Baskerville Specimen Project Creative Process Book

Yungji Kim GRDS 503 Typographic Communication Professor Courtney Garvin Summer 2016 CONTENTS SYLLABUS & ASSIGNMENT SHEET 04 RESEARCH/DISCOVERY 15 Quantitative & Qualitative Research 16 Brainstorming 25 Visual Research 30

PLANNING 35 Creative Brief 36

CREATIVE 38 Type Study 39 Sketch 41

DESIGNING 49 Interior Pages Design 50 Cover Design 53 Final Design 56

REVISION 57 Planning 58 Sketch 61 Design 66

FINAL ARTIFACT 73 SYLLABUS & ASSIGNMENT SHEET

RESEARCH/DISCOVERY

PLANNING

CREATIVE

DESIGNING

REVISION

FINAL ARTIFACT

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 3 SYLLABUS

Summer 2016 Syllabus Courtney Garvin Office building, room: DMC 351 Phone: n/a Office hours: Mondays 7-8pm Email: [email protected] Building/Room: ATLDMC 361 Meeting Times: Monday / Wednesday 8:00 PM - 10:30 PM

School of Communication Arts, Department of Graphic Design, Atlanta GRDS 503 - Typographic Communication Section: A01 CRN: 40342

SCAD Mission: The Savannah College of Art and Design exists to prepare talented students for professional careers, emphasizing learning through individual attention in a positively oriented university environment.

Course Description: Through readings, writing assignments, lectures and studio projects, students explore advanced and sophisticated typographic solutions in a wide range of visual communication. Students explore the rules and aesthetics of typography as both a message and a means of visual expression in communication. Emphasis is placed on clear and effective communication, style, trends, current events and historical references.

Course Goals: The following course goals articulate the general objectives and purpose of this course: 1. Students will explore the role of typography as an advanced, sophisticated typographic form. 2. Students will use typography in a wide range of visual communication media. 3. Students will effectively use structure, style, proportion, hierarchy, legibility and readability. 4. Students will explore typography as a visual expression in communication. 5. Students will learn about style, trends, current events and historical references in typographic communication.

Student Learning Outcomes: The following course outcomes indicate competencies and measurable skills that students develop as a result of completing this course: 1. Students will effectively use typography as a formal, expressive voice in visual communication. 2. Students will appropriately apply fundamental typographic handling and aesthetics of typography. 3. Students will appropriately discuss style, trends and current events, and historical references in written and oral measures.

Schedule of Classes:

Key events including assignments, projects due dates/exam dates:

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 4 SYLLABUS

Class 1: Due: pre-class assignment Mon, June 20, In Class: pre-test and presentation of pre-class assignment 2016 Assign: typeface specimen project and process book Read: Bringhurst chapter 1 “The Grand Design” and chapter 2 “Rhythm & Proportion” Pre-class assignment Take 10 photos of type you find in your environment. It can be from magazines, books, signs, television shows, movies, packaging, or on architecture. Be creative and look in unexpected places. Think about what aspect of the type you find interesting: is it beautiful? Does it evoke a time or place? is it handmade? or is it poorly used? Come to class with your photos set up as slides in a clickable pdf presentation document to present to the class.

If you would like to get a jump start on the course reading you can go ahead and read Bringhurst chapter 1 “The Grand Design” and chapter 2 “Rhythm & Proportion”.

Class 2: Class 2 June 24, 2015 Wed, June 22, Due: typeface research and 10 specimen project sketches, 2016 In Class: Individual reviews with professor: we will discuss what you have found in your research and review your ideas from your specimen project. We will also go over basic typographic anatomy and vocabulary. Assign: typeface specimen presentation

Class 3: Due: student typeface presentations Mon, June 27, In Class: view student presentations and lecture on grids 2016 Assign: Choosing one of your 10 concepts, create a “mock-up” booklet. Make sure your design addresses both content as well as aesthetics of your assigned typeface. Read: Bringhurst chapter 3 “Harmony & Counterpoint”

Class 4: Due: typeface specimen mock-up booklet Wed, June 29, In Class: We will have a group critique of everyone’s projects. 2016 Assign: Based on feedback from the class critique, revise your design for next class. Extended Learning Opportunity: MODA. Museum of Design Atlanta Beautiful Users June 26 - October 2, 2016

