Excerpted from Manifesto Mania by Ellen and Julia Lupton
EXERCISE 1: PARAGRAPH INDICATORS BODYTEXT — ADOBE GARAMOND PRO 8/12
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.
TRACKING = +20
in an edgy, direct way.
SURIYA XIAOHERETI
Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as we know it today if F.T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state their principles in compact, incendiary speech. A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach
BODYTEXT — ADOBE GARAMOND PRO 8/12
EXERCISE 2: DROP CAP
—Excerpted from Manifesto Mania by Ellen and Julia Lupton
TRACKING = +20
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.
SURIYA XIAOHERETI
K
arl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as we know it today if F.T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state their principles in compact, incendiary speech. A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid-20th century, replaced by more businesslike, professionally oriented statements of purpose and principle. But at the turn of the new century, just as at the turn of the old one, manifestos came back. Businesses started using “brand manifestos” to spell out the defining features of their products, and software companies and design firms started posting manifestos to publicize their approach in an edgy, direct way. Designers seem especially drawn to manifestos. A well-written manifesto is like a well-designed product. It communicates directly, it is broken into functional parts, and it has elements of poetry and surprise. And drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function—they serve to bring together members of a group. Ten years ago, Bruce Mau published his “Incomplete Manifesto,” written as a list of commandments.
EXERCISE 2: INITIAL CAP
—Excerpted from Manifesto Mania by Ellen and Julia Lupton
BODYTEXT — OPTIMA 8/12
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.
TRACKING = +20
K arl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as we know it today if F.T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state their principles in compact, incendiary speech. A manifesto is a short document that “manifests” or makes public a set of ideas and goals. A manifesto is passionate, personal and vivid. Such calls to action went out of fashion during the mid20th 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.
SURIYA XIAOHERETI
K
EXERCISE 2: INTRO PARAGRAPH
—Excerpted from Manifesto Mania by Ellen and Julia Lupton
BODYTEXT — BASKERVILLE 8/12
These principles became the established creed of Mau’s own design off ice, 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.
TRACKING = +20
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 def ining 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.
SURIYA XIAOHERETI
Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declaration of Independence in 1776, he drafted the manifesto that launched the American Revolution. Graphic design would not exist as we know it today if F.T. Marinetti hadn’t published his manifestos and instigated Futurism. By inventing the idea of art as a branded public enterprise, Marinetti compelled many poets, painters and designers after him to state their principles in compact, incendiary speech.
EXERCISE 3: SCALE CHANGE /STYLE CHANGE.
Verbal and Visual Equations An examination of interactive signs excerpted from Typographic Design: Form and Communication
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-Ă -vis other words through opposition and contrast. Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in a nonlinear manner, with elements existing in many syntactic combinations.
SURIYA XIAOHERETI
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.
TRACKING = +20
BODYTEXT — FRANKLINGOTHIC 8/12
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 to mimic verbal meaning.
In language, signs are joined together to create messages. Words as verbal sign, grouped together in a linear fashion, attain their value vis-à-vis other words through opposition and contrast. Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in a nonlinear manner, with elements existing in many syntactic combinations.
EXERCISE 3: SCALE / STYLE CHANGE+TYPEFACE BODYTEXT — SERIFA + UNIVERS 8/12
By Ben Day and Philip Meggs
TRACKING = +20
An examination of interactive signs excerpted from Typographic Design: Form and Communication
SURIYA XIAOHERETI
Verbal and Visual Equations
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 elements existing in many syntactic combinations.
BODYTEXT — CLARENDON + HELVETICA 8/12
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.
TRACKING = +20
By Ben Day and Philip Meggs
SURIYA XIAOHERETI
An examination of interactive signs excerpted from Typographic Design: Form and Communication
EXERCISE 3: SCALE/STYLE CHANGE + TYPEFACE + GRAPHIC ELEMENT
Verbal and Visual Equations
TYPE COMPOSITION
SURIYA XIAOHERETI
LOGOTYPE AND POSTER
SURIYA XIAOHERETI
PROJECT ONE LOGOTYPE B/W
Beyond Fashion TYPE COMPOSITION
SURIYA XIAOHERETI
PROJECT ONE LOGOTYPE W/B
Beyond Fashion TYPE COMPOSITION
SURIYA XIAOHERETI
PROJECT ONE LOGOTYPE ON SIGNATURE IMAGE
Beyond Fashion TYPE COMPOSITION
TYPE COMPOSITION PROJECT ONE POSTER DESIGN
SURIYA XIAOHERETI
Beyond Fashion
Enter the world and life of Valentino Garavani. Make a wonderful journey through his most glamorous discovery Beyond Fashion Design.
May 21 to October 21, 2018 9 am–5 pm, Mon. to Sun. Get tickets at guggenheim.org Come and visit, 1071 5th Ave, New York, NY 10128
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TYPE COMPOSITION
BOOK DESIGN
SURIYA XIAOHERETI
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TABLE OF CONTENTS
By Michael Morris
PROJECT ONE BOOK DESIGN
TYPE COMPOSITION
BOOK COVER
Beyond Fashion Enter the world and life of Valentino Garavani. Make a wonderful journey through his most glamorous discovery Beyond Fashion Design.
SURIYA XIAOHERETI
CHAPTER ONE CONT.
PROJECT ONE BOOK DESIGN
TYPE COMPOSITION
CHAPTER ONE OPENER
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CHAPTER TWO OPENER
PROJECT ONE BOOK DESIGN
TYPE COMPOSITION
ADDITIONAL SPREAD
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ADDITIONAL SPREAD
PROJECT ONE BOOK DESIGN
TYPE COMPOSITION
CHAPTER TWO CONT.
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CHAPTER THREE OPENER
PROJECT ONE BOOK DESIGN
TYPE COMPOSITION
CHAPTER THREE OPENER
TYPE COMPOSITION
MAGAZINE DESIGN
SURIYA XIAOHERETI
SURIYA XIAOHERETI
TABLE OF CONTENTS
PROJECT 3 MAGAZINE DESIGN
TYPE COMPOSITION
BOOK COVER
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FIRST ARTICLE
PROJECT 3 MAGAZINE DESIGN
TYPE COMPOSITION
FIRST ARTICLE
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SECOND ARTICLE
PROJECT 3 MAGAZINE DESIGN
TYPE COMPOSITION
SECOND ARTICLE
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THIRD ARTICLE
PROJECT 3 MAGAZINE DESIGN
TYPE COMPOSITION
THIRD ARTICLE