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POSTER: WERNER HERZOG RETROSPECTIVE • MENDEDESIGN, SAN FRANCISCO • ART DIRECTOR: JEREMY MENDE • DESIGNERS: AMADEO DESOUZA, STEVEN KNODEL, JEREMY MENDE • CLIENT: SAN FRANCISCO MUSEUM OF MODERN ART MOST OBJECTIVES PEOPLE WHO BECOME DESIGNERS HAVE AN Gain knowledge of nomenclature AFFINITY FOR IMAGERY. CREATING IMAGERY OR UNDERSTANDING IMAGERY and anatomy COMES FAIRLY EASILY TO THEM. PEOPLE WITH AN AFFINITY FOR TYPE—WHO Become familiar with the CONSIDER TYPE AN INTEGRAL ELEMENT OF VISUAL COMMUNICATION—TEND classifi cations of type TO HAVE MORE FACILITY DESIGNING WITH TYPE. IF YOU VIEW TYPE MERELY Differentiate among alignments AS LITERAL CONTENT, TYPOGRAPHY BECOMES A CHALLENGE. ONCE YOU Pick up the basic principles of designing with type EMBRACE TYPE’S CRITICAL ROLE IN GRAPHIC DESIGN, YOU CAN BEST THINK Consider spacing ABOUT TYPE AND DESIGN WITH TYPE. Mix with purpose

If you are designing with type for a branded environment, that context is different from designing type for a business card. However, there are basic guiding principles. Type is form and should be evaluated based on aesthetic criteria of shape, proportion, and balance. Type commu- nicates on a denotative and connotative level. Type has to be thoughtfully integrated with visuals. Type should be readable. Margins present text type and need to be respected. Transitions between letters, words, and are critical—spacing can make or break communication. Typography is the design of letterforms and the arrangement of them in two-dimensional space (for print and screen-based media) and in space and time (for motion and interactive media). Type is used as display or as text. Display type functions as a dominant typographic component and is usually large or bold. It functions as titles and subtitles, headlines and sub- headlines, headings and subheadings. Text type is the main body of written content, usually in the form of paragraphs, columns, or captions.

NOMENCLATURE AND ANATOMY

Today, almost all type is produced digitally or is handmade; however, most type terminology is based on the earlier process, when type was cast in relief on a three-dimensional piece of metal (Diagram 3-01), which was then inked and printed. Some key terms follow; for more on nomenclature, including charts and terms, go to our website. › Letterform: the particular style and form of each individual letter of our alphabet. Each letter of an alphabet has unique characteristics that must be preserved to retain the legibility of the symbols as representing sounds of speech. › : the design of a single set of letterforms, numerals, and signs unifi ed by consis- tent visual properties created by a type designer. These properties create the essential charac- ter, which remains recognizable even if the face is modifi ed by design. › Type : a complete set of letterforms, numerals, and signs, in a particular face, size, and style, that is required for written communication (to see The Typographic Font Chart, go to our website). › Type family: several font designs contributing a range of style variations based upon a single typeface design. Most type families include at least a light, medium, and bold weight, each with its own italic (to see The Typographic Family Chart, go to our website). P. 45 TYPOGRAPHY

DIAGRAM [ 3-01 ]

CHART: METAL TYPE TERMS CHART BY MARTIN HOLLOWAY

MARTIN HOLLOWAY GRAPHIC DESIGN, PITTSTOWN, NJ

› Italics: letterforms that slope to the right, a variations in weight (light, medium, bold), width style variant of a typeface within a type family. (condensed, regular, extended), and angle (Roman Italics also refer to typefaces that suggest a or upright, and italic), as well as elaborations on origin, inspired by written forms. the basic form (outline, shaded, decorated). › Type style: modifi cations in a typeface that › Stroke: a straight or curved line forming a letter. create design variety while retaining the essen- › : a small element added to the upper or tial visual character of the face. These include lower end of the main stroke of a letterform. 46 P. 03 Chapter

› Sans serif: a typeface with no serifs. Spatial Measurement › Weight: the thickness of the strokes of a letter- A designer measures type as well as the spatial form, determined by comparing the thickness of intervals between typographic elements. These the strokes in relation to the height—for example, intervals occur between letters, between words, light, medium, and bold. and between two lines of type. The spatial inter- val between letters is called letterspacing. Adjust- TYPOGRAPHIC MEASUREMENT ing the letterspacing is called . The spatial The traditional system of typographic measure- interval between words is word spacing. The ment utilizes two basic units: the and the spatial interval between two lines of type is line . The height of type is measured in points, and spacing, traditionally called in metal type, the width of a letter or a line of type is measured in where strips of lead of varying thickness (mea- picas. Point size is the height of the body of a let- sured in points) were used to increase the space ter in a typeface; originating in metal type, it was a between lines of type. Many people still use the slug of lead the typeface was set upon. The width term leading to spacing: the distance of a typeface is measured in characters per pica. between two lines of type, measured vertically Most type is available in sizes ranging from 5 from to baseline. points to 72 points. Type that is 14 points and In metal type, letterspacing and word spacing less is used for setting text and is called text type are produced by the insertion of quads—metal or body copy. Sizes above 14 points are used for blocks shorter than the type height—between display type. pieces of metal type. Both traditionally and today, , which is the horizontal length of a an “” is used as a unit of measure. An em is line of type, is measured in picas. Approximately the square of the point size of any type—a unit

DIAGRAM [ 3-02 ] 6 picas = 1 inch; 12 points = 1 pica; approximately of type measurement based on the “M” charac-

TYPE SIZE/LEADING CHART 72 points = 1 inch. Determining a suitable line ter. One half of an em is called an “.” In digi- length for readability depends on the design of tal typography, spacing is controlled using a unit Indication of type size and leading; the specifi c typeface, type size, line spacing, and system. A unit is a subdivision of the em, used the type size and the amount of lead- length of the content. in measuring and counting characters in photo- ing you choose will enhance or detract graphic and digital systems.1 The unit from readability. is a relative measurement determined by dividing the em into thin, equal, vertical measurements. 10/10 Gather material and inspiration from various sources and bring them together. Examine other cultures and draw When characters are digitally generated, each has inspiration from diverse styles, imagery, and compositional a unit value including space on either side of the structures. Go to the movies, look at magazines, listen to letter for the purpose of letterspacing, which can comedians, read humorists’ works, watch music videos, look at all graphic design, observe human behavior. be adjusted by the designer.