Class 5: Due: typeface specimen revisions Mon, July 4, In Class: We will have a binding demonstration. Come to class prepared with binding 2016 materials and supplies. We will be learning how to saddle stich, pamphlet stitch and perfect bind. Individual reviews with professor on your specimen books. Assign: Finalized draft of your specimen book Read: Bringhurst chapter 4 “Structural Forms & Devices”

Class 6: Due: printed revised specimen draft Wed, July 6, In Class: We will have a lecture on typographic fine points and creating long documents in 2016 In-Design. Assign: Movie book project and creative brief

Class 7: Due: FINAL typeface specimen book, specimen process book and movie book creative brief Mon, July 11, Field Trip: We will be visiting the artist book collection 2016 In Class: field trip Assign: Book plan Read: Bringhurst chapter 5 “Analphabetic Symbols” and chapter 6 “Choosing & Combining Type”

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 5 Class 1: Due: pre-class assignment Mon, June 20, In Class: pre-test and presentation of pre-class assignment 2016 Assign: typeface specimen project and process book Read: Bringhurst chapter 1 “The Grand Design” and chapter 2 “Rhythm & Proportion” Pre-class assignment Take 10 photos of type you find in your environment. It can be from magazines, books, signs, television shows, movies, packaging, or on architecture. Be creative and look in unexpected places. Think about what aspect of the type you find interesting: is it beautiful? Does it evoke a time or place? is it handmade? or is it poorly used? Come to class with your photos set up as slides in a clickable pdf presentation document to present to the class.

If you would like to get a jump start on the course reading you can go ahead and read Bringhurst chapter 1 “The Grand Design” and chapter 2 “Rhythm & Proportion”.

Class 5: Due: typeface specimen revisions Mon, July 4, In Class: We will have a binding demonstration. Come to class prepared with binding 2016 materials and supplies. We will be learning how to saddle stich, pamphlet stitch and perfect bind. Individual reviews with professor on your specimen books. SYLLABUS Assign: Finalized draft of your specimen book Read: Bringhurst chapter 4 “Structural Forms & Devices”

Class 8: Due: Book plan Wed, July 13, In Class: Review material for midterm exam and final typeface specimens book critique 2016 Assign: Create 20 thumbnail interior sketches and 10 type studies for your movie book project.

Class 9: Due: 20 thumbnail interior sketches and 10 type studies Mon, July 18, In Class: MIDTERM EXAM and individual reviews with professor 2016 Assign: 5 movie book sample spreads Read: Bringhurst chapter 7 “Historical Interlude”

Class Due: 5 movie book sample spreads 10: Wed, In Class: We will have a group critique, please print out your 5 sample spreads at 100%. July 20, Black and white laser prints are fine. If color is critical, bring a sample color print. 2016 Assign: expressive type exercise and 10 thumbnail sketches for book cover ideas

Class Due: expressive type exercise and 10 thumbnails of book covers 11: Mon, In Class: Individual reviews with professor to review design cover sketches and progress on July 25, your book project. 2016 Assign: 1/4 of movie book, 3 cover comps and bound paper dummy Read: Bringhurst chapter 8 “Shaping the Page” and chapter 9 “The State of the Art”

Class Due: 1/4 of movie book, 3 cover comps and bound paper dummy 12: Wed, In Class: We will have a group critique, please print out your ¼ book, 3 cover comps at July 27, 100%. Black and white laser prints are fine. Also bring bound paper dummy. Paper dummy 2016 can be mocked up with inexpensive paper stock. Assign: Based on feedback from the class critique, revise your ¼ book design for next class. Extended Learning Opportunity: Museum of Design Atlanta, On You: Wearing Technology

Class Due: Revisions to ¼ of book 13: Mon, In Class: Individual reviews with professor. Demonstration on setting up files for production. August Assign: ½ of movie book and cover. Intro and end pages should be included in ½ of book. 1, 2016 Read: Bringhurst chapter 8 “Shaping the Page” and chapter 9 “The State of the Art”

Class Due: 1/2 of movie book and cover 14: Wed, In Class: We will have a group critique, please print out your book in spreads (does not August need to be 100%, can be fit to page). 3, 2016 Assign: Continue finishing out the rest of your movie book.

