DES4021

how to choose & mix type (summary)

2009-05-01T14:01:00.000-04:00

Choosing type is an important part of the design process which in itself is unique and depends on many variables. In order to set your design criteria, and to avoid template solutions, you need to consider some basic facts:For this subject, also see: Stop Stealing Sheep & Find Out How Type Works
by Erik Spiekermann and E.M. Ginger. Adobe Pr., 1993.

HOW TO USE DIFFERENT TYPEFACES TOGETHER?
In order to obtain visual variety, and to group different types of information, you may need to mix different typeforms. Here are some tips to do this without breaking the 'unity'.

1) DON'T MIX!? Stick with one type family...

2) PAIRING BY AUTHORSHIP: Choose the typefaces designed by the same designer...

3) PAIRING BY CONTRAST: Try to avoid ambiguity. Use clearly defined visual contrast.

4) PAIRING BY ARMATURE: Examine the inner structure of the letters, their width-height proportions and stroke thickness...

Book Cover Archive

2009-04-21T01:49:00.003-04:00

A great collection of book covers: http://www.bookcoverarchive.com/
(and it is possible to 'browse by typefaces')

Lecture on Hermann Zapf

2009-04-20T01:16:00.002-04:00

Tuesday, April 21, 6 p.m.
Rabb Hall, Central Library, Copley Square
The 35th annual William A. Dwiggins Lecture celebrates the legendary designer Hermann Zapf in his 90th year. Matthew Carter will assess Zapf’s contribution to type design.
(Boston Public Library - Upcoming Events)

(Unfortunately, the time of the lecture coincides with our class. In case you want to attend, please let me know. You can join the class after the lecture).

2009-04-09T16:37:00.001-04:00

Free Font Manifesto: http://www.elupton.com/index.php?id=17

class list

2009-04-04T14:43:00.003-04:00

Reina – C. Garamond
Keith – G. Bodoni
Alex – P. Renner
Bai – H. Zapf
Chris – A. Frutiger
Sarah – Z. Licko
Jenn – M. Carter
Cameron – N. Brody
Tim – F. Goudy
Micheal – M. F. Benton

Type Designers

2009-04-04T14:21:00.000-04:00

Claude Garamond (c.1480–1561)
Bio • Works • Other

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William Caslon (1692–1766)
Bio • Works • Other

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John Baskerville (1706–1775)
Bio • Works • Other

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Giambattista Bodoni (1740-1813)
Bio • Works • Other

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Frederic W. Goudy (1865–1947)
Bio • Works • Other • Book by Goudy

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Morris F. Benton (1872–1948)
Bio • Works • Other

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Paul Renner (1878–1956)
Bio • Works • Works2• Other

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Hermann Zapf (b. 1918)
Bio • Works • Other

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Adrian Frutiger (b. 1928)
Bio • Works • Other

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Matthew Carter (b. 1937)
Bio • Works • Other • Other2

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Neville Brody (b. 1957)
Bio • Works • Other • Other2

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Zuzana Licko (b. 1961)
Bio • Works • Other

Initial letter, headline, text figures & small caps

2009-03-25T23:17:00.000-04:00

Text Area & Page Proportions (some models)

2009-03-25T23:15:00.000-04:00

As well as the classical models, the modern grid that is based on the Cartesian coordinate system of intersecting perpendicular lines can also be used to organize the single-column book pages.

Please click on the images to enlarge.

Lorem Ipsum

2009-03-11T21:36:00.000-04:00

Here is a link to printers' conventional placeholder (dummy) text:
The Lorem Ipsum Generator

The Crystal Goblet

2009-03-11T21:32:00.000-04:00

A classical text that discusses the ideal design approach to continuous text:
The Crystal Goblet, or Printing Should Be Invisible
by Beatrice Warde

Legibility & Readability (summary)

2009-03-11T21:05:00.001-04:00

2009-03-04T23:45:00.002-05:00

Constantin Brancusi, The Newborn, 1915

Visual unity means that an agreement exists among the elements in a design. The elements look belonging together, as though some visual connection beyond mere chance has caused them to come together. Unity is the result of an underlying system or plan that combines and bounds the design elements together.