10/11 Gather material and inspiration from various sources BASIC TYPE SPECIFICATIONS and bring them together. Examine other cultures and draw When a designer wants to indicate the type size inspiration from diverse styles, imagery, and compositional and the leading, the following form is used: 10/11 structures. Go to the movies, look at magazines, listen to comedians, read humorists’ works, watch music videos, indicates a type size of 10 with 1 point leading; look at all graphic design, observe human behavior. 8/11 indicates a type size of 8 with 3 points lead- ing. The amount of leading you choose depends on 10/12 Gather material and inspiration from various sources several factors, such as the type size, the x-height, and bring them together. Examine other cultures and draw the line length, and the length of the ascenders inspiration from diverse styles, imagery, and compositional and . When a designer does not want structures. Go to the movies, look at magazines, listen to additional space between lines, type is set solid; comedians, read humorists’ works, watch music videos, that is, with no additional points between lines, look at all graphic design, observe human behavior. such as 10/10 (Diagram 3-02). P. 47 TYPOGRAPHY

CLASSIFICATIONS OF TYPE

Although numerous typefaces are available today, there are some major classifi cation categories, by style and history, into which most fall (see Dia- grams 3-03 and 3-04). It should be noted that these classifi cations are not hard and fast but vary among type historians.2 Some classifi cations of type are: › Old Style: Roman typeface, introduced in the late fi fteenth century, most directly descended in form from letters drawn with a broad-edged pen. Characterized by angled and bracketed serifs and biased stress, some examples are Caslon, Gara- mond, Hoefl er Text, and Times New Roman. › Transitional: serif typeface, originating in the eighteenth century, represents a transition from Old Style to Modern, exhibiting design charac- teristics of both; for example, Baskerville, Cen- tury, and ITC Zapf International. › Modern: serif typeface, developed in the late eighteenth and early nineteenth centuries, whose form is more geometric in construction, as opposed to the Old Style typefaces, which stayed close to forms created by the chisel-edged pen. Character- ized by greatest thick–thin stroke contrast, vertical stress, and most symmetrical of all - faces; for example, Didot, Bodoni, and Walbaum.

DIAGRAM [ 3-03 ]

CHART: CLASSIFICATIONS OF TYPE CHART BY MARTIN HOLLOWAY

MARTIN HOLLOWAY GRAPHIC DESIGN, PITTSTOWN, NJ

DIAGRAM [ 3-04 ]

TYPEFACE EXAMPLES 48 P. 03 Chapter

› : serif typeface characterized by ALIGNMENT heavy, slablike serifs, introduced in the early nine- teenth century; sub-categories are Egyptian and The style or arrangement of setting text type is Clarendons. Slab serif typefaces include Ameri- called type alignment (Diagram 3-05). (The term can Typewriter, Memphis, ITC Lubalin Graph, alignment here is used more specifi cally than its Bookman, and Clarendon. broader defi nition in Chapter 2.) The primary › Sans Serif: typefaces characterized by the options are as follows: absence of serifs, introduced in the early nine- › Left-aligned: text aligned to the left teenth century; for example, Futura, , and ragged or uneven on the right side; also called and Univers. Some letterforms without serifs left-justifi cation or fl ush left/ragged right. have thick and thin strokes, such as Grotesque, › Right-aligned: text aligned to the right margin Franklin Gothic, Universal, and Frutiger. Sans and ragged or uneven on the left margin. serif typeface subcategories include Grotesque, › Justifi ed: text aligned on both the left and Humanist, Geometric, and others. right sides. › Gothic: typefaces based upon the thirteenth- › Centered: lines of type centered on an imagi- to fi fteenth-century medieval manuscript letter- nary central vertical axis. form; also called . Gothic characteristics › Asymmetrical: lines composed for asymmetri- include a heavy stroke weight and condensed letters cal balance—not conforming to a set, repetitive with few curves. Gutenberg’s fi rst printing types arrangement. were textura, a Gothic style. Examples include Textura, , , and . TYPE AS SHAPES › : typeface that most resembles handwrit- Each letterform is made up of positive and nega- ing. Letters usually slant and often are joined. tive shapes. The strokes of the letterform are the Script types can emulate forms written with a positive shapes (sometimes just called forms), chisel-edged pen, fl exible pen, pointed pen, pen- and the spatial areas created and shaped by the cil, or brush; for example, Brush Script, Shelley letterform are the negative shapes (or - Script, and Snell Roundhand Script. forms). The term counterform includes counters, › Display: typefaces that are used primarily for the shapes defi ned within the forms, as well as headlines and titles and would be more diffi cult the negative forms created between adjacent let- to read as text type; they often are more elaborate, terforms. The negative forms are as important as decorated, or handmade, and fall into any of the the positive forms, as demonstrated in the design other classifi cations. of the logos in Figure 3-01 and Figure 3-02, DIAGRAM [ 3-05 ] where respectively, the “E” and “9” are formed by TYPE ALIGNMENTS the negative shapes. Each letterform has distinguishing character- istics. Some letters are closed shapes, like the “O” and “B,” and some letters are open forms, like the “V” and “C.” The same letterform can vary in form depending on the typeface, such as this lowercase g in the Times face and this lowercase g in the Helvetic face. Have you ever noticed the varia- tions of the form of the letter “O” in the different typefaces? For example, the “O” in some typefaces is circular and in others it is oval (Diagram 3-06). You may want to compare letterforms in a few classic typefaces such as Bodoni, Garamond, Century Old Style, Futura, Times Roman, and Univers. (In this case, classic means a typeface P. 49 TYPOGRAPHY

that has become a standard because of its grace, FIG. 3 /01 readability, and effectiveness.) It is a good idea to LOGO: CE SOFTWARE be so familiar with at least two classic typefaces • MULLER BRESSLER BROWN, KANSAS CITY, MO that you know every curve and angle by heart. • CLIENT: CE SOFTWARE

TYPOGRAPHIC TEXTURE FIG. 3 /02 One way to determine the graphic impact of a typographic solution is to measure the “typo- LOGO: CHANNEL 39 graphic texture” of the solution. Here the term • SIBLEY PETEET DESIGN, DALLAS • CLIENT: KXTX CHANNEL 39 typographic texture, also called typographic color, refers to the overall density or tonal quality of a This mark was selected from a group of about thirty alternatives presented. The mark’s interest mass of type on a fi eld— or screen, usually lies in the juxtaposition of a positive three with referring to the mass of text type. In graphic design the negative shape of the nine, bleeding the applications that require blocks of text, the value of common shapes of the two number forms. the mass of the type block, , or —Don Sibley, Principal, Sibley Peteet Design takes on a tonal quality, creating a block of gray tone. (See the typography in the spreads in Figure 4-11 as an example of typographic texture.) Typo- O graphic texture is established through the spacing AVANT GARDE of letters, words, and lines; by the characteristics O of the typeface; by the pattern created by the let- FRANKLIN GOTHIC terforms; by the contrast of Roman to italic, bold O to light; and by the variations in typefaces, column MELIOR widths, and alignment. Variations in typographic texture from para- O BENGUIAT graph to paragraph on a single fi eld could contribute to the illusion of depth or could inter- O rupt reading. For this reason, you must consider FUTURA how you create typographic texture and for O what purpose. OPTIMA Here is a tip: Stand back and squint at typog- O raphy to get a sense of its “lightness or darkness,” NEW CENTURY its tonal quality, or view it in a mirror. SCHOOLBOOK “But the visual aspects of type are meant to rein- O force the verbal message. They provide context for the HELVETICA DESIGNING WITH TYPE voice of the speaker, whether an individual or insti- O tution. As such, type choice is a critical aspect of effec- PALATINO “The most important thing to keep in mind when tive communication. O designing with type is that its purpose is to commu- “In addition, type treatment provides subtle levels EGYPTIAN nicate. It needs to be comprehended, usually quickly of meaning to the reader. Violations of typographic and easily. norms can communicate in their own right, but they O FOOTLIGHT MT “Type is inherently verbal in nature. That’s not usually result from lack of care or skill on the part of to say that it doesn’t have a visual component as the designer. Following these norms with respect to let- O well. Every typeface has characteristics that convey terform proportion, letterspacing, wordspacing, lead- PEPITA meaning, however subtle or overt. Consider black- ing, etc., results in messages that effectively convey the letter, wood type, and script faces. Letterforms from meaning of the speaker.” DIAGRAM [ 3-06 ] these categories contain an abundance of culturally —Chris Herron COMPARISON OF LETTERFORMS informed information. Chris Herron Design, Chicago IN VARIOUS TYPEFACES 50 P. 03 Chapter

