From Cursive to Calligraphy and Printing to Lettering Welcome!

Total Page:16

File Type:pdf, Size:1020Kb

From Cursive to Calligraphy and Printing to Lettering Welcome! from cursive to calligraphy and printing to lettering Welcome! Hey! Glad you could make it. Welcome to your new skill, hobby or script. I promise that after completing this workbook once through, you will be well-versed in monoline calligraphy. TABLE OF CONTENTS 1. Welcome & Table of Contents 2. Monoline Calligraphy Explanation 3. Monoline Letters - Uppercase + Lowercase 10. Monoline - Words 13. Monoline - Flourishing 16. Faux Calligraphy Explanation 17. Faux Calligraphy - Uppercase + Lowercase 24. Faux Calligraphy - Words 27. Serif Print & Lettering Explanation 28. Serif Letters - Uppercase + Lowercase 34. Serif Letters - Words 37. Calligraphy Composition - Guidelines 39. Calligraphy Composition 40. Calligrascape Monoline & Serif Certificate 41. Appendix A: Monoline Calligraphy Alphabets 42. Appendix B: Serif Lettering Alphabets If that sounds like too much, don't worry, I'll walk you through it. As always work at a pace that works for you. The only thing I will stress is to keep at it and don't give up. Try your best to be consistent in making time to practice. That will be the key to your success. Page 1 of 40 Monoline Calligraphy: Explanation Calligraphy is intriguing to look at due to it’s contrast in strokes, it’s symmetry and its consistency. Each script comes with it’s own unique challenges and tools. Copperplate Calligraphy Blackletter Calligraphy Modern Brush Calligraphy But what if I told you there are decorative scripts you can learn easily without any purchase of new tools? Look no further than Monoline Calligraphy. What is Monoline Calligraphy? First, when a word is written in a monoline style, it means that every line, letter and connection are written with the same consistent thickness. Second, calligraphy is dened as decorative handwriting or handwritten lettering. So when you put those two denitions together you get: “decorative handwriting or lettering completed using a singular thickness”. This means that *decorative* are technically This means you can make monoline calligraphy with any normal pen, pencil or marker. You just need to know how. In these practice sheets you will learn 2 monoline calligraphy scripts (cursive and serif) and how to thicken them into faux calligraphy and serif lettering. TO TO Cursive is the best place to start. On the next few pages we will go through the cursive alphabet. If you already know how to cursive write, it may be still important to brush up on some of the letters and connections before moving into faux calligraphy. © 2021 Copyright Calligrascape. Page 2 of 40 Cursive Alphabet: Aa, Bb, Cc, & Dd 1 2 = + 2 1 = + = 1 1 2 = + 1 2 2 = + = 1 + © 2021 Copyright Calligrascape. Page 3 of 40 Cursive Alphabet: Ee, Ff, Gg & Hh 1 2 = + = 1 1 2 = + = 1 2 1 2 = 1 + = + 2 1 3 = + + = + 1 2 © 2021 Copyright Calligrascape. Page 4 of 40 Cursive Alphabet: Ii, Jj, Kk & Ll 2 = 1 = + 1 2 = = 1 + 1 1 2 = + = + 2 1 1 = = 1 © 2021 Copyright Calligrascape. Page 5 of 40 Cursive Alphabet: Mm, Nn, Oo & Pp 1 2 3 = + + = 1 1 2 = + = 1 1 2 1 2 = + = + 2 1 1 = + = + 2 © 2021 Copyright Calligrascape. Page 6 of 40 Cursive Alphabet: Qq, Rr, Ss & Tt 1 1 2 = + = 2 1 = + = 1 1 = = 1 + 2 2 2 1 = + = 1 + © 2021 Copyright Calligrascape. Page 7 of 40 Cursive Alphabet: Uu, Vv, Ww & Xx 1 2 2 = + = 1 + 1 2 = = 1 + 1 2 3 = = 1 + + 1 2 = + = 1 + 2 © 2021 Copyright Calligrascape. Page 8 of 40 Cursive Alphabet: Yy, Zz & 0-9 1 2 2 = + = 1 + 1 = = 1 © 2021 Copyright Calligrascape. Page 9 of 40 Cursive Alphabet: Words Below is a list ‘words’ to practice that contain an upper and lowercase letter for each letter in the alphabet. © 2021 Copyright Calligrascape. Page 10 of 40 Cursive Alphabet: Words © 2021 Copyright Calligrascape. Page 11 of 40 Open Practice Write anything you want to practice the new script you learned. Try a word, a quote, some names, etc. On the next page we will learn to ourish your words. © 2021 Copyright Calligrascape. Page 12 of 40 Monoline Calligraphy: Flourishing What are flourishes? A ourish in calligraphy is an ornamental owing stroke that adds to calligraphic letters to beautify a composition. There are two main types: Letter ourishes that extend from existing letters, and abstract ourishes that are independent from the letters.They can be as simple as adding ornamental ends to your upstrokes to multi-stroke abstract ourishes. Letter Flourish Abstract Flourish Where do I flourish? There are 4 main places where you would want to ourish. 