Class Due: Revisions and additional spreads 15: Mon, In Class: Individual reviews with professor. Review items to check when proof reading your August projects. 8, 2016 Assign: Continue finishing out the rest of your movie book. Read: Bringhurst chapter 10 “Grooming the Font” and chapter 11 “Prowling the Specimen Books” Extra Help Session: 2-3:00 Saturday

Class Due: Revisions and additional spreads 16: Wed, In Class: Individual reviews with professor. Specific help with any production issues unique GRDSAugust 503 Typographicto your project. Communication | Prof. Courtney Garvin | Summer 2016 6 10, 2016 Assign: Full draft of book with cover Class 8: Due: Book plan Wed, July 13, In Class: Review material for midterm exam and final typeface specimens book critique 2016 Assign: Create 20 thumbnail interior sketches and 10 type studies for your movie book project.

Class Due: 1/4 of movie book, 3 cover comps and bound paper dummy 12: Wed, In Class: We will have a group critique, please print out your ¼ book, 3 cover comps at July 27, 100%. Black and white laser prints are fine. Also bring bound paper dummy. Paper dummy 2016 can be mocked up with inexpensive paper stock. SYLLABUS Assign: Based on feedback from the class critique, revise your ¼ book design for next class. Extended Learning Opportunity: Museum of Design Atlanta, On You: Wearing Technology

Class Due: Revisions and additional spreads 16: Wed, In Class: Individual reviews with professor. Specific help with any production issues unique August to your project. 10, 2016 Assign: Full draft of book with cover

Class Due: FULL draft of movie book and final size paper dummy 17: Mon, In Class: We will have a group critique, please print out your book in spreads (does not August need to be 100%, can be fit to page). 15, 2016 Assign: Revisions to book, edits and final check for typographic details.

Class Due: Revisions to final book 18: Wed, In Class: Individual reviews with professor. Specific help with any production issues unique August to your project. 17, 2016 Assign: Check file for any book production issues Extra Help Session: 2-3:00 Saturday

Class Due: Last printout of full book for final proof read. 19: Mon, In Class: Individual reviews with professor, final proof read and production help. August Assign: FINAL movie book project and movie process book 22, 2016

Class Due: FINAL movie book project, process book and all digital files uploaded to dropbox with 20: proper naming. Wed, August In Class: final group critique and post-test 24, 2016

Grading Opportunities:

Your overall course grade will be computed according to the following breakdown:

Assignment Weight Typeface Presentation 5.00 percent

Typeface Specimen 20.00 percent

Movie Book Project Creative Brief 5.00 percent

Movie Book Project 35.00 percent

Midterm 10.00 percent

Express Type Excercise 5.00 percent GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 7 Process Book 10.00 percent

Professionalism and Participation 10.00 percent

Total Weight 100 percent

Grading Standards Range

Letter grade: A = excellent 90 —100 % Letter grade: B = good 80 — 89 %

Letter grade: C = * 70 — 79 % Letter grade: D = * 60 — 69% Class Due: FULL draft of movie book and final size paper dummy 17: Mon, In Class: We will have a group critique, please print out your book in spreads (does not August need to be 100%, can be fit to page). 15, 2016 Assign: Revisions to book, edits and final check for typographic details.

Class Due: Last printout of full book for final proof read. 19: Mon, In Class: Individual reviews with professor, final proof read and production help. SYLLABUSAugust Assign: FINAL movie book project and movie process book 22, 2016

Class Due: FINAL movie book project, process book and all digital files uploaded to dropbox with 20: proper naming. Wed, August In Class: final group critique and post-test 24, 2016

Grading Opportunities:

Your overall course grade will be computed according to the following breakdown:

Assignment Weight Typeface Presentation 5.00 percent

Typeface Specimen 20.00 percent

Movie Book Project Creative Brief 5.00 percent

Movie Book Project 35.00 percent

Midterm 10.00 percent

Express Type Excercise 5.00 percent

Process Book 10.00 percent

Professionalism and Participation 10.00 percent

Total Weight 100 percent

Grading Standards Range Letter grade: A = excellent 90 —100 % Letter grade: B = good 80 — 89 %

Letter grade: C = * 70 — 79 %

Letter grade: D = * 60 — 69% Letter grade: F = failing 0 — 59%

*Refer to the student handbooks and departmental standards for minimal acceptance for passing grade.

