typography-i-fall-2019

[typography-i-fall-2019]

Publication Design

Publication Design: a guide to page layout, typography, format and style is an almost square book (55p6 by 50p6) designed by Allen Hurlburt, typeset by Cooper and Beatty, Limited, Toronto and printed and bound by Halliday Lithograph Corporation. The specific typeface used is not mentioned, and is not in the type catalogue but can be classified as grotesque sans or neo-grotesque sans set at 9/12.

Published in 1976, this book was written to inform and inspire people interested in magazine layout, as well as for advertisers, magazine editors and designers. It “brings to the broad field of publishing an up-to-date review of the development of the modern magazine”.

The margins are set at 4p at the gutter, 13p6 at the top, 4p6 at the outer margin, and 6p6 at the bottom.

This book has a multiple (possibly 6-8) column spread with a 2 text block layout that includes one main block on the right side of each page that is 27p by 36p and a secondary column on the left side of each page that is 13p by 36p.

The layout of this book is simple, clean, and you can clearly see the grid the designer used in designing the pages. Images sometimes span both columns, but there is a clear block where text is placed. Almost all the text is set to FLRR with the occasional caption set to FRRL. Headings are also set to FLRR lining up with the text in the main text block, appearing to be almost centered in the page. The page numbers are also set at the bottom left corner of the main text block, also lining up with the text.

This kind of layout reflects the modern grids we are learning about in class and is very easily noticed. This keeps for a coherent design and layout and unifies the pages even when the images have nothing in common pictured or are different sized. It also makes reading the page easier for the reader as there is not too much text in one page. The typeface picked reinforces this idea of a simple layout and a more geometric feel, like the grid, whereas a serif typeface would not match the tone of the layout. The box is printed in black and white which helps the reader focus not of the images, but on the text and the layout of the page. The read can more easily learn and be inspired when they are not distracted by the images.

Something I learned from this book was how to use a multiple column spread with a limited number of text blocks but still manage to keep the pages interesting, similar and coherent, but have elements placed in different places that add an interest factor to the design while still sticking to the grid. I would really like to implement this idea into my future designs because I believe sometimes small details like this could be unexpected and still subtle.

[typography-i-fall-2019]

Typography Blog 2

From Contemporary Graphic Design by Charlotte and Peter Fiell

Designed by Sense/Net, Andy Disl, Birgit Reber, and Cologne

Published by TASCHEN GmbH

The only typeface used is Adobe Garamond Pro and the body type is set at 8pt 10. The title of each designer is set at around 78pt. Adobe Garamond Pro is an old-style serif reworked by Robert Slimbach.

The book is a collection of current designers and firms that project modern contemporary qualities meant to provide the reader with a variety of styles and inspirations that they could further study. The book is essentially a highlight page for modern designers.

The layout of the grid and type enhances the message of the authors by focusing on visual content more than text. The information the authors provide is tucked in the corner, leaving the bottom 2/3 and an extra page open to graphics and other assets. This focus on visual elements shows how the book designers wanted the designs to be the main attraction, not the book itself.

The design of the book will influence future work as I want to work on different approaches to design (i.e. how to work between visual and typographical elements). Not only that but the breathability and use of space are both inspiring aspects to the book.

[typography-i-fall-2019]

Designed by Struktur Design

Authors: Steven Heller & Veronique Vienne

Source: Alkek Library 6th floor

The typeface used is Gotham which is a sans serif. Gotham has a relatively broad design with a reasonably high x-height and wide apertures. The book is called “100 Ideas That Changed Graphic Design” it is an awesome book because it shows you a lot of unique ideas that were used for successful designs. For me this book gives me a lot inspiration because the designs in this book are amazing. I will probably end up buying this book so that I can look at it and get good ideas. The type size works, its not too small or too big. My biggest complaint about this book is that whoever set the type did a terrible job because there are a lot of rivers throughout the body text. It’s amazing how people get paid to set type and they do a terrible job and still get paid for it.

The hierarchy used in this book is beautiful and the overall layout is designed very nice. It influences me to do a good job with including a lot of information without the layout feeling crowded or overwhelming. I think that is one thing that designers struggle with is simplicity meeting complexity. Its hard to make that relationship work and this book is a good example on how to do that properly.

[typography-i-fall-2019]

Type, Image, Message A Graphic Design Workshop by Nancy Skolos and Thomas Wedell

The typeface used in this book is both San Serif and Serif type throughout the book. The transitional serif typeface is Prensa at 7/11 and the transitional san serif typeface is Relay at 7/10 both were made by Cyrus Highsmith.

