Page 1

TY PO GR AP HY

1


,,_ l l _,, A

A

,,_ l l _,, y0 (

^

A

A

(

(^

y0 (

^

(^

y0

A

,,_ l l _,,

A

CG

g g

)

>>

l l _,A,

(^

y0

y0

A

,,_ l l _,, A

y0 (

^

A

^

,_ A

y0 (

^

(^

y0

A

,,_ l l _,, (^

y0 y0 (

y0

A

,,_ l l _,, y0 (

^

A

A

,,_ l l _,, A

A

y0

A

,,_ l l _,,

(^

y0 (

^

(^

y0 y0

(^

(

^

,_ A

(^

y0

,,_ l l _,, A

A

,,_ l l _,, A

A

,,_ l l _,, A

A

(

^

,_ A

(^

y0

,_ A

(^

A

,,_ l l _,,

y0 ( f

G

y0

(

(^

y0

^

(^

y0 y0 ~

)

gC f

y0

^

A

gC

G

A

(^

g

y0

y0

)

A

(

>>

>>

(

y0

/

)

/

^

^

(^

y0 y0

( f

G

I|

/

>>

A

^

(^

^

g

~

~

(

)

l l _,A,

f

>>

gC

y0

~

/

f

G

(

)

>>

~/

I|

y0

l l _,A,

C C g

g

G

I|

)

^

)

gC

f

>>

I|

,,_ l l _,,

>>

~

/

gC

A

/

)

G

f

^

>>

I|

~

(^

I|

/

gC

)

G

,,_ l l _,,

G

f

>>

I|

A

~/

I|

(

y0

f

f

I|

~

/

f

gC

(^

f

^

~

I|

/

>>

)

l l _,A,

~

~

)

I|

~

y0

gC

>>

G

f

)

y0

f

G

/

gC

>>

(

)

I|

~

/

^

>>

~

)

G

f

,,_ l l _,,

/

f

gC

>>

I|

gC

A

I|

)

G

/

~

)

(

>>

I|

f

gC

>>

^

G

/

f

gC

)

C

G

G

f

A

f

I|

~

>>

,,_ l l _,,

~

~

)

C

G

A

f

G C

f

gC

>>

(^

)

C

G

y0

>>

y0

~/

I|

(^

(

G C

)

>>

y0

^

g g

y0

g

(^

CG

(

(^

y0

C

G

)

>>

^

I|

G G

g g

I|

(^

y0

)

>>

~/

y0

>>

~/ ~

I|

f

l l _,A,

f

f

,A,_

y0 f

y0

(

^

))

I|

(

(^

G

~/ /

ll

f

f

g gC

,,_

y0

I|

I|

CG GC g

>>

~/

I|

l l _,A,

y0

)

>>

>>

,A,_

y0

(

>>

>>

~/ ~

I|

A

))

^

f

(

G

~/ /

f

^

(^

g gC I|

f

f

CG GC g

>>

f

l l _,A,

y0

)

>>

I|

I|

~/ ~

I|

))

,,_

y0 f

>>

G

~/ /

A

(

^

~/ /

f

g gC >>

)

^

(^

))

I|

CG GC g

l l _,A,

y0

G

_A,

(^

y0

f

g gC >>

)

>>

,,_

A

(

(^

C C g G G

g g

^

f

I|

CG GC g

l , A l _ ,

y0

)

>>

)

>>

,,_

y0

I|

~/ ~

I|

ll

f

>>

>>

~/ ~

I|

A

(

^

f

f

l , A l _ ,

(^

~/ /

,,_

y0

I|

G

))

f

f

f

g gC I|

I|

I|

CG GC g

>>

))

>>

,,_

y0

)

>>

C

G

~/ /

A

y0

( f

>>

>>

~/ ~

I|

A

))

^

f

(

G

~/ /

I|

^

(^

g gC >>

f

f

CG GC g

_A,

(^

y0

)

>>

f

I|

~/ ~

I|

I|

l l _,A,

f

>>

G

))

>>

,,_

y0 f

g gC ~/ /

A

~/ /

I|

CG GC g

l l _,A, G

))

>>

)

>>

,,_

A f

g gC

(

(^

C C g

I|

CG GC g

^

f

G G

g g

)

>>

(^

I|

>>

~/ ~

I|

l l _,A,

y0

)

>>

f

y0

>>

~/ ~

I|

f

,A,_

y0 f

I|

y0

(

^

~/ /

f

(

G

))

I|

^

(^

g gC

ll

f

f

CG GC g

>>

~/ /

l l _,A,

y0

)

>>

,,_

y0

I|

I|

C

G

))

>>

,A,_

y0

(

>>

>>

~/ ~

I|

A

))

^

f

(

G

~/ /

f

^

(^

g gC I|

f

f

CG GC g

>>

f

l l _,A,

y0

)

>>

I|

I|

~/ ~

I|

))

>>

,,_

f

>>

G

~/ /

A

f

g gC

l l _,A,

I|

CG GC g

,,_

A

>>

y0

(^

, ll

A

C C g G G

g g

(

)

>>

f

G

))

^

y0

~/ ~

I|

g gC

l , A l _ ,

C

I|

f

CG GC g

,,_

y0 f

)

>>

(^

~/ /

>>

I|

~/ /

A

(

^

))

f

y0

(^

A

G

>>

~/ ~

I|

f

g gC I|

f

I|

CG GC g

>>

y0

y0

)

>>

, ll ,

A f

f

>>

~/ ~

I|

f

l , A l _ ,

C

I|

,,_

y0 f

~/ /

A

(

^

~/ /

f

C

G

))

I|

(

A

C

g gC >>

^

f

))

>>

)

>>

_A,

(^

, ll ,

A

CG GC g

C

G

(^

)

>>

_A,

C

f

f

f


(

A

, ll , y0 (

^

A

, ll ,

A

(^

y0 y0 (

^

,

A

A

,,_ l l _,, A

f

ll

(^

y0

A

(^

y0

A

,,_ l l _,, A

y0 (

^

A

^

,_ A

y0 (

^

(^

y0

A

,,_ l l _,, y0 (

y0

A

,,_ l l _,, A

y0 (

^

(^

y0

A

,,_ l l _,,

(^

(

(^

y0

A

,,_ l l _,, A

(^

y0

A

,,_ l l _,, A

^

,_

y0 (

^

A

A

(^

y0

,,_ l l _,, (^

y0

A

A

(

^

,_

y0

,,_ l l _,,

y0 (

A

A

(^

y0

A

y0

A

,,_ l l _,,

(^

(

^

,_ A

(^

y0 y0

A

( f

>>

f

I|

/

>>

)

g

)

g ~

f

gC ~

/

(

^

~

)

