[PPT] - Y >. F U N D A M E N T A L S o f G R A P H I C D E S I G N : PowerPoint Presentation

SLIDE 1

Y

SLIDE 2

F U N D A M E N T A L S o f G R A P H I C D E S I G N :

W A T C H : B E G I N N I N G G R A P H I C D E S I G N : F U N D A M E N T A L S H T T P S : / / Y O U T U . B E / Y Q Q X 7 5 O P R A 0

>.

SLIDE 3

W H A T i s T Y P O G R A P H Y ?

W A T C H : B E G I N N I N G G R A P H I C D E S I G N : T Y P O G R A P H Y H T T P S : / / Y O U T U . B E / S B Y Z H O I Y F X 0

01.

SLIDE 4 Typography is the art and technique of arranging type to make written language legible, readable, and appeal- ing when displayed. On originating from Greek words of “ typos” (form) and “graphis” (writing), typography means to write in accor- dance with form.

WHAT IS TYPOGRAPHY? Typography is the art of designing letterforms, and/or arranging these forms in space, including styling the typography and adjusting kerning, tracking, and leading.

01.

SLIDE 5 W A T C H : T H E H I S T O R Y O F T Y P O G R A P H Y - A N I M A T E D S H O R T H T T P S : / / Y O U T U . B E / W O G I K X A F J S K

What is the H I S T O R Y

O F T Y P O G R A P H Y ?

02.

SLIDE 6

SLIDE 7

E L E M E N T S of T Y P O G R A P H Y

SLIDE 8 A C O L O R L E S S , T R A N S P A R E N T , O D O R L E S S , T A S T E L E S S L I Q U I D

T H A T F O R M S T H E S E a S

, L A K E S , R I V E R S , A N D R A I N A N D I S T H E B A S I S O F T H E F L U I D S O F L I V I N G O R G A N I S M S .

S I Z E :

E L E M E N T O F

A

SLIDE 9

F O R M :

T Y P E F A C E S E L E C T I O N : E L E M E N T O F

O C E A N O C E A N O C E A N O C E A N O C E A N O C E A N O C E A N O C E A N O C E A N O C E A N

SLIDE 10

F O R M :

T Y P E F A C E P A I R I N G : E L E M E N T O F I N T O T H E B L U E i n t o t h e b l u e I N T O T H E B L U E I N T O T H E B L U E I N T O T H E B L U E I N T O T H E B L U E I N T O T H E B L U E

O C E A N

O C E A N O C E A N O C E A N

O C E A N O C E A N

SLIDE 11

F O R M :

S T R U C T U R E : E L E M E N T O F I N T O T H E B L U E I N T O t h e B L U E I N T O T H E B L U E I N T O T H E B L U E I N T O T H E B L U E I N T O T H E B L U E I N - T O T H E B L - U E I N - T O T H E B L - U E I N - T O T H E B L - U E

O C E A N

O C E A N O C E A N

O C E A N

O C E A N O C E A N

O C

E A N

SLIDE 12

S P A C I N G :

E L E M E N T O F

O C

K E R N I N G T R A C K I N G L E A D I N G

O C E A N OC E A N O C E A N

A C O L O R L E S S , T R A N S P A R E N T , O D O R L E S S , T A S T E L E S S L I Q U I D T H A T F O R M S T H E S E A S , L A K E S , R I V E R S , A N D R A I N A N D I S T H E B A S I S O F T H E F L U I D S O F L I V I N G O R G A N I S M S .

SLIDE 13

L I N E :

E L E M E N T O F I n a f i e l d o f d u s t u n d e r t h e b o o m b e h i n d t h e o c e a n a n d i n t o t h e s e a A F I E L D O F D U S T U N D E R T H E O C E A N 0 5 . 15 . 2 0 0 9 0 5 0 9 3 : 4 5 P M 3 : 4 5 P M 11. M O D U L A R w h e r e w a t e r a f i e l d o f d u s t u n d e r t h e b o o m b e h i n d t h e o c e a n a n d i n t o t h e s e e b e h i n d t h e o c e a n a n d i n t o 0 515 2 0 0 9 3 : 4 5 p m & i s k e p t R A D I A L b e t w e e n A r e d s t r i n g g l i d e s t h r o u g h a l a n d - s c a p e m a d e o f d u s t . F l u t t e r i n g i t w e n t t h r o u g h a d o o r, a h o m e , a b e d o f r u s t . W h a t o n c e w a s , n o w u n d o n e . b e h i n d t h e o c e a n a n d i n t o 0 515 2 0 0 9 0 515 2 0 0 9 3 : 4 5 p m R A N D O M

W A T E R . A C O L O R L E S S ,

T R A N S P A R E N T , O D O R L E S S , T A S T E L E S S L I Q U I D T H A T F O R M S T H E S E A S , L A K E S , R I V E R S , A N D R A I N A N D I S T H E B A S I S O F T H E F L U I D S O F L I V I N G O R G A N I S M S .

SLIDE 14

SLIDE 15

C O N T R A S T &

O R G A N I Z A T I O N

SLIDE 16

S C A L E :

C O N T R A S T o f

A E

L V A

a a

a

W A V A

5 8 Z Y S 7

X

6

B

A N O A A A F U K

A

C

A D Z

Z

V

X F 7

i

W A T E R .

A C O L O R L E S S , T R A N S P A R E N T , O D O R L E S S , T A S T E L E S S L I Q U I D T H A T F O R M S T H E S E A S , L A K E S , R I V E R S , A N D R A I N A N D I S T H E B A S I S O F T H E F L U I D S O F L I V I N G O R G A N I S M S .

W A T E R . A C O L O R L E S S , T R A N S P A R -

E N T , O D O R L E S S , T A S T E L E S S L I Q U I D T H A T F O R M S T H E S E A S , L A K E S , R I V E R S , A N D R A I N A N D I S T H E B A S I S O F T H E F L U I D S O F L I V I N G O R G A N I S M S .

SLIDE 17

W E I G H T :

C 4 C 4

A T Y A T A T A A Y Y A T

B

BB

C 4 X C 4 X X X C 4 Q G Q G Q G

A A Y Y A 4 Y Y

C O N T R A S T o f W A T E R . A C O L O R L E S S , T R A N S P A R E N T , O D O R L E S S , T A S T E L E S S L I Q U I D T H A T F O R M S T H E S E A S , L A K E S , R I V E R S , A N D R A I N A N D I S T H E B A S I S O F T H E F L U I D S O F L I V I N G O R G A N I S M S . W A T E R . A C O L O R L E S S , T R A N S P A R E N T , O D O R L E S S , T A S T E L E S S L I Q U I D T H A T F O R M S T H E S E A S , L A K E S , R I V E R S , A N D R A I N A N D I S T H E B A S I S O F T H E F L U I D S O F L I V I N G O R - G A N I S M S .

