The Future of Typography by Yanqiu Du

THE FUTURE OF TYPOGRAPHY

The Future of Typography

Yanqiu Du Graphic Design 03092637

Era 1.0

Era 2.0

Era 3.0

A time when physical pieces of type material were used to print on a physical substrate.

Intangible bits of software code replaced physical type forms.

This involves intangible font software drawing temporary pixels on a screen,

The Future of Typography

Much in the field of typography can in fact be quite easily forecast. Future

Content Introduction

1 2 3

The Era of Typography

Era 1.0:

A time when physical pieces of type material were used to print on a physical substrate.

Era 2.0:

Intangible bits of software code replaced physical type forms.

Era 3.0:

This involves intangible font software drawing temporary pixels on a screen.

Miniscule Tuned

Forecast the Future:

Micro Evolution Micro Evolution:

Much in the field of typography can in fact be quite easily forecast..

30 Any improvement would be rather slight..

What is Dramatic Typography:

Focusing on the Basics:

Big letters, small letters, images overlaid with characters, beautiful strokes and flourishes. Todayâ&#x20AC;&#x2122;s dramatic typography comes primarily in the form of simple and basic fonts used in bold ways.

The Evolution of Web Fonts:

Oversized Lettering:

Dramatic typography has evolved so quickly because of the availability of type faces to the masses.

Big, bold typefaces that are paired with images or against a texture or solid background create a strong first impression.

Small Typography: Tiny type is also quite dramatic.

Type on Images

Simple Typefaces Used in Interesting Ways:

Typography with thick strokes and simple lines can make a nice canvas for a strong, well placed image.

Thinking Beyond the Present:

Dramatic typography is not a passing trend of 2015. It is here to stay for a long time.

THE FUTURE OF TYPOGRAPHY

Dramatic Typography

Introduction

THE FUTURE OF TYPOGRAPHY

Typography is central to any written message: books, brands, web searches or wedding invites. In a passing glance at a logotype or in–depth study of a research paper, poorly chosen or poorly used typefaces cause a visual disconnect between the words and their meaning. Being “off brand” or “off message” is a situation that good designers and good writers naturally fear. Choosing or designing typefaces which reinforce or emphasize the content is the “Holy Grail” of typographic execution. American type design pioneer, Frederic Goudy, once said, “If one type is more suitable than another for a given purpose, then there must be some type most suitable, and print to be (considered artistic) will not be satisfied with any but that right type.” Today it can be overwhelming for a designer to feel confident in choosing typefaces–there are so many available with varying degrees of quality and utility. It was not always so.

Era 3.0

Era 2.0

Era 1.0

The Era of Typography

09 THE FUTURE OF TYPOGRAPHY

Era 1.0

10 THE EVALUTION OF TYPOGRAPHY

Typography era 1.0 is a term I use to describe a time when physical pieces of type material (wood or metal, or—much later—photographic film) were used to print on a physical substrate. Type production, along with other book arts, was a highly specialized and industrial process. In some ways it is justifiable to call Type 1.0 a “golden age” where professional typographers skilled in the art of arranging words on a page focused their efforts at creating the best possible reading experience. Type manufacturers specialized inproducing type to very fine tolerances. Printers, binders, and ink manufacturers, paper makers—each required years of training to become masters in their trade.

“Physical pieces of type material were used to print on a physical substrate.” 01 02

01: Metal type 02: Wood type

Era 2.0

01: Subpixel rendering on an

lcd

screen.

THE FUTURE OF TYPOGRAPHY

After 500 years, type began a 2.0 revision: intangible bits of software code replaced physical type forms. This transformation in the late 1980s gave the layperson immediate access to typographic expression. Typeface choices increased and computer software became more sophisticated. While computers were used to create the content, the message was still mostly transferred and preserved in physical form through laser printers, image setters or an offset printing press.