^

(

g

G

G

,,_ l l _,,

y0

)

gC

I|

A

^

>>

)

/

>>

A

(^

y0 y0 >>

A

(^

y0 y0

/

G

,,_ l l _,,

y0 ~

G

/

(

( f

G

I|

^

^

A

^

g

(^

)

I|

(

>>

gC

f

^

/

gC ~

~

,,_ l l _,,

I|

)

f

I|

A

>>

y0

~

~

l l _,A,

f

G

G

/

)

l l _,A,

g

gC

f

I|

>>

A

)

gC

/

(^

>>

y0

y0

/

)

~

I|

f

gC

(^

>>

f

G

f

~

y0

g g

(

l l _,A,

I|

/

)

~

)

y0

G

>>

gC

>>

(

f

f

I|

/

)

G

/

^

f

gC ~

~

>>

I|

~

f

gC

I|

G

/

>>

A

)

~

I|

G

G

/

~

)

)

,,_ l l _,,

/

f

gC

I|

f

gC

>>

A

I|

)

f

gC

)

C

G

^

>>

~

>>

(^

f

/

)

C

G

y0

~

~

I|

G

>>

y0

f

gC

C

G

(

(

^

y0

(^

g

(^

)

>>

f

l l _,A,

y0

3

y0

I|

CG GC g

g g

f

,A,_

y0

)

>>

(

(

^

~

y0

>>

(^

>>

~/ ~

I|

g g

l l _,A,

y0 f

I|

f

,A,_

y0 f

f

(

( I|

ll

f

))

>>

,,_

y0 f

>>

G

~/ /

A

(

^

I|

^

(^

~/ /

f

g gC

l l _,A,

y0

G

))

>>

)

>>

,,_

y0

g gC

I|

CG GC g

f

CG GC g

>>

~/ ~

I|

A

(

^

)

>>

f

I|

~/ ~

I|

f

f

y0

(^ f

~/ /

I|

y0

l l _,A,

y0 f

G

))

>>

(

y0

~/ /

>>

_A,

(^

,,_

A

(

^

(^

g g

G

))

I|

g gC

f

g gC >>

)

>>

CG GC g

I|

CG GC g

l , A l _ ,

y0

)

>>

f

CG GC g

ll

ll

f

I|

~/ ~

I|

)

>>

,,_

y0

y0

I|

>>

>>

~/ ~

I|

A

(

^

f

f

l , A l _ ,

(^

~/ /

,,_

>>

G

))

f

f

f

g gC I|

I|

I|

CG GC g

>>

))

>>

,,_

)

>>

C

G

~/ /

A

I|

A

(

^

))

>>

~/ ~

y0

(^

,,_

f

y0

G

~/ /

f

(

(^

y0

g gC I|

f

f

CG GC g

>>

^

y0

)

>>

f

I|

~/ ~

I|

~/ /

l l _,A,

f

G

))

>>

,,_

y0 f

g gC I|

A

(

~/ /

>>

_A,

(^

G

))

I|

CG GC g

l l _,A,

f

g gC >>

)

>>

,,_

A

I|

CG GC g

l l _,A,

f

CG GC g

g g

)

>>

^

I|

>>

~/ ~

I|

(^

y0

)

>>

f

,A,_

>>

~/ ~

I|

f

y0

(

^

f

y0

(^

G

))

f

(

y0

g gC I|

I|

l l _,A,

f

CG GC g

>>

~/ / >>

,A,_

y0

)

>>

~/ /

A f

I|

~/ ~

I|

l l _,A, I|

>>

C

G

))

^

(

^

f

,,_

f

>>

G

))

>>

f

A

y0 f

g gC

l l _,A,

))

_A,

,,_

A

G

~/ /

I|

CG GC g

~/ /

f

g gC >>

)

>>

I|

I|

CG GC g

(

g g

)

>>

^

CG GC g

ll

f

f

>>

~/ ~

I|

(^

(^

I|

f

y0

y0

)

>>

,,_

>>

I|

~/ ~

I|

f

l , A l _ ,

f

>>

I|

,,_

y0

/

f

A

)

I|

))

>>

y0

(

~/ / >>

G

~/ /

A

))

^

C G

G

f

g gC

(

g gC

I|

CG GC g

^

~

gC

f

CG GC g

l l _,A,

f

)

>>

l , A l _ ,

)

>>

(^

I|

G

I|

~/ ~

I|

,,_

>>

>>

>>

~/ ~

I|

,,_

f

y0

/

f

A

)

y0

C G

I|

f

(^

(

~/ / >>

f

A

))

^

gC G

G

I|

y0

~

~/ / >>

y0

g gC

l l _,A,

f

(

I|

))

^

,,_

CG GC g

C

G

(^

(^

/

>>

A

)

)

>>

_A,

C

G

f

f


TYPOGRAPHY PROCESS BOOK

5


TYPOGRAPHY PROCESS BOOK DIEGO VELAZCO SPRING 2018

7


Typography process book Copyright © 2018 by Diego Velazco All Rights Reserved


TABLE OF CONTENTS

PART 1

A N ATO MY OF T Y P OG RA P H Y

12-17

PART 2

BASICS OF WORD TYPOGRAPHY

18-27

PART 3

BASICS OF TEXT TYPOGRAPHY

28-39

PART 4

TYPE POSTERS

40-50

PART 5

PROCESS BOOK

51- 57

9


preface


This book has given me the opportunity because of the cutout aspect of the to create a professional documentation book alluding to “Papel cortado� or cut of my progress in my Loyola Marymount paper, a Mexican traditional art that Typography 1 class in Spring 2018. The bring a connection to my culture. Each assignments of this book are separated section confronts a design problem that by their own chapter color from an comes when using typography from orange to blue gradient, each section word placement to font decisions. I can be quickly turned to by the tabs believe I have grown as a designer this with each color of the sections. I was semester taking this class and am glad I inspired to create this colorful theme have this way to document my progress. Diego Velazco

11


PART

ANATOMY OF TYPOGRAPHY

13


1

OBJECTIVE

Typography includes the terminology of each part of a letter. These terms are used to describe and to be able to distinguish certain strokes and curves in each character. To know the terms also allows one to be able to articulate the differences between fonts. In this assignment hand drawing the words creates an opportunity to be able to not only find out what each term means but to also draw an example of them. Drawing the word also creates a challenge to recognize the design that goes into typography and appreciate the history of typography before computers.