SLIDE 18

F O R M :

C c

B B T T T T K K O Q Q S

b b

t t

k k

q

q q q

ss

C O N T R A S T o f

SLIDE 19

S T R U C T U R E :

N E P T U N E

Q U E S T I O N

R I S I N G

C O N T R A S T o f

SLIDE 20

T E X T U R E :

A c o l o r l e s s , t r a n s p a r - e n t , o d o r l e s s , t a s t e l e s s l i q u i d t h a t f o r m s t h e s e a s , l a k e s , r i v e r s , a n d r a i n a n d i s t h e b a s i s o f t h e f l u i d s o f l i v i n g o r - g a n i s m s . A colorless, transparent,

dorless, tasteless liquid that

forms the seas, lakes, rivers, and rain and is the basis of the fluids of living organisms. A colorless, transparent, odorless, tasteless liquid that forms the seas, lakes, rivers, and rain and is the basis of the fluids of living

rganisms.

A c o l o r l e s s , t r a n s p a r e n t ,

d o r l e s s , t a s t e l e s s l i q -

u i d t h a t f o r m s t h e s e a s , l a k e s , r i v e r s , a n d r a i n a n d i s t h e b a s i s o f t h e f l u i d s

f l i v i n g o r g a n i s m s .

A colorless, transparent, odorless, tasteless liquid that forms the seas, lakes, rivers, and rain and is the basis of the fluids of living organisms. A colorless, transparent, odorless, tasteless liquid that forms the seas, lakes, rivers, and rain and is the basis of the fluids

f living organisms.

A c o l o r l e s s , t r a n s p a r e n t , o d o r - l e s s , t a s t e l e s s l i q u i d t h a t f o r m s t h e s e a s , l a k e s , r i v e r s , a n d r a i n a n d i s t h e b a s i s

f t h e f l u i d s o f

l i v i n g o r g a n i s m s . A C O L O R L E S S , T R A N S - P A R E N T , O D O R L E S S , T A S T E L E S S L I Q U I D T H A T F O R M S T H E S E A S , L A K E S , R I V E R S , A N D R A I N A N D I S T H E B A - S I S O F T H E F L U I D S O F L I V I N G O R G A N I S M S . A C O L O R L E S S , T R A N S P A R E N T , O D O R L E S S , T A S T E L E S S L I Q - U I D T H A T F O R M S T H E S E A S , L A K E S , R I V E R S , A N D R A I N A N D I S T H E B A S I S O F T H E F L U I D S O F L I V I N G O R G A N I S M S . A c o l o r l e s s , t r a n s p a r- e n t , o d o r l e s s , t a s t e - l e s s l i q u i d t h a t f o r m s t h e s e a s , l a k e s , r i v e r s , a n d r a i n a n d i s t h e b a s i s o f t h e f l u i d s o f l i v i n g o r g a n i s m s . C O N T R A S T o f

SLIDE 21

C O L O R :

Q

C O N T R A S T o f

X U U 2 N 7 B R 1 L P 6 N E I X 1 O T V W 8 8 A A

SLIDE 22

D I R E C T I O N :

C O N T R A S T o f w h e r e w a t e r a f i e l d o f d u s t u n d e r t h e b o o m b e h i n d t h e o c e a n a n d i n t o t h e s e e b e h i n d t h e

c

e a n a n d i n t

s e e

0 515 2 0 0 9 3 : 4 5 p m

&

i s k e p t A F I E L D O F D U S T U N D E R T H E O C E A N 0 4 3 : 4 5 P M A r e d s t r i n g g l i d e s A f i e l d o f d u s t , A b e d o f r u s t , A n o c e a n & X m a r k s s t h e s p o t & x w a s , n

w

u n d

n

e . W h a t

n

c e a b e d o f r u s t . a h o m e , t h r

u

g h a d

r

, F l u t t e r i n g i t w e n t T H R O U G H A L A N D S C A P E M A D E O F D U S T .

SLIDE 23

L A Y O U T S Y S T E M :

C O N T R A S T o f A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N 0 5 5 0 5 0 5 3 : 4 5 P M 3 : 4 5 P M 3 : 4 5 P M A r e d s t r i n g g l i d e s t h r o u g h a l a n d - s c a p e m a d e o f d u s t . F l u t t e r i n g i t w e n t t h r o u g h a d o o r, a h o m e , a b e d o f r u s t . W h a t o n c e w a s , n o w u n d o n e . A r e d s t r i n g g l i d e s t h r o u g h a l a n d - s c a p e m a d e o f d u s t . F l u t t e r i n g i t w e n t t h r o u g h a d o o r, a h o m e , a b e d o f r u s t . W h a t o n c e w a s , n o w u n d o n e . A r e d s t r i n g g l i d e s t h r o u g h a l a n d - s c a p e m a d e o f d u s t . F l u t t e r i n g i t w e n t t h r o u g h a d o o r, a h o m e , a b e d o f r u s t . W h a t o n c e w a s , n o w u n d o n e . w h e r e w a t e r w h e r e w a t e r i s k e p t w h e r e w a te r i s k e p t w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p w h e r e w a t e r i s k e p t & + + 17 18 21 22 D I L I TAT I O N A L A X I A L A X I A L / M O D U L A R A X I A L A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N 0 4 3 : 4 5 P M 3 : 4 5 P M 3 : 4 5 P M 3 : 4 5 P M 3 : 4 5 P M A r e d s t r i n g g l i d e s t h r o u g h a l a n d - s c a p e m a d e o f d u s t . F l u t t e r i n g i t w e n t t h r o u g h a d o o r, a h o m e , a b e d o f r u s t . W h a t o n c e w a s , n o w u n d o n e . A r e d s t r i n g g l i d e s t h r o u g h a l a n d - s c a p e m a d e o f d u s t . F l u t t e r i n g i t w e n t t h r o u g h a d o o r, a h o m e , a b e d o f r u s t . W h a t o n c e w a s , n o w u n d o n e . A r e d s t r i n g g l i d e s t h r