1. Beginning and end of a word or sentence Capitals are naturally decorative but you can change it up. This kind of “frames” the letters. 2. Ascenders and 3. Get creative! Extend a section of Descenders a letter and ourish o that!* *Careful with letter clarity. Instead of looping into itself, or For example, you could extend the next letter additional loops an “a” into a “d” are added. © 2021 Copyright Calligrascape. Page 13 of 40 Monoline Calligraphy: Letter Flourish For the ascenders and decenders try out some variants of letter ourishes. © 2021 Copyright Calligrascape. Page 14 of 40 Monoline Calligraphy: Abstract Flourishes Below are some styles of abstract ourishes that can be added to lettering compositions. In the box below, think of your own monoline ourishes you could add to your calligraphy. Plants Simplistic Icons Waves Innity Banners © 2021 Copyright Calligrascape. Page 15 of 40 Faux Calligraphy: Explanation What is Faux Calligraphy? Faux calligraphy is a style of lettering that imitates calligraphy that is completed with a brush tool. In brush calligraphy, there are upstrokes and downstrokes that have dierent pressures. These pressures correspond with the dierent thicknesses that we nd so aesthetically pleasing. Faux calligraphy takes monoline calligraphy or cursive writing and thickens the letters in the right spots to simulate brush calligraphy. How do I make Faux Calligraphy? 1. Write your cursive (a) Loop (b) Tail Using your new cursive skills, write the “skeleton” of your faux calligraphy. Ensure to space your letters slightly further apart than you would if you were just cursive writing. Additionally, add a bit more space in letters with “loops” (a, d, p, q and some capitals). The loop (a) and the tail (b) must be spaced out a bit more than other letters so that when the letters are thickened, the loops is not too small (c). (a) Loop (b) Tail (c) Too small (d) Downstrokes 2. Sketch your outline. Using your “skeleton” as a guide, sketch an outline around your cursive to thicken the strokes in the appropriate locations. To learn the appropriate locations, knowing brush calligraphy helps a lot, but you can follow the following guidelines: i) For strokes that you pull towards yourself, aka “downstrokes” (d), draw a line on either side of your cursive stroke equally distant from the cursive stroke. (e) Upstrokes Try to keep the thickness consistent on straight lines. However, when thickening curved strokes, gradually increase thickness of your outline until halfway down the height of the letter and decrease the thickness until you reach the bottom. ii) For strokes you push away from yourself aka “upstrokes” (e), leave them the same thickness. Typically, upstrokes are the connecting strokes of letters. 3. Fill in your outline. Within the outline you created. Fill in your outline with the colour or texture of your choice. And there you have it! On the next pages, you will practice the construction of each faux calligraphy letter. © 2021 Copyright Calligrascape. Page 16 of 40 Faux Calligraphy: Aa, Bb, Cc, & Dd © 2021 Copyright Calligrascape. Page 17 of 40 Faux Calligraphy: Ee, Ff, Gg & Hh © 2021 Copyright Calligrascape. Page 18 of 40 Faux Calligraphy: Ii, Jj, Kk & Ll © 2021 Copyright Calligrascape. Page 19 of 40 Faux Calligraphy: Mm, Nn, Oo & Pp © 2021 Copyright Calligrascape. Page 20 of 40 Faux Calligraphy: Qq, Rr, Ss & Tt © 2021 Copyright Calligrascape. Page 21 of 40 Faux Calligraphy: Uu, Vv, Ww & Xx © 2021 Copyright Calligrascape. Page 22 of 40 Faux Calligraphy: Yy, Zz & 0-9 © 2021 Copyright Calligrascape. Page 23 of 40 Faux Calligraphy: Words Below is a list ‘words’ to practice that contain an upper and lowercase letter for each letter in the alphabet. © 2021 Copyright Calligrascape. Page 24 of 40 Faux Calligraphy: Words © 2021 Copyright Calligrascape. Page 25 of 40 Faux Calligraphy: Open Practice Write anything you want to practice the new script you learned. Try a word, a quote, some names, etc. © 2021 Copyright Calligrascape. Page 23 of 40 Serif Lettering: Explanation What is Serif Lettering? The term “serif” refers to the little “feet” on the letters above. Unlike the sans-serif font that this sentence is written in, the additional strokes on the letters above help decorate and dignify the letters. Sans serif fonts are said to be easier on the eyes to read. How do I make Serif Lettering? 