T PROCESS

When drawing the word “Typography” I noticed the difficulty it took to plan out my tracking so I would be able to maximize the space on my page, but not write so big I would not fit. The most difficult part was not the drawing of the letters but the spacing between them. It is almost impossible to not sketch out your whole word before inking I, if one kerning is off the whole word looked off.

ANALYSIS

Going into drawing the individual parts of type that makes the font unique gave me a real understanding of how to begin to differentiate fonts by how they have a curve in the beak of the ‘T’ or how the loop of the ‘g’ is oriented. There is a real architecture in letter design. The best typefaces find a way to perfectly connect beauty with function, like all great design should.

15


1 7 13 18

2 8 14 20

3 9 15 21

BASELINE MEANLINE

ARC OF STEM

LINK

SERIF

CROTCH

LOOP

BRACKET

CAPLINE

DESCENDER

EAR

ASCENDER


4 10 16 22

X-HEIGHT

COUNTER

TEARDROP TERMINAL

5 11 17 23

STEM

AXIS

BALL TERMINAL

SHOULDER BILATERAL SERIF

6 12 18 22

BE AK

BOWL

FINIAL

ARM

17


2

PART

BASICS OF WORD TYPOGRAPHY

19


2

OBJECTIVE

Word Typography includes Becoming familiar with the 5 type classifications. Including Its Kerning, font family, hand drawn words, and two fonts that go well together. This assignment emphasized the importance of good letter-spacing and choosing the right font family and type of font . To create the best design you have to know how the different variations of letter-spacing and fonts can do for your design. Every font and style comes with a connotation, like Didot is perceived as elegant and Helvetiva is seen as the standard font seen everywhere. It is the decision of the designer what direction to go.

W

highjac W

counter

meanline

serif

ball term

baseline

descender


PROCESS This assignment included six parts. First we researched letterspacing and font examples. Then we choose a ten letter word with a ascender and descender and drew it by hand and identified each part. We tested this word in twelve font and style variations. Combined two different typefaces and styles and tracking to form one word that looked aesthetic together. To end the project we wrote an analysis that told our discoveries.

highjacked

highjacked highjacked

highjacked

acked

minal

x-height

highjacked

highjacked highjacked

highjacked ANALYSIS I have learned the different emotions and moods a type of font can make. For example Didot for me brings a organized elegant yet modern feel to me, while Rockwell conveys a much more urgent condensed feeling. By combining the inherent effects the font family gives and adding boldness, italics, or all caps you can curate how you want the reader to experience the text. This all goes even further when you manipulate the leading effecting the readability of the type. I found the use of to fonts in the same word really fun because the word looked almost like a logo and each part of the word really stood out. I imagine that I will be much more open to using different kinds of fonts in my design projects. I never really messed with the leading of text but now i think i will never overlook it. I now can be sure to match x-heights and to never manipulate the text other than with kerning and leading. I will make sure to use type that matches the feeling I want to convey.

bowl

21


Old Style: Garamound

highjacked highjacked highjacked HIGHModern: Didot

highjacked highjacked highjacked

HIGHJACKED Transitional: Baskerville

highjacked highjacked highjacked HIGHJACKED


Slab Serif: Rockwell

highjacked highjacked highjacked HIGHJACKED didot 120 pt didot (0) leading 120 pt hand drawn (0) leading hand drawn

highjacked highjacked highjacked HIGHJACKED Sans Serif: Helvetica

23


highjacked highjacked highjacked T R A C

highjacked highjacked highjacked


highjacked highjacked highjacked K I N G

HIGHJACKED HIGHJACKED HIGHJACKED 25


ditot bold 120 pt (0) tracking

highjacked helvetia bold 120 pt -50 tracking

garamond bold 100 pt -10 tracking

highJACKED baskerville italic 150 pt (0) tracking


ROCKWELL REGULAR 120 PT -50 RACKING

highJACKED garamound regular 150 pt (0) tracking

helvetica oblique 112 pt (0) tracking

HIGHjacked ROCKWELL BOLD ITALIC 120 PT -20 TRACKING

27


3

PART

BASICS OF TEXT TYPOGRAPHY

29


3

OBJECTIVE

The basics of text typography teaches you how the arrange text in a functional and interesting way. Working with type means to layout your text in a way that attracts the reader and help guide them through the hierarchy of importance. Challenge yourself to only use limited thicknesses and sizes to orient your text in a way that responds with the reader and guides them through your page.


PROCESS This assignment consisted of using different weight and sizes. We had to create 5 square layouts of a certain text with a header, subheader, body, and author ,using only one size and thickness the font Univers. We repeated the same text 5 more times with two sizes and thicknesses and 10 more times with three sizes and thicknesses. The last part was to choose three favorites and revise them.

D A MANIFESTO OF MODERN DESIGN

“Neue Typographie lays out test by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, color, etc. Neue typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shape as design elements of equal value. With that, Neue Typorgaphie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.” Translation by Wolfgang Oertl

Die a Neue manifesto of Typographie modern design “Neue Typographie lays out test by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, color, etc.Neue typographie uses the possible effects of the former background consciously and considers both

the white background segments and the black type and shape as design elements of equal value. With that, Neue Typorgaphie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.” Translation by Wolfgang Oertl

ANALYSIS Working with 20 layouts causes me to think of many different variations of designs for the same text. It was challenging finding new and better ways to layout text. But I believe they improved more than got worse in every new iteration. I got to experiment a lot with positive and negative space and found new personal favorites like using up the whole page and adding text inside of letters and words.

31


SKETCHES


33


ONE SIZE ONE WEIGHT Die Neue Typographie

Die Neue Typographie, a manifesto of modern design

a manifesto of modern design

“Neue Typographie lays out test by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, color, etc.

“Neue Typographie lays out text by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in sizes boldness, posistion in space, color, etc.