Era 3.0

THE EVALUTION OF TYPOGRAPHY

With the wide adoption of web typography and the mobile reading experience, type has entered its 3.0 version. This involves intangible font software drawing temporary pixels on a screen, which then refreshes the intangible content after it’s been consumed. Type 3.0 is the most significant change in the evolution of type creation and type use since Gutenberg assembled movable pieces of type for mass production of thought. Words are now portable and temporary. Anybody can create content and exercise typographic decisions like font size, alignment and position. The “art” of arranging letterforms in a message, or an interface, or an advertisement is open to anyone who interacts with a device.

Anybody can create content and exercise typographic decisions like font size, alignment and position.

Anybody can create content and exercise typographic decisions like font size, alignment and positio Anybody can create content and exercise typographic decisions like font size, alignment and pos

Anybody can create content and exercise typographic decisions like font size, alignment and p

Anybody can create content and exercise typographic decisions like font size, alignment and

Anybody can create content and exercise typographic decisions like font size, alignment a

Anybody can create content and exercise typographic decisions like font size, alignment

Anybody can create content and exercise typographic decisions like font size, alignmen Anybody can create content and exercise typographic decisions like font size, alignm Anybody can create content and exercise typographic decisions like font size, alignm

Anybody can create content and exercise typographic decisions like font size, align Anybody can create content and exercise typographic decisions like font size, align Anybody can create content and exercise typographic decisions like font size, alignm

Anybody can create content and exercise typographic decisions like font size, alignm Anybody can create content and exercise typographic decisions like font size, alignmen Anybody can create content and exercise typographic decisions like font size, alignment

Anybody can create content and exercise typographic decisions like font size, alignment a

Anybody can create content and exercise typographic decisions like font size, alignment and

Anybody can create content and exercise typographic decisions like font size, alignment and p

Anybody can create content and exercise typographic decisions like font size, alignment and pos Anybody can create content and exercise typographic decisions like font size, alignment and positio Anybody can create content and exercise typographic decisions like font size, alignment and position. Anybody can create content and exercise typographic decisions like font size, alignment and position. Anybody can create content and exercise typographic decisions like font size, alignment and position. Anybody can create content and exercise typographic decisions like font size, alignment and position. Anybody can create content and exercise typographic decisions like font size, alignment and position. Anybody can create content and exercise typographic decisions like font size, alignment and position.

Freedom with a Caveat

position.

d position.

and position.

and position. nt and position. ment and position.

ment and position. nment and position. nment and position. ment and position.

ment and position. nt and position. and position.

and position.

d position.

position.

sition. on.

01: Creating shapes by different sizes.

THE FUTURE OF TYPOGRAPHY

on. sition.

With all this freedom, it is more important than ever for designers to study carefully what they intend to implement in their typographic solutions. All fonts are not created equal. Nor can they be expected to work well in every possible scenario from e-readers to tablets to desktops to large and small print. For example, of the many thousands of typefaces, only a few have been created for comfortable extended reading on screens; typefaces designed for elegant style in print may not work well on mobile displays. Type 3.0 has introduced a new layer of complexity for the designer—interactivity. While print was a static medium with an obvious beginning and ending, web pages require a user to navigate an intangible medium. Typography is usually central to this experience, and if the type does not function well in the medium, a user may become misdirected. In the earliest era of type 1.0, typographers used way finding techniques developed by scribes before them. Initial capitals letters, ornamentation and ample margins helped guide a reader through a story. Now with multiple options of colors, icons, illustrations and other multimedia tools, navigation may be more “fun” but eventually may become tiresome. Since the number one job of type is to communicate clearly, a breakdown here would only cause frustration and a failure in design.