FIG. 3 /03 language is of a peculiar 19th-century style— : DUGONG, turning back on itself, using clauses to modify MANATEE, SEA COW clauses to modify clauses, and a vocabulary suited • ART DIRECTOR/DESIGNER: CHARLES NIX to Victorian descriptions. The typography alludes • ILLUSTRATOR: STEFANO ARCELLA • AUTHOR: ARNOLD KLEIN to the period: De Vinne and a host of other type- • PRODUCTION COORDINATOR: CHARLES NIX faces are from that period.”

1 • TRIM SIZE: 9 × 9 ⁄4 INCHES Choosing a suitable face depends upon several • PAGES: 32 factors: • QUANTITY PRINTED: 500 • COMPOSITOR: CHARLES NIX • TYPEFACES: CASLON OPEN FACE, › Visual Interest: Aesthetics and Impact ENGRAVERS BOLD FACE, MONOTYPE GROTESQUE, USHERWOOD BOOK, As with any graphic design, creating visual inter- BITSTREAM DE VINNE est is paramount. Creating or selecting a typeface The poem refers to the geographic for its aesthetic value and the impact it will have locations of the dugong, manatee and sea cow throughout, and so on screen or in print is as important as creating a the design steals aspects of late- visual. The individual characteristics of a typeface 19th-century maps—line numbers matter greatly to communication and how well undulating like latitude lines, a any typeface will integrate with the characteristics cordoned text block tucked low of the visuals. Each typeface should be evaluated and toward the spine like a legend, pages lettered in circles rather for its characteristics, aesthetic value based on than numbered. proportion, balance, visual weight, positive and —Charles Nix negative shapes of each individual letter, as well as shape relationships between and among letters. Realizing how display type will be seen in con- text—up close, its impact from a distance, where it is seen, lighting conditions, and more—should be a consideration. How a typeface looks as dis- play or text must be tested and evaluated. John Sayles suggests doing the following exercise:

“If there is a font I use more than others it is prob- Most people will ably_____ because . . . start a project with Developing typographic skills entails designing and “—Helvetica: simple, easy to read, portrays a clear the logo and then selecting for clarity and visual interest, which means: message” try to incorporate › Selecting a typeface or type family suitable for the type. Instead, concept, audience, context, and application › Appropriateness: Concept one should start by › Facilitating reading through determining proper Jay Miller, Principal, IMAGEHAUS, further selecting a type that point sizes, spacing, line length, alignment, col- advises: “Before you choose a typeface, clearly umn depth, variation, and contrast defi ne the audience, tone, personality and attitude has characteristics › Orchestrating fl ow of information through vis- of what you are trying to communicate and how that best illustrate ual hierarchy you want to say it. This will help you strategi- the personality of the cally choose the right font to ensure successful brand, then design SELECTING A TYPEFACE communication.” the project. When there are thousands of typefaces readily Very often, beginning students and nondesign- —Jay Miller available, and more being designed each day, how ers simply choose typefaces for their attractive- do you choose? For the book design of Figure ness and do not consider the concept or have Principal 3-03, Dugong, Manatee, Sea Cow, Charles Nix little understanding of what a typeface connotes, IMAGEHAUS generated a design solution from the language of its history, and of its provenance. For example, and content of the poem. Nix comments, “The choosing a face associated with a period, such as P. 51 TYPOGRAPHY

art deco, or associated with an era or industry car- ries meaning, even if you aren’t aware of it. This is where knowing type classifi cations and history comes strongly into play. For exam- ple, would you use American nineteenth-century wood type for a magazine article about the history of East Asia? Or would it be sound to use Tobias Frere-Jones’s typeface Whitney (for the Whitney Museum in New York) for a catalog for the Prado Museum in Madrid or for a dog food brand? For a retrospective of Werner Herzog fi lms at San Francisco’s Museum of Modern Art, Jer- emy Mende, MendeDesign, wanted the poster to communicate the essence of selected Herzog fi lms, about man’s struggle against the universe, while also communicating something about Her- zog himself. In an interview with Romy Ashby in Step Inside Design magazine, Mende said about Figure 3-04,

“We chose the horizon to represent this vast, unyielding force and selected fi lm stills that suggested the smallness of man against this backdrop.” Romy Ashby explains, “Over those images, lists of adjectives were written—words such as conquistador, soldier, baron and mystic—meant to purposefully confuse FIG. 3 /04 descriptions of Herzog’s main characters with descrip- tions of Herzog himself. At fi rst glance the typography › Typefaces with too much thick–thin contrast POSTER: WERNER HERZOG RETROSPECTIVE appears to be digitally generated, and most people will may be diffi cult to read if they are set very small— • MENDEDESIGN, SAN FRANCISCO assume that it is. But up close, idiosyncrasies of hand- the thin strokes may seem to disappear. • ART DIRECTOR: JEREMY MENDE drawn letterforms become apparent, revealing an › Condensed or expanded letters are more diffi - • DESIGNERS: AMADEO DESOUZA, STEVEN obsessive attempt to recreate ‘the perfect’ that Herzog cult to read because the forms of the letters change, KNODEL, JEREMY MENDE • CLIENT: SAN FRANCISCO MUSEUM OF likewise obsessively seeks to capture in his fi lms.” 3 as well as appearing to merge together when con- MODERN ART densed and dissociate when expanded. › Clarity: Readability and Legibility › Text type set in all capitals is diffi cult to read. If typography is readable and legible, then content Opinions differ on whether enhance or should be clearly understood. Essentially, ensur- diminish readability for display type. ing readability means text is easy to read, thereby › Greater value contrast between type and back- making reading enjoyable (and frustration-free) ground increases readability. as well as interesting. How you design with a suit- › Highly saturated colors may interfere with able typeface, with considerations of size, spacing, readability. margins, color, and paper selection, contributes to › People tend to read darker colors fi rst. readability. Legibility has to do with how easily a person can recognize the letters in a typeface— › Relationship: Integration with Visuals how the characteristics of each individual letter- With literally thousands of typefaces available, form are distinguished. Here are some pointers: selecting a typeface may seem daunting. As you will › Typefaces that are too light or too heavy may read in Chapter 5, in any design, one must be mind- be diffi cult to read, especially in smaller sizes. ful of the relationship between type and visuals. 52 P. 03 Chapter