Neue typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shape as design elements of equal value. With that, Neue Typorgaphie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.” Translation by Wolfgang Oertl

Die Neue Typogrophie

Neue Typogapie uses the possible effects of the former backround consciously and considers both the whote backround segments and the black type and shapes as design elements of equal value.

With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.” Translation by Wolfgang Oertl

a manifesto of modern design

round er back ts the form fects of round segmen ssible ef ck lue. es the po th the whote ba ents of equal va us e pi poga ers bo n elem id sig ns de Neue Ty co sly and apes as consciou ack type and sh bl and the

Translation by Wolfgang Oertl

“Neue Ty po word, on graphie lays ou e using di group to the ne t text by leadin g the ey fferences xt. Thus e of w in sizes boldness e need to struct the viewer fro m on ure , posistio n in spac the text meani e ngfully, e, color, etc.

Neue Ty po consciou gapie uses th e possib sly and le consider and the black ty s both th effects of the fo pe and shapes e whote backro rmer backroun d as desig un n elemen d segments ts of equa l value.

Die Neue Typogrophie

“Neue Typographie lays out text by leading the eye of the viewer from one word, one group to the next.

With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.” Translation by Wolfgang Oertl

“Neue Typographie lays out text by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in sizes boldness, posistion in space, color, etc.

Neue Typogapie uses the possible effects of the former backround consciously and considers both the whote backround segments and the black type and shapes as design elements of equal value.

With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.”

Translation by Wolfgang Oertl

Neue Typogapie uses the possible effects of the former backround consciously and considers both the whote backround segments and the black type and shapes as design elements of equal value.

Translation by Wolfgang Oertl

Thus we need to structure the text meaningfully, using differences in sizes boldness, posistion in space, color, etc.

a manifesto of modern design

Die Neue Typogrophie, a manifesto of modern design


TWO SIZES TWO WEIGHTS DIE NEUE NEUE TYPOGRAPHIE

a

Translation by Wolfgang Oertl “Neue Typographie lays out test by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, color, etc. Neue typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shape as design elements of equal value. With that, Neue Typorgaphie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.”

of modern design

DIE

M A N I F E S T O

TYPOGRAPHIE

A

O F

M O D E R N

Neue Typogapie uses the possible effects of the former backround consciously and considers both the whote backround segments and the black type and shapes as design elements of equal value.

A MANIFESTO OF MODERN DESIGN

NEUE

“Neue Typographie lays out text by leading the eye of the viewer

fromlays one word, one group to the “Neue Typographie out text next. Thus we need to structure by leading the eye of the viewer the text meaningfully, using differfrom one word, one group to the ences in sizes boldness, posistion next. Thus we need to structure in space, color, etc. the text meaningfully, using differences in sizes boldness, posistion in space, color, etc.

Translation by Wolfgang Oertl

Typograpie, Manifesto

Die Neue

With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.” Translation by Wolfgang Oertl

D E S I G N

“Neue Typographie lays out test by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, color, etc. Neue typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shape as design elements of equal value. With that, Neue Typorgaphie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.” Translation by Wolfgang Oertl

D i e N e u e Ty p o g r o p h i e

Translation by Wolfgang Oertl

“Neue

Typographie lays out text by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in sizes boldness, posistion in space, color, etc.

Neue Typogapie

uses the possible effects of the former backround consciously and considers both the whote backround segments and the black type and shapes as design elements of equal value.

With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.”

Translation by Wolfgang Oertl

“Neue Typographie lays out text by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in sizes boldness, posistion in space, color, etc. Neue Typogapie uses the possible effects of the former backround consciously and considers both the whote backround segments and the black type and shapes as design elements of equal value. With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.”

a m a ni fe st o o f m o de rn de si gn

Die Neue Typogrophie, a manifesto of modern design

35


THREE SIZES THREE WEIGHTS Die a Neue manifesto of Typographie

“Neue Typographie lays out test by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, color, etc. Neue typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shape as design elements of equal value. With

modern design “Neue Typographie lays out test by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, color, etc.Neue typographie uses the possible effects of the former background consciously and considers both

that, Neue Typorgaphie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact

the white background segments and the black type and shape as design elements of equal value. With that, Neue Typorgaphie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.” Translation by Wolfgang Oertl

of Neue Typographie.”

Translation by Wolfgang Oertl

MODERN DESIGN

OF

A MANIFESTO

D I E NEUE TYPO GRA PHIE N

ie

of

sp

ne ld

bo

e,

siz

e th

in

e ur

s

or

re

to

d

e ne

e

w

w

w

ct tru

e on

d,

e on

m fro

er

vie

e

th

ex

e eu

e

N

th

pr

e

s es

n iv

e

w e

hit .”

ie ph

ra og

ng

ga

p Ty

olf W

e eu

e rg la

fN

to

of

c pa

us

im

by

e th

ng

e eu

e ap

sh

,

to

tly

tli

at th

ac

ar

st

t en

hie ap gr po Ty

fe

in

n

itio

s po

m

xt

te

p ou gr

ys

e hit

m

ex

ith W

d an

is

ele

la

er

w

pe

e

th

ty

e.

lu

It

e

“N

t

to

, ss

gf nin

ea

he

st

h

rm

fo

t bo

ck bla

te

e th

e

t ou

of

s er

in ad le

s

ct

id

w ne

va

a

th

n

g si de

ed

e

tio

la

at

re

ns

g.

c at

a Tr

tin

in

pr

th

l ua eq

of

d ad

by

fe ef

ns co

of

s ha

th

n

ts en

d an

m

l

es nc

r,

lo co

e, ac

dif

g in us

y, ull

s

hu

.T

xt

ne

of

e

ey

e

le

th

sib

d an

ele

hie ap

g

s po

ly us

ts en

er

e

e th

io

n ig

gm se

s de

rg po Ty

ia

nt te po

s ea

ar

tl

er

O

N

s

d un

as

c ns co

o gr

e us

d un

ie ph

o gr

ck

ck ba

od

eu

ba

m

a gr po

ty

c et

.