Moving Forward

THE EVALUTION TYPOGRAPY

As with any milestone, it is important to take a look back and be sure a measure of quality is not lost to the new generation. Type 3.0 makes it easier than ever to seamlessly integrate wellâ&#x20AC;&#x201C;communicated messages in every form of media. Designers who master this notion will flourish and raise the bar of quality higher for future practitioners of typographic arts. Every designer should consider exercise restraint, practice voice recognition, mind the gaps, manage expectations. Exercise restraint: when a designer is given the option of thousands of typefaces, the temptation is to try too many at once. A sans serif family with 24 styles is a magnificent toolkit but seldom does good typography require more than three or four weights on a page. Practice voice recognition: designers need to try several typefaces with the same words and look for discontinuity. Just as a computer might mistake voice commands, the graphic voice of a word may confuse a reader about meaning or intent. Mind the gaps: the space around the words is equally important to the words themselves. Restraint in the number of competing elements will clarify the message, allowing the reader to fully engage. This is not to say avoid decorative elements or graphics but to make sure there is clarity and distinction in words and images. Manage expectations: during the era of type 1.0, some typefaces performed better than others simply based on the quality of paper and ink. This is true today but multiplied by the number of electronic displays and types of software used to present a designerâ&#x20AC;&#x2122;s message. Be aware of environments that may be problematic and be prepared to adapt accordingly.

15 THE FUTURE OF TYPOGRAPHY

“Designers need to try several typefaces with the same words and look for discontinuity.”

ifif

Miniscule Tuned

THE FUTURE OF TYPOGRAPHY

Future

Forecast the Future

MINISCULE TUNED

Despite the impossibly ambitious title of this article, much in the field of typography can in fact be quite easily forecast. The reason for this is simpleâ&#x20AC;&#x201D;the design of letterform is basically miniscule variations on a theme, that being the alphabet on which our language is based. Each typeface design (no matter what its pretensions otherwise) remixes and reinterprets all that has gone before. This creates one of the most beautiful aspects of typographyâ&#x20AC;&#x201C;sets of very finely tuned and delicate variations that give letters their subtle distinctive tones of voice. And much like music, the more knowledge you have of a particular genre, the more depth and variation you infinitely discover.

01: Akzidenz-Grotesk Helvetica

02: Akzidenz-Grotesk Helvetica

19 THE FUTURE OF TYPOGRAPHY

“The design of letterform is basically miniscule variations on a theme.”

01: Akzidenz-Grotesk Helvetica

02: Akzidenz-Grotesk Helvetica

MINISCULE TUNED

“Type can only be truly understood when seen in its historical content.” As with any milestone, it is important to take a look back and be sure a measure of quality is not lost to the new generation. Type 3.0 makes it easier than ever to seamlessly integrate well–communicated messages in every form of media. Designers who master this notion will flourish and raise the bar of quality higher for future practitioners of typographic arts. Every designer should consider exercise restraint, practice voice recognition, mind the gaps, manage expectations.

01: Helvetica Neue 04

02: Bodoni 01

03:

itc

Officina Serif

04: Adobe Garamond Pro

THE FUTURE OF TYPOGRAPHY

Given this continuum of ever–changing reinterpretations, type can only be truly understood when seen in its historical content, which is why archives are so important. By seeing a historical lineage, particular patterns begin to emerge. Certain figures, approaches or cultural contexts are seen time and time again within typographic history, creating a cohesive narrative. These linked points create the story of a person, the tale ofa technology or even an entire and distinct national design language—something that Australian graphic designers have been pondering for many decades.

22 MINISCULE TUNED

Only a few weeks ago I found myself in the Powerhouse Museum archive researching their collection of works by the early Australian typographer designer Alistair Morrison. While looking at the originals of pieces long enjoyed as little images in annuals from the period, one very distinct emotional response was felt—wonderful sense of humility. As a practicing designer, you are confronted by the fact that one day this is all that will be left (at least in the physical world anyway). But rather than finding this realization depressing, it was in fact inspiring. One of the more unexpected roles of a design collection is to remind the living practitioner that one will only be remembered by the work that is left behind—so it had better be good. Quality aside, perhaps the most significant challenge for typographic archives is accessibility. Any archive striving to document typographic history must acknowledge that the form of that archive will be a predominantly digital one. We only have to look at current shifts in the typeface market to see where it is heading—while print—fonts are now becoming available as web-fonts, the demand in online communications will eventually reverse this situation. The standard font format will become a web-font with the print-font being a special purchase when required.

