...Typography * The art/practice of setting and arranging type, including the selection of typefaces and arrangement of type in a composition. * Includes typefaces (a full set of type made to a particular design, also known as a font), point size, line length, line-spacing and kerning. * The study of typefaces include the legibility of the typeface, the aesthetics of the typeface, the functionality of typefaces and how a typeface/layout combination enhances content. * The process of typefaces include artistic composition of individual type, the setting and arrangement of type and basic elements of DTP. * Sans Serif – letters made bigger, used in advertising, movies, music, and modern media. * Influential designers include Eric Gill, Erik Spiekermann and Kurt Weidermann. * Combining type and image and computers result in the creation of 1000’s of typefaces. * Typography is defined in relation to print * History of Western printing Johannes Gutenberg * Europe’s first printer (42-line Bible 1455) * First designer of typeface * Gothic type: modelled after German script * Goal: To replicate the look of a manuscript Bible Aldus Manutius * Designed “Italic” type (“of Italy”) in the 1490s * Modelled on handwriting of Venetian clerks * Compact form allowed for printing of smaller books Geofory Tory * 16th Century French Designer * Influenced by architecture and Leonardo da Vinci * Designed his typeface on the...
Words: 1700 - Pages: 7
...Elizabet T. Georgieva Student ID: 200850268 Graphic & Communication Design DESN 2730 Principles of Typography Dr. Paul Wilson The Swiss style sans-serif twins in contemporary design Visual language, communication and design are one of the key players that have a great influence on today’s world. Advertisements, posters, billboards, logos, websites, marketing campaign and etc. all these things are connected with communication and they all convey a certain message directed to society. One of the most powerful tools of visual communication is Typography. At first, some people may consider it as something that is not important but it is proven that typefaces can both attract and disgust readers as well as affect us on a subconscious level. Typography gives the text a certain character and individuality and as Walter Tracy puts it “typography means the process of making the words visually attractive and effective” (Baines and Haslam, 2005). One particular style that has left an enormous mark in the history of typography is the international typographic style and it is still utilised for a lot of contemporary design work. This particular style has its roots formed by the modernist movement that started a few decades before it emerged. The style was later called The International Typographic style because it was mainly built on the use of typography. There are two typefaces that are the big stars of the Swiss style, the so called “Sans Serif Twins”, Univers and Helvetica...
Words: 643 - Pages: 3
...Typography and Expression Expression starts from thoughts, which takes shape of words. Spoken word is very different from written. Having said that, all of us would agree as to how the closest form of verbal expression is written. Does this arise from a mere lack of choices (our ancestors and their developments to the field of language), or is there really something that despite of all its negativities, is as effective a tool as Text? Linguists and minions alike strive to revive the Art of Conversation, one where two or more people are in each others’ vicinity so as to not miss out on nuances of facial expression, that further reinforce what someone has to express; because that to them is expression in its purest sense. Though it is not always possible to face the person you are talking to, voice alone acts as expression; thus making it somewhat difficult to assume what someone is doing while a deep conversation is in progress over the phone. Where a verbal conversation is not possible, people prefer to write what they want to say. (Chat, mail, the lot) Literature also acts as an effective carrier of culture in the form of language; whether it is as efficient as dialogue or not, is debatable. Language : the ease with which a person expresses him/herself in a more tangible format than thoughts. Language as we now know, keeps us from being savages because of how effortlessly and naturally we use it, both in vocal and written form to emote. Language over the years...
Words: 854 - Pages: 4
...Typography Glossary STYLES: Black: Script with angular outlines developed in Germany which superceded the lighter Roman of the 12th century. The term is also applied to types developed from it, such as Fraktur, Gothic and Old English. Bold: A version of the Roman cut with wider stroke. Also called medium, semi-bold, black, super or poster. Book: Weight of a typeface suitable for setting large areas of text. Caps: Typeset with most or all initials in capitals and other letters in small caps instead of lower case. Condensed: A narrower version of the Roman cut. Decorative: Fancy or speciality fonts for headings, etc. Dingbat: A decorative device usually incorporated with pi format. Expanded: Type that is elongated in width proportionate to its height. Italics: A version of the Roman cut that angles to the right t some point between 7-20 Degrees. Oblique: A slanted version of Roman cut. Often mistakenly referred to as “italics”. Plain: Roman: The basic letterform. Sans Serif: A font without decorative serifs. Typically with little stroke thickness variation, a larger x-height and no stress in rounded strokes. Script: A typeface designed to imitate handwriting. Serif: A small stroke at the end of a main vertical or horizontal stroke. Also used as a classification for typefaces that contain decorative rounded, pointed, square or slab serif finishing strokes. Slab Serif: A font with heavy, squared off finishing strokes...