The poster in Figure 3-05 from Morla Design is › Should the typeface be neutral and allow the a clear example of how the type and image work visual to drive the solution? synergistically to communicate meaning. › Should the typeface dominate the solution? When integrating type and visuals based on the › Should the typeface contrast with the charac- design concept, answering the following questions teristics of the visuals? can guide your decisions: › Would handmade letters work best? › Should the typeface share visual characteristics For The New York Times Magazine “White Mis- with the visuals? chief ” spread, we see parallel shapes and forms on the facing pages, with each page having a central axis that repeats the other, contributing to balance FIG. 3 /05 and unity (Figure 3-06). Paula Scher created a POSTER: ENVIRONMENTAL now famous poster series for the Public Theater, AWARENESS, AIGA which was often imitated, creating an integrated • MORLA DESIGN, SAN FRANCISCO • ART DIRECTOR: JENNIFER MORLA type/visual vocabulary that became synonymous • DESIGNERS: JENNIFER MORLA, JEANETTE with the Public Theater as well as with Manhat- ARAMBU tan (Figure 3-07). • CLIENT: AIGA, SAN FRANCISCO

The visualization of the type and INTERIOR PAGE COMPOSITION: image in the top half of this poster contrasts with the visualization VOLUME OF TEXT AND IMAGES of the negative visual and sans Communication requirements, content, and the serif caps depicted in the bottom nature of an application and its content—the half of the poster. Together volume of text and images—help guide your type they communicate the need for environmental awareness. decisions about structuring type.

Text Heav y If an application is text heavy, such as the running text (text that runs from column to column often fi lling a page) in a history textbook, an annual

FIG. 3 /06

THE NEW YORK TIMES MAGAZINE, “WHITE MISCHIEF”

• CREATIVE DIRECTOR: JANET FROELICH, THE NEW YORK TIMES MAGAZINES • DESIGNER: JANET FROELICH • PHOTOGRAPHER: RAYMOND MEIER

Approaching an opening spread as an opportunity to attract a reader and inspire him or her to read further is the main objective. P. 53 TYPOGRAPHY

report, or a government website, that prerequisite FIG. 3 /07 should narrow your choices to faces that are emi- POSTER: THE DIVA IS DISMISSED nently readable, as well as a face from an extended • PENTAGRAM DESIGN, NEW YORK type family, which offers many options while aid- • PARTNER/DESIGNER: PAULA SCHER • DESIGNERS: RON LOUIE, LISA MAZUR, ing unity. (Most likely, a text-heavy application JANE MELLA also will call for a column grid.) • PHOTOGRAPHER: TERESA LIZOTTE • CLIENT: PUBLIC THEATER, NEW YORK Text and Images When Joseph Papp was producer If an application has an almost equal volume of at the Public Theater, Paul Davis produced a memorable series of text and images, then you need to select a highly illustrated posters which set the readable face based on your design concept, audi- standard for theater promotion for ence, context (print or screen and environment), a nearly a decade. In keeping with the typeface that integrates in a satisfactory, appropri- expanded vision of new producer George C. Wolfe, a new identity ate, and aesthetic manner with the images. Also and promotional graphics program consider how the type will act as text, caption, were developed to refl ect street and perhaps display type all in relation to the typography: active, unconventional, images, as in Figure 3-08. (See “Case Study: Rut- and graffi ti-like. These posters are based on juxtapositions of gers University-Newark: A Century of Reaching photography and type. Higher.”) The Diva Is Dismissed was Jennifer Lewis’s one-woman show. Image Heavy —Pentagram If an application primarily requires display type (title or headline), for example, a cover, poster, advertisement, splash page, or banner, then your selection is primarily governed by concept and context. Although some argue that readability of display type is not critical because there is little content to read, I submit that people become frus- trated when readability is diminished. For display type, some people argue that a well-designed sans serif typeface is most legible—easiest to recog- nize. Others argue that serifs aid in distinguish- ing one letter from another. For display type, any well-designed face would likely be legible, which is certainly a concern because people tend to read titles and headlines very quickly. Judicious spacing and larger point sizes will increase the readability of display type. To encourage a reading sequence, thoughtful placement and positioning within the composition are important as well.

Caption Heavy FIG. 3 /08

If the typography in an application is predomi- INTERIOR BOOK DESIGN: 2D: VISUAL BASICS FOR DESIGNERS nantly captions or tables—for example, a catalog, BY ROBIN LANDA, ROSE GONNELLA, AND STEVEN BROWER map, art book, or photo sharing website—then • STEVEN BROWER DESIGN, MATAWAN, NJ your selection should consider how readable the • ART DIRECTOR: STEVEN BROWER • DESIGNERS: STEVEN BROWER, DAWNMARIE MCDERMID face is at a smaller point size and how well it inte- • CENGAGE LEARNING grates with the images. • © 2008 STEVEN BROWER CASE STUDY RUTGERS UNIVERSITY–NEWARK: A CENTURY OF REACHING HIGHER/BRENDA MCMANUS & NED DREW