u

g h a l a n d

s

c a p e m a d e

f

d u s t . F l u t t e r i n g i t w e n t t h r

u

g h a d

r

, a h

m

e , a A f i e l d o f d u s t , A b e d o f r u s t , A n o c e a n & t h r o u g h t h e s e a A f i e l d o f d u s t , A b e d o f r u s t , A n o c e a n & t h r o u g h t h e s e a A f i e l d o f d u s t , A b e d o f r u s t , X m a r k s s t h e s p o t b e t w e e n A r e d s t r i n g g l i d e s t h r

u

g h a l a n d

s

c a p e m a d e

f

d u s t . F l u t t e r i n g i t w e n t t h r

u

g h a d

r

, a h

m

e , a b e d

f

r u s t . W h a t

n

c e w a s , n

w

u n d

n

e . b e h i n d t h e

c

e a n a n d i n t

0 515 2 0 0 9

3 : 4 5 p m & x 19 20 23 24 R A D I A L / A X I A L G R I D G R I D R A N D O M

SLIDE 24

SLIDE 25

T Y P O G R A P H I C S Y S T E M S :

SLIDE 26

0 5

w h e r e

w a t e r w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p

w h e r e

w a t e r

i s k e p t

&

+

18 D I L I TAT I O N A L

SLIDE 27 w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p t A r e d s t r i n g g l i d e s t h r o u g h a l a n d - s c a p e m a d e o f d u s t . F l u t t e r i n g i t w e n t t h r o u g h a d o o r, a h o m e , a b e d o f r u s t . W h a t o n c e w a s , n o w u n d o n e . A f i e l d o f d u s t , A b e d o f r u s t , A n o c e a n & t h r o u g h t h e s e a i n a f i e l d o f d u s t u n d e r t h e b o o m b e h i n d t h e o c e a n a n d i n t o t h e s e e i n a f i e l d o f d u s t u n d e r t h e b o o m b e h i n d t h e o c e a n a n d i n t o t h e s e e i n a f i e l d o f d u s t u n d e r t h e b o o m b e h i n d t h e o c e a n a n d i n t o t h e s e e b e h i n d t h e o c e a n & i n t o t h e s e e 0 515 2 0 0 9 0 515 2 0 0 9 0 515 2 0 0 9 0 5 15 2 0 0 9 3 : 4 5 p m 3 : 4 5 p m 3 : 4 5 p m 3 : 4 5 p m t i m e : i n a f i e l d o f d u s t u n d e r t h e b o o m

&

1. G R I D A X I A L G R I D G R I D t h e s i l e n c e t h e e c h o b e t w e e n b e t w e e n w h e r e w a t e r i s k e p t w h e r e w a t e r A r e d s t r i n g g l i d e s t h r o u g h a l a n d - s c a p e m a d e o f d u s t . F l u t t e r i n g i t w e n t t h r o u g h a d o o r, a h o m e , a b e d o f r u s t . W h a t o n c e w a s , n o w u n d o n e . i n a f i e l d o f d u s t u n d e r t h e b o o m b e h i n d t h e o c e a n a n d i n t o t h e s e e a f i e l d o f d u s t u n d e r t h e b o o m b e h i n d t h e o c e a n a n d i n t o t h e s e e b e h i n d t h e o c e a n a n d i n t o b e h i n d t h e o c e a n a n d i n t o 0 515 2 0 0 9 0 515 2 0 0 9 0 515 2 0 0 9 0 515 2 0 0 9 3 : 4 5 p m 3 : 4 5 p m 3 : 4 5 p m & & i s k e p t 7. R A D I A L B I L AT E R A L R A N D O M A X I A L

SLIDE 28 A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N 0 5

5

0 5 0 5 3 : 4 5 P M 3 : 4 5 P M 3 : 4 5 P M A r e d s t r i n g g l i d e s t h r o u g h a l a n d - s c a p e m a d e o f d u s t . F l u t t e r i n g i t w e n t t h r o u g h a d o o r, a h o m e , a b e d o f r u s t . W h a t o n c e w a s , n o w u n d o n e . A r e d s t r i n g g l i d e s t h r o u g h a l a n d - s c a p e m a d e o f d u s t . F l u t t e r i n g i t w e n t t h r o u g h a d o o r, a h o m e , a b e d o f r u s t . W h a t o n c e w a s , n o w u n d o n e . A r e d s t r i n g g l i d e s t h r o u g h a l a n d - s c a p e m a d e o f d u s t . F l u t t e r i n g i t w e n t t h r o u g h a d o o r, a h o m e , a b e d o f r u s t . W h a t o n c e w a s , n o w u n d o n e . w h e r e w a t e r w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p w h e r e w a t e r i s k e p t & + + 17 18 21 22 D I L I TAT I O N A L A X I A L A X I A L / M O D U L A R A X I A L A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N 4 3 : 4 5 P M 3 : 4 5 P M 3 : 4 5 P M 3 : 4 5 P M 3 : 4 5 P M A r e d s t r i n g g l i d e s t h r o u g h a l a n d - s c a p e m a d e o f d u s t . F l u t t e r i n g i t w e n t t h r o u g h a d o o r, a h o m e , a b e d o f r u s t . W h a t o n c e w a s , n o w u n d o n e . A r e d s t r i n g g l i d e s t h r o u g h a l a n d - s c a p e m a d e o f d u s t . F l u t t e r i n g i t w e n t t h r o u g h a d o o r, a h o m e , a b e d o f r u s t . W h a t o n c e w a s , n o w u n d o n e . A r e d s t r i n g g l i d e s t h r

u

g h a l a n d

s

c a p e m a d e

f

d u s t . F l u t t e r i n g i t w e n t t h r o u g h a d o o r, a h o m e , a A f i e l d o f d u s t , A b e d o f r u s t , A n o c e a n & t h r o u g h t h e s e a A f i e l d o f d u s t , A b e d o f r u s t , A n o c e a n & t h r o u g h t h e s e a A f i e l d o f d u s t , A b e d o f r u s t , X m a r k s \ s t h e s p o t b e t w e e n A r e d s t r i n g g l i d e s t h r o u g h a l a n d - s c a p e m a d e o f d u s t . F l u t t e r i n g i t w e n t t h r o u g h a d o o r, a h o m e , a b e d o f r u s t . W h a t o n c e w a s , n o w u n d o n e . b e h i n d t h e o c e a n a n d i n t o 0 515 2 0 0 9 3 : 4 5 p m & x 19 20 23 24 R A D I A L / A X I A L G R I D G R I D R A N D O M