T

e eu

D

o

st

ife

yp og

ra

an m

ph i

a

“Neue Typographie lays out test by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, color, etc. Neue typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shape as design elements of equal value. With that, Neue Typorgaphie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.” Translation by Wolfgang Oertl

e

“Neue Typographie lays out test by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, color, etc. Neue typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shape as design elements of equal value. With that, Neue Typorgaphie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.” Tr a n s l a t i o n b y Wo l f g a n g O e r t l


A manifesto of modern design

e Di ue hie Ne rap g po Ty

a m an ife st of o

Die Neue Typographie

m od er de sig n n

“Neue Ty p o g raphie lays out test by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, color, etc. Neue typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shape as design elements of equal value. With that, Neue Typorgaphie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.” Translation by Wolfgang Oertl

D

Translation by Wolfgang Oert

A MANIFESTO OF MODERN DESIGN

“Neue Typographie lays out test by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, color, etc. Neue typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shape as design elements of equal value. With that, Neue Typorgaphie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.”

Translation by Wolfgang Oertl

e i e h u p e a N r g e o i D yp T lays out te by lead st the ey ing viewer e of the from word, one to the one group need next. Thus we meani to structur es in ngfully, us e the text space, size, boldne ing differe ncss, po color, uses si et tion in c. th Neue backgr e possib typo le ound both cons effects of graphie the w the bl hite ba ciously an the form of eq ack type an ckground d consider er ual va adde lue. W d shape as segments s d and desi printin a new elem ith that, N eue Ty gn elemen ent to create g. It is ex ts po th Transl the startli actly the us e expressi rgaphie ha ation ng im s ve po e of la by W olfgan pact of Neu rge white tential of areas g Oer e Typo tl that graphi e.”

DieN eueTypographie A

M

AN

IFE

ST

O

GN

SI

N

OF

R DE

DE

O

M

Translation by Wolfgang Oertl

37

a to ifes f o man ern mod ign des


REVISED FINAL THREE


D A MANIFESTO OF MODERN DESIGN

“Neue Typographie lays out test by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, color, etc. Neue typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shape as design elements of equal value. With that, Neue Typorgaphie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.” Translation by Wolfgang Oertl

D I E NEUE TYPO GRA PHIE A MANIFESTO

OF

MODERN

DESIGN

“Neue Typographie lays out test by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, color, etc. Neue typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shape as design elements of equal value. With that, Neue Typorgaphie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that create the startling impact of Neue Typographie.” Tr a n s l a t i o n b y Wolfgang Oertl

39


4

PART PART

TYPE POSTERS

41


4 OBJECTIVE

The Font Poster develops your knowledge on the type history and the visual characteristics of the five type classes. Grid systems are to be researched to maximize visual hierarchy for viewers. The posters are an opportunity to be creative with your font and informative. It is the first time you can create your own text that goes on the page, but it must show all aspects and history of your font and the designer. Color and aesthetic typographical forms can be used to better attracts a reader. Your experimental poster is to show your creativity and craft in printing collage and traditional image making.

PROCESS

The process for the font poster was to research your font until able to create a concise explanation of the history of the designer and the implications of the font. Sketching was very important to visualize your ideas. Creating drafts and evolving your idea was tracked in both posters. The traditional poster was meticulously edited until at a presentable state. Experimental poster traditionally painted on a canvas.


)

))

))))

)

))

?? )) )

P

A

>>

~/

))

f

))

)

6

y0

)

( ( IIII

f

f

IIII

mmmm

m

m m

_m m mmm

mm m mmmm m ( mmm m m mm m m

I|

l

l

f 6 ll ll , _,

G

^

f

))

) IIII

(

6I III 6 I 6

)

))))) )

w

? )))) 6Q C ) g 6 6 CC

(( C(

mm mm

e Tth ype

0

ANALYSIS

The Font Posters pushed me to develop an idea and research and implement a completely original text to a design. Each step of the process brought something better top to finalized piece. I believe if i were not forced to go through all this steps and drafts I would settle for something that is not I my best and this project has shown me to work on something until there is no way to make it better. The experimental poster was very fun and relaxing to me because I am more comfortable with physical mediums and had less of a strict guideline to achieve.

e fac of

43


T RA DITION A L P O S T E R PR OCE SS Traditional Process

Firmin

id

d th ot i in riv n 1 b th e a 748 be se eca e 1 s th . It cam m rvin me 7d0o0 e m s su e t I os g tthhe t’si a ain cc he h t w t of ians rivFr nn1d fo ess fir m igh as r bhis tEhm e ean 74thr nbt allo st m zi os fas sein ecalif e 1per s cth K 8.iIve efcoau we od tr ne t co mhioervvig me. 70or he in tsdsfo mned d f er th ast cov Immosn mingorate th 0’sNaapmagi’s p ucrc2 rtyh fa or t n ty sl e t of h erst w ont o ag as ed e F ndol n fri e0s0 e fim he pe ed eek ype stroig . It as fof h azi Emin ren tehon onnte s aylea rsilty did fac o va lo famc o keh f ’s exrei nt is l nes p the ch rivs r t fros, lorws! minoF ot f e, d ed f m rio okzin e ast c thaish agnv in fife. , b ero 19 K edoya uwnit eTh d drea am es tel ito edia utsraf s theatco moom cknion geriagorash ecomr N90’sing’ folrpr dhryFi feorfa rnnce ily igne r e lo v ia tfhre ort o atve dem essm te at ion i ap by s p 20in farm tmh ty. Th p of d } gos isio l stloee omtyp mfsst trarcs. rno, n esaggad ceod i ma ng toleopr rin 0teyr f miinl D eilyd e eefy Par by fi . ned k e ro t-It’s fo ivzi n-n g he n int ter eaor y i idve acbe is rm a n t i f n e k r s l s h a o va o di ro , w s! Th ndFot otnfa e,gdaen to c e ex t es e ra m s ya it ed f m rio ok e a thi ag in f , b 19

l p h F e f nc ily ign te ito edi us tha mo ckn ger ash eco 90’ rin irm am e. Th o ed lo levi rial a fro form t att der ess ated ion min s by ter in ily e f P by go si to m s ra n es c m g p ct- , s. on fo D ev y b aris fir giv on ag th rin r id en eg to m t a- e e ot an di -