Course Information:

Field Trip(s): Field trips Artists Book Collection SCAD ACA Library

Extra Help Session(s): Week 8, Saturday 2-3 Week 9, Saturday 2-3

Other Course Information: Attendance will be taken at the beginning of each class. Students are expected to arrive at class with their assignments completed and ready for review. Cell phones must be turned off. Tardiness and not being prepared for class will result in the reduction of the Professionalism/Participation grade. You are responsible for any material missed due to lateness or absence. Check the class blackboard site regularly for announcements and course material.

GRDSCourse 503 Materials: Typographic Communication | Prof. Courtney Garvin | Summer 2016 8

Required Text(s): Required reading Bringhurst, Robert. (2013) The Elements of Typographic Style. Vancouver, British Columbia: Hartley and Marks Publishers. ISBN-13: 978-0881791327

Recommended Text(s): Additional reading Berger, Joshua. (2006) 30 Essential Typefaces for A Lifetime. Beverly, MA: Rockport Publishers. ISBN-13: 978-1592532780

Dodd, by Robin. (2006) From Gutenberg to Opentype. Vancouver, British Columbia: Hartley and Marks Publishers. ISBN-13: 978-0881792102

Elam, Kimberly. (2007) Typographic Systems. Princeton, NJ: Princeton Architectural Press. ISBN-13: 978-1568986876

Garvfield, Simon. (2012) Just My Type. New York, NY: Penguin Publishers ISBN-13: 978-1592407460

Lupton, Ellen. (2010) Thinking with Type. Princeton, NJ: Princeton Architectural Press. ISBN-13: 978-1568989693

De Jong, Cees, Purvis, Alston, & Friedl, Friedrich. (2005) Creative Type. New York, NY: Thames & Hudson Publishes SYLLABUS

Letter grade: F = failing 0 — 59%

*Refer to the student handbooks and departmental standards for minimal acceptance for passing grade.

Course Information:

Field Trip(s): Field trips Artists Book Collection SCAD ACA Library

Extra Help Session(s): Week 8, Saturday 2-3 Week 9, Saturday 2-3

Course Materials:

Required Text(s): Required reading Bringhurst, Robert. (2013) The Elements of Typographic Style. Vancouver, British Columbia: Hartley and Marks Publishers. ISBN-13: 978-0881791327

Recommended Text(s): Additional reading Berger, Joshua. (2006) 30 Essential Typefaces for A Lifetime. Beverly, MA: Rockport Publishers. ISBN-13: 978-1592532780

Dodd, by Robin. (2006) From Gutenberg to Opentype. Vancouver, British Columbia: Hartley and Marks Publishers. ISBN-13: 978-0881792102

Elam, Kimberly. (2007) Typographic Systems. Princeton, NJ: Princeton Architectural Press. ISBN-13: 978-1568986876

Garvfield, Simon. (2012) Just My Type. New York, NY: Penguin Publishers ISBN-13: 978-1592407460

Lupton, Ellen. (2010) Thinking with Type. Princeton, NJ: Princeton Architectural Press. ISBN-13: 978-1568989693

De Jong, Cees, Purvis, Alston, & Friedl, Friedrich. (2005) Creative Type. New York, NY: Thames & Hudson Publishes

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 9 SYLLABUS

ISBN-13: 9780500512296

Pohlen, Joep. (2011) Letter Fountain. Cologne, Germany: Taschen Books. ISBN-13: 978-3836525091

Roberts, Lucienne. (2008) Grids: Creative Solutions for Graphic Designers. Hoboken, NJ: Wiley Publishing. ISBN-13: 978-2888931553

Squire, Victoria. (2007) Getting it Right with Type. London, UK: Laurence King Publishing. ISBN-13: 978-1856694742

Willen, Bruce, & Strals, Nolen. (2009) Lettering and Type. Princeton, NJ: Princeton Architectural Press. ISBN-13: 978-1568987651

Required Material(s): 3-ring binder and “top-loaders” 2 boards 2 clamps brush for glue bookbinding glue Mounting materials: Spray mount or Studiotac, Cutting materials: X-acto, “Self healing” Cutting Mat Paper and binding materials as needed for projects

Additional opportunities AIGA ATL: Studio Owner's Roundtable. Finance for Freelancers and other creative business owners. Wednesday, June 22, 2016. 6.30 to 8.30 pm Join fellow studio owners, freelancers and solopreneurs for a presentation by Sharpe Sablon of MassMutual Financial Group for all creative business owners interested in planning their financial future. Networking followed by presentation and Q&A. Due to limited space, registration is necessary for this event. You must be registered to attend. The evening's presentation will be held at Strongbox West – Atlanta's "biggest* and most badass co-working space".