SLIDE 29 w h e r e w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p t w a t e r i s k e p t w a t e r i s k e p t w a t e r

i s k e p t

n

a m

u

n t a i n w i t h t r e e s

n

a m

u

n t a i n w i t h t r e e s

c

e a n

ceans in the

0 5 4 3 : 4 5 P M 5 1 5 2 9 0 5 3 : 4 5 P M 3 : 4 5 P M A r e d s t r i n g g l i d e s t h r

u

g h a l a n d

s

c a p e m a d e

f

d u s t . F l u t t e r i n g i t w e n t t h r

u

g h a d

r

, a h

m

e , a b e d

f

r u s t . W h a t

n

c e w a s , n

w

u n d

n

e . A f i e l d

f

d u s t , A b e d

f

r u s t , t h e

c

e a n & t h r

u

g h a s e a

S Қ y

w h e r e w a t e r i s k e p t w h e r e w a t e r i s k e p t 9 10. 13 14 D I L I TAT I O N A L D I L I TAT I O N A L M O D U L A R W H E R E t h e M O O N i s h i d d e n W H E R E w a t e r i s K e p t W H E R E t h e S K Y i s b u r n i n g O C Ea N S i n T H E ₓ I n a f i e l d o f d u s t u n d e r t h e b o o m b e h i n d t h e o c e a n a n d i n t o t h e s e a A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N 0 5 . 15 . 2 0 0 9 0 5 0 9 0 5

0 5

&

0 4

3 : 4 5 P M 3 : 4 5 P M 3 : 4 5 P M 3 : 4 5 P M A r e d s t r i n g g l i d e s t h r o u g h a l a n d - s c a p e m a d e o f d u s t . F l u t t e r i n g i t w e n t t h r o u g h a d o o r, a h o m e , a b e d o f r u s t . W h a t o n c e w a s , n o w u n d o n e . A f i e l d o f d u s t , A b e d o f r u s t , A n o c e a n & t h r o u g h t h e s e a

S Қ y

b e e t w e e n 11. 12. 15 16 M O D U L A R G R I D M O D U L A R G R I D

SLIDE 30 A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D o f D U S T U N D E R t h e O C E A N A n O C E A N o f R U S T 4 4 3 : 4 5 P M 3 : 4 5 P M A r e d s t r i n g g l i d e s A r e d s t r i n g g l i d e s A f i e l d

f

d u s t , A b e d

f

r u s t , a F I E L D o f d u s t , a B E D o f r u s t , A N O C E A N & T H R O U G H T H E S E A X m a r k s s t h e s p

t

X m a r k s s t h e s p

t

& x x 23 23 23 R A N D O M / T R A N S I T I O N A L R A N D O M / T R A N S I T I O N A L R A N D O M / T R A N S I T I O N A L w a s , n o w u n d o n e . w a s , n o w u n d o n e . W h a t

n

c e W h a t

n

c e a b e d

f

r u s t . a b e d

f

r u s t . a h

m

e , a h

m

e , t h r o u g h a d o o r, t h r

u

g h a d

r

, F l u t t e r i n g i t w e n t F l u t t e r i n g i t w e n t T H R O U G H A L A N D S C A P E M A D E O F D U S T. T H R O U G H A L A N D S C A P E M A D E O F D U S T . A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N 3 : 4 5 P M b e t w e e n A r e d s t r i n g g l i d e s t h r

u

g h a l a n d s c a p e m a d e

f

d u s t . F l u t t e r i n g i t w e n t t h r

u

g h a d

r

, a h

m

e , a b e d

f

r u s t . W h a t

n

c e w a s , n

w

u n d

n

e . b e h i n d t h e

c

e a n a n d i n t

0 515 2 0 0 9

3 : 4 5 p m A F I E L D O F L U S T U N D E R T H E O C E A N A F I E L D O F L U S T U N D E R T H E O C E A N A F I E L D O F L U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F D U S T U N D E R T H E O C E A N A F I E L D O F C R U S T U N D E R T H E M O U N TA I N A F I E L D O F C R U S T U N D E R T H E M O U N TA I N A F I E L D O F C R U S T U N D E R T H E M O U N TA I N A R E D L I N E O F F A I T U N D E R T H E M O U N TA I N A R E D L I N E O F F A I T U N D E R T H E M O U N TA I N A R E D L I N E O F F A I T U N D E R T H E M O U N TA I N A P I N K S T R I N G G L I D I N G I N T H E W I N D O F F A I T U N D E R T H E M O U N TA I N A P I N K S T R I N G G L I D I N G I N T H E W I N D O F F A I T U N D E R T H E M O U N TA I N A P I N K S T R I N G G L I D I N G I N T H E W I N D O F F A I T U N D E R T H E M O U N TA I N 0 5 0 5 0 5 3 : 4 5 P M 3 : 4 5 P M 3 : 4 5 P M A r e d s t r i n g g l i d e s t h r o u g h a l a n d s c a p e m a d e o f d u s t . F l u t t e r i n g i t w e n t t h r o u g h a d o o r, a h o m e , a b e d o f r u s t . W h a t o n c e w a s , n o w u n d o n e . A r e d s t r i n g g l i d e s t h r o u g h a l a n d s c a p e m a d e o f d u s t . F l u t t e r i n g i t w e n t t h r o u g h a d o o r, a h o m e , a b e d o f r u s t . W h a t o n c e w a s , n o w u n d o n e . A r e d s t r i n g g l i d e s t h r o u g h a l a n d - s c a p e m a d e o f d u s t . F l u t t e r i n g i t w e n t t h r o u g h a d o o r, a h o m e , a b e d o f r u s t . W h a t o n c e w a s , n o w u n d o n e . 21 21 21 M O D U L A R M O D U L A R M O D U L A R

SLIDE 31

SLIDE 32

T Y P E F A C E P E R S O N A L I T Y :

SLIDE 33

H I S T O R I C A L

O L D O L D F A S H I O N E D A U T H E N T I C E S T A B L I S H E D

SLIDE 34

C L E A N

C O N T E M P O R A R Y N E W E D U C A T E D K N O W L E D G E A B L E

SLIDE 35

M O D E R N

C L A S S Y E L E G A N T

SLIDE 36

M I X T U R E

T E A M S P O R T S C I E N T I F I C C O N T E M P O R A R Y

SLIDE 37

D I G I T A L

B R E A K I N G D O W N G R A P H I C

SLIDE 38

A I R Y

A T M O S P H E R I C D E L I C A T E I N T R I C A T E

SLIDE 39

E D G Y

N E W A G E S C I F I

SLIDE 40

H I S T O R I C

C O N T E M P O R A R Y

SLIDE 41

SLIDE 42

T Y P O G R A P H I C T E R M S :

SLIDE 43

FONT VS. TYPEFACE: A typeface is the particular design of a collection of letterforms and font is the way that these letterforms are delivered to be installed on your computer or devise.