“The standard font format will become a web–font with the print–font being a special purchase when required.”

But that’s not all. With type foundries being able to promote their libraries online using extensive previewing, now even inside active design programs and simple animations right through to full promotional trailers, the “physical object” in type design, the printed type sampler, is now becoming a rare thing. As somebody who still produces these, it’s my suspicion that many type samplers are being produced as a “durable record” of the contribution and enduring status of the foundry far more than a mere promotional vehicle for the fonts themselves. This shift in intent has changed the “archival footprint” of type design and will continue to do so in the future.

Its then up to others; researchers, academics, students and practitioners to ventilate these resources through study and exposure. For this to happen we need to continue to reiterate the importance of embedding “design research” into “design practice”, instead of each being “siloed” into the restrictive and often divisive notions of “industry” and “academia”.

01: MAAS Powerhouse Museum

THE FUTURE OF TYPOGRAPHY

With the exception of a scarce few institutions of which the Powerhouse Museum is one, Australia has been rather slow in archiving and documenting our graphic/typographic history. Thankfully this is steadily changing, due to the ever-increasing mainstream interest in typography. But even if we get to the situation of having bursting design archives—what then?

24 MINISCULE TUNED

At the very same time that typography is “the sexy thing” in graphic design education, it is an irony that history and theory subjects are being sidelined or even abolished in many design courses. This connection between technical craft and a broader awareness of a social, cultural and technological context is perhaps nowhere more important than in the teaching of typography. As an employer I bear witness to the sad outcome of this disconnection— generations of design graduates deluding themselves into thinking that they have created “something new”. While the design departments within large universities are cutting back on “unpopular” subjects such as design history, the currentbloom of stubbornly vocational private design schools seems to simply add to this dilemma. By reinstating this connection and context through an informed curriculum, a more mature and enduring typographic design will develop a fuller “micro” (craft) and “macro” (cultural) perspective. Coupled with everdynamic technological change, this will all make for a fascinating typographic future. Ultimately, as practitioners we can only acknowledge the past and craft the present. How the future will be seen is in the hands of others—those understated custodians of our design future, the archivists. It is in their white–gloved hands that the story of Australian design will be told.

“A more mature and enduring typographic design will develop a fuller ‘micro’ (craft) and ‘macro’ (cultural) perspective.”

01 THE FUTURE The Future OF of TYPOGRAPHY Typography

Micro Evolution

THE FUTURE OF TYPOGRAPHY

Future

00 CHAPTER 01

“Type has to be read, to convey meaning. But there is a bit more to it than that, there’s the sort of aesthetic element.”

Micro Evolution

THE FUTURE OF TYPOGRAPHY

Type is something we consume in enormous quantities in much of the world, it’s completely inescapable. The technology has changed a number of times since we start to print content by types: types, photo, digital, desktop, screen, and web. We’ve had to survive those changes and try to understand their implications for what we do for design. In the past, every hand made type has that spark of life from the human hand that the machine or the program can never capture. It is very adaptable. Unlike a fine art, such as sculpture or architecture, type hides its methods. Type has to be read, to convey meaning. But there is a bit more to it than that, there’s the sort of aesthetic element.