Theo VanDoesburg, 1917.

An important aspect of visual unity is that the whole must be predominant over the parts. You must be able to see the whole pattern before you notice the individual elements. Each item may have a meaning and effect on the total effect of the work, but the viewer must see first the pattern as a whole rather than merely a collection of bits and pieces.

Why Not Associates, logotype, 2005.

Gestalt Principles of Visual Perception
Gestalt is a term which is usually understood as 'unified whole' or 'a complete pattern or configuration'. It defines an organized whole in experience.

The Gestalt psychologists, developed the theory on human perception, explaining that the working principle of the mind is holistic. We recognize 'whole form' instead of collecting one by one the pieces that have created it. This is summarized as: "The whole is more than the sum of its parts."

They defined a set of fundamental principles of perception. These principles help us not only to understand how a visual organization is perceived, but also equip us with techniques to achieve visual unity.

Here are some of the Gestalt Principles:

Proximity: The elements which are close together are perceived as a group. In fig.A, instead of seeing 2 separate lines, we tend to perceive one group. When new lines are placed more closely to the existing ones, we reconstruct our perception and perceive the closest elements as a new group (fig.B).

Similarity: Elements that have similar properties are perceived as a group. In the example, we are able to perceive the cross shape, because we group the squares in our perception.

Continuity: Every visual unit tends to be continued in the same direction and with the same movement. We have a preference for continuous figures. In the example, rather than seeing 4 separate line segments, we tend to see 2 intersecting lines creating an X shape.

Closure: Even though the information is incomplete, we can close the gaps and perceive the whole. In the example, although the shapes are not fully drawn, we can perceive them. There is enough indication, and we can complete the rest of the information in our perception.

'Grouping', 'similarity', 'continuity' or 'closure' can be used as techniques to achieve 'visual unity' in a composition.

student project, Dana Gould, 2007.

Expressive Typography (summary)

2009-02-26T16:05:00.000-05:00

In this assignment, our aim is to use typography in such a way that not only with its content; but also with its visual form it can communicate a message.
Below are some examples of works from graphic design, arts and visual poetry (a.k.a concrete poetry) where type and typographic organization is used in order to express ideas.

Filippo Tommaso Marinetti

Raoul Hausmann, cover of the first periodical Der Dada, 1919.

Kurt Schwitters, Small Dada Evening poster, 1922.

Kurt Schwitters and Theo van Doesburg, Scarecrow Fairy Tale, 1925.

Fortunato Depero, 1929.

Alexander Rodchenko.

Josef Müller-Brockmann, poster, 1960.

Georges Calame, poster for furniture company,1994.

Gene Federico, Woman's Day, 1951-54.

Herb Lubalin, logotype, 1966.

Some exercises from the book A Type Primer (John Kane, 2002).

The Mouse’s Tale, from Alice’s Adventures in Wonderland by Lewis Carroll, 1865.

Edwin Morgan, Pomander.

Ian Hamilton Finlay, Ajar, 1967.

José Juan Tablada, Fireflies, 1920.

Johanna Drucker.

Some quotes for assignment 3

2009-02-18T21:27:00.002-05:00

Typography needs to be audible.
Helmut Schmid

I have made this letter longer then usual because I lacked the time to make it shorter.
Blaise Pascal

I dip my pen in the blackest ink, because I'm not afraid of falling into my inkpot.
Jean Larcher

Come to the edge
He said. They said: We are afraid.
Come to the edge
He said. They came.
He pushed them, and
they flew...
Guillaume Apollinaire

Typographical design should perform optically what the speaker creates through voice and gesture of his thoughts.
El Lissitzky

The word and image are one.
Hugo Ball

Give me a laundry list and I`ll set it to music.
Gioacchino Rossini

There is got to be enough space, so the sound will work.
Frank Zappa

Every too much causes the same damage as a too less.
Paul Renner

Good type, correct arrangement – these are the both pillars of
all type art.
Jan Tschichold