0A.

SLIDE 44

GLYPH VS. CHARACTER A individual character, like a lowercase b, can be assigned different alternates glyphs (within the Glyph panel, numbered by Unicode).

ƅ, b, B, Ɓ, Ƀ

0B.

SLIDE 45

0C.

Typographic Grid: Typographic Grid is the underlying invisible structure used to build a layout or poster

design. There are many

different ways a grid can be established

SLIDE 46

0D.

Typographic Hierarchy: Typographic Hierarchy is establishing a system for how the viewer interprets the text based elements within a design work. Hierarchy helps the viewer know where to look first.

SLIDE 47

0E.

Typefaces TO Avoid: Professional designers avoid the following typefaces:

Comic Sans Apple Chancery Papyrus Curlz Hobo Bradley Hand

SLIDE 48

0F.

KERNING When you adjust Kerning you are adjusting the spacing between two individual letterforms.

AV AV

SLIDE 49

0G.

TRACKING When you adjust Tracking you are adjusting the spacing across a combination of multiple letterforms -sometimes a whole paragraph.

AVENUE

SLIDE 50

0H.

LEADING Leading is adjusting the spacing between lines of letterforms.

He lived at the end of Oak

Avenue. It was a brisk

morning and he still had not heard from her.

SLIDE 51

0I.

ALIGNMENT

He lived at the end

f Oak Avenue. It

was a brisk morning and he still had not heard from her. He lived at the end

f Oak Avenue. It

was a brisk morning and he still had not heard from her. CENTERED LEFT ALIGNED RIGHT ALIGNED He lived at the end

f Oak Avenue.

It was a brisk morning and he still had not heard from her.

SLIDE 52

0J.

RAG / RIVER

He lived at the end

f Oak Avenue. It

was a brisk morning and he still had not heard from her. He lived at the end

f Oak Avenue. It

was a brisk morning and he still had not heard from her. RAG RIVER

SLIDE 53

0K.

He lived at the end of Oak Avenue. It was a brisk morning and he still had not heard from her. He lived at the end of Oak Avenue. It was a brisk morning and he still had not heard from her. He lived at the end of Oak Avenue. It was a brisk morning and he still had not heard from her. WIDOW ORPHAN He lived at the end of Oak Avenue. It was a brisk morning and he still had not heard from her. He lived at the end of Oak Avenue. It was a brisk morning and he still had not heard

WIDOW / ORPHAN

SLIDE 54

SLIDE 55

T Y P O G R A P H I C A N A T O M Y :

SLIDE 56

01. / MAJUSCULE /

CAPITAL / UPPERCASE

02. COUNTER
03. EAR
04. TEAR-DROP TERMINAL
05. TWO-STORY LETTER
06. ASCENDER
07. TITTLE
08. ASCENDER LINE
09. X-HEIGHT
10. BASELINE
11. DESCENDER LINE
12. CROTCH
13. DESCENDER
14. LINK / NECK
15. LOOP / LOBE
16. STEM
17. BOWL
18. LEG
19. BILATERAL SERIF
20. APEX
21. FINIAL
22. CROSSBAR
23. SHOULDER
24. CAP HEIGHT
25. ASCENDER
26. ASCENDER LINE
27. X-HEIGHT
28. X-HEIGHT
29. CROSSBAR
30. MINUSCULE / LOWERCASE
31. STEM
32. AXIS
33. APERTURE
34. TAIL & DESCENDER
35. DESCENDER
36. BASELINE
37. DESCENDER LINE
38. PANGRAM
39. SWASH
40. EYE
41. SPINE
42. AMPERSAND
43. STROKE

44.TAIL

45. SPUR
46. BEAK
47. APERTURE
48. VERTEX
49. STRESS
50. OPEN COUNTER
51. EXAMPLES OF LIGATURES
52. BRACKET

SLIDE 57

01. / MAJUSCULE /

CAPITAL / UPPERCASE

02. COUNTER
03. EAR
04. TEAR-DROP TERMINAL
05. TWO-STORY LETTER
06. ASCENDER
07. TITTLE
08. ASCENDER LINE
09. X-HEIGHT
10. BASELINE
11. DESCENDER LINE
12. CROTCH
13. DESCENDER
14. LINK / NECK
15. LOOP / LOBE
16. STEM
17. BOWL
18. LEG
19. BILATERAL SERIF
49. STRESS
50. OPEN COUNTER
52. BRACKET

SLIDE 58

20. APEX
21. FINIAL
22. CROSSBAR
23. SHOULDER
24. CAP HEIGHT
25. ASCENDER
26. ASCENDER LINE
27. X-HEIGHT
28. X-HEIGHT
29. CROSSBAR
30. MINUSCULE / LOWER-

CASE

31. STEM
32. AXIS
33. APERTURE
34. TAIL & DESCENDER
35. DESCENDER
36. BASELINE
37. DESCENDER LINE

SLIDE 59

The quick brown fox jumps over the lazy dog

38.