30 MICRO EVOLUTION

There have been some cases, we can feel the influence of technology. This is from the mid-’60s, the change from metal type to photo, hot to cold. This brought some benefits but also one particular drawback: a spacing system that only provided 18 discrete units for letters to be accommodated on. For example like Helvetica, we can only have Helvetica Compressed, Extra Compressed, and Ultra Compressed, this rigid 18-unit system really boxed we in. It kind of determined the proportions of the design. If we were doing this same job today, instead of having 18 spacing units, we would have 1,000. Clearly we could make more variants, but would these three members of the family be better? It’s hard to say without actually doing it, but they would not be better in the proportion of 1,000 to 18, I have to say that. I believe that any improvement would be rather slight, because they were designed as functions of the system they were designed to fit, and type is very adaptable. It does hide its methods.

“Any improvement would be rather slight, because they were designed as functions of the system they were designed to fit, and type is very adaptable.”

01 02

THE FUTURE OF TYPOGRAPHY

Type Type 01: Avenir 01: Helvetica

32 MICRO EVOLUTION

In the mid-’70s, when we printed content at tiny size on newsprint on very high–speed rotary presses with ink that was kerosene and lampblack. This is not a hospitable environment for a typographic designer. So the challenge for us was to design type that performed as well as possible in these very adverse production conditions. It’s the infancy of digital type. If we need to design a font, we had to draw every character by hand on quad-rille graph paper, then we had to make pixel by pixel, and encode them raster line by raster line for the keyboard. In the end, we can have these letters that look as though they’ve been chewed by the dog or something or other, but at the same time, we have the missing pixels at the intersections of strokes or in the crotches, it effects of ink spread on cheap paper and reacting, revising the font accordingly. In the mid-’80s, the early days of digital outline fonts, vector technology. There was an issue at that time with the size of the fonts, the amount of data that was required to find and store a font in computer memory. It limited the number of fonts you could get on your typesetting system at any one time. Some typical serif face needed nearly twice as much data as a sans serif because of all the points required to define the elegantly curved serif brackets. So the sans serif was much more economical.

“Some typical serif face needed nearly twice as much data as a sans serif because of all the points required to define the elegantly curved serif brackets.”

33 THE FUTURE OF TYPOGRAPHY

01: Elegantly curved serif brackets Bembo Std

34 MICRO EVOLUTION

In the mid-â&#x20AC;&#x2122;90s, all the fonts on screen had been adapted from previously existing printing fonts, Microsoft foresaw correctly the movement, the stampede towards electronic communication, to reading and writing onscreen with the printed output as being sort of secondary in importance. So they have a small core set of fonts that were not adapted but designed for the screen to face up to the problems of screen, which were their coarse resolution displaysâ&#x20AC;&#x201D;Verdana and Georgia.

01: reading and writing on screen

35 THE FUTURE OF TYPOGRAPHY

00 CHAPTER 01 Micro Evolution

“Types will evolve by micro and technique, but they will not have huge different.”

THE FUTURE OF TYPOGRAPHY

It’s been 18 years now since Verdana and Georgia were released. Microsoft were absolutely right, it took a good 10 years, but screen displays now do have improved spatial resolution, and very much improved photometric resolution. So now that their mission is accomplished, has that meant the demise of the screen fonts that we designed for coarser displays back then? Will they outlive the now obsolete screens and the flood of new web fonts coming on to the market? Or have they established their own sort of evolutionary niche that is independent of technology? In other words, have they been absorbed into the typographic mainstream? I think types will evolve by micro and technique, but they will not have huge different.

Dramatic Typography

THE FUTURE OF TYPOGRAPHY

Future

What is Dramatic Typography?

40 DRAMATIC TYPOGRAPY

Type with high drama: Big letters. Small letters. Images overlaid with characters. Beautiful strokes and flourishes. These are the things that website designers and developers are playing with for almost every aspect of design—from basic responsive websites to apps and watch interfaces—in 2015 and beyond. The trend is popular for a simple reason: Simple and dramatic typography is visually appealing and easy to read.

“Images overlaid with characters. Beautiful strokes and flourishes.”

