Raise A Little Helvetica, A Study In Typography

raise a little HELVETICA

BY ASHLEY SELVIN

A STUDY IN TYPOGRPAHY

TABLE OF

02 Type Anatomy: Infographic Pamphlet

04

PAGE TEN

PAGE THIRTY FOUR

Type Classification: Poster Design

CONTENTS PAGE FOUR Prototypes: Creating / Recreating Letter forms Postcard

PAGE SIXTEEN

Type Setting: Justification, Paragraph Indicators, Text Beginnings, & Heirarchy

introduction

This typography book is a collection of projects completed during the graphic design program at the University of California Berkeley Extension. Fundamentals of Typography is one of the seven courses given during this program. In this class, we were assigned four projects, this book lends itself to the presentation of those projects and the process behind each one.

Project one is an exploration of type and the process involved in creating a brand new type face.In this project, we started with an existing typeface and altered it to make it completely new, added color to make it a complete set and designed a set of postcards for display. In the second project, we explored typesetting. For this exercise, we were given several paragrahs and were asked to set each as a different justicfication. This led to a lot of adjustments including leading, kerning, and typeface sizes. Project three is took a look at the anatomy of type and the difference characteristics of letters. During this project, we were asked to indentify 26 different type characteristics and display them as an infographic. I chose to display mine as an accordian brochure. For project four, we researched Swiss graphic designers and their impact on the design world. This research led to a lot of inspirationfor the final two projects in the course and gave insight into some of the designs we see around the world today. Project five observed three different typefaces, one sans serif, and two serif. We were asked to display these typefaces as a set that would call out the different classifications while giving a brief history behind each chosen typeface.

This course has deepened my understanding of typography and the use of typogrpahy in everyday design. I hope you enjoy reading!

2

ROCKWELL ?

I CERTAINLY DO.

letterforms

BACKGROUND: Most post cards are meant to be displayed but are not that unique or accessible. Unique cards are difficult to find and mostly found in boutique shops or museum shops.

DESIGN PROBLEM: To design more accessible and unique postcards for adults between 20-30 years of age to share with the public - both hard copy and digitally.

Create a unique card that can be proudly displayed by focusing on typography, page layout, color and concept by selecting 9 characters from an existing typeface and reconstructing them to convey emotion and great design.

4

LETTERFORM EXERCISE

5

PROJECT ONE: Prototypes: Recreating Letterforms

ORIGINAL TYPEFACE

INITIAL SKETCH

DESIGN PROCESS: I researched different styles of type faces and decided to start with a sans serif font. I wanted to add some character to the already plain, solid, strong look to the letters. I used tracing paper over the original to make sure I was keeping core aspects of the font and ended up with two different versions. The first version took parts away from each letter and changed the angles to the letters. The second design I added a hooked look to each letter. I ended up going with the first version because I felt it looked different than any other font I have seen before and it showed more character.

6

BLACK AND WHITE VERSION

TOUCH OF COLOR VERSION

7

PROJECT ONE: Prototypes: Recreating Letterforms

DESIGN SOLUTION: When I first started this project, I had trouble with changing the letters drastically because I liked the original font. I chose to cut a piece out of each letter to create some breathing room between the pieces. I wanted to keep the structure of the original font and just add a touch of flair. I think when used as a complete typeface with either a touch or full color that it will look cohesive and have an interesting look to it.

FULL COLOR VERSION

8

GET WITH THE TIMES NEW ROMAN

type anatomy

BACKGROUND: Create a unique way to showcase the anatomy of a certain typeface. Mostly these brochures can be seen in book stores or museums.

Making a creative and interesting way to learn and understand these anatomy terms as well as making it legible would be a great way to gain interest from the target audience. This can even be expanded to a series of all different typefaces.

DESIGN PROBLEM: To design an info graphic that aims to teach the reader about the anatomy of the typeface chosen. Creatively design a layout that includes 26 different type anatomy terms and showcases them using the letters and or glyphs from the alphabet.

10

DESIGN PROCESS: I researched different anatomy brochures and wanted to create something that wasn’t distracting to the reader. I wanted to simplify the design as much as possible but still make it interesting and pretty to look at and read. I made sure that I had the 26 anatomy terms chosen before starting to design the layout. I knew that in order to keep this infographic as simple as possible, I would just use the letters of the alphabet rather than choosing a phrase or a theme that would distract from the purpose of the brochure which is to inform the reader of the anatomy terms.

