Golden, Tiffany - Typography Fundamentals Final

tiffany golden

summer 2019

typography

introduction

I am a big picture person. I love big ideas, bold images, and colors.

In this course, I learned typography, fundamentally is about details.

These minute details are the structure that support the successful execution of big ideas and bold looks. When the basics of typography, typesetting, alignment, and composition are mastered, the possibilities of grand design are limitless.This is my journey in learning the importance of details.

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contents

character set type anatomy typesetting alignment swiss designer classification colophon

06 12 18 24 38 42 48 5

character set

Et fuga. Nem cuptatem repello rrumqui simpore pelenis pro venis nonsequ atquid que exeratque nosam re venis autem repe rem as doluptasitae sendis etur as de voluptio eost, sus as reicient, quo conseni corempor sequi odit mos am, quasimos sum voluptaesto es quatur, optium et ratemo velendae culluptatis sinis quae prorunt, ipsame sumenda velendi dit ut ad et reperionsedi iliquat urerchi llest, comnienti reprectat que non pa volutatem alignis ciistem ulpa verorem et quidel entibus il eos eosapid eiur sit quam, nontypeface nobis debit Os etum nus dempor Create a prototype of 9 esequatur? letters by either: Bitmap Method as simet laciet as imporro imus, occullatur, offictur, sequiam aut ipitati accus quia designing letters either on a grid of squares, substitute the curves doloreptatio qui qui omnitaq uaerissit, sinus expelitio etur, ut and diagonals of traditional letterforms with rectilinear elements. laborem quam saessit aturition res autempos in explam, temqui siAvoid making detailed “staircases� which are just ornate diagonals. tecti oruptate aut velignissed undis evelest, nusanda venit, exerum Calligraphic Method constructing your letterforms using calligraphic simagnam faces eosam essinve rovitiam ut aut erora dolorem.

Quis strokes that you originate by experimentation, for example using pen acepudae pa cus est ant pra con res et ut earit dolo et offictur aut and ink and constructing your alphabet from your scanned marks. qui restin rem non con nihilic iendunt omniscides derciiscit adis

the approach In this assignment, I wanted to create balanced, futuristic characters. I was drawn to the blending of round and hard angles to give a science-fiction feel to the characters. I used circles and cut-outs to express the smoothness, while reserving the counters for square-shapes/angles. Together, the counters and dots line up to give the sense of uniformity.

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Character Set - PATTERNED

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Character Set - BLACK & WHITE

Character Set - SOLID COLOR

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type anatomy

Using the typeface Adobe Garamond Pro, identify the anatomy of a typeface, choosing more than 20 anatomical words, but less than the whole list, indicating one (don’t indicate the same thing over and over) of all the main elements, for example, the items on the list left. Use letterforms and/or numbers and/or special characters.

the approach The letter display of the Snellen Visual Acuity Chart lent itself nicely to this assignment. I wanted to use something pretty common for “seeing� to show the aspects of letters. I included the green and red color-testing bars for design authenticity.

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TOZ

BCG Ca p He i g h t

Ba s e l i ne

E

FP Ar m

Stress

Bow l

Serif

TOZ Ste m

A xi s

Stro ke

JQVX LBCG Le g

Stre s s

Serif

KJQVX Ba r

Que s t E ye Te s ti ng X-Height

Ta il

Coun t er

Ter min a l

Shoulder

Spine

Ear

Tittle

Bar

Descender

e s t Eye Tes t i n g X-Height

er

Ter minal

Descende r

Shoulder

Spine

Tittle

Loop

Ear

Loop

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Type Anatomy - POSTER

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Type Anatomy - ACCORDION BOOK

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typesetting

Create 4 pages, each page showing one of these alignments: Set Left, Set Right, Justify, Center. Use the copy in the sample entitled Visible and Invisible Language.

Left Alignment 8/10 Adobe Garamond + 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

Typesetting - SET LEFT

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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.

Right Alignment 8/10 Adobe Garamond + 10 Tracking +30 Tracking +70 Tracking

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

Typesetting - SET RIGHT

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Justified Alignment 8/10 Adobe Garamond + 70 Tracking +50 Tracking +80 Tracking +100 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.

Si m p l e as i t m ay s o u n d , t h e t as k o f c re ati ve n o n - inter ference w ith l e t te r s i s a re w ard i n g an d d i f f i c u l t c al l i n g . In i d e al conditions , it is al l t h at t yp o g r ap h e r s are re al l y as k e d to d o — an d i t is enoug h. —Robert Bringhurst, The Elements of Typographic Style

Typesetting - JUSTIFIED

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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.