01: Two Arms Inc. 01

41 THE FUTURE OF TYPOGRAPHY

Focusing on the Basics

DRAMATIC TYPOGRAPY

Many forms of dramatic type in the past have centered around unusual typefaces. In the early part of the decade, novelty typefaces were a key component of creating dramatic typography. Todayâ&#x20AC;&#x2122;s dramatic typography comes primarily in the form of simple and basic fonts used in bold ways.

01: PUSH 01

“Think about the basic principles of typography is important to understand concepts in type categories, type families and letterform shapes and strokes.” As described in Web Design for the Human Eye, stroke weight is also a major consideration. The stroke is the width of each line used to create a character. Letters within a type family have either varying or uniform stroke widths. For many of the dramatic uses of typography, we are seeing, uniform stroke widths are the preferred choice. This is mainly due to the fact that uniform strokes can be easier to read across a variety of settings and against varying levels of contrast. These letterforms are also easier to read, both in terms of understanding and comprehension and visually against other elements.

THE FUTURE OF TYPOGRAPHY

To make the most of this trend, you’ll want to think about the basic principles of typography. It is important to understand concepts in type categories, type families and letterform shapes and strokes. Type is commonly broken into a handful of categories that embody the mood, structure and impact of lettering. The high–drama typefaces of 2015 tend to fall in one of the two broadest categories: serif or sans serif, with the latter being the overwhelming favorite. (A sans serif typeface is one without extra stroke at the end of letters, such as Helvetica.) When working with any of the techniques mentioned here, designers are often sticking to a single type family to create a “big design.” A type family includes the font and all variants of it. If you were using Helvetica, this would include the light, condensed, black, bold, italic, regular and all other variations of the typeface.

The Evolution of Web Fonts

44 DRAMATIC TYPOGRAPHY

Dramatic typography has evolved so quickly because of the availability of typefaces to the masses. Aside from a handful of default typefaces or freebies that included questionable online usage, type kits are changing the game for web ui designers. More fonts are available at low cost (or no cost thanks to Google Fonts). The number of options is increasing almost daily as well. Adobe also includes its Typekit service in all Creative Cloud plans. Without a large budget, almost every web designer now has an arsenal of typefaces to work with and choose from. This factor alone is almost enough to create a flood of type–based projects.

“Most modern browsers and interfaces can support pretty much any kit–based font.” The flood of available fonts also opens the door to themebased website design as well. WordPress users have access to many of the same typefaces as home–grown websites and where font rendering was an issue even as little as 5 years ago, most modern browsers and interfaces can support pretty much any kit–based font today.

01: Type–based projects.

45 THE FUTURE OF TYPOGRAPHY

Oversized Lettering

DRAMATIC TYPOGRAPHY

Once you select a type family to work with, size is the first consideration. And oversized typography is the leading contender for top web design trend of 2015. Big, bold typefaces that are paired with images or against a texture or solid background create a strong first impression. The way these supersized letters is being used is fairly unique as well. The focus is on serifs with rather thin strokes at incredibly large sizes. Designers are creating an outline that includes three to five words that almost entirely fill the screen. The other common thread is actually the colorâ&#x20AC;&#x201D;whiteâ&#x20AC;&#x201D;which is used almost exclusively with this trend.

47 THE FUTURE OF TYPOGRAPHY

A dominant proportion and weight compared other elements on the screen

Size of the characters (often bigger than 85 points)

48 DRAMATIC TYPOGRAPHY

This technique works because of contrast. Big, white (although sometimes black or another color) is placed on top of an image or brightly colored background. Other commonalities include lettering that is aligned to the center of the screen and use of all caps. The resulting design forces you to read whatâ&#x20AC;&#x2122;s on the screen. While oversized typography has a very defined style in this dramatic trend technique, you can use big type in other ways. Consider small tweaks to the trend such as aligning lettering to the left or right, donâ&#x20AC;&#x2122;t get stuck in an all caps situation and play with color.