Description: This is a publication commissioned 7 / An alumnus profi le, which would consist by the university to celebrate the 100-year history of an image and brief text of higher education in Newark, NJ. 8 / A folio (page number) system 9 / Small silhouette image of students from Problem: Design a publication for the university that particular decade highlighting the rich 100-year history of higher Now that we had identifi ed our elements, we education in Newark. started to investigate formats. The horizontal for- mat seemed to make the most sense because we Process: We were provided with a rough manu- were presenting a historical timeline. We considered script of the history of higher education in New- a smaller format since this publication would be a ark. After reading it, we discussed revisions with gift to donors for the centennial gala celebration. the editor. We felt the manuscript lacked a neces- The smaller format had a more personal, intimate sary structure. With the editor, we reworked the feeling. The grid structure was determined loosely manuscript from less of a narrative to more of a on a mathematical equation using the golden sec- time-based, progressive history. At this time, we tion, which would help us determine the best pro- also began sorting through the images we were portions of text to page format. Once we started provided and categorizing them into decades. We playing with the elements on the page, we did make collected the yearbooks throughout the decades, the necessary optical adjustments. After all, design as well as student newspapers, miscellaneous doc- is not a perfect science. uments, papers, and folders. This collecting and We felt, with our access to a seemingly end- gathering of materials, categorizing, and organiz- less library of rich historical images, it was a great ing was a necessary and very important fi rst step opportunity to convey a sense of time through the for us. The research we compiled started to slowly use of images. Each chapter opens with a snap- reveal the structure and visual tone of the book. shot image of the campus during that particular decade. This helps the viewer place content in the Structure: It is important to understand that a context of the time period. designer doesn’t have to be a passive partner In each chapter, we decided to create illustra- when it comes to establishing content. We were tions/collages to help communicate the social, fortunate and took advantage of the opportunity political, and academic pulse of that particular to become active participants in establishing the time period. We reinforced this notion with the content for the publication. From our interaction suggestion and design of a small timeline high- with the editor and our own research, we decided lighting the events taking place in Newark. The to divide the book into decades. We also decided university’s historical facts were then juxtaposed we would need a system for the following infor- with the major events of the world at that par- mation in each chapter: ticular time in history. We felt it would help the 1 / Headline treatment viewer put in context the achievements, actions, 2 / Body copy and demographics of each particular decade. 3 / Academic collateral was used throughout the 4 / A timeline element book as a foundation for the design. We gathered 5 / An illustration to give the text a visual and scanned various papers, book spines, docu- context ments, yearbook images, student newspapers, 6 / A snapshot image of the campus or envi- folders, notebooks, and so on to help reinforce ronment of that particular decade the tone of an academic environment. We also P. 55 TYPOGRAPHY

introduced a small, silhouetted image of students gave a greater presence to the copy and felt more appropriate for each decade to support the notion balanced and inviting visually. The larger text of an academic environment. These images also takes on a greater importance and presence, which help the reader navigate through the text. naturally makes the text feel less overwhelming Setting a rhythm or pace for any narrative/ and more accessible. book is always important. We took this into con- The body copy is designed using a two-column sideration when not only establishing the use of grid. Again, our grid was loosely based on the images but also the typographic fl ow of the book. golden section; our goal was to balance propor- Each chapter opens with a large vertical head- tions of text to the page format. We wanted the line, followed by a column of text set at a large copy to have a nice balance and inform the reader point size. The use of the larger point size is more without feeling too dense and overwhelming. We stylistic than functional. The text was originally did several iterations of the two-column page designed using the same point size as the body using various point sizes and leading. These stud- copy, but the balance of the page visually seemed ies were very instrumental in helping us achieve off. Increasing the point size for the fi rst column the proper balance for optimal readability.

BOOK: RUTGERS UNIVERSITY–NEWARK: A CENTURY OF REACHING HIGHER

• DESIGNERS: BRENDA MCMANUS AND NED DREW, NEW YORK 56 P. 03 Chapter

FACILITATING READING › rule Socrates is attributed with extolling the desir- › paragraph that starts with or all caps able quality of moderation—“take everything in › graphic element, such as a rule, simple graphic, moderation; nothing in excess.” Applied to facili- or tating reading, this axiom would mean common › anything that makes sense for your concept sense dictates: and adds some variation, some rest stop of visual › Long line lengths impede readability interest, for the reader › Very small point sizes and extreme column depths impede reading ORCHESTRATING FLOW › Very open spacing and very tight spacing im- OF INFORMATION pede readability Just as with designing any visual hierarchy, many › Left justifi cation or justifi ed text type align- factors contribute to organizing type according to ments are most readable (depending on attention , from most important message to least to spacing) important content. › When composing text type, headings, and sub- The designer must determine what to empha- headings, break text into manageable chunks size and what to de-emphasize. (Please see Chap- › Avoid extreme rags, widows, and orphans ter 2 on two-dimensional basics for more general – The irregular side of a left-justifi ed block of information on visual hierarchy.) text type should not be extremely ragged; There are several ways to achieve emphasis any ragged edge should not impede read- within an entire composition using typography: ing. Major variation in line lengths will › Emphasis by isolation result in negative shapes that interrupt the › Emphasis by placement fl ow of moving from one line to the next. › Emphasis through scale (size relationships of – Avoid ending a paragraph or column with title to subtitle to text as well as to images) a widow, a very short line length usually › Emphasis through contrast composed of one or two words. Widows › Emphasis through direction and pointers do not contribute to balance. The last line › Emphasis through diagrammatic structures length should be long enough to act as a There are also ways to achieve emphasis in text base or platform; it should have enough type/body copy: “visual word weight to carry” the paragraph › Size or column, to ensure balance. › Color – Avoid starting a paragraph on the next › Boldface page with an orphan, a one- or two-word › Italics line. This doesn’t look balanced. › Typeface change To ensure readability, for text type especially, › Type style change—variations in weight (light, moderation is the rule. Display type can be more medium, bold), width (condensed, regular, ex- extreme, though readability is always an issue for tended), and angle (Roman or upright and italic), all type as literal message. as well as elaborations on the basic form (outline, Variation and contrast complement moderation. shaded, decorated) Without variation and/or contrast in text type, Fundamental organizational principles also any reader would become tired and perhaps bored. apply to typographic design. When arranging Variation creates visual interest; break up text type typographic elements, besides visual hierarchy, you with a should consider rhythm and unity. You direct the › pull quote reader from one typographic element to another › visual by using visual hierarchy and rhythm (a pattern › cap created through position of components, inter- › color vals, repetition, and variation), by considering the P. 57 TYPOGRAPHY

space between elements, and by establishing a FIG. 3 /09 sense of move ment from one element to another, POSTER: THE NEW YORK BOOK as in Figure 3-09. SHOW To establish unity, limit type alignments (for a • DESIGNER: RAY CRUZ, OAKLAND, NJ • CLIENT: THE BOOKBINDERS’ GUILD OF novice, employ one alignment), consider employ- NEW YORK ing a type family rather than mixing faces or mix The viewer can easily fl ow from one two faces at most, intentionally integrate type and piece of information to another due visuals using a sympathetic or purposeful contrast, to placement and intervals in the use color to unify, and aim for correspondence. composition as well a clear visual hierarchy. In the logo design by Red Flannel, between the type and image Jim Redzinak fi nds what is called an intuitive alignment, fi nding edges that seem to naturally align well together (Figure 3-10), where the word “Spirit” seems to naturally “fi t” in the negative shape of the butterfl y.