Words: 1624 - Pages: 7
...In Chapter 12, Brownie outlines the different types of fluid typography with some of them being: dynamic typography, temporal typography, typography by construction, typography by metamorphosis, and so on. In many instances of fluid typography, it requires engagement whether this is through audiences physically moving throughout a space to see fluid typography or whether it is already done through camera movements which is presented to an audience. Another significant and reoccurring case of fluid typography is the idea of letter-forms losing their “old identity” and transforming into new identities as transformation and movement take place. Thus, as Brownie states, “the text does not have a fixed identity or a reliable, constant meaning; it...
Words: 332 - Pages: 2
...LA TYPOGRAPHIE EXPÉRIMENTALE De la publicité commerciale aux oeuvres d’art, des estampes japonaises aux dernières technologies web, le processus de recherche et de création a toujours été au coeur des innovations les plus marquantes. L’évolution des technologies au cours des dernières décennies offre une plate-forme de création incroyable. Avec l’apparition des ordinateurs et la numérisation des caractères typographiques, designers novices comme vétérans se retrouvent avec leur propre fonderie virtuelle. Ainsi, les possibilités d’expression se sont littéralement décuplées. Chaque typographe propose alors une vision différente et subjective des lettres par son expérimentation. Nous baserons cette recherche sur l’expérimentation typographique de six influents designers post-moderne ayant marqués le monde du design par le caractère novateur de leurs oeuvres: Ed Fella, Neville Brody, Pierre Newmann, David Carson, Stefan Sagmeister et NON-FORMAT. EDWARD FELLA Après une carrière prolifique de trente ans à Détroit comme illustrateur et designer dans le domaine de la publicité, Edward Fella, 47 ans et jusque là autodidacte, entre à la Cranbrook Academy of Art en 1985. C’est là-bas qu’il commence à pousser ses expérimentations rappelant un mélange de dadaïsme, de surréalisme et une pensée futuriste à laquelle il donne sa saveur vernaculaire et plutôt chaotique. Fella exprime ses frustrations quant à la difficulté qu’il avait à faire paraître ses pratiques expérimentales dans...
Words: 3640 - Pages: 15
...Ulyssa.Johnson1 Web Site Design Phase 5 Discussion Board Course: EM208-1303B-11 September 18, 2013 • You have been asked by a small business in your area to build a web site for their business (which they are willing to pay you for). Explain the approach you will take to planning (learning about their web site needs) through the design and coding of this web project. During phases 2, 3 and 4 we talked about how important color, typography and the navigation through a site. I spoke about how colors affect a person’s mood and emotions, how using certain typography styles can turn a customer away because it’s frustrating to read also, an excessive amount of navigation buttons could cause the visitor of the site to miss the actual meat and potatoes of said site. When meeting with a potential client to design a web site, I would keep this information in the back of my mind and pass it on to the client if needed. My first question would be how much are you willing to spend? I know that sounds a little harsh but, by their response I can determine if the client wants a site with bells, whistles, 3D graphics and videos to sell their products or a simple quality site that will sell their products too. Then, I would find out what message did the client want to convey on their site. For example, even though it is a small business, do they want to portray a big business establishment or just a local hometown business feel. I would ask which products and services they...
Words: 448 - Pages: 2
...MA Design Management 2013-14 Design Strategy Module DES7001 by : Panita Rerkpitivit Student ID : 13178616 tutor : Caroline Norman date : 9 January 2014 1,184 words Content Content Introduction Paula’s Choice : The Former Packaging Paula’s Choice : The Problem Paula’s Choice : The New Design Summary References Bibliography Appendices A Appendices B Page A 1 2 3 4 7 8 9 13 14 Figure Content Page Fig 01 : The old package Fig 02 : The collections that divied by colour. Fig 03 : The reuasble pump Fig 04 : Sample of customer’s feedback Fig 05 : The New design Fig 06 : The Comparison between old and new design Fig 07 : Sample of others collections Fig 08 : The new three sections. Fig 09 : The message from Paula Begoun 2 2 3 3 4 4 5 6 6 Paula’s Choice A Introduction This case study examines the Paula’s Choice’s skin-care packaging. Paula’s Choice is the skin care and cosmetics brand which is established by the beauty expert: “Paula Begoun”. She is the author of 20 best-seller books on skin care, cosmetics and hair care such as “Don’t go to the cosmetics counter without me” and “The original beauty bible”. Moreover, she has reputation as “The cosmetics cop” who analyses thousand skin care and cosmetics products formulations through her book and other press. She educated women to realise whether products are worth for buying and proper to their skin types or skin problems. In 1995, Paula decided to make her own brand and named “Paula’s Choice”. The brand has four...