38. PANGRAM

SLIDE 60

20. APEX
38. PANGRAM
39. SWASH
40. EYE
41. SPINE
42. AMPERSAND
43. STROKE

44.TAIL

45. SPUR
46. BEAK
47. APERTURE
48. VERTEX
49. STRESS
50. OPEN COUNTER
51. EXAMPLES OF LIGATURES
52. BRACKET

SLIDE 61

SLIDE 62

T Y P O G R A P H I C

R U L E S :

SLIDE 63 #. The Rule. Description. 16. TYPE SIZE & SCALING Type size depends on the specific typeface. Several examples of typographic scaling is

below. There are many ways that you can

apply typographic rules to achieve successful hierarchy. Typical Ranges: __Body Type = 8-12 pt. __Subhead = 14-18 pt. __Headline = 24-72 pt. Other Specific Examples: BASED ON THE GOLDEN RATIO: Footnote = 6pt Endnote = 6.75pt Caption = 7.5pt Body Text = 8pt Byline = 9pt Subheading = 9.75pt Blockquote = 12pt Subheading 1 = 15.75pt Title = 25.5pt Big Title = 34pt BASED ON 1:2: Footnote = 5.5pt Endnote = 6.25 Caption = 7pt Body Text = 8pt Byline = 9.25pt Subheading = 10.75pt Blockquote = 14pt Subheading 1 = 21.25pt Title = 42.25pt Big Title = 64pt www.layoutgridcalculator.com/typographic-scale/ 17. DEFAULT FONTS Generally adjust default fonts. Select a legible, minimal typeface for Body Text. 18. MIXING MOODS Be careful about mixing typographic moods. Although it’s possible to mix aesthetics you want to create unity and harmony in a layout. 19. Avoid WIDOWS & ORPHANS Know the terms typographic Orphan and typographic Widow and avoid these scenarios like the plague. Widows and Orphans are amateur mistakes. 20. Avoid RIVERS Rivers are to be avoided. When looking at a body of text avoid sporadic spacing between words that create “rivers”. Typographic Rivers are commonly created when justifying a paragraph of type. Be careful about justifying type. 21. CENTERING TYPE Centering type is a beginners mistake. Although centering type can be a beautiful and sophisticated choice. It’s very hard to do until you have an advanced knowledge of visual spacing. 22. SPACED TYPE Spaced type, like adjusting the tracking, can add an atmospheric effect to the aesthetic

f the typographic styling. It’s safe to space

type in situations like headlines. Be careful about dramatically spacing out body type, although you can typically slightly adjust the tracking to create increased legibility. 23. SERIF with SAN SERIF Try combining Serif with San Serif. 24. TYPEFACES have Personalities Each typeface has a unique mood and personality that communicates a message. Selecting a typeface that fits your project is extremely important. 25. CHARACTER vs. GLYPH A Character is a unique letterform based and is assigned a point in the international Unicode system. A Glyph can have multiple iterations or appearances within one letterform. RESOURCES: <http://thinkingwithtype.com/> <https://www.layoutgridcalculator.com/typographic-scale/> These are rules that can help achieve “good” typog-

raphy. **however rules can always be broken if the

choices are well considered. [ TYPOGRAPHIC RULES ■ ] [ EDITED BY: CARRIE A. DYER #. The Rule. Description. 01. What is a FONT VS. TYPEFACE __Font = “a font is the delivery mechanism...” A Font is the digital format that enables the printing and functionality of typefaces. __Typeface = “A typeface is the design of the letterforms...” http://thinkingwithtype.com/letter/#font-formats 02. The 3 Typefaces RULE As a beginner it’s a good idea to start with 2

r 3 typefaces total for one layout or design.

It’s also important to pay attention to how the typefaces are paired. 03. USE HIERARCHY Use typographic hierarchy and emphasis to mix different typographic weights, color, spacing, capitalization, etc. Working with these elements creates hierarchy, contrast, rhythm, movement, and visual interest. 04. CONTRAST is IMPORTANT Consider trying a typeface that was created as a typographic family that has different sub-styles like Thin, Light, Bold, Black, Italic,

etc. You can also achieve contrast many
ther ways including orientation, color (black
vs. gray, red), negative space, placement,

pairing, etc. 05. DISPLAY

vs. BODY

Display text is decorative, stylized, and typically more intricate and less legible. Do not use display type as body type. Body Type should be legible and readable. Typically, Body text is more minimal in style and is a traditional Serif or San Serif. 06. TYPEFACE SELECTION Selecting an appropriate typeface is not easy at first. It takes a trained eye and studying numerous typefaces. There are many successful and well designed typefaces but there are many more typefaces that are not well designed. 07. USE NEGATIVE SPACE As designers Negative Space (or Negative Noise) is very important. Utilizing negative Space, Margins, and other moments of pause helps the viewer see the compositional components more clearly. 08. SCREEN

vs. PRINT

Type on the screen is most legible as a San Serif typeface. While large bodies of printed type is most legible as a Serif typeface. 09. DISPLAY TYPEFACES Display Typefaces are for headlines or specific areas of interest or even typographic illustration. 10. SCRIPT vs. HAND- WRITING If you want something to appear handwritten then hand write it and scan it in. It’s very difficult to select a typeface that is designed to look hand written and make it look sophisticated. 11. ALL CAPS Setting type in All Caps makes the text less

legible. There are some situations where All

Caps can be used successfully -including

headings. practicaltypography.com/all-caps.html

12. LEADING If you set the type using traditional calculations the leading should be set at 120–145% of the point size. Examples below: Text Size = 9 Calculation: 9 x 1.20= 10.8 Leading = 10.8 (120%) Text Size = 7 Calculation: 7 x 1.20= 8.4 Leading = 8.4 (120%) 13. OLD STYLE NUMERALS Old Style numerals Improve Legibility. 14. AVOID THESE Avoid typefaces that are not designed well. Some of these include: Papyrus, Curlz, Comic Sans, & others... 15. DISTORTING TYPE Distorting type is a type crime. Don’t distort, stretch, squish typographic elements.

SLIDE 64 #. The Rule. Description. 16. TYPE SIZE & SCALING Type size depends on the specific typeface. Several examples of typographic scaling is

below. There are many ways that you can

apply typographic rules to achieve successful hierarchy. Typical Ranges: __Body Type = 8-12 pt. __Subhead = 14-18 pt. __Headline = 24-72 pt. Other Specific Examples: BASED ON THE GOLDEN RATIO: Footnote = 6pt Endnote = 6.75pt Caption = 7.5pt Body Text = 8pt Byline = 9pt Subheading = 9.75pt Blockquote = 12pt Subheading 1 = 15.75pt Title = 25.5pt Big Title = 34pt BASED ON 1:2: Footnote = 5.5pt Endnote = 6.25 Caption = 7pt Body Text = 8pt Byline = 9.25pt Subheading = 10.75pt Blockquote = 14pt Subheading 1 = 21.25pt Title = 42.25pt Big Title = 64pt www.layoutgridcalculator.com/typographic-scale/ 17. DEFAULT FONTS Generally adjust default fonts. Select a legible, minimal typeface for Body Text. 18. MIXING MOODS Be careful about mixing typographic moods. Although it’s possible to mix aesthetics you want to create unity and harmony in a layout. 19. Avoid WIDOWS & ORPHANS Know the terms typographic Orphan and typographic Widow and avoid these scenarios like the plague. Widows and Orphans are amateur mistakes. 20. Avoid RIVERS Rivers are to be avoided. When looking at a body of text avoid sporadic spacing between words that create “rivers”. Typographic

[ TYPOGRAPHIC RULES ■ ] [

EDITED BY: CARRIE A. DYER #. The Rule. Description. 01. What is a FONT VS. TYPEFACE __Font = “a font is the delivery mechanism...” A Font is the digital format that enables the printing and functionality of typefaces. __Typeface = “A typeface is the design of the letterforms...” http://thinkingwithtype.com/letter/#font-formats 02. The 3 Typefaces RULE As a beginner it’s a good idea to start with 2

r 3 typefaces total for one layout or design.