MODA. Museum of Design Atlanta Beautiful Users

June 26 - October 2, 2016 Beautiful Users, organized by the Cooper Hewitt National Design Museum, will feature nearly 100 objects that illustrate the evolution of “user-centered design”—from the mid–20th-century work of Henry Dreyfuss (who coined the phrase “designing for people”) to the complex systems and services that today’s designers are developing. Some of the objects in the exhibition will include: Examples of the Human-scale measurement system, which aids in design for children, the elderly, the differently abled, and people of diverse height Objects designed for comfort and function, ranging from Dreyfuss’s Princess telephone to Amos Winter’s Leveraged Freedom wheelchair Diller Scofidio + Renfro’s Roomba Cam, which repurposes the household gadget for surveillance purposes

MODA. Museum of Design Atlanta On You: Wearing Technology

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 10 SYLLABUS

incompletes, and academic standing. Midterm Conference(s): Each student enrolled in the course will have a midterm conference scheduled outside of class time with the professor. Students are expected to keep this appointment. Academic Support and Tutoring: Academic support for students at all SCAD locations can be found in MySCAD, under the Student Workspace tab, Department Directory, Academic Resources. Course Evaluations: SCAD offers students the opportunity to evaluate all scheduled courses during each quarter term. Student feedback is essential to continuously improve academic services at SCAD. Evaluations will be available the end of each quarter at the beginning of Week 8 and must be completed online by the Monday following Week 10. A sample course evaluation for on-ground courses is available here. In order to access course evaluations, the student should take the following steps: 1. Log on to MySCAD 2. Click on the Student Workspace Tab 3. Locate the Course Evaluations link under My Courses channel 4. This will bring up a page that says current surveys and lists all the courses that are currently available for evaluation. For more information or questions, contact us at [email protected]. Student Surveys: Students are strongly encouraged to provide feedback on their university experience through SCAD’s institutional surveys. The SCAD Student Survey and the Noel-Levitz Student Satisfaction Inventory will both be administered in spring quarter. SCAD Student Survey will be emailed to every student’s email account starting in Week 1. The Noel-Levitz Student Satisfaction Inventory will be administered on paper during Week 4 of spring quarter. SCAD’s office of institutional effectiveness is responsible for gathering and delivering survey results to decision-makers on campus. For more information or questions, contact us at [email protected].

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 11 ASSIGNMENT SHEET

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 12 ASSIGNMENT SHEET

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 13 ASSIGNMENT SHEET

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 14 SYLLABUS & ASSIGNMENT SHEET

RESEARCH/DISCOVERY Quantitative & Qualitative Research Brainstorming Visual Research

PLANNING

CREATIVE

DESIGNING

REVISIONS

FINAL ARTIFACT

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 15 RESEARCH/DISCOVERY

Quantitative & Qualitative Research

I researched typographic history to get to know about Baskerville as a typography assigned and John Baskerville who made the typeface. As online sources, Wikipedia, Typophile.com, and ilovetypography.com could be some good websites to start research. Also, many books on type history could be found at the library.

Information to Include: History of the typography, and a designer of the type. Type category and identifiable characteristics. Good examples of usage (not student projects). Any other interesting/ relevant information. A study sheet of the typeface.