1. Print your serif lettering. a) Print your capital letters as you normally would, but add generous spaces between each letter and each word. This space will be lled in by step 2. (a) b) Add your serifs. If you are unfamiliar with where the “feet” go on the letters, a good place to start is at the unconnected ends of strokes (a) and at the top and bottom of the main vertical stroke of a letter (b). To see the full alphabet, please refer to Appendix B (pg 42) for all alphabets. (b) 2. Thicken your letters. (d) To thicken your letters, nd the left-most vertical (or slanted) stroke of a letter and draw a horizontal line out from the centre of the stroke (c). Draw a parallel line to the left-stroke from top to bottom.
Recommended publications
  • Supreme Court of the State of New York Appellate Division: Second Judicial Department
    Supreme Court of the State of New York Appellate Division: Second Judicial Department A GLOSSARY OF TERMS FOR FORMATTING COMPUTER-GENERATED BRIEFS, WITH EXAMPLES The rules concerning the formatting of briefs are contained in CPLR 5529 and in § 1250.8 of the Practice Rules of the Appellate Division. Those rules cover technical matters and therefore use certain technical terms which may be unfamiliar to attorneys and litigants. The following glossary is offered as an aid to the understanding of the rules. Typeface: A typeface is a complete set of characters of a particular and consistent design for the composition of text, and is also called a font. Typefaces often come in sets which usually include a bold and an italic version in addition to the basic design. Proportionally Spaced Typeface: Proportionally spaced type is designed so that the amount of horizontal space each letter occupies on a line of text is proportional to the design of each letter, the letter i, for example, being narrower than the letter w. More text of the same type size fits on a horizontal line of proportionally spaced type than a horizontal line of the same length of monospaced type. This sentence is set in Times New Roman, which is a proportionally spaced typeface. Monospaced Typeface: In a monospaced typeface, each letter occupies the same amount of space on a horizontal line of text. This sentence is set in Courier, which is a monospaced typeface. Point Size: A point is a unit of measurement used by printers equal to approximately 1/72 of an inch.
    [Show full text]
  • Sig Process Book
    A Æ B C D E F G H I J IJ K L M N O Ø Œ P Þ Q R S T U V W X Ethan Cohen Type & Media 2018–19 SigY Z А Б В Г Ґ Д Е Ж З И К Л М Н О П Р С Т У Ф Х Ч Ц Ш Щ Џ Ь Ъ Ы Љ Њ Ѕ Є Э І Ј Ћ Ю Я Ђ Α Β Γ Δ SIG: A Revival of Rudolf Koch’s Wallau Type & Media 2018–19 ЯREthan Cohen ‡ Submitted as part of Paul van der Laan’s Revival class for the Master of Arts in Type & Media course at Koninklijke Academie von Beeldende Kunsten (Royal Academy of Art, The Hague) INTRODUCTION “I feel such a closeness to William Project Overview Morris that I always have the feeling Sig is a revival of Rudolf Koch’s Wallau Halbfette. My primary source that he cannot be an Englishman, material was the Klingspor Kalender für das Jahr 1933 (Klingspor Calen- dar for the Year 1933), a 17.5 × 9.6 cm book set in various cuts of Wallau. he must be a German.” The Klingspor Kalender was an annual promotional keepsake printed by the Klingspor Type Foundry in Offenbach am Main that featured different Klingspor typefaces every year. This edition has a daily cal- endar set in Magere Wallau (Wallau Light) and an 18-page collection RUDOLF KOCH of fables set in 9 pt Wallau Halbfette (Wallau Semibold) with woodcut illustrations by Willi Harwerth, who worked as a draftsman at the Klingspor Type Foundry.