This books intended audience are people who are graphic designers, or people who are interested in layouts, and the book wants to show that there can be no boundary between type and photography. Creating collages of the two mediums to make a coherent piece that works well together is sometimes kind of tricky, but when you get it, you get it. Being able to make strong layouts are a needed fundamental in this field and the book also deconstructs each piece of work as well to show the inner workings of each part.

The typography and layout enhances the message by making the information organized to read and almost enjoyable to look at too. For some pages the layout of the type are in columns and rows that have a nice hierarchy which is easy to follow and then in other pages the image is what takes up most of the white space while the type are on the top, bottom, and/or off to the sides in rows and columns as secondary information. Whenever the images come into play the words work as secondary information which is very obviously seen in the pages which keeps up their strong hierarchy.  

This example will influence my future works by getting me to think more critically about how images and the text are displayed on a page. If I really want to emphasize the images just like how they do in this text it will offset the importance of the blocks of type, but also show they are still somewhat prominent in the page. This has made me think that doing something as unconventional as making the pictures the center of attention in an informational book should be something I should embrace and give it a try than shy away from.

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The typeface in this book is a sans serif, and appears to be in the geometric classification. It has zero contrast  and many circular aspects, especially in the bowls of the letters.

The book itself is called Make it Happen: Materials and Techniques for Graphic Design, and it is full of a variety of examples of design from brands to magazines.It also includes many techniques involved in how a designer assembles their work such as binding. This book is probably helpful to those looking for some inspiration and helpful advice in their design work. A student who is new to design would be a likely audience for this book. 

Although the typography is probably smaller than they needed to make it, I think the general layout is effective in communicating their message. This book seems like the majority of its communication would be done visually so it makes sense that it would emphasize and enlarge the photos. It definitely does have a stylized look though which is visible from the unique typeface. It looks like it is meant to be noticed and enjoyed, vs a typical book that is usually average looking to the average reader. 

What I found most inspiring in this book was the scale of the photos. I definitely would like to use an emphasis on the imagery in my layout for the next project, I enjoy the contrast of the photos and the text.

[typography-i-fall-2019]

Process: Architecture No.8, Ulrich Franzen: Architecture in Transition

This book is set in a transitional serif type, which is unique for a modern grid, which is typically set in a sans serif. The serif adds to the more polished look and is a nice contrast with the kanji alphabet, which is set in a geometric and calligraphic style. In some parts of the book, it is set in a sans serif, but a majority is in the serif. 

This book is an issue in a series of Japanese Architecture books that focus on the architect, Ulrich Franzen. It was published in 1979 and has a unique layout due to the inclusion of Japanese and English. The separation between the two text blocks and the spacing for the photos creates an interesting modern grid.

I’m going to take inspiration from the blocking of text and photo, along with the hierarchy of captions. I may consider using rules as I think this is a modern iteration of using them.

[typography-i-fall-2019]

Handwritten Expressive Lettering in the Digital Age

cby Steven Heller & Mirko Ilic

point size: 8.5pt

margins: 3p

text block: 24p9 x 24p9

page size: 59p x 59p

Handwritten Expressive Lettering in the Digital Age by by Steven Heller & Mirko Ilic is set in a geometric sans serif font. The photo descriptions appear to be a condensed version of the font.

The book is a collection of different handwritten fonts from around the world which vastly contrasts from the sans serif font used to type set text within the book. From its description on amazon.co.uk, it is “packed with examples of hand-drawn lettering from mainstream culture, advertising campaigns, record covers and branding, this outstanding collection of unusual, meticulously wrought and occasionally breathtaking designs is a dazzling sourcebook and inspiration for students and graphic artists everywhere”.

The type enhances the message within the book because it allows for information without being a distraction from the images since the book seems to be image based. Because it is so clean and crisp, it contrasts with the flare and originality of the handwritten words. It balances the “loudness” of the book.

With more elaborate images and graphics within a book, it is important to use a font that is less distracting in order to balance the busyness of the layout. Its important to keep in mind way reader will want to view the content. Knowing how to use type in order to keep the reader interested is crucial especially with the graphics competing for attention. Keeping the reader interested in reading the words as well is the main goal. This will help me keep in mind when typesetting more modern books or documents with graphics.

[typography-i-fall-2019]

New Media Art - Mark Tribe

This book is a collection and analysis of 21st-century digital art and technology experiments. Each spread is a new essay and study, for example, the first one, in particular, is an analysis of a garden video streamed with a robotic arm controlled by viewers. The typeface is a light sans serif font close to a Helvetica for the body, the typeface used for the title is also a bold san serif that is unidentified. The page size is 43p0 by 54p0 and is organized by a two-column grid system with a width of 19p6 per column. 