INITIAL SKETCH

11

PROJECT TWO: Type Anatomy: Inforgraphic Pamphlet

FRONT COVER

BACK COVER

12

INSIDE SPREADS

13

PROJECT TWO: Type Anatomy: Inforgraphic Pamphlet

FULL BROCHURE

DESIGN SOLUTION: I chose 3 colors ; Black, white, and orange. I wanted to keep things simple but to add a pop of color to make the call out of each term noticeable and clear. For each page I created a divider of black and white. On those two sides, I laid out my text using the opposite color for impact and then on top of those letters, I highlighted the anatomy part with bright orange. On each page the black and white is flipped and placed differently on each page. I did this because when looking at the brochure as a whole, you are also getting a larger design with white and black separation. I think the contrast between the black and white really draws the reader in but keeping it simple and clean helps to relay the information in a precise way.

14

YOU ARE MY UNIVERS

typesetting

BACKGROUND: When setting up type in books, or digitally you must make sure to make this easy on the eyes for the reader and to also notice all pitfalls you may encounter when setting up type. These pages can be displayed digitally or printed in a book or magazine. By creating unique layouts, you make an enjoyable experience for the user.

DESIGN PROBLEM: Create a unique and eye pleasing way to lay out type on a page.

To showcase the same text in four different alignments to show to difference in space and style each has to offer. To make sure the text looks correct in each arrangement and has no pitfalls.

DESIGN PROCESS: I followed the colophon very clearly to make sure my text was set up correctly, I then typed out each paragraph and made sure that initially the left aligned text was as even and as readable as possible, making sure no words from each sentence was left on its own line. I also turned off my hyphenation to make sure I didn’t have any separated words on any lines. Once my text was set up on left alignment, I chose the different alignment for each page and went through and evened out each line to make it look correct. I used kearning and tracking and type size to ensure everything looked its best.

DESIGN SOLUTION: I chose to align all the text boxes on the right side of the page regardless of how the type was set aligned. I think this is aesthetically pleasing because it separates the other information on the page from the main text. I played around in each paragraph to make sure the alignment worked for the text and added the colophon to the top left of each page as well as the bottom of the page horizontally.

16

EXERCISE 1A: RIGHT ALIGNMENT

Ashley Selvin Project 3 // Typesetting Right Alignment 8/11 Adobe Garamond Pro +20 Tracking

LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve well-chosen letters; these in their turn deserve to be set with affection, intelligence, knowledge and skill. Typography is a link, and it ought, as a matter of honor, courtesy and pure delight, to be as strong as others in the chain.

Typography is just that: idealized writing. Writers themselves now rarely have the calligraphic skill of earlier scribes, but they evoke countless versions of ideal script by their varying voices and literary styles. To these blind and often invisible visions, the typographer must respond in visible terms.

In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages they must occupy, the letters are alive. They dance in their seats.

Sometimes they rise and dance in the margins and aisles.

Simple as it may sound, the task of creative non-interference with letters is a rewarding and difficult calling. In ideal conditions, it is all that typographers are really asked to do — and it is enough.

— Robert Bringhurst, The Elements of Typographic Style

Ashley Selvin, Exercise 1 & 2:Type Composition , 8/11 Adobe Garamond Pro

17

PROJECT THREE: Typesetting: Justification, Paragraph Indicators, Text Begginings, & Heirarchy

EXERCISE 1B: LEFT ALIGNMENT

Ashley Selvin Project 3 // Typesetting Left Alignment 8/11 Adobe Garamond Pro +20 Tracking

LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve well-chosen letters; these in their turn deserve to be set with affection, intelligence, knowledge and skill. Typography is a link, and it ought, as a matter of honor, courtesy and pure delight, to be as strong as others in the chain.

Typography is just that: idealized writing. Writers themselves now rarely have the calligraphic skill of earlier scribes, but they evoke countless versions of ideal script by their varying voices and literary styles. To these blind and often invisible visions, the typographer must respond in visible terms.

In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages they must occupy, the letters are alive. They dance in their seats.

Sometimes they rise and dance in the margins and aisles.

Simple as it may sound, the task of creative non-interference with letters is a rewarding and difficult calling. In ideal conditions, it is all that typographers are really asked to do — and it is enough.