Where there is shouting, there is no true knowledge.
Leonardo da Vinci

I don't want to be interesting. I want to be good.
Ludwig Mies van der Rohe

Less is only more where more is no good.
Frank Lloyd Wright

Space and light and order. Those are the things that men need just as much as they need bread or a place to sleep.
Le Corbusier

The difference between good design and great design is intelligence.
Tibor Kalman

Thoughts, like fleas, jump from man to man, but they don't bite everybody.
Stanislaw J. Lec

Design is so simple, that's why it is so complicated.
Paul Rand

Form is movement.
Robert Delaunay

Design is thinking made visual.
Soul Bass

There is no must in art because art is free.
Wassily Kandinsky

You must have chaos within you to give birth to a dancing star.
Nietzsche

Where there is much light, the shadow is deep.
Goethe

Everything starts from a dot.
Wassily Kandinsky

A line is a dot out for a walk.
Paul Klee

I shut my eyes in order to see.
Paul Gauguin

You can`t depend on your eyes when your imagination is out of focus.
Mark Twain

Creativity is allowing yourself to make mistakes.
Scott Adams

Never mistake motion for action.
Ernest Hemingway

The dance is a poem of which each movement is a word.
Mata Hari

Nothing exists except atoms and empty space; everything else is opinion.
Democritus

A sketch is better than a long speech.
Napoleon

Only stand out of my light.
Diogenes

We are all cups constantly and quietly being filled. The trick is, knowing how to tip ourselves and let the beautiful stuff out.
Ray Bradbury

Negative/Positive Space (summary)

2009-02-06T13:40:00.000-05:00

* Space is a shape.
* Designers never 'fill in' space, they 'use' it.
* In design terminology, the term negative space is used to describe the blank areas in or around the positive areas.
* In typography, the term counterform or counter is used to describe the space in or around a letterform.

* The stable (passive) figure-ground relationship is unchanging. Either the positive or the negative area dominates the design.
* The reversible (dynamic) figure-ground relationship requires both positive and negative areas to be equally visible. The balanced visual tension leads to a dynamic unity.
Max C. Escher, Plane-filling Motif with Birds 1949 wood engraving (reversible figure-ground relationship)

image from 'A Primer of Visual Literacy' by Donis A. Dondis. Cambridge: MIT Press, 1974. p:36.

ASSIGNMENT: NEGATIVE-POSITIVE JOINARY
Please carefully study the counter areas of different letterforms. Based on their similarities, join two letters/digits in negative-positive relationship. One of the letters must use the negative area of the other. In the finished design, two letters (or digits) must have a yin & yang relationship.

image from 'Typographie' by Emil Ruder. Zürich: Verlag Niggli AG, Sulgen. p:53.

week01 (summary)

2009-01-24T15:30:00.000-05:00

The origins of the term 'typography' is 'typos' and 'grapho', meaning 'form' and 'to write/writing' respectively. In a broad sense, typography is about the form of everything written. It is the creation and organization of letters, words, sentences & paragraphs to communicate an idea.
A set of letterforms that are based on the same design characteristics is called a typeface.

In the Renaissance period, Nicholas Jenson designed an alphabet that included both the uppercase and lowercase letters for the first time. His inspiration was the Carolingian miniscule (8th c.). Unlike the Blackletters, this new design was highly legible, and quickly inspired other printers. Aldus Manutius, –a printer also working in Venice, asked his typefounder Francisco Griffo to design a typeface. The result was Bembo, a typeface which united the uppercase and the lowercase letters even better and become the epitome of the Old Style serif faces.
The oblique letters and italics are different from each other. True italics are 'cursive', -that is, the letterforms follow the gesture of the hand.

A group of typefaces that are based on the same system of design is called a type family.

