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Project Collection SCHOOL OF GRAPHIC DESIGN > AAU > FALL 2013 > INSTRUCTOR: NITA YBARRA PROJECT COLLECTION Type 1: Hierarchy & Form CHRIS TARAMPI PROJECTS 1 > TYPE ANATOMY 2 > PROTO TYPEFACE 3 > (OPTICALLY IMPROVISED) 4 > STRUCTURE (GRID SYSTEM) 5 > ALIGNMENTS & LINESPACING 6 > VISUAL SEMANTICS 7> TYPE CLASSIFICATION POSTERS 8 > SUMMARY POSTER CHRIS TARAMPI > TYPE 1: HIERARCHY & FORM | TYPE ANatOMY tHe pARts Of a LEtTeR D n x g - / CHRIS TARAMPI > TYPE 1: HIERARCHY & FORM | PROTOTYPEFACE (SHUTTER) CHRIS TARAMPI > TYPE 1: HIERARCHY & FORM | STRUCTURE (OPTICALLY IMPROVISED) Davies Symphony Hall Davies Symphony Hall Wednesday 201 Van Ness Avenue Davies Symphony Hall October 30, Davies201 Van Symphony Ness Avenue Hall San Francisco, CA 94102 Wednesday 201 Van Ness Avenue San Francisco, CA 94102 October2013 30, 201 Van Ness Avenue San Francisco, CA 94102 San Francisco, CA 94102 2013 8:00 p.m. 8:00 p.m. City Art & Lectures City Art & Lectures Jaron Lanier JARON LANIER Davies Symphony Hall In conversation with Phil Bronstein In conversation with Phil Bronstein 201 Van Ness Avenue Jaron Lanier JARON LANIER Davies Symphony Hall In conversation with Phil Bronstein In conversation with Phil Bronstein San Francisco, CA 94102 201 Van Ness Avenue Wednesday San Francisco, CA 94102 Wednesday October 30, 2013 Wednesday October 30 8:00 p.m. Wednesday October 30, 2013 2013 October 30 8:00 p.m. 2013 City Art & Lectures 8:00 p.m. City Art & Lectures 8:00 p.m. City Art & Lectures jaron lanier City Art & Lectures INj CONVERSATIONaro WITHn PHIL lanier BRONSTEIN IN CONVERSATION WITH PHIL BRONSTEIN www.cityarts.net www.cityarts.net www.cityarts.net www.cityarts.net www.cityarts.net www.cityarts.net Davies Symphony Hall City Art & Lectures 201 Van Ness Avenue www.cityarts.net Davies Symphony Hall City Art & Lectures San Francisco, CA 94102 201 Van Ness Avenue www.cityarts.net San Francisco, CA 94102 City Art & Lectures Wednesday City Art & Lectures October 30, 2013 Wednesday 8:00 p.m. October 30, 2013 8:00 p.m. Wednesday Wednesday JARON LANIER October 30, 2013 In conversation with Phil Bronstein WednesdayOctober 30, 2013 Wednesday 8:00 p.m. JARON LANIER 8:00 p.m. October 30, 2013 In conversation with Phil Bronstein October 30, 2013 8:00 p.m. 8:00 p.m. City Art & Lectures JARON LANIER In conversation with Phil Bronstein City Art & Lectures JARON LANIER In conversation with Phil Bronstein In conversation with Phil Bronstein Jaron Lanier Davies Symphony Hall In conversation with Phil Bronstein 201 Van Ness Avenue Davies Symphony Hall Jaron Lanier San Francisco, CA 94102 201 Van Ness Avenue San Francisco, CA 94102 Davies Symphony Hall 201 Van Ness Avenue Davies Symphony Hall www.cityarts.net San Francisco, CA 94102 www.cityarts.net 201 Van Ness Avenue www.cityarts.net San Francisco, CA 94102 www.cityarts.net CHRIS TARAMPI > TYPE 1: HIERARCHY & FORM | STRUCTURE (GRID SYSTEM) Common Various forms of dysfunction appear among common Various forms of dysfunction appear among Typographic the populations exposed to typography for typographic the populations exposed to typography for Disorders long periods of time. Listed here are a number disorders long periods of time. Listed here are a number of frequently observed afflictions. of frequently observed afflictions. Typophilia Typophobia Typochondria typophilia The irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. An excessive The irrational dislike A persistent anxiety The fears of the typophobe can often be attachment to and of letterforms, that one has deleted quieted (but not cured) by steady doses of fascination with the often marked by a the wrong typeface. Helvetica and Times Roman. shape of letters, preference for icons, This condition is often to the exclusion dingbats, and—in often paired with of other interests fatal cases—bullets okd (optical kerning and object choices. and daggers. disorder), the need to typophobia An excessive attachment to and fascination Typophiliacs usually The fears of the constantly adjust and with the shape of letters, often to the die penniless and typophobe can often readjust the spaces exclusion of other interests and object alone. be quieted (but not between letters. choices. Typophiliacs usually die penniless cured) by steady and alone. doses of Helvetica and Times Roman. typochondria A persistent anxiety that one has deleted the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters. Common Typophobia Typophilia Typochondria Various forms of Common Typographic Disorders Typographic dysfunction appear Disorders among populations exposed to typography for long periods of time. Listed here are a number of frequently observed afflictions. Various forms of The irrational dislike An excessive A persistent anxiety Typophobia