SPACING

The three types of spacing you have to control FIG. 3 /10 when designing with type are letterspacing, word LOGO: SPIRIT OF A CHILD spacing, and line spacing. Spacing should enhance FOUNDATION reader comprehension or, at the very least, enrich • RED FLANNEL, FREEHOLD, NJ the reader’s experience (unless, of course, your • CD/DESIGNER/ILLUSTRATOR: JIM REDZINAK concept and approach call for purposeful disso- • CLIENT: SPIRIT OF A CHILD FOUNDATION nance). If people have diffi culty reading some- This logo symbolizes the thing, they probably will lose interest. Spacing metamorphosis of the dysfunctional is about transitions—from letter to letter, from shapes between the letters in the second pair are cycle of destructive parent-child word to word, from line to line, from paragraph quite different and can be moved closer together relationships, transforming them to paragraph, from page to page, from screen to to enhance readability and cohesiveness. into something more meaningful and rewarding through their screen. Seventy percent of how you design with You should always judge the letterspacing opti- experiences with nature. It type depends on how well you craft transitions! cally. When designing display type, it is feasible represents a new beginning for the When a character is produced digitally, the to adjust the spacing of individual characters children and their parents. software automatically advances in numbers of because the number of words in headlines is lim- —Jim Redzinak units before generating the next character. It is ited. This fi ne-tuning of negative space is a hall- not a good idea to rely on automatic spacing when mark of typographic excellence. designing with display type. The designer can control the letterspacing by adding or subtracting TEXT TYPE: SPACING, PACING, units between letters to improve readability. CHUNKING, AND MARGINS Since computers calculate spatial intervals— units—according to type metrics (preset calcu- Spacing lations for each font), designers should consider When designing text, check word spacing, line the type as form, adjusting letter, word, and line length, widows, orphans, and the raggedness of spacing for balance and visual relationships. For a ragged edge. example, the computer may automatically set the Always consider the point size of the typeface same distance between an “H” and an “N” as it in relation to the amount of spacing; for example, does between an “L” followed by an “A,” yet the small point sizes set with a lot of leading will 58 P. 03 Chapter

seem “lost” and hard to read. Generally, longer chunk will become a tonal unit and help or impede When setting type, line lengths should take more leading to offer moving from one unit to another. whether it’s a big, some “breathing” room. Pacing involves creating a visual sense of two-word headline or Too much space may detract from readability; rhythm, syncopation, variation—creating visual a big, two-hundred- conversely, too little space may make reading diffi - interest and giving the reader’s eyes a rest some- page document, cult. As stated earlier, you must not trust automatic where in the text. one of the most spacing; always make adjustments. Also, in text overlooked aspects and display type, uneven letterspacing and word Margins is the space between spacing may cause unwanted pauses or interrup- Understanding margins as borders—as present- the letters, the words, tions that make something more diffi cult to read. ing written content—will undoubtedly aid in the sentences and John Sayles advises being aware of word breaks respectfully “framing” text, giving enough dis- the paragraphs. (widows, orphans) and suggests reading the copy tance from the boundaries of a page, in print or This is as important as you lay it out, following the same process as the on screen, to allow a reader to focus. Certainly, as which typeface reader, to ensure a fl ow. margins can be used creatively, but they can never you choose and at Similarly, if the line length is too long or too be ignored or violated without purpose. what size you use it. short, it will detract from readability. For example, Everyone can look at some designers say that if you have open letter- type and design with spacing, the word spacing should be open. Con- MIXING TYPEFACES it but it takes a real versely, if you have tight letterspacing, the word craftsperson to look spacing should be tight as well. Much depends on Most designers mix faces when they want dis- at the negative space the typeface or family you are using and the point tinction between display type and text type. Other and define the true sizes, weights, and widths, since some typefaces designers mix for conceptual, creative, and/or relationship within the seem to lend themselves to more open spacing aesthetic reasons. There are general type rules typography. Whether because of their shapes; others lend themselves to for beginners and, perhaps, for any designer. The it’s loose or tight, it tight spacing. Study specimens of display and text most common rule is to restrict designing to uti- has to be consistent type to develop an “eye” for typefaces, weights, lizing a type family or to no more than two typefaces. and pleasurable, and and widths. Before our discussion of mixing faces, it behooves it’s right there, you us to consider not mixing. just have to shift your Chunking and Pacing attention. When we read a novel or short story, we expect TYPE FAMILY —Armin Vit a full one-column page of text. Paragraphs help It’s been said that a type family is like a varia- UnderConsideration break up the page of a novel. In most instances— tion on a theme. In a family, all the typefaces LLC newspapers, reports, brochures, and even text- maintain the same basic structure with variations, books—written content is most appealing when differentiated by slight individual characteristics. broken into modules, into chunks of written A well-conceived, well-designed family includes content. For any screen-based message, chunks of variation—variations in weight from ultra light to text are the best choice. (For screens, keep line ultra black; variations in width from condensed lengths a bit shorter than for print.) When you to extended; multiple character sets, such as small modularize content, it is broken into manageable, capitals, titling capitals, capitals; and more. digestible units. Many people scan written con- Employing a type family affords enormous fl exibility tent for specifi c information, which is enabled by as well as contributing to unity. chunking along with other devices such as rules, subheads, color, and other ways to create empha- MIXING TWO TYPEFACES sis. Other readers fi nd it easiest to take in infor- Being creative involves experimentation. Hav- mation and absorb it in module doses. ing guidelines or grasping standards allows you How you compose modules or chunks will cre- to critique your experiments. The following pro- ate a reading pace. Depending on the background vides a point of departure for readable, coherent color, typeface selection, and typeface color, each compositions. P. 59 TYPOGRAPHY

Experiment with Type HANDMADE/HAND-DRAWN TYPE Experiment by testing how the typefaces work Although most rely on selecting from digital faces, in various combinations: heading plus paragraph; others go for handmade type. Try hand-drawn, col- short and long paragraphs; headings, subhead- laged type (not ransom type) or found type, which ings, captions; and so forth. includes photographed type (for example, see www.neonmuseum.org). Some designers focus on FIG. 3 /11 Limit Mixing and Select for Contrast hand-drawn typography, such as Ed Fella (Figure Most seasoned designers advise limiting mixing 3-11), Martin Holloway (Figure 3-12), and Mike POSTER: AND YOU ATE NOTHING to two typefaces per solution—one for display and • ED FELLA one for text—for example, a sans serif for display and a serif for readable text. The obvious point of mixing faces is differentiation (for example, to make captions distinct from text) and to add con- trast to the visualization of a concept. The equally obvious reason to avoid selecting similar faces is that the reader would not be able to tell them apart. Therefore, select for contrast yet be mind- ful of similar structure, with suitability to overall concept and visualization clearly in mind. Selecting for contrast might mean mixing type- faces based on differences in structure—selecting from different structural classifi cations—for example, mixing a sans serif face with a slab serif face. Do consider how one face will transition to the other and how well their proportions work to create harmony and typographic texture on the fi eld (page or screen). Janet Slowik, Senior Art Director, Pearson Pro- fessional & Career, advises: “In editorial design the type and image should coexist harmoniously, and one should never overpower the other. They should complement each other. Novice designers often select elaborate display typefaces that confl ict with the image. A good selection of a serif and sans serif typeface that contain a corresponding italic is all that is needed . . . a profi cient designer helps.”