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 16 RESEARCH/DISCOVERY Quantitative & Qualitative Research

Brief History of Baskerville

– Serif typeface – Designed in 1757 by John Baskerville (1706–1775) in England – Classified as transitional“ ”, an eighteenth-century bridge in between classical old typeface and the high contrast modern faces – Influenced by King’s Roman – The culmination of a large series of experiments

Book Resource

Thinking with Type

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 17 RESEARCH/DISCOVERY Quantitative & Qualitative Research

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 18 RESEARCH/DISCOVERY Quantitative & Qualitative Research

1. John Baskerville (1706–1775)

He was born Jan. 28, 1706, Wolverley, Worcestershire, England. Moved to Birmingham and became a writing master, tombstone Designer and engraver at age 17. In 1738, he started a japanning (varnishing) business, which was the decorating of metal articles with coats of varnish and paintings of floral and pastoral images. He had developed a private passion for typography and printing and promptly set up a printing office in Birmingham in 1750. He experimented with paper-making, ink manufacturing, type founding and printing, designed his typeface in 1757. During the experimenting, John Baskerville fascinated by the beauty of King’s Roman was designed using mathematical principles and geometry, rather than the more organic and looser process of hand-drawn character models that had been used up until that time.

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 19 RESEARCH/DISCOVERY Quantitative & Qualitative Research

In 1757, Baskerville published his first work, a collection of Virgil, which was followed by some fifty other classics. In 1758, he was appointed printer to the Cambridge University Press. It was there in 1763 that he published his master work, a folio Bible, which was printed using his own typeface, ink, and paper. In his lifetime, the Caslon typeface was popular, and people rejected Baskerville’s type for being too different and unfamiliar. Some claimed letter too sharp and printing is too bright to read in England. After his death his types were purchased by the French dramatist Pierre- Augustin Caron de Beaumarchais. In 1917 the surviving punches and matrices were recognized, Baskerville was revived by Bruce Rogers, for the Harvard University Press, and released by G. Peignot et Fils in Paris (France). Baskerville's styles of type and printing, although initially unpopular in Britain, proved influential for a brief transitional period in the late eighteenth and early nineteenth century, with printers and type designers. Today, it is one of the most popular typefaces for print for its legibility and refined beauty.

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 20 RESEARCH/DISCOVERY Quantitative & Qualitative Research

2. Baskerville (Typeface)

John designed his typeface based on the principles of King’s Roman. Compared to earlier designs, it increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form.

He was critical of the printing quality of his day; Existing printing technology did not capture the subtleties of his type.

Made changes to the way in which metal type was made, enabling him to produce finer, more delicate lettering than any before him had achieved. Invented his own lustrous, black ink, wove paper, which was much smoother and brighter than the traditional laid paper; and he also modified the printing process by using heated copper cylinders to dry the ink before it had time to soak too far into the paper.

All of these innovations enabled Baskerville to produce printed work of an elegance, crispness and clarity never seen before.

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 21 RESEARCH/DISCOVERY Quantitative & Qualitative Research

3. Characteristics of Baskerville

A high stroke contrast. Vertical stress in the bowl. Rounded bracketed serif. Pointed apex. High crossbar. Top and bottom serifs on C. Long lower arm of E. A ball terminal below baseline of J. Wide swash-like tail of Q. Tail on lowercase g does not close. W and w have no middle stroke. T has wide arms.

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 22 RESEARCH/DISCOVERY Quantitative & Qualitative Research

4. Usages of Baskerville

Kate Spade New York Logo, Habitat Logo, Better Homes and Gardens Magazine, American Gangster 2007 film poster, E-book in iphone and ipad.

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 23 Most known as an elegant serif typeface, de- vertical axis based on the mathematical principle General characteristics Baskerville signed in 1757 by John Baskerville (1706-1775) and geometry of King’s Roman. During this • Serif in Birmingham, England. It is classified as Period, Caslon typeface was popular, and people • High contrast between thick and thin strokes “transitional”, an eighteenth-century bridge in rejected Baskerville for being too different and • Larger x-height between classical typefaces and high contrast unfamiliar. However, today it strongly influenced • Vertical stress in rounded strokes modern faces although it appeared modern. future type design and remains one of the most Compared to earlier designs, it increased the popular and classic typefaces for print, for its contrast between thick and thin strokes. It was legibility and refined beauty. designed with rounded bracketed serifs and a

pointed apex

ABCDEFGHIJKLMNlong lower arm rounded bracketed serif vertical axis no middle stroke

high stroke contrast OPQRSTUVWXYZswashed and wide tail almost vertical stress larger x-height abcdefghijklmn unclosed tail in bowl a ball terminal opqrstuvwxyz 0123456789 RESEARCH/DISCOVERY

Brainstorming

Since researching the typography and the typographic designer, I have come to know well enough about them. So I expanded my ideas to set up the best concept for the specimen book to design.