1784

The Type of Modern Fashion*

Firmin Didot 1784 Type of Modern Fashion*

}

o

{Didot became the first modern type face, designed by firm didot in 1748. Its success allowed for the didot family of Paris to thrive as the main font foundry family in France. They began in the 1700’s and thrived for 200 years! The family even became the French King’s printers, with Firmin Didot serving as Emperor Napoleons royal printer for most of his life. It was reinvigorated in the 1990’s by print high fashion magazines, becoming the most common font in fashion magazine covers. It’s exaggerated contrast of stroke thicknesses give the typeface a modern, sleek look that attracted various forms of media from editorial to television logos. }

t

rn

ode of M e * p Ty hion s Fa

1784

FIRMIN FIRMIN D IDDI O DT OT

t

o 7

~~

1784

4

178

77

in

m Fir

ot Did

Type of Modern

o

Firmin Didot 1784

{It's exaggerated contrast of stroke thicknesses give the typeface a modern, sleek look.}

{It’s exaggerated contrast of stroke thicknesses give the typeface a modern, sleek look.}

{Didot became the first modern type face, designed by firm didot in 1748. Its success allowed for the didot family of Paris to thrive as the main font foundry family in France. They began in the 1700’s and thrived for 200 years! The family even became the French King’s printers, with Firmin Didot serving as Emperor Napoleons royal printer for most of his life. It was reinvigorated in the 1990’s by print high fashion magazines, becoming the most common font in fashion magazine covers. It’s exaggerated contrast of stroke thicknesses give the typeface a modern, sleek look that attracted various forms of media from editorial to television logos. }

Type of Modern Fashion*


DIDOT FIRMIN

DIDO T

1784

Type of Modern Fashion*

Type of Modern * Fashion

{It’s exaggerated contrast of stroke thicknesses give the typeface a modern, sleek look.}

{It’s exaggerated contrast of stroke thicknesses give the typeface a modern, sleek look.}

A

) w

f

ll , _, I|

l

6

mm m mm m mmm ( mmm mm m mm m

)

>>

~/

f

6

IIII

f

l

((

m

)

f

lll

ll , _,

A

w

) f

))

)

f

lll

)))))

) )))) )

))))) )

6

)

They began in the 1700’s and thrived for 200 years! The family even became the French King’s printers, with Firmin Didot serving as Emperor NAPOLEONS ROYAL PRINTER for most of his life.

)

give the typeface a MODERN, SLEEK LOOK that attracted various forms of media from

))

MAIN FONT FOUNDRY FAMILY IN FRANCE.

))))) )

m

)))))

) )))) )

)

EXAGGERATED CONTRAST OF STROKE THICKNESSES

fac eof

)

Its SUCCESS allowed for the didot family of P aris to thrive as the

G

mm mm

e Tth ype

m

0

DESIGNED the FIRST MODERN TYPE FACE.

66

IIII

y0

T h ee typ mm

becoming the most common font in fashion magazine covers. It’s

??

6Q C 6g 6 CC IIII III

(

( mmm m mmmmm mm

m

MAIN FONT FOUNDRY FAMILY IN FRANCE.

m _ mmmm mm mmm

Its SUCCESS allowed for the didot family of P aris to thrive as the

PRINT HIGH FASHION MAGAZINES

FIRMIN DIDOT

m _ mmmm mm mmm

IIII

DESIGNED the m FIRST MODERN mm TYPE FACE. m

f

1748 FRENCH DESIGNER

^

~/reinvigorated in I| the 1990’s by

y0

( ( IIII

)

>>

f

(

f

)) G

^

66

)

I

IIII

))

??

6Q C FIRMIN 6g 6 C DIDOT C mm6 mmm FRENCH DESIGNER

)) ( P C (( 6I? ) )))) I

)

)) (( P C 1748 III( 6I? ) ))))

0

f

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0

REINVIGORATED IN THE 1990’S BY

PRINT HIGH FASHION MAGAZINES becoming the most common font in fashion magazine covers. It’s

EXAGGERATED CONTRAST OF STROKE THICKNESSES

eof c f a Fa shion Fa sh ion

They began in the 1700’s

and thrived for 200 years! The family even became the French King’s printers, with Firmin Didot serving as Emperor NAPOLEONS ROYAL PRINTER for most of his life.

editorial to television logos.

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0

give the typeface a

MODErN, sLEEK LOOK

that attracted various forms of media from

editorial to television logos.

45


E X P E R I M E N TA L P O S T E R PR OCE SS

Experimental process


P ROCE SS I found that high fashion magazines began using didot as their cover font because it gave a sleek elegant feeling. I decided to relate this poster to the fashion world by depicting a runway show. I sketched out the figures and painted them on a black canvas. I used the form of the runway in the third image to became the “i� in didot.

47


T R A DITION A L FIN A L

))))

) )))) )

) w

)

f f 6 ll ll , _,

))))) )

))

6

A f

) )

f

IIII

mm m mmmm ( mmmm m mm m mm m

m

I|

y0

( ( IIII

>>

~/

l

l

(

G

^

IIII

mmmm

reinvigorated in the 1990’s by PRINT HIGH FASHION MAGAZINES becoming the most common font in fashion magazine covers.

?? ))

Its SUCCESS allowed for the didot family of Paris to thrive as the MAIN FONT FOUNDRY FAMILY IN FRANCE.

I

_ m mmm mmm

DESIGNED the FIRST MODERN TYPE FACE.

III

f

FIRMIN DIDOT

))

) )))) ? 666 ) Q C g 6 6 CC

)

1748 FRENCH DESIGNER

)

(( P C ( 6I

mm mm

e Tth ype

0

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 1 2 3 4 5 6 7 8 9 0 They began in the 1700’s and thrived for 200 years! The family even became the French King’s printers, with Firmin Didot serving as Emperor NAPOLEONS ROYAL PRINTER for most of his life.

e fac of s a F h ion EXAGGERATED CONTRAST OF STROKE THICKNESSES give the typeface a modern , sleek look that attracted various forms of media from editorial to television logos.


EXP ER I M E NTA L FIN A L

49


5

PART PART

PROCESS BOOK

51


PROCESS

OBJECTIVE By organizing the collection of all the documented body of work, this process book is a chance to revisit the content of the materials learned in the class. This reinforces the knowledge and skills, one has learned thought the semester. This growth in increased by putting it into practice and creating the package. This project is a valuable package that also serves as a source of referential consideration for future design projects as well as a valuable portfolio piece.