The irrational dislike of letterforms, often marked by a preference for dysfunction appear of letterforms, attachment to and that one has deleted icons, dingbats, and—in fatal cases—bullets and daggers. The fears of among populations often marked by a fascination with the the wrong typeface. the typophobe can often be quieted (but not cured) by steady doses of exposed to preference for icons, shape of letters, This condition is Helvetica and Times Roman. typography for long dingbats, and—in often to the exclusion often paired with periods of time. fatal cases—bullets of other interests okd (optical kerning Listed here are a and daggers. and object choices. disorder), the need to number of frequently The fears of the Typophiliacs usually constantly adjust and observed afflictions. typophobe can often die penniless readjust the spaces be quieted (but not and alone. between letters. Typophilia An excessive attachment to and fascination with the shape of cured) by steady letters, often to the exclusion of other interests and object choices. doses of Helvetica Typophiliacs usually die penniless and alone. and Times Roman. Typochondria A persistent anxiety that one has deleted the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters. CHRIS TARAMPI > TYPE 1: HIERARCHY & FORM | ALIGNMENTS & LINESPACING garamond 2 LINE SPACING & ALIGNMENT _1 The arrangement of text into columns with hard or soft edges is called alignment. The distance from the baseline of one line of type to another is called line spacing. _5 Each basic style of alignment brings aesthetic qualities and potential hazards to It is also called leading, in reference to the strips of lead used to separate lines of Justified metal type. The default setting in most layout and imaging software is slightly the design of page or screen. text, which has even edges on both left greater than the cap height of the letters. Expanding this distance creates a text and right, has been the norm since the invention of printing with movable type, block with a lighter, more open color. As line spacing increases further, the lines of which enabled the creation of page after page of straight-edged columns. Justi- type become independent linear elements rather than parts of an overall texture. fied type makes efficient use of space, and it also creates a clean shape on the page. Ugly gaps can occur, however, when the line length is too short in rela- tion to the size of type used. Hypenation breaks up long words and helps keep The distance from the baseline of one line of type to another is called line spac- _6 the lines of text tightly packed. Letterspacing can also be used to adjust a line. ing. It is also called leading, in reference to the strips of lead used to separate lines of metal type. The default setting in most layout and imaging software is slightly greater than the cap height of the letters. Expanding this distance creates a text _2 In flush left / ragged right text, the left edge is hard and the right edge is soft. block with a lighter, more open color. As line spacing increases further, the lines of Word spaces do not fluctuate, so there are never big holes inside the lines of text. type become independent linear elements rather than parts of an overall texture. This format, which was rarely used before the twentieth century, respects the flow of language rather than submitting to the law of the box. Despite its advan- tages, however, the flush left format is frought with danger. Above all, the The distance from the baseline of one line of type to another is called line spacing. _7 designer must work hard to control the appearance of the rag along the left edge. It is also called leading, in reference to the strips of lead used to separate lines of A good rag looks pleasantly uneven, with no lines that are exessively long or short, and with hyphenation kept to an absolute minimum. A rag is considered metal type. The default setting in most layout and imaging software is slightly “bad” when it looks too even (or too uneven), or when it begins to form greater than the cap height of the letters. Expanding this distance creates a text regular shapes, like wedges, moons, or diving boards. block with a lighter, more open color. As line spacing increases further, the lines of type become independent linear elements rather than parts of an overall texture. _3 Flush right / ragged left is a varient of the more fimiliar flush left setting. It is common wisdom among typographers that flush right text is hard to read, because it forces the reader’s eye to find a new position at the start of each line. The distance from the baseline of one line of type to another is called line spacing. _8 This could be true, or it could be an urban legend.
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