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Typography

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Table of Contents Typography Timeline | 3–10 Letter Spacing | 11–17 Letter Sequence | 18–19 Process Composition Semantics | 20–38 Form/Counterform | 39–43 Stationary System | 44–53


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01

The goal of this project was to research and create a timeline on the history of type design. Special attention to serifs, proportions, x-heights, and stroke weights are highlighted in each era. Parallel design movements are also incorporated to show type application in its time.

3


Timeline Humanist Era

1470

Centaur has a low contrast between thick and think lines which leaves the page dark and heavy. Te letters are wide im comparison to their x-height. The oblique stress of the “o”, steeply angled serifs, also define Centaur.

Illumination of Eusebul’s De Evangelica Praeparatione Unknown Artist Book by Nicolas Jenson, 1470

Illumination of Eusebul’s De Evangelica Praeparatione Unknown Artist Book by Nicolas Jenson, 1470

4


Timeline Old Face

1540’s

Gros Canon Typeface Claud Garamond, 1530

5


Timeline Transitional

1754

Oak Dresser with Cabriole Legs Unknown Artist, early 18th century

Old Testament Bible printed by John Baskerville

6


Timeline Modern

1754

7


Timeline Slab Serif

1754

8


Timeline Sans Serif

1754

9


Timeline Full

1540’s

1470

1754

1754

1754

1754

Centaur has a low contrast between thick and think lines which leaves the page dark and heavy. Te letters are wide im comparison to their x-height. The oblique stress of the “o”, steeply angled serifs, also define Centaur.

Illumination of Eusebul’s De Evangelica Praeparatione Unknown Artist Book by Nicolas Jenson, 1470

Illumination of Eusebul’s De Evangelica Praeparatione Unknown Artist Book by Nicolas Jenson, 1470

Gros Canon Typeface Claud Garamond, 1530

Corinthian Capital Elevation Unknown Artist, 1540-1560

Oak Dresser with Cabriole Legs Unknown Artist, early 18th century

Old Testament Bible printed by John Baskerville

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02

The goal of this project was to develop an eye for the spacing within words. Becoming familiar with optical letter space allowed designers to produce the eye pleasing pieces and allows the word to act as an image. We were assigned both upper and lower case letters of serif and sans serif fonts along with both black and block out letters for the upmost practice.

11


Serif Typeface Adobe Garamond, Regular

NEWBOYG NEWBOYG

newboyg newboyg 12


Sans-Serifs Gill Sans, Regular

NEWBOYG NEWBOYG

newboyg newboyg 13


Serifs AdobeGaramond, Regular

CIRCA 1901 CIRCA 1901

circa 1901 circa 1901 14


Sans-Serifs Gill Sans, Regular

CIRCA 1901 CIRCA 1901

circa 1901 circa 1901 15


Serifs Adobe Garamond, Regular

BOXSVERT BOXSVERT

boxsvert boxsvert 16


Sans-Serifs Gill Sans, Regular

BOXSVERT BOXSVERT

boxsvert boxsvert 17


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03

The goal of this project was to convey a sequence of events, to impart action in a static medium, to convey content through pacing and context. Attention to pacing of form to counter-form, scale, and rotation were met trough a total of 4 stages. I selected the lowercase Clarendon g due to my interest in its unique serif.

18


Letter Sequence Final Selection

19


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04

Through a series of defined parameters, content is analyzed, dissected and composed to provide hierarchy and clarity to facilitate and enhance communication. A synthesis of form and content is the aim to expand the visual and verbal semantic expression.

20


Phase 1 | Studies One Size One Weight (12ptUnivers 55/ Reular)

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Phase 1 | Solution One Size One Weight (12pt Univers 55/ Regular)

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Phase 2 | Studies One Size Two Weights (12pt Univers 55/ Regular + Univers 75/ Black)

23


Phase 2 | Solution One Size Two Weights (12pt Univers 55/ Regular + Univers 75/ Black)

24


Phase 3 | Studies Two Sizes Two Weights (12 & 18 pt Univers 55/ Regular + 12 & 18 pt Univers 75/ Black)

25


Phase 3 | Solution Two Sizes Two Weights (12 & 18 pt Univers 55/ Regular + 12 & 18 pt Univers 75/ Black)

26


Phase 4 | Studies Three Sizes Two Weights (12, 18, 48 pt)

27


Phase 4 | Solution Three Sizes Two Weights (12, 18, 48 pt)

28


Phase 5 | Studies Full Univers System (12, 18 & 48 pt)

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Phase 5 | Solution Full Univers System (12, 18 & 48 pt)

30


Phase 6 | Studies Full Univers System (12, 18, and any additional larger sizes)

31


Phase 6 | Solution Full Univers System (12, 18, and any additional larger sizes)

32


Phase 7 | Studies Full Univers System (12, 18, and any additional larger sizes + grey values of text)

33


Phase 7 | Solution Full Univers System (12, 18, and any additional larger sizes + grey values of text)

34


Phase 8 | Studies Full Univers System (12, 18, and any additional larger sizes + grey values of text + transparency/multiply text)

35


Phase 8 | Solution Full Univers System (12, 18, and any additional larger sizes + grey values of text + transparency/multiply text)