    [Show full text]
  • Classifying Type Thunder Graphics Training • Type Workshop Typeface Groups
    Classifying Type Thunder Graphics Training • Type Workshop Typeface Groups Cla sifying Type Typeface Groups The typefaces you choose can make or break a layout or design because they set the tone of the message.Choosing The the more right you font know for the about job is type, an important the better design your decision.type choices There will are be. so many different fonts available for the computer that it would be almost impossible to learn the names of every one. However, manys typefaces share similar qualities. Typographers classify fonts into groups to help Typographers classify type into groups to help remember the different kinds. Often, a font from within oneremember group can the be different substituted kinds. for Often, one nota font available from within to achieve one group the samecan be effect. substituted Different for anothertypographers usewhen different not available groupings. to achieve The classifi the samecation effect. system Different used by typographers Thunder Graphics use different includes groups. seven The major groups.classification system used byStevenson includes seven major groups. Use the Right arrow key to move to the next page. • Use the Left arrow key to move back a page. Use the key combination, Command (⌘) + Q to quit the presentation. Thunder Graphics Training • Type Workshop Typeface Groups ����������������������� ��������������������������������������������������������������������������������� ���������������������������������������������������������������������������� ������������������������������������������������������������������������������
    [Show full text]
  • Vision Performance Institute
    Vision Performance Institute Technical Report Individual character legibility James E. Sheedy, OD, PhD Yu-Chi Tai, PhD John Hayes, PhD The purpose of this study was to investigate the factors that influence the legibility of individual characters. Previous work in our lab [2], including the first study in this sequence, has studied the relative legibility of fonts with different anti- aliasing techniques or other presentation medias, such as paper. These studies have tested the relative legibility of a set of characters configured with the tested conditions. However the relative legibility of individual characters within the character set has not been studied. While many factors seem to affect the legibility of a character (e.g., character typeface, character size, image contrast, character rendering, the type of presentation media, the amount of text presented, viewing distance, etc.), it is not clear what makes a character more legible when presenting in one way than in another. In addition, the importance of those different factors to the legibility of one character may not be held when the same set of factors was presented in another character. Some characters may be more legible in one typeface and others more legible in another typeface. What are the character features that affect legibility? For example, some characters have wider openings (e.g., the opening of “c” in Calibri is wider than the character “c” in Helvetica); some letter g’s have double bowls while some have single (e.g., “g” in Batang vs. “g” in Verdana); some have longer ascenders or descenders (e.g., “b” in Constantia vs.
    [Show full text]
  • The Impact of the Historical Development of Typography on Modern Classification of Typefaces
    M. Tomiša et al. Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama ISSN 1330-3651 (Print), ISSN 1848-6339 (Online) UDC/UDK 655.26:003.2 THE IMPACT OF THE HISTORICAL DEVELOPMENT OF TYPOGRAPHY ON MODERN CLASSIFICATION OF TYPEFACES Mario Tomiša, Damir Vusić, Marin Milković Original scientific paper One of the definitions of typography is that it is the art of arranging typefaces for a specific project and their arrangement in order to achieve a more effective communication. In order to choose the appropriate typeface, the user should be well-acquainted with visual or geometric features of typography, typographic rules and the historical development of typography. Additionally, every user is further assisted by a good quality and simple typeface classification. There are many different classifications of typefaces based on historical or visual criteria, as well as their combination. During the last thirty years, computers and digital technology have enabled brand new creative freedoms. As a result, there are thousands of fonts and dozens of applications for digitally creating typefaces. This paper suggests an innovative, simpler classification, which should correspond to the contemporary development of typography, the production of a vast number of new typefaces and the needs of today's users. Keywords: character, font, graphic design, historical development of typography, typeface, typeface classification, typography Utjecaj povijesnog razvoja tipografije na suvremenu klasifikaciju pisama Izvorni znanstveni članak Jedna je od definicija tipografije da je ona umjetnost odabira odgovarajućeg pisma za određeni projekt i njegova organizacija s ciljem ostvarenja što učinkovitije komunikacije. Da bi korisnik mogao odabrati pravo pismo za svoje potrebe treba prije svega dobro poznavati optičke ili geometrijske značajke tipografije, tipografska pravila i povijesni razvoj tipografije.