This Book started with thumbnail sketches with what my vision was. I thought of making a colorful book with cutouts like “papel cortato.� I went through many drafts and variations on color and design until deciding to make a simple layout with flat colors. The cutouts of the tabs, cover page, and chapter numbers was done by hand with a exacto knife. Each layout was reviewed and critiqued by typography professor before finalized.

ANALYSIS The Process of making a book seemed like an enormous milestone for any designer. Creating a large group of work in a finalized professional style really helped me understand how the design process is. As a graphic design student this has helped me really think of my layouts, content, color, and fonts as one entity to be designed.

53


THUMBNAIL SKETCHES


DESIGN INSPIRATION

55


GRID T A B S

G U T T E R


G U T T E R 57


colophon


This book is printed in April 26, 2018 on 11�x17� 67 lb white card stock. All cutouts are done by exacto knife, and cover was hand made. Typefaces used as heading and subheading was Futura by Paul Renner. Body text typeface used is Baskerville.

59


y0

,,_ l l _,, A

A

,,_ l l _,, A

CG

g g

A

y0 (

^

A

A

(

(^

y0 y0 (

^

(^

y0

A

,,_ l l _,,

)

>>

~/

,_,

(^

y0

^

,,_ A

,,_ l l _,, A

y0 (

^

A

A

,_,

A

y0 (

^

y0

A

,,_ l l _,,

(^

y0 (

^

(^

y0 y0 (

^

y0

A

,,_ l l _,, A

(^

y0

A

,,_ l l _,, A

A

,,_ l l _,,

(^

y0 (

^

,,_ A

(^

y0

A

,,_ l l _,,

y0 (

^

(^

y0

A

A

A

A

(

,,_ l l _,,

(^

,,_ l l _,,

y0

y0 (

,,_ A

(^

y0

A

,,_ l l _,, A

G

~

,,_

y0 (

>>

gC

A

^

(^

y0

)

G

A

^

>>

/

)

gC ~

f

I|

/

>>

)

(

^

)

y0

y0 >>

y0

y0

/

G

(

( I|

I|

A

(^

y0 y0

G

/

~

^

^

(^

y0

(

~

I|

A

A

G

f

~

(

^

A

)

(^

>>

y0

/

gC

A

I|

~

y0

~

)

,_,

~

>>

f

gC

(

G

f

G

/

^

)

gC

I|

)

,,_ l l _,,

>>

gC

>>

A

/

)

~

/

f

gC ^

>>

f

G

I|

(^

I|

/

)

~

)

,,_ l l _,,

)

>>

I|

y0

y0

f

f

I|

G

>>

gC

f

>>

A

~/

I|

(

A

f

^

,_,

gC ~

~

/

)

/

(^

f

I|

G

>>

G

gC

y0

)

~

/

I|

)

y0

>>

gC

G

~

(

/

f

I|

f

gC

>>

^

I|

)

f

gC

)

/

,,_ l l _,,

>>

~

>>

G

A

f

/

)

G

I|

G

A

~

~

I|

G

>>

/

gC

,,_ l l _,,

f

(^

A

~/

I|

G C

f

gC

G

I|

y0

)

/

gC

y0

>>

I|

(

/

gC

(

I|

y0

G C

)

>>

y0

y0

g g

y0

(

CG

(

(

)

>>

^

(^

y0

G C I|

(^

I|

CG GC g

g

~/

y0

y0

)

>>

y0

>>

~/ ~

I|

f

l l _,A,

f

f

,A,_

y0 f

(

(

^

f

G

))

I|

^

(^

g gC

,,_

y0

I|

f

C C g

~/ /

A

(

^

>>

I|

G G

>>

~/

I|

l l _,A,

y0

)

>>

)

>>

,A,_

y0

(^

))

>>

~/ ~

I|

g

_,A,

(

^

G

~/ /

f

(^

(^

g gC I|

f

f

CG GC g

>>

y0

y0

)

>>

f

I|

~/ ~

I|

I|

l l _,A,

f

>>

G

))

>>

,,_

y0 f

g gC ~/ /

A

(

^

I|

CG GC g

l l _,A,

(^

G

))

>>

)

>>

,,_

A

y0

f

CG GC g

g

y0

)

>>

g gC

l , A l _ ,

I|

(

I|

~/ ~

y0

f

>>

f

CG GC g

,,_

y0 f

)

>>

~/ ~

I|

I|

~/ /

A

(

^

~/ /

,,_

y0

I|

G

))

f

^

g gC

>>

~/ ~

I|

l , A l _ ,

(^

C C g

I|

f

f

G G

>>

f

,,_

y0

)

>>

))

>>

I|

I|

~/ ~

I|

A

(

^

>>

>>

G

~/ /

A

y0

(^

))

_,A,

(

G

~/ /

f

^

(^

g gC I|

f

f

CG GC g

>>

(^

y0

)

>>

f

I|

~/ ~

I|

I|

l l _,A,

f

>>

G

))

>>

,,_

y0 f

g gC ~/ /

A

(

~/ /

I|

CG GC g

l l _,A, G

))

>>

)

>>

,,_

A f

g gC

gC

~/ ~

I|

I|

CG GC g

^

f

CG GC g

g

)

>>

(^

I|

>>

~/ ~

I|

l l _,A,

y0

)

>>

f

y0

>>

~/ ~

I|

f

,A,_

y0 f

I|

y0

(

^

f

G

))

f

(

g gC I|

^

(^

C C g

,,_

y0

I|

f

G G

>>

~/ /

l l _,A,

y0

)

>>

~/ /

A

(

^

>>

I|

G

))

>>

,A,_

y0

(^

,

))

>>

~/ ~

I|

gC

_,A,

(

^

f

l l _,A,

(^

G

~/ /

f

f

f

g gC I|

I|

I|

CG GC g

>>

))

>>

,,_

)

>>

G

~/ /

A

>>

~/ ~

I|

g gC

l l _,A,

f

CG GC g

,,_

A

f

y0

f

CG GC g

g

y0

)

>>

I|

l , A l _ ,

y0

~/ ~

I|

(

I|

G

))

>>

,,_

y0 f

g gC ~/ /

A

(

^

~/ /

>>

f

CG GC g

^

G

))

f

)

>>

(^

(^

, ll ,

g gC I|

y0

f

C C g

I|

~/ ~

I|

I|

G G

>>

f

l , A l _ ,

y0

)