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 25 RESEARCH/DISCOVERY Brainstorming

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 26 RESEARCH/DISCOVERY Brainstorming

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 27 RESEARCH/DISCOVERY Brainstorming

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 28 RESEARCH/DISCOVERY Brainstorming

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 29 RESEARCH/DISCOVERY

Visual Research

Analysis of current competitions such as posters, books, or any pieces using Baskerville for a Baskerville specimen book.

Information to Include: How have other designers solved the same problem? Create a “Brand” Matrix utilizing the other designs I have found. Where do I want my specimen to fall on the matrix?

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 30 RESEARCH/DISCOVERY Visual Research

Competition posters

Common characteristics among competitor works

1. Contrast of colors 2. Strong Colors 3. Complex 4. Overlap

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 31 RESEARCH/DISCOVERY Visual Research

Competition, Book

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 32 RESEARCH/DISCOVERY Visual Research – Brand Matrics

Space

Opportunity Opportunity

Opportunity

Opportunity Dark Bright

No Space

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 33 RESEARCH/DISCOVERY Visual Research – Brand Matrics

Elegance

Opportunity Opportunity

Organic Geometric

Opportunity

coarseness

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 34 SYLLABUS & ASSIGNMENT SHEET

RESEARCH/DISCOVERY

PLANNING Creative Brief

CREATIVE

DESIGNING

REVISION

FINAL ARTIFACT

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 35 PLANNING

Creative Brief

The following is a creative brief with essential touchstones that drive the design process to show the scope of work and objectives for the project.

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 36 PLANNING Creative Brief

Background Project to design Specimen booklet for a typeface assigned, Baskerville. Type specimen is a showcase its design and use with the typeface itself. I am planning to design a specimen book to show what and how he created with the beautiful typeface, Baskerville.

Audience People who looks for a good typeface to use, who is interested in typography, who is a fan of Baskerville typeface, and who starts to study graphic design or typefaces.

Objectives Baskerville is very beatiful and elegance typeface to use. However, there is a good design piece which is strong enough to show its design and use with the beautiful and elegance of the typeface Baskerville itself to enhance understand and delivery the great one to people with black and white like John Baskerville created his own darker ink and brighter paper for Baskerville.

Message The goal is to represent how beautiful and elegant Baskerville is as a book face, and as proven by John Baskerville’s own treatment, it can excel in purely typographic compositions through the type specimen booklet. This specimen booklet will remind the user that Baskerville remains one of the most popular and classic typefaces for print due to its legibility and refined beauty.

Tone Elegance, Geometric, Dynamic, Inspiration, and Realizing.

Competition Baskerville Posters, Baskerville bookcovers, and Baskerville motion projects.

Specifications 5"x 8", Saddle-stich or pamphlet stich

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 37 SYLLABUS & ASSIGNMENT SHEET

RESEARCH/DISCOVERY

PLANNING

CREATIVE Type Study Sketch

DESIGNING

REVISION

FINAL ARTIFACT

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 38 CREATIVE

Type Study

Exploring different weights and sizes of baskerville for specimen cover and interior pages. All capitals, lower case, Bold, Itilic, Light, etc.

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 39 CREATIVE Type Study

BASKERVILLE ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz

1234567890!@#$%^&*()_+><{}[]?|/'";:,.~ 1234567890!@#$%^&*()_+><{}[]?|/'";:,.~ 1234567890!@#$%^&*()_+><{}[]?/;:,.~

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 40 CREATIVE

Sketch

Thumbnail sketches to explore and visualize my concept for Baskerville specimen. Based on interior page design direction, I also sketched multiple directions for the cover design.

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 41 CREATIVE Sketch

Final Concept

Geomeric lines Transitional Black & White Enlagance + (The principle of + (Old style to + (John own Ink the type design) Modern style) and Paper)

Using of black and white half and half, represents transitional; it is middle of Old style and Modern style as a bridge. Interesting cover to attracts audiences by the elagance/ geometric design first and it will makes them have a look inside; Baskerville could be chosen as a good typeface for some.

Playing with Baskerville by sizing them up and down.

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 42 CREATIVE Sketch

Keywords that I wanted to represent in the specimen book

History of the typography, and the type designer/s.