[typography-i-fall-2019]

Type Sign Symbol

The Book I’ve chosen is Adrian Frutigers Type Sign Symbol (with contibutions by Maurice besset, Emil Ruder, and Hans Rudolf Schneebeli). The book was published in 1980 and printed in Switzerland, subject is an exploration of type becoming symbol and how it gets there. The book organizes the text almost strictly into 3 columns each being the same information in three languages(English, German, French ) and some pages have the smaller footnotes incorporated into the page. Depending on the photos being utilized these will move these columns around throughout not only the page but the spread. The serif font used in the book I had a difficult time finding confirmation on, but taking a closer look I assume its univers and find it interesting since it’s also mentioned in a section of the book. A great choice for this book and its information.  This publication would definitely be for designers who wanting to understand type beyond typography. The books complex grid system has the relationship between text, image, and empty space all serve each other creating an effort less reading experience to the viewer. The body of text depends heavily on hierarchy since the text size rarely changes, the hierarchy is determined through the font style whether bold, or italic. I think the lack of variation on size and style in the text is to not have the reader confused with the text and the images (many display examples or specifications of text). After reviewing the books grid system and even reading a few paragraphs, I really want to focus on making relationships between the margins and empty spaces instead of the text boxes alone like previous projects. I’m sure I will make some of my decisions based on this book, but I hope to come up with practical solutions on creating a unique display.

[typography-i-fall-2019]

Neue Grafik: Graphisme Actuel (1958-1965) Edition 4 by Josef Müller-Brockmann (Type Analysis)

The Neue Grafik: Graphisme Actuel was a series of editorial collections published by Josef Müller-Brockmann between 1958 and 1965. He aimed to spread the influence of Swiss graphic design and detail the International Review of graphic design and related subjects. Volume 4 focuses on Exhibition Design, Photography and Advertising Design, and The Character and Development of Typewriter Lettering.

Throughout the magazine, Josef used a neo-grotesque sans typeface that reflects Helvetica LT Std and Univers.

Although many of the text boxes vary among the pages, the average text box is 20p3 tall and 12p wide. Within the page (66p tall x 58 wide), the text is set at 7.5/8, and fills the lower third of the page which allows Josef to place more emphasis on the large images that take up the upper two-thirds of the page. He utilizes a left margin of 2p and a right margin of 2p which allows the images and text boxes to fill the edges of the page and also helps to create a balanced diagonal composition. Similarly, an upper margin of 2p5 and lower margin of 3p2 also allows for the text and images to be balanced through the page.

Josef Müller-Brockmann’s Neue Grafik: Graphisme Actuel has influenced me to consider a page’s size to place heavier emphasis on either visual images or the text within a page.

Müller, Lars, et al. Neue Grafik 1958-1965 : Internationale Zeitscrhift Für Grafik Und Verwandte Gebiete = New Graphic Design 1958-1965 : International Review of Graphic Design and Related Subjects = Graphisme Actuel 1958-1965 : Revue Internationale Du Graphisme et Des Domaines Annexes. Lars Müller Publishers, 2014. EBSCOhost, search.ebscohost.com/login.aspx?direct=true&db=cat00022a&AN=txi.b3539403&site=eds-live&scope=site.

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The Spirit of Bauhaus by Thames and Hudson is a book depicting some of the many works that came out of Bauhaus before it closed. The audience would be artists and designers looking for inspiration, or to admire the work. The typeface very closely matches Univers, a neo-grotesque sans serif, designed by Adrian Frutiger in 1954-1957. This choice works well with the overall context of the book because many of these pieces are taking place during this time period, as well as this simple and easy to read typeface does not distract the reader from the photos of the work. The body text is set in 8/12 pt with a 2p gutter between the text boxes. Text box size on this spread is 32p tall by 16p wide. The page size is 9x12in allowing for a lot of negative spaces throughout the pages, giving the reader a break from looking at all of the pieces. The layout also uses rules in the shoulders which is common in modern grids. I plan on implimenting the use of negative space that this book has in my project, as well as using rules.

[typography-i-fall-2019]

schriftgestalten: über schrift und gestaltung. tino graß

Translated: type design: about writing and design. by Tino Grass

Publishing House: Verlag Niggli AG

Source: Alkek Library Floor 6

The section on the cover underneath the title translates to “With contributions from:” and includes a list of graphic designers and typographers that contributed to the book.

This is a book about typefaces and design, by Swiss graphic designer Tino Grass. He is a very noted graphic designer that works in visual communication and typography and also teaches these subjects at several universities in Germany. The page size is 57p x 48p (9.25 x 8 inches). 

The intended audience would most likely be beginning or aspiring graphic designers and typographers looking for inspiration and to learn how to create designs with typography. The book discusses how and why fonts are created, how to identify good and bad typefaces, and how to choose a certain typeface for a certain design depending on its characteristics. Several typographers and designers discuss throughout the book different approaches to modern design and working with a diversity of letterforms.

