Post on 14-Dec-2015
DESIGNING withTYPE
Bristol Community CollegeBristol Community CollegeCIS 13 Business Creativity
Sources: The Non Designers Design Book, Robin Williams
Thinking with type.com John Magnik, Typography-1st.com
Review
Type Color Shapes Lines Graphics
REVIEWWhat are we looking at?“Elements” on the Page:
Review
REVIEW What are the FOUR Basic Principles of Design?
1 Contrast
2 Repetition
3 Alignment
4 Proximity
Review
REVIEWWhat is BACHV?1 Balance
2 Action
3 Consistency
4 Harmony
5 Variety
DESIGNING with TYPE
TYPE Relationships
Concordant
Conflicting
Contrasting
DESIGNING with TYPE
CONCORDANT Type
One type family, not much variety
Easy and safe
Sedate and Formal…
Yet, perhaps a little dull
DESIGNING with TYPE
With CONCORDANT TYPE First impressions count!
You are Cordially invited to a very
easy and safe design element by making your type concordant,
and although it has it’s place, it could put your audience to sleep.
Formal Attire Required
DESIGNING with TYPE
CONFLICTING Type Combining typefaces that are similar in
size, weight, and so on
Not the same, yet not different
Can be visually disturbing
DESIGNING with TYPE
CONFLICTING TypeNot the same, yet not different
DESIGNING with TYPE
Will the real HELVETICA Please Stand Up!
(1) Myriad Pro, (2) Verdana, (3) Arial, (4) Helvetica, (5) Skia
DESIGNING with TYPE
CONFLICTING Type
DESIGNING with TYPE
CONFLICTING Type Notice the subtle differences between the ‘t’
and ‘n’ in both type faces
DESIGNING with TYPE
CONTRASTING Type
Separate typefaces are used Clearly distinct Visually appealing Creates an exciting design that will
attract attention
DESIGNING with TYPE
CONTRASTING TypeBe BOLD, not wimpy
DESIGNING with TYPE
PLEASE… Do not “wing it” when combining
typefaces
Recognize and Name the Contrasts
Avoid Conflicting Type at all costs!
DESIGNING with TYPE
CATEGORIES of Typefaces
Fonts, top to bottom: Times New Roman; Birch Standard; SlabTallX; Arial; Edwardian Script; Curlz
DESIGNING with TYPE
[1600s] Based on hand-lettering
Slanted Serifs
Thick/Thin transition - moderate
“Invisible” - does not draw attention
Good for large bodies of text
DESIGNING with TYPE
[1700s] Moves away from hand lettering
Horizontal Serifs
Thick/Thin transition - more contrast
Cold, elegant look
Not good for large bodies of text
DESIGNING with TYPE
[Late 1800s] Used for Advertisement
Heavy Horizontal Serifs
Thick/Thin transition - little to none
Clean, straightforward
High readability, yet overall darker page than Oldstyles
DESIGNING with TYPE
SAN SERIF [early 1900s] Without Serifs
Monoweight - little to none Thick/Thin transition
Offers a variety of weights
Good for getting attention
DESIGNING with TYPE
Based on hand printing, calligraphy pen/brush, pencil or technical
writing
Like cheesecake - use sparingly and no one gets sick
Never use all caps
Lends contrast and a graphic element when used appropriately
DESIGNING with TYPE
Offers a graphic element
But should never be used in all cap because…
DESIGNING with TYPE
Fun, distinctive
Many varieties
Carries obvious emotions
Use sparingly
Good to experiment with
DESIGNING with TYPE