>>

y0

>>

~/ ~

I|

f

,,_

y0 f

I|

A

(

^

~/ /

f

(

G

))

I|

^

g gC >>

~/ /

>>

)

>>

(^

_,A,

(^

, ll ,

CG GC g

G

))

>>

y0

y0

)

>>

~/ ~

I|

y0

gC

~/ ~

I|

f


y0 (

A

, ll , y0 (

^

A

, ll , A

(^

y0 y0 (

^

A

A

,,_ l l _,, A

A

(^

y0

A

,,_ l l _,, A

y0 (

^

~

,

(^

y0

^

,,_ y0 (

^

(^

y0

A

,,_ l l _,, A

A

,_,

A

y0

A

,,_ l l _,, A

(^

y0 y0 (

^

(^

y0 y0 (

^

(^

y0 (

^

,,_ A

A

,,_ l l _,, A

A

,,_ l l _,, A

A

(^

y0

y0 (

,,_ l l _,,

y0 (

^

(^

y0 y0 (

A

A

A

y0

,,_ l l _,,

(^

,,_ l l _,, A

y0

^

,,_ A

(^

y0

,,_ l l _,,

y0

A

,,_ A

(^

(

A

(

~

y0

^

G

G

>>

A

(^

y0 y0

y0

)

>>

gC

I|

(

^

A

(

>>

)

/

(

y0

/

G

)

^

^

I|

I|

A

(^

y0 y0 (

>>

A

(^

y0 y0

f

/

^

^

(^

~

y0

)

G

A

>>

gC

(

/

~

~

I|

G

f

gC f

gC ^

I|

)

)

~

,,_ l l _,,

>>

>>

,_,

~

G

/

/

)

,,_ l l _,,

)

G

f

I|

I|

A

>>

gC

f

gC ~

~

~

(^

g g

I|

y0

y0

/

)

)

G

>>

A

~

(

A

I|

^

~

f

I|

/

>>

)

)

g ~

f

gC

,_,

I|

>>

gC

f

G

(^

>>

/

)

/

~

f

gC

y0

G

/

>>

I|

)

y0

f

f

I|

G

/

~

(

f

gC ~

~

~

I|

G

I|

f

gC

>>

^

)

f

gC

f

gC

)

/

,,_ l l _,,

/

)

~

>>

G

g ^

>>

)

/

I|

A

I|

>>

G

gC

I|

G

>>

A

f

/

/

I|

)

,,_ l l _,,

f

(^

A

~

~

I|

G

G

gC

(^

f

gC

I|

y0

)

gC

y0

f

y0

(

~

I|

y0

^

/

>>

(

g

(^

g g

^

(^

~

y0

I|

>>

~

(^

I|

CG GC g

g

61

y0

y0

)

>>

y0

>>

~/ ~

I|

I|

l l _,A,

f

f

,A,_

y0 f

(

(

^

I|

^

(^

f

G

))

,,_

y0

I|

f

g gC ~/ /

A

(

^

>>

I|

CG GC g

>>

f

l l _,A,

y0

)

>>

~

I|

,A,_

y0

(^

))

>>

~/ ~

I|

g

_,A,

(

^

f

l l _,A,

y0

G

~/ /

f

f

f

g gC I|

~/ /

I|

CG GC g

>>

(^

y0

)

>>

G

))

>>

,,_

>>

~/ ~

I|

g gC I|

A

(

^

f

y0

(^

~/ /

f

CG GC g

l l _,A,

y0

G

))

I|

)

>>

,,_

A

y0

(^

CG GC g

g

(

f

f

g gC >>

~/ ~

I|

I|

CG GC g

l , A l _ ,

y0

)

>>

^

I|

~/ ~

I|

)

>>

,,_

y0

f

>>

>>

~/ ~

I|

A

(

^

f

f

l , A l _ ,

(^

~/ /

,,_

y0

I|

G

))

f

f

f

g gC I|

I|

I|

CG GC g

>>

))

>>

,,_

)

>>

G

~/ /

A

I|

A

(

^

>>

>>

~/ ~

y0

(^

))

_,A,

y0

G

~/ /

f

(

(^

y0

g gC I|

f

f

CG GC g

>>

f

l l _,A,

y0

)

>>

~/ /

I|

~/ ~

I|

^

>>

G

))

>>

,,_

y0 f

g gC I|

A

(

^

~/ /

f

(^

G

))

I|

CG GC g

l l _,A,

f

g gC >>

)

>>

,,_ I|

CG GC g

gC

~/ ~

I|

A

)

>>

l l _,A,

f

>>

~/ ~

I|

(^

I|

CG GC g

g

f

y0

y0

)

>>

f

,A,_

>>

~/ ~

I|

y0

(

^

f

(

(^ f

I|

l l _,A,

y0

G

))

I|

~/ / >>

,A,_

y0

g gC

G

))

^

(

^

f

f

CG GC g

>>

gC

y0

(^

)

>>

,,_

y0

I|

I|

~/ /

A

(

>>

>>

~/ ~

I|

l l _,A,

))

^

f

f

,,_ G

~/ /

I|

))

>>

f

f

g gC

G

~/ /

I|

CG GC g

>>

g gC I|

A

)

>>

CG GC g

l l _,A, >>

~/ ~

I|

)

>>

,,_

A

f

CG GC g

g

f

(^

f

f

y0

(^

I|

y0

y0

)

>>

,,_

>>

I|

~/ ~

I|

I|

l , A l _ ,

f

>>

G

))

>>

,,_

y0 f

A

)

I|

(

(

~/ / >>

f

g gC ~/ /

A

))

^

C G

G

I|

CG GC g

^

~

gC

f

g gC

l l _,A,

f

)

>>

(^

(^

I|

G

I|

CG GC g

>>

~/ ~

I|

l , A l _ ,

y0

)

>>

,,_

>>

>>

~/ ~

I|

f

,,_

f

A

)

y0

C G

f

f

y0

~/ /

I|

I|

A

(

^

gC G

G

))

>>

~/ / >>

y0

~

(

g gC

l l _,A,

f

G

))

^

I|

_,A,

(^

CG GC g

,,_

>>

A

)

)

>>

~/ ~

I|

_,A,

~/ ~

y0

G

gC

y0

C

I|

f


DESIGNED BY DIEGO VELAZCO

typography book by Diego Velazco  
New
Advertisement