— Robert Bringhurst, The Elements of Typographic Style

Ashley Selvin, Project 3, Exercise 1 & 2:Type Composition , 8/11 Adobe Garamond Pro

18

EXERCISE 1C: CENTER ALIGNMENT

Ashley Selvin Project 3 // Typesetting Center Alignment 8/11 Adobe Garamond Pro +20 Tracking

LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve well-chosen letters; these in their turn deserve to be set with affection, intelligence, knowledge and skill. Typography is a link, and it ought, as a matter of honor, courtesy and pure delight, to be as strong as others in the chain.

Typography is just that: idealized writing. Writers themselves now rarely have the calligraphic skill of earlier scribes, but they evoke countless versions of ideal script by their varying voices and literary styles.

To these blind and often invisible visions, the typographer must respond in visible terms.

In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages they must occupy, the letters are alive. They dance in their seats.

Sometimes they rise and dance in the margins and aisles.

Simple as it may sound, the task of creative non-interference with letters is a rewarding and difficult calling. In ideal conditions, it is all that typographers are really asked to do — and it is enough.

— Robert Bringhurst, The Elements of Typographic Style

Ashley Selvin, Project 3, Exercise 1 & 2:Type Composition, 8/11 Adobe Garamond Pro

19

PROJECT THREE: Typesetting: Justification, Paragraph Indicators, Text Begginings, & Heirarchy

EXERCISE 1D: JUSTIFIED ALIGNMENT

Ashley Selvin Project 3 // Typesetting Justified Alignment 7/11 Adobe Garamond Pro +20 Tracking

LET TERS HAVE A LIFE AND DIGNIT Y OF THEIR OWN

Letterforms that honor and elucidate what humans see and say deserve to be honored in their turn. Well-chosen words deserve well-chosen letters; these in their turn deserve to be set with affection, intelligence, knowledge and skill. Typography is a link, and it ought, as a matter of honor, courtesy and pure delight, to be as strong as others in the chain.

Typography is just that: idealized writing. Writers themselves now rarely have the calligraphic skill of earlier scribes, but they evoke countless versions of ideal script by their varying voices and literary styles. To these blind and often invisible visions, the typographer must respond in visible terms.

In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages they must occupy, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles.

Simple as it may sound, the task of creative non-interference with letters is a rewarding and difficult calling. In ideal conditions, it is all that typographers are really asked to do — and it is enough.

—

Robert

Bringhurst,

The

Elements

of

Typographic

Style

Ashley Selvin, Project 3, Excercise 1 &2:Type Composition , 7/11 Adobe Garamond Pro

20

EXERCISE 2A: PARAGRAPH INDICATORS, EXDENT

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 oals. 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.

Ashley Selvin, Project 3 // Paragraph Indicators 3a, Exdent, 8/10 Mrs Eaves XL

21

PROJECT THREE: Typesetting: Justification, Paragraph Indicators, Text Begginings, & Heirarchy

EXERCISE 2B: PARAGRAPH INDICATORS, INDENT & LINE BREAK

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.

Ashley Selvin, Project 3 // Paragraph Indicators 3a, Indent & Line Break, 9/11

22

EXERCISE 2C: PARAGRAPH INDICATORS, EXTRA LEADING

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.

Ashley Selvin, Project 3 // Paragraph Indicators 3a, Extra Leading, 8/12 Mrs

23

PROJECT THREE: Typesetting: Justification, Paragraph Indicators, Text Begginings, & Heirarchy

EXERCISE 2D: PARAGRAPH INDICATORS, FIRST

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.

Ashley Selvin, Project 3 // Paragraph Indicators 3a, First Word, 9/11 Athletes, 0+ Tracking

24

EXERCISE 2E: PARAGRAPH INDICATORS, FIRST SENTENCE 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.

Ashley Selvin, Project 3 // Paragraph Indicators 3a,First Sentence, 7/11 Athletes, 0+ Tracking

25

PROJECT THREE: Typesetting: Justification, Paragraph Indicators, Text Begginings, & Heirarchy

EXERCISE 3A: TEXT BEGINNINGS, DROP CAP

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. 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.

Ashley Selvin, Project 3 // Paragraph Indicators 3b, Drop Cap, 9/11 Mrs Eaves

26

EXERCISE 3B: TEXT BEGINNINGS, INITIAL CAP

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.