It’s also important to pay attention to how the typefaces are paired. 03. USE HIERARCHY Use typographic hierarchy and emphasis to mix different typographic weights, color, spacing, capitalization, etc. Working with these elements creates hierarchy, contrast, rhythm, movement, and visual interest. 04. CONTRAST is IMPORTANT Consider trying a typeface that was created as a typographic family that has different sub-styles like Thin, Light, Bold, Black, Italic,

etc. You can also achieve contrast many
ther ways including orientation, color (black
vs. gray, red), negative space, placement,

pairing, etc. 05. DISPLAY

vs. BODY

Display text is decorative, stylized, and typically more intricate and less legible. Do not use display type as body type. Body Type should be legible and readable. Typically, Body text is more minimal in style and is a traditional Serif or San Serif. 06. TYPEFACE SELECTION Selecting an appropriate typeface is not easy at first. It takes a trained eye and studying numerous typefaces. There are many successful and well designed typefaces but there are many more typefaces that are not well designed. 07. USE NEGATIVE SPACE As designers Negative Space (or Negative Noise) is very important. Utilizing negative Space, Margins, and other moments of pause helps the viewer see the compositional components more clearly. 08. SCREEN

vs. PRINT

Type on the screen is most legible as a San Serif typeface. While large bodies of printed type is most legible as a Serif typeface. 09. DISPLAY Display Typefaces are for headlines or

SLIDE 65

[ TYPOGRAPHIC RULES ■ ] [

EDITED BY: CARRIE A. DYER #. The Rule. Description.

01.

What is a FONT VS. TYPEFACE

__Font = “a font is the delivery mechanism...” A Font is the digital format that enables the printing and functionality of typefaces. __Typeface = “A typeface is the design of the letterforms...” http://thinkingwithtype.com/letter/#font-formats

02.

The 3 Typefaces RULE

As a beginner it’s a good idea to start with 2

r 3 typefaces total for one layout or design.

It’s also important to pay attention to how the typefaces are paired.

03.

USE HIERARCHY

Use typographic hierarchy and emphasis to mix different typographic weights, color, spacing, capitalization, etc. Working with these elements creates hierarchy, contrast, rhythm, movement, and visual interest.

04.

CONTRAST is IMPORTANT

Consider trying a typeface that was created as a typographic family that has different sub-styles like Thin, Light, Bold, Black, Italic,

SLIDE 66

HIERARCHY

spacing, capitalization, etc. Working with these elements creates hierarchy, contrast, rhythm, movement, and visual interest.

04.

CONTRAST is IMPORTANT

Consider trying a typeface that was created as a typographic family that has different sub-styles like Thin, Light, Bold, Black, Italic,

etc. You can also achieve contrast many
ther ways including orientation, color (black
vs. gray, red), negative space, placement,

pairing, etc.

05.

DISPLAY

vs. BODY

Display text is decorative, stylized, and typically more intricate and less legible. Do not use display type as body type. Body Type should be legible and readable. Typically, Body text is more minimal in style and is a traditional Serif or San Serif.

06.

TYPEFACE SELECTION

Selecting an appropriate typeface is not easy at first. It takes a trained eye and studying numerous typefaces. There are many successful and well designed typefaces but there are many more typefaces that are not well designed.

07.

USE NEGATIVE SPACE

As designers Negative Space (or Negative Noise) is very important. Utilizing negative Space, Margins, and other moments of pause helps the viewer see the compositional components more clearly.

08.

SCREEN

vs. PRINT

Type on the screen is most legible as a San Serif typeface. While large bodies of printed type is most legible as a Serif typeface.

SLIDE 67 helps the viewer see the compositional components more clearly.

08.

SCREEN

vs. PRINT

Type on the screen is most legible as a San Serif typeface. While large bodies of printed type is most legible as a Serif typeface.

09.

DISPLAY TYPEFACES

Display Typefaces are for headlines or specific areas of interest or even typographic illustration.

10.

SCRIPT vs. HAND- WRITING

If you want something to appear handwritten then hand write it and scan it in. It’s very difficult to select a typeface that is designed to look hand written and make it look sophisticated.

11.

ALL CAPS

Setting type in All Caps makes the text less

legible. There are some situations where All

Caps can be used successfully -including

headings. practicaltypography.com/all-caps.html

12.

LEADING

If you set the type using traditional calculations the leading should be set at 120–145% of the point size. Examples below: Text Size = 9 Calculation: 9 x 1.20= 10.8 Leading = 10.8 (120%) Text Size = 7 Calculation: 7 x 1.20= 8.4

SLIDE 68 Caps can be used successfully -including

headings. practicaltypography.com/all-caps.html

12.

LEADING

If you set the type using traditional calculations the leading should be set at 120–145% of the point size. Examples below: Text Size = 9 Calculation: 9 x 1.20= 10.8 Leading = 10.8 (120%) Text Size = 7 Calculation: 7 x 1.20= 8.4 Leading = 8.4 (120%)

13.

OLD STYLE NUMERALS

Old Style numerals Improve Legibility.

14.

AVOID THESE

Avoid typefaces that are not designed well. Some of these include: Papyrus, Curlz, Comic Sans, & others...

15.

DISTORTING TYPE

Distorting type is a type crime. Don’t distort, stretch, squish typographic elements.

SLIDE 69 #. The Rule. Description.

16.