Words: 1829 - Pages: 8
...Study Guide to Accompany Meggs’ History of Graphic Design Fourth Edition Prepared by Susan Merritt Professor and Head of Graphic Design School of Art, Design, and Art History San Diego State University (SDSU) With assistance from Chris McCampbell and Jenny Yoshida John Wiley & Sons, Inc. i DISCLAIMER The information in this book has been derived and extracted from a multitude of sources including building codes, fire codes, industry codes and standards, manufacturer’s literature, engineering reference works, and personal professional experience. It is presented in good faith. Although the authors and the publisher have made every reasonable effort to make the information presented accurate and authoritative, they do not warrant, and assume no liability for, its accuracy or completeness or fitness for any specific purpose. The information is intended primarily as a learning and teaching aid, and not as a final source of information for the design of building systems by design professionals. It is the responsibility of users to apply their professional knowledge in the application of the information presented in this book, and to consult original sources for current and detailed information as needed, for actual design situations. This book is printed on acid-free paper. Copyright © 2006 by John Wiley and Sons. All rights reserved Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced...
Words: 54497 - Pages: 218
...Good typography is invisible With over 100,000 different type faces available right now and over 560 years of type face designing there is a large number of influential and important font designers to research. I was lucky to find the a great guide to typefaces: the “Periodic table of type faces” from , which lists 100 of the most popular, influential and notorious typefaces today. It not only gives the name of the designer and the year when it was first published, but also groups it into families and classes like serif, sans-serif, display, grotesque, didone or geometric, which helps to get a clearer picture. I found that a good start for research and googled many of the mentioned designers. I stopped at Erik Spiekermann (the type”face” behind Audi, Bosch, Sky TV, Nokia, …) Matthew Carter (internet/screen standard fonts Verdana/Tahoma, Georgia), Max Miedinger (Neue Haas Grotesk = Helvetica), Edward Johnston (ITC Johnston, P22 Underground for the London tube), Paul Renner (Futura), Tobias Frere-Jones (Gotham - Obama election campaign 2008, Asphalt Black), Adrian Frutiger (Linotype Didot, Univers, Frutiger, Avenir), Stanley Morison (Times). These are mainly type faces which serve in headlines as well as in the body copy. If chosen for the right reasons (style of typeface fitting style of article, text, ...) the quality of these fonts have a chance to deliver what the Craig Ward poster on top of this text asks typography to do – to be invisible – meaning to fit a purpose so...
Words: 2914 - Pages: 12
...Eliezer Baez Eco-Earth Consulting Typography Presentation March 27, 2014 Font Set # 1 Rationale: The process these fonts where chosen had depended on well they would fit with that wireframe that was created last week. It took some time to play with different fonts and styles to come up with this particular set. As this business has a direct link to Eco-friendly or as they say going green or other colors that remind you of earth or protecting the environment I wanted to use colors that where close to that theme as you see with the greens, yellows, and blues. As for the first font I chose a well of handwritten font but digital where it looks homemade and I used the color yellow which is a color in my research that catch’s attention also keep the weight of the font regular keeps it simple an easy to read. The headings I wanted to use a bolder font which catch’s your attention and can clearly be read using earth color green to complement the website. The next following fonts are considered to be more web-safe fonts which means can be easily read and understood by many operating systems. Keeping the text and text links as the norm of 12 PT allows the customer to easily read the website. The Font set can also be using during the finalization of the website to help bring the hole project together as this font family works together. Font Set # 2 Title Font – Brush Script Mt 30 Pt –Sky Blue Headings Font – Impact 24PT – Black & Green Subheadings – Century Gothic 18...