The typeface used is exclusively Akzidenz-Grotesk, a grotesque sans serif typeface family that was released in 1896 by the Berthold Type Foundry of Berlin. It is very modern, blocky, and clean, contributing nicely to the modern layout of the entire book. The straight, legible sans serif font matches the contemporary design so that it becomes one with the layout, instead of a separate piece. Similarly, the layout of the pages utilize a lot of dynamic negative space and non-conventional placement of images and text, giving the reader a clear look at many different modern layouts that take risks and stray very far from the traditional page layout. 

The various grid systems in this book will be a perfect example and source of inspiration for the project, as the book includes many different styles of layouts, while each one gives the same contemporary feel. This book will also influence me in my own creative work in the future because it shows me how I can take risks while still creating a successful composition, such as making things go off the page, having images cross over onto the next page, and utilizing negative space to my advantage.

[typography-i-fall-2019]

Swiss Graphic Design

Hollis, Richard. (2006). Swiss Graphic Design: The Origins and Growth of an 

          International Style 1920-1965.New Haven, CT. Yale University Press

The typeface used throughout the book is Univers, set in Regular and Bold 9/13 pt. for the body text and Light Condensed 8/9 pt. for the photo captions. The book is a history and rundown of the modernization of type and design in the twentieth century, as well as the evolution of the Swiss design style. The intended audience is most likely designers looking to find inspiration, as the book contains many examples of effective Swiss Design and in itself serves as a great example of a modern grid system. The typeface used works well with the content as Swiss designers preferred the use of san serif typeface over that of serif or traditional style typeface. The bold font serves to deliver the message clearly, creating an overall simplistic yet direct message. Once again, the thin margins, linear design, and use of rules is exemplary of most modern grid design. The piece has definitely pushed me to create a grid with thin margins and use of numerous columns to create a very busy and linear layout. The changing number of rules and columns between spreads has made it difficult to chose which grid system works best, as all the examples I viewed caught my eye and worked well with the type and photos included. I have several options to create an effective modern grid system and Swiss Graphic Design has done a great deal in inspiring and influencing my choices.

[typography-i-fall-2019]

Some GRIDS! (part 2)

Ok, so this one is a bit different. It utilizes a 90′s aesthetic, with its postmodernism (pixilated) type face. The grids themselves also have a modernism grid layout as well, utilizing square grids. This creates air between the text blocks, but also order with movement for the eye. it also uses pops of colors within texts, creating a look back at the first modern designers. It has a rag left also going on within the text, paired with a pixel typeface set at 10 pt. The book is 17p4. 

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The book I found was Neue Grafik Edition 6 from 1960. The book is review of different designs at the time and is targeting designers to get inspiration, in this edition of the book the subject is Packaging Design and Advertising. The page size is 66p0 by 58p0. The margins, text and leading are small on each spread. The margins are 2p6 from the top, the outer-side margin is 2p0, the inner-margin is 3p6, and the bottom margin is 3p0. The text is set very tightly at 7pt with 7pt leading. The pages on each spread are usually asymmetrical but still balanced and consistent with three columns of text recurring on spreads. The organization of each spread is handled very precisely and it would be something I want to include in my spread for Project 3.

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The book I’ve chosen is The Graphic Artist and his Design Problems by Josef Muller-Brockmann.  The typeface within this book is in close relation with Helvetica.  It’s not exactly that font but characteristics have similarities. After some more research I found the exact font: Graphique, with the classification as Basic Commercial Pro Bold by Linotype foundry.  The audience for this book would be anyone interested in design most likely those who are in a similar field to graphic design.  The complex grids and information within this book will catch the eye of those interested in modern type and style. With that being said the structure of the page and the grotesque typeface really enhances the all-over theme of the book, which is modern solutions to design problems. The use of negative space and running header creates a beautiful composition which will influence the grids I’ll create for this project.  I also enjoyed how Brockmann wasn’t scared to use mulitple colums throughout this book.  I feel like most shy away from them but with the width of the book being greater than the height I believe this is the way to go when creating the best grid possible. 

[typography-i-fall-2019]

Some GRIDS!

First up I picked a book focused around typographers (it’s not cheating) which makes it pretty interesting and fun to look at grids within the book that pay homage towards modern designers. The book makes use of its type by utilizing Helvetica as its type face. This plays a key role to the modern designers the book talks about, especially with a chapter dedicated to Jan Tschichold. I feel as though the design team behind this book had Jan’s designs in mind, as they showcase his diagonal type and use of red dots. As they show this work, they are also paying homage to the design in the books very own timeline to the side of the page. The grid of type itself is also modern, following a grid consisting of different squares (varying in size and flow). This grid however creates breathing spaces between type blocks, again paying homage to Jan.