TYPE SIZE & SCALING

Type size depends on the specific typeface. Several examples of typographic scaling is

below. There are many ways that you can

apply typographic rules to achieve successful hierarchy. Typical Ranges: __Body Type = 8-12 pt. __Subhead = 14-18 pt. __Headline = 24-72 pt. Other Specific Examples: BASED ON THE GOLDEN RATIO: Footnote = 6pt Endnote = 6.75pt Caption = 7.5pt Body Text = 8pt Byline = 9pt Subheading = 9.75pt Blockquote = 12pt Subheading 1 = 15.75pt Title = 25.5pt Big Title = 34pt BASED ON 1:2: Footnote = 5.5pt Endnote = 6.25 Caption = 7pt Body Text = 8pt Byline = 9.25pt Subheading = 10.75pt Blockquote = 14pt Subheading 1 = 21.25pt

SLIDE 70 Big Title = 64pt www.layoutgridcalculator.com/typographic-scale/

17.

DEFAULT FONTS

Generally adjust default fonts. Select a legible, minimal typeface for Body Text.

18.

MIXING MOODS

Be careful about mixing typographic moods. Although it’s possible to mix aesthetics you want to create unity and harmony in a layout.

19.

Avoid WIDOWS & ORPHANS

Know the terms typographic Orphan and typographic Widow and avoid these scenarios like the plague. Widows and Orphans are amateur mistakes.

20.

Avoid RIVERS

Rivers are to be avoided. When looking at a body of text avoid sporadic spacing between words that create “rivers”. Typographic Rivers are commonly created when justifying a paragraph of type. Be careful about justifying type.

21.

CENTERING TYPE

Centering type is a beginners mistake. Although centering type can be a beautiful and sophisticated choice. It’s very hard to do until you have an advanced knowledge of visual spacing.

22.

SPACED TYPE

Spaced type, like adjusting the tracking, can add an atmospheric effect to the aesthetic

f the typographic styling. It’s safe to space

type in situations like headlines. Be careful about dramatically spacing out body type, although you can typically slightly adjust the tracking to create increased legibility.

SLIDE 71 do until you have an advanced knowledge of visual spacing.

22.

SPACED TYPE

Spaced type, like adjusting the tracking, can add an atmospheric effect to the aesthetic

f the typographic styling. It’s safe to space

type in situations like headlines. Be careful about dramatically spacing out body type, although you can typically slightly adjust the tracking to create increased legibility.

23.

SERIF with SAN SERIF

Try combining Serif with San Serif.

24.

TYPEFACES have

Personalities

Each typeface has a unique mood and personality that communicates a message. Selecting a typeface that fits your project is extremely important.

25.

CHARACTER vs. GLYPH

A Character is a unique letterform based and is assigned a point in the international Unicode system. A Glyph can have multiple iterations or appearances within one letterform.

RESOURCES:

<http://thinkingwithtype.com/> <https://www.layoutgridcalculator.com/typographic-scale/>

These are rules that can help achieve “good” typogra-

phy. **however rules can always be broken if the choic-

es are well considered.

SLIDE 72

SLIDE 73

T Y P O G R A P H I C

C L A S S I F I C A T I O N :

SLIDE 74

T Y P E S O F

SERIF STYLES:

GOTHIC GLYPHIC SERIF OLDSTYLE SERIF TRANSITIONAL SERIF BRACKETED SERIF TUSCAN SERIF WEDGE SERIF SLAB SERIF (BRACKETED) CURSIVE SERIF HAIRLINE SERIF SLAB SERIF (UNBRACKETED) SANS SERIF

SLIDE 75 BLACKLETTER 1452 1495 1460'S 1501 1557 Type Type Examples: Garamond Caslon Palatino Examples: Jenson, Kennerley, Centaur, Stempel Schneidler Verona, Lutetia, Jersey, Lynton. Examples: Blackletter also know as Block, Gothic, Fraktur or Old English sometimes referred to as Venetian Gutenberg’s Bible Lertura, First foundry blackletter Nicolas Jenson's Roman, First Serif Gutenberg’s Bible Lertura, First Oldstyle Serif Robert Granjon’s Civifite, First Humanist Script Francesco Griffo’s, First Italic Garamond Garamond Italic Blackletter OLDSTYLE SERIF HUMANIST ITALICS HUMANIST SCRIPT

P R O G R E S S I O N O F

TYPOGRAPHIC STYLES:

1682 Type Examples: Times New Roman Baskerville Georgia Nicolas Kis’ Roman, First Transitional Serif Times New Roman TRANSITIONAL SERIF Examples: Didot Bodoni Elephant Examples: Helvetica Arial Examples: Stymie BT Arvo (Egyptian) Examples: Landliebe 1784 1816 1817 1953 Type Type Type Type Firmin Didot’s Roman, First Modern Serif William Calson IV’s San Serif, First Sans Serif Figgin’s Antique Roman Diot Helvetica Neu Stymie BT Landliebe MODERN SERIF SAN SERIF SLAB SERIF INFORMAL SCRIPT

SLIDE 76

BLACKLETTER

1452

Examples: Blackletter also know as Block, Gothic, Fraktur or Old English Gutenberg’s Bible Lertura, First foundry blackletter

SLIDE 77

1460'S

Examples: Jenson, Kennerley, Centaur, Stempel Schneidler Verona, Lutetia, Jersey, Lynton. sometimes referred to as Venetian Nicolas Jenson's Roman, First Serif

HUMANIST

SLIDE 78

1495

Type

Examples: Garamond Caslon Palatino Gutenberg’s Bible Lertura, First Oldstyle Serif Garamond

OLDSTYLE SERIF

SLIDE 79

1501

Type

Francesco Griffo’s, First Italic Garamond Italic

ITALICS

SLIDE 80

1557

Robert Granjon’s Civifite, First Humanist Script

HUMANIST SCRIPT

SLIDE 81

1682

Type

Examples: Times New Roman Baskerville Georgia Nicolas Kis’ Roman, First Transitional Serif Times New Roman

TRANSITIONAL SERIF

SLIDE 82 Examples: Didot Bodoni Elephant

1784

Type

Firmin Didot’s Roman, First Modern Serif Diot

MODERN SERIF

SLIDE 83 Examples: Helvetica Arial

1816

Type

William Calson IV’s San Serif, First Sans Serif Helvetica Neu

SAN SERIF

SLIDE 84 Examples: Stymie BT Arvo (Egyptian)

1817

Type

Figgin’s Antique Roman Stymie BT

SLAB SERIF

SLIDE 85 Examples: Landliebe

1953

Type

Landliebe

INFORMAL SCRIPT