FIG. 3 /12 Use Decorative Faces with Great Caution Decorative faces tend to be highly ornamental, LOGO: COUNTRY often faddish. Some have endured, such as those THINGS • MARTIN HOLLOWAY GRAPHIC based on copperplate engravings or wood type. DESIGN, PITTSTOWN, NJ Many decorative faces include outlines, in-lines, • /DESIGNER: MARTIN HOLLOWAY stencils, or faceted, shaded, and shadowed letters; because decorative faces tend to overwhelm a design (and designer), they should be left to sea- soned designers. If you must use a decorative face, use it for display type in very small quantities and mix with a timeless face for text. 60 P. 03 Chapter

FIG. 3 /13

TYPOGRAPHY: URBAN OUTFITTERS

• MIKE PERRY

Perry (Figure 3-13). (For more about handmade ephemeral fashionable presence is rendered in type and elements, see Mike Perry’s book, Hand polished stainless.” About Figure 3-15, a per- Job: A Catalog of Type and Fingerprint: The Art of sonal work made public for “5:12: China’s Mas- Using Hand-Made Elements in Graphic Design by sive Earthquake: A Commenorative Exhibition” Chen Design Associates; see Figure 3-25.) in Nanjing, Rick Valicenti/3st comments, “My Figure 3-14 is an editorial illustration for entry was inspired by the on display i4Design Magazine; “a comment on architecture’s at the Chinese National Museum in Shanghai. I decided to enter my journal entries in large form and physical in expression. My marks FIG. 3 /14 were made with sumi ink applied with either a

EDITORIAL ILLUSTRATION: “SO syringe or a foam brush on 22 × 30" Rives BFK. FIVE MINUTES AGO” Gravity’s infl uence is also a central component • RICK VALICENTI/THIRST/3ST.COM, within the temporal nature of this making pro- CHICAGO • TYPOGRAPHY: RICK VALICENTI/3ST cess. Since the beginning of 2008, I have made • 3D ILLUSTRATION: RICK VALICENTI/3ST over 500 entries.” AND MATT DALY/LUXWORK • CLIENT: I4DESIGN MAGAZINE, CHICAGO TYPE AS SOLUTION The typographic geometry is consciously rendered by Paul In addition to understanding the fundamentals of Rand’s YALE press logotype and by design and how they relate specifi cally to design- looking back to this master’s iconic ing with type, it is essential to understand how type work, the continuum in which we is used creatively and expressively. Type becomes practice design is acknowledged the solution for the following design concepts. In and respected. —Thirst Figure 3-16, Jeremy Mende expresses a confer- ence theme in unique typography. The Mesa Grill logo is a play on the word mesa, which means “fl at-topped mountain” (Figure 3-17). P. 61 TYPOGRAPHY

FIG. 3 /15

INFECTED 3 • STUDIO/DESIGNER/TYPOGRAPHY: FIG. /16 RICK VALICENTI/THIRST/3ST.COM, CHICAGO • CLIENT: PERSONAL WORK MADE PUBLIC FOR “5.12: CHINA’S MASSIVE POSTER: IF NOT NOW, WHEN? EARTHQUAKE: A COMMEMORATIVE EXHIBITION”, RCM ART MUSEUM, NANJING • MENDEDESIGN, SAN FRANCISCO • ART DIRECTOR: JEREMY MENDE • DESIGNERS: JENNIFER BAGHERI, AMADEO DESOUZA, JEREMY MENDE • CLIENT: AIA CALIFORNIA COUNCIL CALIFORNIA PRACTICE CONFERENCE FIG. 3 /17 Light-based letterforms illuminate the conference’s theme. LOGO: MESA GRILL

• ALEXANDER ISLEY INC., REDDING, CT • CLIENT: MESA GRILL 62 P. 03 Chapter

FIG. 3 /18

CORPORATE IDENTITY: CALGARY INTERNATIONAL FILM FESTIVAL

• WAX, CALGARY, AB • CREATIVE DIRECTORS: MONIQUE GAMACHE, JOE HOSPODAREC • ART DIRECTOR: JONATHAN HERMAN • COPYWRITERS: SEBASTIEN WILCOX, SARO GHAZARIAN • CLIENT: CALGARY INTERNATIONAL FILM FESTIVAL

Some view type as the verbal part of the design For the Blossa Annual Edition series, the colors message, providing context and support for the and typography change to refl ect that particular FIG. 3 /19 imagery. However, that view is a limiting one. year’s design and fl avor (Figure 3-19). The “O” in

BRAND STRATEGY, BOTTLE Type should always be an active contributor and the Polaris logo acts as both image and letterform DESIGN, PACKAGE DESIGN: can, in fact, be the image itself, expressing the (Figure 3-20). BLOSSA ANNUAL EDITION entire message. Figure 3-21, “Ametrica!” is an awareness cam- • BVD, STOCKHOLM • CREATIVE DIRECTOR: CATRIN VAGNEMARK The identity in Figure 3-18 “borrows from the paign to help convert the United States to the • DESIGN DIRECTOR: SUSANNA NYGREN visual language of the marquee signs that hang in metric system, which is typographically (and spe- BARRETT front of most festival venues. The letters had been cifi cally) number driven. • CLIENT: V&S GROUP gathering dust in the 80-year-old basement of Cal- Providing equal access to the law is expressed Assignment: Brand strategy, bottle gary’s historic Plaza Theatre. It’s eclectic, bold, and through the typography in Figure 3-22, an annual design, packaging design, Blossa årgångsglögg (vintage mulled wine). we feel it communicates the excitement, immediacy report for Chicago Volunteer Legal Services. Nordic region and energy of the Calgary International Film Festi- Challenge: Blossa annual edition val,” says Jonathan Herman of WAX. is an important member of the Blossa family. It is launched every year with a new fl avor and design. The aim of the vintage mulled wine is to generate awareness of Blossa ahead of the mulled wine season and drive sales across the whole range. The design needs to capture the essence of the year’s fl avor and be unique and alluring.

Solution: A bottle that is shorter and rounder than other Blossa products. The shape of the bottle is kept from year to year, with the colors and typography changing to refl ect that particular year’s design and fl avor. —BVD P. 63 TYPOGRAPHY

FIG. 3 /20

LOGO: POLARIS

• REGINA RUBINO / IMAGE: GLOBAL VISION, SANTA MONICA, CA • CREATIVE DIRECTORS: ROBERT LOUEY, REGINA RUBINO

FIG. 3 /21

PROMOTIONAL CAMPAIGN: “AMETRICA!”