    [Show full text]
  • Typeface Classification Serif Or Sans Serif?
    Typography 1: Typeface Classification Typeface Classification Serif or Sans Serif? ABCDEFG ABCDEFG abcdefgo abcdefgo Adobe Jenson DIN Pro Book Typography 1: Typeface Classification Typeface Classification Typeface or font? ABCDEFG Font: Adobe Jenson Regular ABCDEFG Font: Adobe Jenson Italic TYPEFACE FAMILY ABCDEFG Font: Adobe Jenson Bold ABCDEFG Font: Adobe Jenson Bold Italic Typography 1: Typeface Classification Typeface Timeline Blackletter Humanist Old Style Transitional Modern Bauhaus Digital (aka Venetian) sans serif 1450 1460- 1716- 1700- 1780- 1920- 1980-present 1470 1728 1775 1880 1960 Typography 1: Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif The model for the first movable types was Blackletter (also know as Block, Gothic, Fraktur or Old English), a heavy, dark, at times almost illegible — to modern eyes — script that was common during the Middle Ages. from I Love Typography http://ilovetypography.com/2007/11/06/type-terminology-humanist-2/ Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif Types based on blackletter were soon superseded by something a little easier Humanist (also refered to Venetian).. ABCDEFG ABCDEFG > abcdefg abcdefg Adobe Jenson Fette Fraktur Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif The Humanist types (sometimes referred to as Venetian) appeared during the 1460s and 1470s, and were modelled not on the dark gothic scripts like textura, but on the lighter, more open forms of the Italian humanist writers. The Humanist types were at the same time the first roman types. Typography 1: : Typeface Classification Typeface Classification Humanist | Old Style | Transitional | Modern |Slab Serif (Egyptian) | Sans Serif Characteristics 1.
    [Show full text]
  • Style Guide: Best Practices in Formatting
    Style Guide: Best Practices in Formatting According to Colin Wheildon, author of Type & Layout: Are You Communicating or Just Making Pretty Shapes, it’s possible that 75% of your readers attempting to access your content (whether online, in print, or via email) will disregard what you’re saying based solely on the type of font you choose. That’s right—75%! That’s why it’s critically important to choose fonts that are clean and accessible and to choose a layout that is visual but not busy. Don’t try to pack too much into your layout, or else you may run the risk of your message being lost. First, let’s look at the differences between a “serif” and “sans serif” font. Serif fonts are more embellished, with small lines attached to the end of a stroke in a letter or symbol. Popular serif fonts include Times New Roman, Georgia, and Garamond. Many books, newspaper, and magazines use a serif font. In print mediums, serif fonts are often easier to read. Sans serif fonts don’t have the added embellishments. These fonts are often used in advertisements, and are generally easier to read. In print, sans serif fonts are often used as a headline, whereas serif fonts are used for the body text. Popular sans serif fonts include Helvetica, Arial, and Calibri. There are some simple best practices in formatting print, online, and email communications for your organization. These best practices will make your information easier to understand and more accessible to the average reader. When do I use a serif font like Times New Roman or Garamond? For print items, it’s suggested to utilize serif fonts for brochures, donation letters in the mail, etc.