Type category and identifiable characteristics. John Baskerville Principles of King’s Roman: Mathematical principles Geometry Contrast between thick and thin strokes Serifs sharper More tapered Shifted the axis of rounded letters to a more vertical position Curved strokes His own black ink Brighter wove paper Elegance Crispness Clarity

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 43 CREATIVE Morphological Chart for Sketch

Inspired by Karl Gerstner’s 1. BASIS Programme Matrix Components Typeface Technique

Word Bakerville Written Abbreviation Drawn Group Composed Combined Combined

2. COLORS

Shadow Value Combination

Light Chromatic Complementary Medium Achromatic Analogous Dark Mixed Triad Combined Combined Monochromatic

3. APPEARANCE

Size Proportion Boldness Inelination

Small Normal Bord Meduim Normal Large Thin Combined Combined

4. EXPRESSION

Direction Spacing Form Design

Horizontal Narrow Bord Vertical Regular Normal Diagonal Wide Thin Reflect Combined Combined Combined

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 44 CREATIVE Interior Pages Sketches

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 45 CREATIVE Interior Pages Sketches

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 46 CREATIVE Cover Sketches

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 47 CREATIVE Whole Pages Sketch

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 48 SYLLABUS & ASSIGNMENT SHEET

RESEARCH/DISCOVERY

PLANNING

CREATIVE

DESIGNING Interior Pages Design Cover Design Final Design

REVISION

FINAL ARTIFACT

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 49 DESIGN Interior Pages

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 50 DESIGN Interior Pages

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 51 DESIGN Interior Pages

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 52 DESIGN Cover

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GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 53 DESIGN Cover

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GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 54 DESIGN Final Cover

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GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 55 DESIGN Finalist Pages

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 56 SYLLABUS & ASSIGNMENT SHEET

RESEARCH/DISCOVERY

PLANNING

CREATIVE

DESIGNING

REVISION

FINAL ARTIFACT

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 57 REVISION

Revision

After a pre-review, I got feedback from the graphic design department faculty, regarding details that I needed to add a 3 dimensional object for my design.

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 58 PLANNING Planning – Creative Brief

Background Project to design Specimen booklet for a typeface assigned, Baskerville. Type specimen booklet is a showcase its design and use with the typeface itself. Baskerville is very beatiful and elegance typeface to use. People need a better understanding of why and how he created the typeface. I am planning to design a specimen book and the stamp package for it.

Audience People who looks for a good typeface to use, who is interested in typography, who is a fan of Baskerville typeface, and who starts to study graphic design or typefaces.

Objectives Baskerville is very beatiful and elegance typeface to use. However, there is a good design piece which is strong enough to show its design and use with the beautiful and elegance of the typeface Baskerville itself to enhance understand and delivery the great one to people. The face that John Baskerville who designed the typeface created his own darker ink and brighter paper for Baskerville is important and interesting to people know as well.

Tone Elegance, Geometric, Dynamic, Inspiration, and Realizing.

Competition Baskerville Posters, Baskerville bookcovers, and Baskerville motion projects. Letter Stamps for other typefaces

Specifications 5"x 8", Saddle-stich or pamphlet stich 6"x 9"x 6" Wooden box for letter stamp set

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 59 REVISION Planning– Design Inspiration

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 60 REVISION Sketches– Stamps

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 61 REVISION Sketches– Stamps

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 62 REVISION Sketches– Stamps

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 63 REVISION Sketches– Stamps Package

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 64 REVISION Sketches– Stamps Package

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 65 REVISION Design– Stamps

LETTERS OF BASKERVILLE FOR STAMPS TO DO LASER CUTTING OF RUBBER

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 66 REVISION Design– Stamps

BOX FOR STAMPS TO DO LASER CUTTING

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 67 REVISION Design– Stamps Package

Box Elements

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 68 REVISION Design– Stamps Package

Box

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 69 REVISION Design– Stamps

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 70 SYLLABUS & ASSIGNMENT SHEET

RESEARCH/DISCOVERY

PLANNING

CREATIVE

DESIGNING

REVISIONS

FINAL ARTIFACT

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 71 FINAL ARTIFACT

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 72 FINAL ARTIFACT

GRDS 503 Typographic Communication | Prof. Courtney Garvin | Summer 2016 73