• AMY WANG

No one thinks about an act as routine as measuring, much less the impact it can have on education, economy, and health. Through bold numbers and subtle humor, viewers are initially invited to interact with the pieces and their environment such that they experience metric units directly, rather than through comparison with customary units (which perpetuates the problem of dependency on the old units). Those intrigued by the issue are then directed to visit the Ametrica! website for more information, interactive components, and motion graphics experiences. —Amy Wang

FIG. 3 /22

ANNUAL REPORT: CHICAGO VOLUNTEER LEGAL SERVICES

• LOWERCASE, INC., CHICAGO • ART DIRECTOR/DESIGNER/ILLUSTRATOR: TIM BRUCE • PHOTOGRAPHER: TONY ARMOUR • CLIENT: CHICAGO VOLUNTEER LEGAL SERVICES

Chicago Volunteer Legal Services is one of the largest practicing law fi rms in the city. Through panel referral, neighborhood clinics and the foundation itself they provide legal assistance to roughly 17,000 people a year in the Chicago area. They accept no government funding, are lean and entrepreneurial. Our books help them increase awareness for their work, raise money and recruit talent. Each of the books refl ects this purpose and yet captures the year and point of view uniquely. —Tim Bruce, LOWERCASE, INC. 64 P. 03 Chapter

FIG. 3 /23

BOOK COVER: THE FATE OF THE NATION STATE, EDITED BY MICHEL SEYMOUR

• SALAMANDER HILL DESIGN, QUEBEC • DESIGNER: DAVID DRUMMOND • CLIENT: MCGILL-QUEEN’S UNIVERSITY PRESS

FIG. 3 /24

BOOK COVER: CROSSING THE BLVD: STRANGERS, FIG. 3 /25 NEIGHBORS, ALIENS IN A NEW AMERICA

• AUTHORS: WARREN LEHRER AND JUDITH SLOAN BOOK COVER: FINGERPRINT • DESIGNER AND PHOTOGRAPHER: WARREN LEHRER • CHEN DESIGN ASSOCIATES, SAN FRANCISCO In this book, we use Queens BLVD—the thirteen-lane • CREATIVE DIRECTOR/ART DIRECTOR: treacherously dangerous pedestrian crosswalk that JOSHUA C. CHEN cuts through the borough—as a metaphor for many • COVER DESIGNER: JENNIFER TOLO PIERCE of the things new immigrants have crossed coming • DESIGNERS: JENNIFER TOLO PIERCE, MAX SPECTOR, JOSHUA C. CHEN, JENNY JI, to and navigating their way within this country: war, ASHLEY HOFMAN ethnic cleansing, economic hardship, discrimination, • ESSAY CONTRIBUTORS/DESIGNERS: cultural and language divides. MICHAEL MABRY, DEBBIE MILLMAN, JEAN ORLEBEKE, MARTIN VENEZKY, ROSS —Warren Lehrer MACDONALD, JIM SHERRADEN • EDITORS: JOSHUA C. CHEN, JENNIFER TOLO PIERCE, KATHRYN A. HOFFMAN • ILLUSTRATOR: JENNIFER TOLO PIERCE • CLIENT: HOW BOOKS refugees that live in the borough of Queens, New Chen Design Associates authored York—the most ethnically diverse locality in the and designed this vivid exploration About the for The Fate of the United States.” Lehrer uses type crossing the as inspiration for a fi eld parched with predictable, look-alike, hi-tech Nation State (Figure 3-23), David Drummond “BLVD” as a metaphor. solutions. Includes a foreword by says: “This book deals with the future viability Figure 3-25, Chen Design Associates’ cover Michael Mabry, essays by industry of nation-states in the context of globalization. I design for Fingerprint, subtitled “The Art of Using heroes, and insights into each don’t often do type-only covers but when I do I Handmade Elements in Graphic Design,” features featured project to reconnect designers with their passion. try to add a twist and have type interact in some a unique typographic treatment that simultaneously —Chen Design Associates way with the created environment.” communicates “creative” and “hand-wrought.” Figure 3-24, the book cover for Crossing the Max Spector, Art Director and Senior Designer, BLVD, is a cross-media project by Warren Lehrer Chen Design Associates, comments, “The topic of and Judith Sloan that “documents and portrays this book, handmade elements in graphic design, the largely invisible lives of new immigrants and is represented on the cover. The title type and P. 65 TYPOGRAPHY

c. For fl u prevention or health and wellness, fi nd background are scanned from original hand work; one interesting fact and write one line of copy the subtitle and author credit are printed on a label, using this information as your headline. Or if then wrapped around the front cover. Additional you’ve chosen the other subject, choose one tactile qualities are achieved with debossed type famous line from a classic fi lm or TV program and textured paper.” to use as your headline—for example, “Of all Experimenting with type is one of the best the gin joints in all the towns in all the world, ways to learn about it. The study of typography she walks into mine.” should be ongoing. Please see the bibliography Step 2 for further reading. a. Find typefaces that express the spirit of the subject. Or use handmade or found type or a combination of handmade and a typeface. EXERCISE 3-1 b. Design a poster that is type driven—that is, type is the star of the poster. If you use any DESIGN YOUR NAME image, it should play a secondary role to the ➊ With the notion that your “” is you, type-driven headline. your DNA so to speak, start by writing your name. c. Produce at least twenty sketches. Determine if your signature has any characteris- Step 3 tics that might characterize your personality. a. Choose two of your best sketches and refi ne ➋ Write ten adjectives that describe your them. personality. b. Establish emphasis through a visual hierarchy. ➌ Find typefaces that express your personality. c. Carefully examine the spacing between letters, ➍ Design your name in three different typefaces among words, and between lines of type. that you believe are appropriate. Step 4 ➎ Now, hand make, hand draw, or hand letter the a. Create a fi nished solution. letterforms of your name, retaining any quirks or imperfections that might just be “you.” b. The poster can be designed in a portrait or landscape orientation. ➏ Give careful consideration to the spacing between the letters and words. Go to our website for many more Exercises and Projects, and presentation guidelines, as well as other study resources including the chapter summary. PROJECT 3-1

DESIGN A TYPE-DRIVEN POSTER

Choice of subject: Flu prevention or a cable television NOTES or web channel featuring old fi lms and TV programs Step 1 1. Rob Carter, Ben Day, and Philip Meggs. Typographic Design: Form and Communication, 3e. Hoboken: Wiley, 2002, p. 293. a. Choose from among: fl u prevention (cdc.gov/ 2. I am indebted to Professor Martin Holloway, designer and design fl u/), wellness (webmd.com or prevention.com and type history scholar, for information on type classifi cations and or any brand or organization), or a cable televi- his brilliant type charts in this text. sion or web channel featuring old fi lms and 3. Romy Ashby. http://www.stepinsidedesign.com/STEP/Article/ TV programs (for example, TCM or hulu.com). 28854/0/page/7 Research your subject. b. On an index card, in one sentence, write your objective. Defi ne the purpose and function of the poster, the audience, and the information to be communicated.