Center Alignment 8/10 Adobe Garamond + 20 Tracking

—Robert Bringhurst, The Elements of Typographic Style

Typesetting - CENTERED

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alignment

With supplied text, format with each of the following: _Indent _Hanging indent _Extra Leading (space between) _First Word _First Sentence / Phrase _Initial Cap _Drop Cap _First Paragraph (Intro Paragraph) _Scale Change or Style Change _Scale Change or Style Change + Typeface Change _Scale Change or Style Change + Typeface Change + Graphic Element

Alignment - INDENT

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. 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.

—excerpted from Manifesto Mania by Ellen and Julia Lupton

Justified Alignment 8/10 Marion Regular

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Alignment - HANGING INDENT/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 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. 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.

—excerpted from Manifesto Mania by Ellen and Julia Lupton

Left Alignment 8/10 Adobe Garamond

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Alignment - 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. 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.

—excerpted from Manifesto Mania by Ellen and Julia Lupton

Left Alignment 8/10 Adobe Garamond

28

tion 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. 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.

Alignment - FIRST WORD

Karl Marx had one. The Unibomber had one. When Thomas Jefferson wrote the Declara-

—excerpted from Manifesto Mania by Ellen and Julia Lupton

Justified Alignment 8/10 Marion Regular

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Alignment - FIRST SENTENCE/PHRASE

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-de-

signed product. It communicates directly; it is broken into functional parts, and it has elements of poetry and surprise. 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.

—excerpted from Manifesto Mania by Ellen and Julia Lupton

Justified Alignment 14/16 DIN Condensed + 8/10 Marion Regular

30

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.

together members of a group. Ten years ago, Bruce Mau published his “Incomplete Manifesto,” written as a list of commandments.

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.

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.

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. Drafting one is more like writing an ad than writing a novel. Manifestos typically have a social function—they serve to bring

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.

Alignment - INITIAL CAP

K

—excerpted from Manifesto Mania by Ellen and Julia Lupton

Left Alignment 10/12 Athelas

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Alignment - DROP CAP

K

arl Marx had one. The Unibomber had one. When Thomas Jefferson w ro t e t h e D e c l a ra t i o n o f 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.

Drafting one is more like writing an ad than writing a novel. Manifestos typically have a

Left Alignment 10/12 Athelas

32

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.

—excerpted from Manifesto Mania by Ellen and Julia Lupton

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. 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.

Other designers with intriguing and influential personal manifestos include product designer Karim Rashid and the infamous post-typographers Bruce Willen and Nolen Strals.

Alignment - INTRO 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.

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.

—excerpted from Manifesto Mania by Ellen and Julia Lupton

These principles became the established creed of Mau’s own design office, but they can be used by anyone.

Justified Alignment 14/16 + 10/12 Optima

33

Verbal and

Visual Equations An examination of interactive signs excerpted from Form and Communication

By Ben Day and Philip Meggs

Alignment - SCALE/STYLE CHANGE

Language, in any of its many forms, is a self-contained system of interactive signs that communicates ideas. Just as elocution and diction enhance and clarify the meaning of our spoken words, typographic signs can be manipulated by a designer to achieve more lucid and expressive typographic communication.

Signs operate in two dimensions: syntactic and semantic. When the mind is concerned with the form of a sign, it is involved with typographic syntax. When it associates a particular meaning with a sign, it is operating in the semantic dimension.

All objects in the environment can potentially function as signs, representing any number of concepts. A smog-filled city signifying pollution, a beached whale representing extinction, and confetti implying a celebration--each functions as a sign relating a specific concept.

Signs may exist at various levels of abstraction. A simple example will illustrate this point. Let us consider something as elemental as a red dot. It is a sign only if it carries a particular meaning. It can represent any number of things: balloon, ball, or Japanese flag.

The red dot can become a cherry, for example, as the mind is cued by forms more familiar to its experience.

In language, signs are joined together to create messages. Words as verbal sign, grouped together in a linear fashion, attain their value vis-Ă -vis other words through opposition and contrast. Words can also evoke meaning through mental association. These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following The particular syntactic qualities associ- each other in a specific sequence, or in ated with typographic signs determine a nonlinear manner, with elements exista specific meaning. A series of repeated ing in many syntactic combinations. letters, for example, may signify motion or speed, while a small letter in a large void may signify isolation. These quali-

Justified Alignment // Title: Gill Sans Bold 23/20 + 18/20, Gill Sans Regular 8/10 + 6/10 | Text: Gill Sans Regular 10/12

34

ties, derived from the operating principles of visual hierarchy and ABA form, function as cues, permitting the mind to form concepts. Simple syntactic manipulations, such as the repetition of letters, or the weight change of certain letters, enable words visually to mimic verbal meaning.

Verbal and Visual Equations An examination of interactive signs excerpted from Form and Communication

By Ben Day and Philip Meggs

Language, in any of its many forms, is a self-contained system of interactive signs that communicates ideas. Just as elocution and diction enhance and clarify the meaning of our spoken words, typographic signs can be manipulated by a designer to achieve more lucid and expressive typographic communication.