Ashley Selvin, Project 3 // Paragraph Indicators 3b, Initial Cap Extra Leading, 8/12

27

PROJECT THREE: Typesetting: Justification, Paragraph Indicators, Text Begginings, & Heirarchy

EXERCISE 3C: TEXT BEGINNINGS, FIRST PARAGRAPH

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.

Ashley Selvin, Project 3 // Paragraph Indicators 3b,First Paragraph, 9/11 Athletes, 0+ Tracking

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EXERCISE 4A: HEIRARCHY, SCALE & STYLE CHANGE

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PROJECT THREE: Typesetting: Justification, Paragraph Indicators, Text Begginings, & Heirarchy

EXERCISE 4B: HEIRARCHY, SCALE, STYLE, & TYPEFACE

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PROJECT THREE: Typesetting: Justification, Paragraph Indicators, Text Begginings, & Heirarchy

EXERCISE 4C: HEIRARCHY, SCALE, STYLE, TYPEFACE CHANGE, & GRAPHIC ELEMENT

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GOOD TIMES LIE IN YOUR

FUTURA

type classification

BACKGROUND: Type Classification posters are informative designs that classify a specific typeface. They can call out different categories of type as well as describing what makes them different from others.

DESIGN PROBLEM: Design three type classification posters in the Vox System.

To visually display two serif and one sans serif typeface and call out the appropriate classification as well as anatomy of some the typeface. To display a little bit about the history of the typeface.

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SWISS DESIGNER REASEARCH PAPER

:

JOSEF MULLER- BROCKMANN J

oseph Müller- Brockmann was a graphic designer and a teacher during the twentieth century.

He studied design, architect, and history of art and his works had been exhibited in Zurich, Hamburg, and Bern. He was the founder and editor of the Zurich journal Neue Grafik and he is responsible for introducing the Swiss style of design to America. Brockmann is one of the most popular Swiss graphic designers of his time.

During this period, Brockman and other Swiss designers used the grid system when designing and setting up layout. A grid system also known as the International Typographic Style is a framework that helps graphic designers set up information on a page in a logical, purposeful, and meaningful way. “The grid is an organizational system that makes it easier to read the message” Josef Müller Brockmann. The idea of a grid-like system has existed since the Middle Ages, but during 1950’s Brockmann was one of the designers who helped transform these grid systems into more common practices when setting up the hierarchy and information on the page.

When designing, Brockman wanted to display information about ideas or events in the simplest way. His designs all show a clear structure while maintaining the focus of information.

Like other Swiss designers, his designs have geometric shapes and elements, without any textures or illustrations. Brockman did not choose illustrations or decorations, but chose to use photographs instead. He also chose to use typefaces that were more industrial looking rather than serif typefaces as is common in Swiss design.

Josef Müller-Brockmann died in 1996, but his work has been showcased in many museum including the Smithsonian Design Museum and the Museum of Modern Art.

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PROJECT FOUR: Type Classification: Poster Design

DESIGN PROCESS: I researched famous graphic designers for a source of inspiration on poster design. I wanted to use stark colors and to make sure that the poster stood out from far away and would draw a reader in. When looking at other type classification posters, I wanted mine to stand out and to use only one large letter instead of a few letters around the page. I aimed to make sure all information was on the page but still left enough white space on the page for the different elements to breath.

INITIAL SKETCHES

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INDIVIDUAL POSTER DESIGNS

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PROJECT FOUR: Type Classification: Poster Design

SET OF POSTERS MOCK UP

DESIGN SOLUTION: I chose to display my text vertically and horizontally because I think it brings the readers eye around the entire page but isn’t too distracting or confusing. I think using the bright neon colors really brings attention to the typeface used on each poster. For the history, I aligned all paragraphs as justified to make all elements on the page look clean and crisp. These can work individually or part as a set because they spell out “art”. As part of a set, I showed a little variety between them all by using a regular, bold, and italic style for the typeface name.

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CREDITS INSTRUCTOR

VICTORIA ARRIOLA

SCHOOL UNIVERSITY OF CALIFORNIA BERKELEY EXTENSION

PROGRAM PROFESSIONAL PROGRAM IN GRAPHIC DESIGN

COURSE FUNDAMENTALS OF TYPOGRAPHY

DESIGNER ASHLEY SELVIN

TYPEFACES USED HELVETICA BOLD, MARION REGULAR