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Logo

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Walkway Expand Ultra Bold Walkway Ultra Bold Optima

table of content

Ubiquitous type

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Arial Black Gill Sans Regular Gill Sans Bold

Sketchbook

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Corbel Bold

Snap

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Gill Sans Regular Adobe Caslon Pro Bold

Poster Design

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Gill Sans Regular Acens Regular Gill Sans Ultra Bold

Typography Poster

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Helvetica Regular

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CINDY CHANG

Graphic Design

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The presence of typography both good and bad, can be seen everywhere.

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Typography makes at least two kinds of sense, if it makes any sense at all. It makes visual sense and historical sense. The visual side of typography is always on display, and materials for the study of its visual form are many and widespread. The history of letter- forms and their usage is visible too, to those with access to manuscripts, inscriptions and old books, but from others it is largely hidden. This book has therefore grown into something more than a short manual of typographic etiquette. It is the fruit of a lot of long walks in the wilderness of letters: in part a pocket field guide to the living wonders that are found there, and in part a meditation on the ecological principles, survival techniques, and ethics that apply. The principles of typography as I understand them are not a set of dead conventions but the tribal customs of the magic forest, where ancient voices speak from all directions and new ones move to unremembered forms. One question, nevertheless, has been often in my mind. When all right-thinking human beings are struggling to remember that other men and women are free to be different, and free to become more different still, how can one honestly write a rulebook? What reason and authority exist for these commandments, suggestions, and instructions? Surely typographers, like others, ought to be at liberty to follow or to blaze the trails they choose. Typography thrives as a shared concern - and there are no paths at all where there are no shared desires and directions. A typographer determined to forge new routes must move, like other solitary travellers, through uninhabited country and 4 against the grain of the land, crossing common Typography Portfoliothoroughfares in the silence before dawn. The


subject of this book is not typographic solitude, but the themselves than with the mutable or Renaissance Italy. old, well- travelled roads at the core of the tradition: The principles that unite these distant schools of design paths that each of us is free to follow or not, and to are based on the structure and scale of the human body enter and l eave when we choose - if only we know the - the eye, the hand, and the forearm in particular - and paths are there and have a sense of where they lead.That on the invisible but no less real, no less demanding, no freedom is denied us if the tradition is concealed or left less sensuous anatomy of the human mind. I don’t like to for dead. Originality is everywhere, but much originality call these principles universals, because they are largely is blocked if the way back to earlier discoveries is cut or unique to our species. Dogs and ants, for example, read overgrown. If you use this book as a guide, by all means and write by more chemical means. But the underlying leave the road when you principles of typography are, wish. That is pre- cisely “Typography is the craft of endowing human at any rate, stable enough the use of a road: to reach language with a durable visual form, and to weather any number of individu- ally chosen points human fashions and fads. thus with an independent existence.” of departure. By all means Typography is the craft of break the rules, and break endowing human language them beautifully, deliberately, and well. That is one of the with a durable visual form, and thus with an independent ends for which they exist. existence. Its heartwood is calligraphy - the dance, on a Letterforms change constantly, yet differ very little, tiny stage. because they are alive. The principles of typographic It is true that typographer’s tools are presently clarity have also scarcely altered since the second half of changing with considerable force and speed, but this is not the fifteenth century, when the first books were printed a manual in the use of any particular typesetting system in roman type. Indeed, most of the principles of legibility or medium. I suppose that most readers of this book will and design explored in this book were known and used set most of their type in digital form, using computers, by Egyptian scribes writing hieratic script with reed pens but I have no preconceptions about which brands of on papyrus in 1000 B.C. Samples of their work sit now computers, or which versions of which proprietary in museums in Cairo, London and New York, still lively, software, they may use. The essential elements of style subtle, and perfectly legible thirty centuries after they have more to do with the goals the living, speaking hand were made. - and its roots reach into living soil, though its branches Writing systems vary, but a good page is not hard to may be hung each year with new machines. So long as the learn to recognize, whether it comes from Tang Dynasty root lives, typography remains a source of true delight, China, The Egyptian New Kingdom typographers set for true knowledge, true surprise.


PROJECT

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Painting Experiment : Grey Arcylic + Tea Leaves

Painting Experiment : White Arcylic + Cocoa

Painting Experiment : Red Arcylic + Eraser Waste

Painting Experiment : Yellow Arcylic + Black Pepper

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Hand Contours


Figure Drawing Notes

3rd Division v.s. 1/2 Division

Torso Twice as Tall as its Wide 7.5 Heads Tall

Glue Gun + Clip


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n this snap project, we play with the spacing, scales, and positions of the letters on a page in order to create distinctive typographic compositions. Gradually, we have been allowed to increase our use of creativities and decrease the limitations on the project as the quarter went by.We are now free to use our imagination and play with the compositions of this project. Projects with more limitation create limited visual impacts. However, a limited visual impact doesn’t always get carried out in a negative manner. With a creative mind, a simply composed project can be quite easy on the eyes as opposed to more over-exaggerated ones. I’ve found snap projects that allow more freedoms to expand our creativities much more interesting for me. With more freedoms, we are presented with more opportunities to uncover the potentials of typography and give people that visual impact we look for in a project. With fewer limitations, which allows our creativities to run free, the finished product could really reach that potential we look for. Through this snap project, we are now more familiar with the characteristics and connotations of typography as well as effectively utilizing types as elements for units of composition.

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