All objects in the environment can potentially function as signs, representing any number of concepts. A smog-filled city signifying pollution, a beached whale representing extinction, and confetti implying a cele-

Signs may exist at various levels of abstraction. A simple example will illustrate this point. Let us consider something as elemental as a red dot. It is a sign only if it carries a particular meaning.

It can represent any number of things: balloon, ball, or Japanese flag. The red dot can become a cherry, for example, as the mind is cued by forms more familiar to its experience.

The particular syntactic qualities associated with typographic signs determine a specific meaning. A series of repeated letters, for example, may signify motion or speed, while a small letter in a large void may signify isolation. These qualities, derived from the operating principles of visual hierarchy and ABA form, function as cues, permitting the

mind to form concepts. Simple syntactic manipulations, such as the repetition of letters, or the weight change of certain letters, enable words visually to mimic verbal meaning.

In language, signs are joined together to create messages. Words as verbal sign, grouped together in a linear fashion, attain their value vis-Ă -vis other words through opposition and contrast.

Words can also evoke meaning through mental association.

These associative relations are semantically derived. Since typography is both visual and verbal, it operates in a linear fashion, with words following each other in a specific sequence, or in a nonlinear manner, with elements existing in many syntactic combinations.

Alignment - SCALE/STYLE CHANGE + TYPEFACE

Signs operate in two dimensions: syntactic and semantic. When the mind is concerned with the form of a sign, it is involved with typographic syntax. When it associates a particular meaning with a sign, it is operating in the semantic dimension.

bration--each functions as a sign relating a specific concept.

Justified Alignment // Title: Avenir Condensed 33/9 | Subtitle: Avenir Condensed 10/9 + 8/10 | Body: Marion 8.75/11

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Verbal and

letters, for example, may signify motion or speed, while a small letter in a large void may signify isolation. These qualities, derived from the operating principles of visual hierarchy and ABA form, An examination of interactive signs excerpted Signs may exist at various levels of function as cues, permitting the mind to from Form and Communication abstraction. A simple example will il- form concepts. Simple syntactic manipuBy Ben Day and Philip Meggs lustrate this point. Let us consider lations, such as the repetition of letters, or the weight change of certain letters, enable words visually to mimic verbal Language, in any of its many forms, is a meaning. self-contained system of interactive signs that communicates ideas. Just as elocution In language, signs are joined together to and diction enhance and clarify the meancreate messages. Words as verbal sign, ing of our spoken words, typographic grouped together in a linear fashion, signs can be manipulated by a designer to attain their value vis-Ă -vis other words achieve more lucid and expressive typothrough opposition and contrast. Words graphic communication. can also evoke meaning through mental something as elemental as a red dot.

It association. These associative relations Signs operate in two dimensions: synis a sign only if it carries a particular are semantically derived. Since typogratactic and semantic. When the mind meaning.

It can represent any number phy is both visual and verbal, it operates is concerned with the form of a sign, of things: balloon, ball, or Japanese flag. in a linear fashion, with words following it is involved with typographic synThe red dot can become a cherry, for each other in a specific sequence, or in tax. When it associates a particular example, as the mind is cued by forms a nonlinear manner, with elements existmeaning with a sign, it is operating in more familiar to its experience. ing in many syntactic combinations. the semantic dimension.

Alignment - SCALE/STYLE CHANGE + TYPEFACE + GRAPHIC ELEMENT

Visual Equations

city signifying pollution, a beached whale representing extinction, and confetti implying a celebration--each functions as a sign relating a specific concept.

All objects in the environment can po- The particular syntactic qualities associtentially function as signs, representing ated with typographic signs determine any number of concepts. A smog-filled a specific meaning. A series of repeated

Justified Alignment // Title: Big Caslon 25/20 + 20/20 | Subtitle: Big Caslon 8/10 | Byline: Big Caslon 6/10 | Body: Gill Sans 10/12

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swiss designer

Choose a major contributor in the Swiss Design movement to research. Include any interesting details.

adrian frutiger

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classification

Design three (3) type classification posters in the Vox System.The book Letter Fountain lists 9 categories—5 Serif and 4 Sans Serif—Humanist, Old Style, Transitional, Modern, Slab-Serif and Sans serif (4). Design a poster for two Serif and one Sans Serif font.

the approach For this assignment, I was inspired by classification examples that were letter-focused. Each poster highlights the primary letter and line characteristics of its typeface. I used high contrast black and white with a pop of cool turquoise to tie the poster family together.

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Classification - GILL SANS

Classification - CASLON

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colophon

tiffany golden ayca kilicoglu bodoni+gill sans ucbx graphic design typographic fundamentals 49