36


Phase 9 | Studies Full Univers System (12, 18, and any additional larger sizes + grey values of text + transparency/multiply text + images)

37


Phase 9 | Solution Full Univers System (12, 18, and any additional larger sizes + grey values of text + transparency/multiply text + images) Phase 9 | Studies Full Univers System (12, 18 & any additional larger sizes) + gray values of text + transparency/mulitply text)

m e 8p hth c n 012 Eig a D , 2 75 9 rn ne er 1 e t u od ay J Thea M urd ce 25 t $ rg oy Sa e J t s : e . o Th cke oyc .j Ti w w w

v A

u en

e

N

ew

r Yo

k

Ci

ty

Necessary Beauty

MILLER’S

rf e P

m or

an

ce

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05

The goal of this project was to recognize the relationships between the forms and counterforms of the letters in the Univers 65 family. Provided with 6 shapes, we placed the letters on them in a way that emphasized their, either contrasting, or uniform qualities. Variation of size and rotation were encouraged.

39


Phase 1 | Studies Univers 55 (1 letterform/numeral + 1 shape)

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Phase 1 | Studies Univers 65 (1 letterform/numeral + 1 shape)

41


Phase 2 | Studies Univers 65 (1-2 shapes + 2 letterforms, 1-2 shapes + 2 numerals, 1-2 shapes + letterform/numeral)

42


Phase 1 | Studies Univers 55 (1 letterform/numeral + 1 shape)

43


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06

The objective of this assignment was to gain experience in developing a visual system in real-world application. Through several phases, a stationary system and specific typographic usage is created. The final logo selection from phase 5 is used to create a consistency between a set of stationary including a letterhead, businesscard, and poster.

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Phase 1 | Stationery Concept A: 6 concepts for the business card letterhead and envelope

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Phase 1 | Stationery Concept B: 6 concepts for the business card letterhead and envelope

46


Phase 1 | Stationery Concept C: 6 concepts for the business card letterhead and envelope

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Phase 1 | Stationery Concept D: 6 concepts for the business card letterhead and envelope

48


Phase 1 | Stationery Concept E: 6 concepts for the business card letterhead and envelope

FOURDE CAFÉ #: 614 603 1149

www.4DCafe.com

49


Phase 1 | Stationery Concept F: 6 concepts for the business card letterhead and envelope

50


Poster | Selectio/ Poster Selection:

Americano 1/3 Espresso 2/3 Hot Water

Cappuccino 1/3 Espresso 1/3 Steamed Milk 1/3 Milk Foam

Latte 1/3 Espresso 1/3 Steamed Milk

Americano 1/3 Espresso 2/3 Hot Water

Cappuccino 1/3 Espresso 1/3 Steamed Milk 1/3 Milk Foam

Latte 1/3 Espresso 1/3 Steamed Milk

Cafe Mocha 1/3 Espresso 2/3 Steamed Milk + Chocolate Syrup

Macciato 1/3 Espresso >1/3 Steamed Milk

Cafe Melange 1 Coffee + Whipped Cream

Cafe Mocha 1/3 Espresso 2/3 Steamed Milk + Chocolate Syrup

Macciato 1/3 Espresso >1/3 Steamed Milk

Cafe Melange 1 Coffee + Whipped Cream

Cafe Breve 1/4 Espresso 2/4 Half-And-Half >1/4 Milk Foam

Iced Coffee 1 Coffee 1 Ice

Frozen Cappuccino 1/4 Coffee 2/4 Milk 1:1 Shaved Ice + Whip/Syrup

Cafe Breve 1/4 Espresso 2/4 Half-And-Half >1/4 Milk Foam

Iced Coffee 1 Coffee 1 Ice

Frozen Cappuccino 1/4 Coffee 2/4 Milk 1:1 Shaved Ice + Whip/Syrup

# 614 604 1149 | #2 614 941 1306 | 4DCafe@gmail.com | www.4DCafe.com

FOURDE CAFÉ

# 614 604 1149 | #2 614 941 1306 | 4DCafe@gmail.com | www.4DCafe.com

FOURDE CAFÉ

51


Phase 3 | Studies / Poster 2:

A TASTE OF HEAVEN

52


Phase 3 | Studies | Poster 3:

F

F

FOURDE CAFÉ

FOURDE CAFÉ

OPEN MIC WEDNESDAY, JANUARY 31

POETRY NIGHT WEDNESDAY, MARCH 14

COFFE TASTE WEDNESDAY, MAY 6

OPEN MIC WEDNESDAY, JANUARY 31

POETRY NIGHT WEDNESDAY, MARCH 14

COFFE TASTE WEDNESDAY, MAY 6

COMEDY ROYAL WEDNESDAY, JULY 18

CRAFT NIGHT WEDNESDAY, SEPTEMBER 28

KAREOKE WEDNESDAY, NOVEMBER 28

COMEDY ROYAL WEDNESDAY, JULY 18

CRAFT NIGHT WEDNESDAY, SEPTEMBER 28

KAREOKE WEDNESDAY, NOVEMBER 28

44 Poccilo St. | # 614 603 1149 | www.4DCafe.com

44 Poccilo St. | # 614 603 1149 | www.4DCafe.com

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Typography  

Typography Process Book

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