    [Show full text]
  • The Complete Photo Guide to Hand Lettering and Calligraphy
    Practice Sheets Swirls and strokes Using a brush marker: Follow along each brush stroke, as marked by the arrows. Take note of the alternate thick and thin stroke variations as you work on your drills. Proof 1 2CT Proof 150 THE COMPLETE PHOTO GUIDE TO HAND LETTERING & CALLIGRAPHY CPGHC_4C_release_13230_C2.indd 150 13/3/18 3:22 PM CPGHC_4C_release_13230_C2.indd 150 Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport)13/3/18 3:32 PM Text GLP SMJ Page: 150 Using a pen: Follow and finish each line of handwriting strokes. 2CT Proof 1 Practice Sheets 151 CPGHC_4C_release_13230_C2.indd 151 13/3/18 3:22 PM Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport) CPGHC_4C_release_13230_C2.indd 151 Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport)13/3/18 3:32 PM GLP SMJ Page: 150 Text GLP SMJ Page: 151 Alphabet Writing Instructions: Trace along the corresponding alphabet styles Recommended Tools: pencil, fineliner pen Proof 1 2CT Proof 152 THE COMPLETE PHOTO GUIDE TO HAND LETTERING & CALLIGRAPHY CPGHC_4C_release_13230_C2.indd 152 13/3/18 3:22 PM CPGHC_4C_release_13230_C2.indd 152 Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport)13/3/18 3:32 PM Text GLP SMJ Page: 152 2CT Proof 1 Practice Sheets 153 CPGHC_4C_release_13230_C2.indd 153 13/3/18 3:22 PM Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport) CPGHC_4C_release_13230_C2.indd 153 Job: 13230 Title:CPG to Hand Lettering and Calligraphy(Rockport)13/3/18 3:32 PM GLP SMJ Page: 152 Text GLP SMJ Page: 153 Spencerian Calligraphy Proof 1 2CT
    [Show full text]
  • INTERNATIONAL TYPEFACE CORPORATION, to an Insightful 866 SECOND AVENUE, 18 Editorial Mix
    INTERNATIONAL CORPORATION TYPEFACE UPPER AND LOWER CASE , THE INTERNATIONAL JOURNAL OF T YPE AND GRAPHI C DESIGN , PUBLI SHED BY I NTE RN ATIONAL TYPEFAC E CORPORATION . VO LUME 2 0 , NUMBER 4 , SPRING 1994 . $5 .00 U .S . $9 .90 AUD Adobe, Bitstream &AutologicTogether On One CD-ROM. C5tta 15000L Juniper, Wm Utopia, A d a, :Viabe Fort Collection. Birc , Btarkaok, On, Pcetita Nadel-ma, Poplar. Telma, Willow are tradmarks of Adobe System 1 *animated oh. • be oglitered nt certain Mrisdictions. Agfa, Boris and Cali Graphic ate registered te a Ten fonts non is a trademark of AGFA Elaision Miles in Womb* is a ma alkali of Alpha lanida is a registered trademark of Bigelow and Holmes. Charm. Ea ha Fowl Is. sent With the purchase of the Autologic APS- Stempel Schnei Ilk and Weiss are registimi trademarks afF mdi riot 11 atea hmthille TypeScriber CD from FontHaus, you can - Berthold Easkertille Rook, Berthold Bodoni. Berthold Coy, Bertha', d i i Book, Chottiana. Colas Larger. Fermata, Berthold Garauannt, Berthold Imago a nd Noire! end tradematts of Bern select 10 FREE FONTS from the over 130 outs Berthold Bodoni Old Face. AG Book Rounded, Imaleaa rd, forma* a. Comas. AG Old Face, Poppl Autologic typefaces available. Below is Post liedimiti, AG Sitoploal, Berthold Sr tapt sad Berthold IS albami Book art tr just a sampling of this range. Itt, .11, Armed is a trademark of Haas. ITC American T}pewmer ITi A, 31n. Garde at. Bantam, ITC Reogutat. Bmigmat Buick Cad Malt, HY Bis.5155a5, ITC Caslot '2114, (11 imam.