A square, circle and triangle when drawn in mathematically equal height, do not look like they are in the same size. To make them look optically equal, the circle must be 2%, and the triange must be 3% larger. This rule applies to letterforms as well. (To achieve optical evenness -either on the letterform, or on the entire page, is typographers' natural aim)

Erik Spiekermann: Typomania

2009-01-09T09:57:00.000-05:00

...an old one; but, still fun to watch!

short animation: Typography

2009-01-09T09:50:00.001-05:00

a short documentary on letterpress

2009-01-09T09:45:00.000-05:00

http://www.evasion.cc/blog/comments/video-firefly-letterpress-printing/

21 most used fonts by professional designers

2008-10-28T16:51:00.001-04:00

an interesting link...

clipped from www.instantshift.com

Typefaces & Fashion

2008-09-11T02:05:00.000-04:00

Typefaces and Fashion (an article on Linotype website)

Free Fonts 2

2008-09-08T22:28:00.001-04:00

http://www.dafont.com/

Free Fonts

2008-09-03T19:56:00.001-04:00

http://www.1001fonts.com/

40+ Excellent Freefonts For Professional Design

note: If you are not using a font management program like Font Book or Suitcase, you will need to put the downloaded files into the 'Fonts' folder in your System's library, then restart your computer. If you have Font Book, you can just drag and drop the files you've downloaded, they will be uploaded and activated automatically.

Type takes a walk on the street

2008-04-20T14:36:00.003-04:00

In this assignment we will work on a concert poster. Using the capacities of typography, you'll design a poster for a concert by a musician/band of your choice.

Step by step, the process you need to follow is:
Choosing a musician/music group,
Studying and analyzing the music to find its characteristics and key idea(s),
Develop a design concept based on your analysis
Use typography (typeform, style, composition, color, and other graphic elements if necessary) to communicate your design concept.

As well as using your typographic knowledge, it is necessary to keep in consideration the criteria for an effective poster:
a. It must have visual impact (take attention of the passerby)
b. It must inform (give concise and correct information about the subject)
c. It must persuade (motivate the audience to attend the event by arousing interest).

The format for the poster is free. You can design a poster as big as you like, but it should not be smaller than tabloid size (11"x17").

The minimum required poster information:
• The name of the musician.
• The title of the concert/tour (if relevant).
• The names of the performers and conductor (if relevant).
• Venue and the contact information (address & phone).
• Performance dates.

Following are some examples in which you can find different approaches to design in parallel with the qualities of the music it promotes.
Jefferson Airplane, 1966.

Grateful Dead, 1966.

Santana, 1968.

Sex Pistols, 1978

Experimental Jetset, 2001.

B üro Destruct, 1995
Büro Destruct (concert promos)
Büro Destruct, 1997.

Andrio Abero, Le Tigre, 2003.

Andrio Abero, Odessa, 2004.

Mike Joyce, Agent Orange, 2003.

Kevin Mercer, Melt Banana, 2003.

Mike Joyce, Fall Out Boy, 2003.

Mike Joyce, Gomez, 2004.

Mosher Smith, Behan Johnson, 2002.

Jennifer Sterling, Performance by Wim Vandekeybus & Ultima Vez, 1999.

Jennifer Sterling, Performance by Eiko and Koma & Kronos Quartet, 1999.

Niklaus Troxler, Ellery Eskelin, Han Bennink Jazz Concert, 2000.

Melk Imboden, 5. Stanser Musiktage. Bireli Lagrene Quartet, 1999.

Josef Müller-Brockmann, Beethoven, 1955.

Josef Müller-Brockmann, Musica Viva, 1958.

Günter Karl Bose, Premier of the opera Dmitri oder Der Künstler und die Macht, 2000.

Rudy Mayer, Arabella Richard Strauss concert.

Catherine Zask, Strasbourg Orchestra, 2002.

Catherine Zask, La Tribu Iota, 2002.

Catherine Zask, Douar, 2004.

Catherine Zask, Concert Sauvage [Wild Concerts]-Munich Chamber Orchestra, 2007.

References:

Area. Editors of Phaidon Press. England: Phaidon Press, 2005.

Elam, Kimberly. Geometry of Design: Studies in Proportion and Composition. NY: Princeton Architectural Press, 2001.

SWAG 2: Rock Posters of the 90s and Beyond. [compiled by] Spencer Drate and Judith Salavetz. NY: Harry N. Abrams, Inc. 2005.