49 THE FUTURE OF TYPOGRAPHY

Small Typography

DRAMATIC TYPOGRAPHY

Everything you know about oversized type can be flipped upside down when you think of super small typography. But tiny type is also quite dramatic. While the most common application in 2015 has been through the use of ghost buttons (transparent clickable buttons), small typography can be used it other ways as well. Small type, aside from that used in buttons, is often black, used with a typeface that has a bolder or thicker stroke and in all caps. Small typography is often an element that brings focus and attention to words in a design that uses plenty of open space.

51 THE FUTURE OF TYPOGRAPHY

Type on Images

DRAMATIC TYPOGRAPHY

In the earlier days of the web, designers and developers often thought of type and images as two separate components. Dramatic type is often integrated with images to create a single highâ&#x20AC;&#x201C;impact user interface element. The biggest concerns about creating type that lives on images are contrast and readability. As a designer, you have to pay close attention to every image and how type will play on top of it. As discussed in Web Design for the Human Eye, the words and images have to say the same thing in order to achieve drama. If the messages are different, the result is confusion. Think of it this way, if you are selling a designer portfolio, the words might be that of your name, but if the image is of someone most people can identify, say LeBron James, that will cause an immediate confusing juxtaposition.

53 THE FUTURE OF TYPOGRAPHY

Type on Images

Simple Typefaces Used in Interesting Ways

DRAMATIC TYPOGRAPHY

Typography with thick strokes and simple lines can make a nice canvas for a strong, well placed image. This can be a design challenge and only works with the right combination of lettering and imagery. The best designs include only a simple image with one or two words that are easy to read. Another option is to add embellishment of a simple serif or script typeface with images. This could include techniques such as adding a stroke or artistic flourishes to an otherwise simple set of letterforms.

55 THE FUTURE OF TYPOGRAPHY

Type on photos is dramatic, so what about type in photos?

Thinking Beyond the Present

DRAMATIC TYPOGRAPHY

Dramatic typography is not a passing trend of 2015. It is here to stay for a long time. It is almost certain that designers will continue to use highâ&#x20AC;&#x201C;drama text. They may, however, dial back parts of the trend that are starting to feel overdone. For example, we may begin to see more color and less white type. More designers may opt for transparencies or 3d effects in the creation of dramatic letterforms. A shift from uberâ&#x20AC;&#x201C;thin to thicker stroke widths in letterforms could take place. Letterforms may also include more basic or simple animations or work as part of a larger scheme of scrolling or other user interface elements.

57 THE FUTURE OF TYPOGRAPHY

Type on photos is dramatic, so what about type in photos?

List of Image Images all found from Internet.

nomadletterpress.blogspot.com

mnprairieroots.com

pixgood.com

pinterest.com

merclain.com

2015.theconference.se

getzeroapp.com

junduffy.co.nz

absurdonio.tumblr

protectionsymposium.com

dezeen.com

paletosignorantes.blogspot.com

creativebloq.com

pushcollective.com

designinstruct.com

weareisland.com

google.com

Designer

Yanqiu Du

Topic Concept

Chris

Editorial Work

Yanqiu Du

Instructor

David Hake

Language Support

Roger Swee

Binding

Yanqiu Du

Printer

Epson Stylus Photo R1900 Ink Jet Printer

Paper

Epson Premium Presentation Paper Matte 4 Stars

Typeface

Avenir by Adrian Frutiger for Linotype Adobe Garamond by Robert Slimbach for Adobe Akzidenzâ&#x20AC;&#x201C;Grotesk by H. Berthold for Berthold Helvetica by Linotype Design Studio for Linotype Bodoni by Morris Fuller Benton for Linotype ITC Officina Serif by Erik Spiekermann for itc

The Era of Typography

Page 08

by Steve Matteson

Miniscule Tuned

Page 20

by Stephen Banham

Micro Evolution

Page 30

by Mattew Carter

Dramatic Typography

Page 40

UXP in

Inc

CHAPTER 01