    [Show full text]
  • A Type of Communication What to Watch for in U.S. Presidential Campaign Promotional Ephemera & Typographic Choices Amanda C.R
    Whitworth Digital Commons Whitworth University Library Faculty Scholarship Library 2012 A Type of Communication What to Watch for in U.S. Presidential Campaign Promotional Ephemera & Typographic Choices Amanda C.R. Clark Whitworth University, [email protected] Follow this and additional works at: http://digitalcommons.whitworth.edu/libraryfaculty Part of the Graphic Design Commons Recommended Citation Clark, Amanda C.R. , "A Type of Communication What to Watch for in U.S. Presidential Campaign Promotional Ephemera & Typographic Choices" Whitworth University (2012). Library Faculty Scholarship. Paper 2. http://digitalcommons.whitworth.edu/libraryfaculty/2 This Article is brought to you for free and open access by the Library at Whitworth University. It has been accepted for inclusion in Library Faculty Scholarship by an authorized administrator of Whitworth University. AMANDA C. R. CLARK A T YPE OF C OMMUNICATION: W HAT TO WATCH FOR IN U.S. P RESIDENTIAL C AMPAIGN P ROMOTIONAL E PHEMERA & T YPOGRAPHIC C HOICES Facets of graphic design, logo design, typefaces, and other images absorbed through rapid cognition have a psychological effect on the viewer. Well known to advertisers, these stylistic typographic choices transmit a powerful message to viewers and influence their impressions of the product (Coleman and Wasike 2003: 1). Visual design decisions may persuade at unquestioned and unconscious levels, and they may be indelibly imbued with their historical identity. How then do these choices, when applied to the promotional materials
    [Show full text]
  • The Skillful Use of Typography
    Written by Gary Gnidovic and Greg Breeding The Skillful Use Of Typography A publication of Magazine Training International. What’s inside Why typography decisions are important 2 Classification of type 4 Principles for good typography 9 Selecting and using a text font 14 Other typographic elements 23 Share your thoughts with #MTIebook Chapter 1 Why typography decisions are important Aaron Burns, an influential designer and founder of the International Typeface Corporation (ITC), once said, “In typography, function is of major importance, form is secondary, and fashion [trend] is almost meaningless.” Although this may sound like an extreme view, it holds a great deal of truth. If we choose to work well with our type, concentrating on its purpose, appropriateness, and legibility, our magazines will begin to take on an air of authenticity and integrity. Rather than blindly following stylistic trends in typography, intelligent, careful attention to detail will pave the way for a more expressive, creative approach. THE SKILLFUL USE OF TYPOGRAPHY 2 Share your thoughts with #MTIebook The skillful use of type in magazine design is an area where, even with limited resources, we can do a great deal to enhance the look and feel of our publications. The creative application of a couple of well-chosen font families is often preferable to a CD containing “600 Cool Fonts for Every Purpose.” This e-book will offer some principles that will help establish a firm foundation on which to build the visual approach to your magazine. THE SKILLFUL USE OF TYPOGRAPHY Chapter 1 3 Share your thoughts with #MTIebook Chapter 2 Classifications of type There are two major classifications of type: serif and sans-serif.
    [Show full text]
  • Georgia Vs Bodoni Y Y Y Y
    Georgia, a relatively new serif typeface, was designed in 1993 by Matthew Carter. Microsoft adopted this typeface to be the serif companion to Verdana both of which were intended to be optimally read on a digital screen. Georgia was ironically used in the branding for the 1996 Olympic Games in Atlanta, Georgia. Georgia has many similarities with Times New Roman, but its differences make Georgia much more legible in the digital format. Over 200 years ago, Giambattista Bodoni designed a classic serif typeface that has been used prevalently in design ever since. The early versions of Bodoni were considered transitional but have since been altered to be a modern Didone typeface. Giambattista Bodoni looked to the ideas of John Baskerville when designing this font. He also studied the French type founders Pierre Simon Fournier and Firmin Didot and drew inspiration from their work but ultimately found his own style of typography. Although Bodoni is said to be difficult to read in digital format, printers have acceptedk Bodoni as a beautiful and classic typeface. Although Bodoni and Georgia are separated greatly by age, the both have roots in the transitional typeface catagory. Bodoni has developed over time to be a much more modern typeface, while Georgia has stayed truer to its original design. The greatest similarities to be found between Georgia and Bodoni are when they are bold and oblique. The serifs become much more rounded. Bodoni already has proven its longevity, and in a few hundred years, Georgia may prove to as well. Southern Charm Georgia vs Bodoni y y y y.
    [Show full text]