Words: 787 - Pages: 4
...Forging Your Path with The Home Depot Shannon Burten CGD 218 Visiual Literacy in Business David Hannum June 13, 2016 Forging Your Path with The Home Depot What is career advancement? In the article, Career advancement: What it is and how to achieve it, Louie (2013) defines it as, “…one of the most important elements for employee satisfaction and retention at a company” (para. 1). Home Depot’s main goal is employee satisfaction which correlates directly to Louie’s definition of career advancement. Career advancement is a huge opportunity at the Home Depot that many people tend to pass off after becoming complacent in different field positions. There are eight career areas within Home Depot and each area is interchangeable. The areas include: retail, merchandising, supply chain, services, contact centers, civilian, corporate, and technology. If an employee begans a career with the Home Depot in any of these areas and decides to advance, they can move vertically within that area or horizontally to a different career area. Victor Lipman (2013), contributor of Forbes Magazine, explains that, “clear opportunities for career advancement are an "especially powerful" employee motivator” (p. 1). Lipman (2013) also notes, "At times when career paths were clear, individuals tended to be more motivated, with tangible goals to work towards. At times when career paths were dim or nonexistent, individuals tended...
Words: 806 - Pages: 4
...What is Graphic Design? * Visual Arts * Typography * Page Layout * Cave Paintings * 105 AD- Paper was invented * The Moveable Type Press * Eliminated the need for hand written reproduction * Graphic Designer – invented by William Addison Dwiggins * Douglass Englebart- Invented the Mouse * 1984- The Macintosh was invented * Graphic Design has increased over the years since technology has come about * The GOALS of Graphic Design: * To create a visual representation of information with a sense of order and clarity to make it easier for the viewer to understand. * A graphic designer must keep up with technology and skills. What makes a design great? * Form * Visually appealing * Colors are in harmony * Well-chosen typefaces * Feeling * Stays on message * Cohesive mood throughout * Evokes the proper emotional response * Function * Serves its purpose * Easy to read and understand * Executable (Print, packaging, etc.) * Form without function is just a pretty sheet of paper –Unknown- Four main categories of graphic design: * Print advertisement * Ads should be: * Simple and Ironic * Representative of the brand * Able to tell a story without words * Business Cards * Clean and elegant * Legible * Informative ...
Words: 1361 - Pages: 6
...19 Rules of Typography Index 1. Use Classical Typeface 2. Use Maximum Two Types of Typefaces 3. Use Typefaces that are Different in Form 4. Use Upper and Lower Case Letters 5. Use an Average Point Size for Text Type 6. Use Minimum Type Sizes and Weights 7. Use Text Types of Book Weight 8. Use Typefaces of Medium Width 9. Use Consistent Letter and Word Spacing 10. Use Appropriate Line Lengths 11. Use Line Spacing that is Readable 12. Use Flush Left Type Alignment 13. Create Effective Rags 14. Clearly Indicate Paragraphs 15. Avoid Widows and Orphans 16. Emphasize Elements within the text 17. Never distort the Type 18. Align Letters and Word on the Baseline 19. Use Maximum Contrasts between the Type and the Background 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 19 Rules of Typography RULE 1 Use Classical Typeface For optimum legibility, choose classical, time-tested typefaces. These typefaces should be drawn and crafted with consistency among characters, and exhibit highly legible proportions. Examples include: Baskerville, Bembo, Bodoni, Caslon, Centaur, Franklin Gothic, Frutiger, Futura, Garamond, Gill Sans, Goudy Old Style, Helvetica, News Gothic, Palatino, Perpetua, Sabon, Times New Roman, and Universe. RIGHT WRONG SMART PEOPLE SMART PEOPLE 19 Rules of Typography 2 RULE 2 Use Maximum Two Typefaces Be mindful not to use too many different typefaces at any one time. The main reason for using more than one typeface is to create emphasis...
Words: 2681 - Pages: 11
...Introduction At the time of Olaf Leu’s writing, the traditionalist geometry of the international typographic style and unrestrained freedom of American design was just as important as the influences on both German design and design around the globe. The American and japan conceptual innovation and visual invention was spread throughout the globe. During the 1980s and 90s the rapid development of electronic and computer technology began to change the process and appearance of design. Overnight these big changes recurred within mail, fax machines and the internet, this all served to further shrink the human community into Marshall Mcluhans global village. Influential People Alan Fletcher is one of the most influential figures in post-war British graphic design. The fusion of the cerebral European tradition with North America’s emerging pop culture in the formulation of his distinct approach made him a pioneer of independent graphic design in Britain during the late 1950s and 1960s. As a founding partner of Pentagram in the 1970s, Fletcher helped to establish a model of combining commercial partnership with creative independence. He also developed some of the most memorable graphic schemes of the era, notably the identities of Reuters and the Victoria & Albert Museum, and made his mark on book design as creative director of Phaidon. Siobhan Keaney After graduating from the LCP, Siobhan Keaney worked briefly for three of London’s most prestigious design companies. She...
Words: 1313 - Pages: 6
