The Book Project

TYPOGRAPHY 2: TYPE STRUCTURES

STUDENT: JESSICA LOCK - 231 5265

GRPH 2B06

typestruc-

tures

INSTRUCTOR:STEVE QUINLAN -STUDENT: JESSICA LOCK - APRIL 12TH, 2011

PROJECTTHE

BOO

K

CHAPTER 01:

CHAPTER 02:

CHAPTER 03:

CHAPTER 04:

CHAPTER 05:

CHAPTER 06:

CHAPTER 07:

CHAPTER 08:

THE LETTER

THE WORD

THE LINE

ARRANGEMENT

THE COLUMN

THE GRID

SYNTAX AND HIERARCHIES 1

SYNTAX AND HIERARCHIES 2

03

07

11

15

21

31

33

39

INDEX

01CHAPTER 01THE LETTER

01

CHAPTER ONE: THE LETTER

gowdy old style pt.60

Bodoni pt.130

baskerville pt.60 rockwell pt.60

helvetica neue pt.60

Aa

Aa Aa

Aa

transitional

old style

egyptian

sans serif

modern

AaEngland 1757

US 1915 Switzerland 1957

Italy 1788

US 1934

04

01


gowdy old style pt.32

Bodoni pt.54

baskerville pt.32

rockwell pt.32

helvetica neue pt.32

huawrty HUAWRTYhuawrty HUAWRTY

huawrty HUAWRTYhuawrty HUAWRTY

lowercase UPPERCASEcap line

x-height

baseline huawrty HUAWRTYascender

bowlstem

crossbar

counterhairline

descenderserif

transitional

old style

egyptian

sans serif

modern

05

01


Thin condensed

Bold condensed

Thin

Light

Thin Italic

Roman

MediumBold

Heavy

Black

Thin Extended

Extended

Heavy extended italic

Ultra light condensed

Helvetica Neue LT Std

Typestyles, Family fonts

06

02CHAPTER 02THE WORD

02

CHAPTER TWO: THE WORD

typography

TYPOGRAPHY

Times New Roman pt.48

Helvetica Neue pt.48

08

02

CHAPTER TWO: THE WORD

TYPOGRAPHY

TYPOGRAPHYTYPOGRAPHY TYPOGRAPHY

typography

typography

typographytypography

typography

typography

typographytypographyTYPOGRAPHY

TYPOGRAPHY

TYPOGRAPHY TYPOGRAPHY

09

03CHAPTER 03THE LINE

03

CHAPTER THREE: THE LINE

“type gives body and voice to silent thought” Times New Roman 48 pt.

12

03


Times New Roman high contrast

“type gives body and voice to silent thought”

13

03


“type gives body and voice to silent thought”

Helvetica Neue 36 pt.

14

04CHAPTER 04ARRANGEMENT

04

CHAPTER FOUR: ARRANGEMENT

‘‘typography is a beautiful group of letters, not a group of beautiful letters’’

“typography is a beautiful group of letters, not a group of

beautiful letters”


][ Centered

] Aligned right, rag left

[ Aligned left, rag right

16

04




][ Baskerville

Metric Kerning (Before)

Fixed: Optical Kerning and hanging punctuation (after)

unevencould be tighter

too much space

17

04



[ Bodoni std. 42/47 pt.

18

04


“typography is a beautiful group of letters, not a group of

beautiful letters”

] adoBe Caslon pro 24/29 pt

19

05CHAPTER 05THE COLUMN

05

CHAPTER FIVE: THE COLUMN

Adobe Garamond Pro 9.5/14pt

1. [ ] 14 PICA WIDE COLUMN

Most people read without seeing what they read. In all probability you have no idea of the name of this typeface. Not that it’s of over-whelming importance. As advertising doyen David Ogilvy once commented, no housewife ever bought a new detergent because the ad-vertisement was set in Caslon. Nevertheless, if a piece of text looks unattractive or difficult to scan, one isn’t likely to read it.

Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Expands, Latin Extends and Modern Romans. Wordage is viewed in terms of colour and weight, points,

picas and leading. The aesthetics involve pace, proportion, scale, balance, harmony and order. As you can see, there is more to it than you thought. Furthermore, the options held by this fraternity can excite an intensity of passion only equaled by medieval ecclesiastics arguing about how many angels can dance on the head of a pin. Typographers have ideologi-cal commitments to symmetrical or asym-metrical arrangements, fervent allegiances to particular typefaces, unremitting hatred for others, and what could be construed as moral attitudes; ‘using bold caps’, declared Paul Rand, ‘is like wearing belt and suspenders.’

22

05


2. [ 14 PICA WIDE COLUMN

Most people read without seeing what they read. In all probability you have no idea of the name of this typeface. Not that it’s of overwhelming importance. As advertising doyen David Ogilvy once commented, no housewife ever bought a new detergent because the advertisement was set in Caslon. Nevertheless, if a piece of text looks unattractive or difficult to scan, one isn’t likely to read it.

Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Expands, Latin Extends and Modern Romans. Wordage is viewed in terms of colour and

weight, points, picas and leading. The aesthetics involve pace, proportion, scale, balance, harmony and order. As you can see, there is more to it than you thought. Furthermore, the options held by this fraternity can excite an intensity of passion only equaled by medieval ecclesiastics arguing about how many angels can dance on the head of a pin. Typographers have ideological commitments to symmetrical or asymmetrical arrangements, fervent allegiances to particular typefaces, unremitting hatred for others, and what could be construed as moral attitudes; ‘using bold caps’, declared Paul Rand, ‘is like wearing belt and suspenders.’

Adobe Garamond Pro 11 /15pt

23

05


Most people read without seeing what they read. In all probability you have no idea of the name of this typeface. Not that it’s of overwhelming importance. As advertising doyen David Ogilvy once commented, no housewife ever bought a new detergent be-cause the advertisement was set in Caslon. Nevertheless, if a piece of text looks unattractive or difficult to scan, one isn’t likely to read it.

Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Ex-pands, Latin Extends and Modern Romans. Wordage is viewed in terms of colour and weight, points, picas and leading. The aesthetics

involve pace, proportion, scale, balance, harmony and order. As you can see, there is more to it than you thought. Furthermore, the options held by this fraternity can excite an intensity of passion only equaled by medieval eccle-siastics arguing about how many angels can dance on the head of a pin. Typographers have ideologi-cal commitments to symmetrical or asymmetrical arrangements, fervent allegiances to particular typefaces, unremitting hatred for others, and what could be con-strued as moral attitudes; ‘using bold caps’, declared Paul Rand, ‘is like wearing belt and suspenders.’

3. NINE PICA WIDE COLUMN

Goudy Oldstyle Std. 8/11pt

24

05


4. [ ] 18 PICA WIDE COLUMN


Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Expands, Latin Extends and Modern Romans. Wordage is viewed in terms of colour and weight, points, picas and leading. The aesthetics involve pace, proportion, scale, balance, harmony and order. As you can see, there is more to it than you thought. Furthermore, the options held by this fraternity can excite an intensity of passion only equaled by medieval ecclesiastics arguing about how many angels can dance on the head of a pin. Typographers have ideological commitments to symmetrical or asymmetrical arrangements, fervent allegiances to particular typefaces, unremitting hatred for others, and what could be construed as moral attitudes; ‘using bold caps’, declared Paul Rand, ‘is like wearing belt and suspenders.’

Bodoni Std. 11/14pt

25

05



Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Expands, Latin Extends and Modern Romans. Word-age is viewed in terms of colour and weight, points, picas and leading. The aesthetics involve pace, proportion, scale, balance, harmony and order. As you can see, there is more to it than you thought. Furthermore, the options held by this fraternity can excite an intensity of passion only equaled by medieval ecclesiastics arguing about how many angels can dance on the head of a pin. Typographers have ideological commitments to symmetrical or asymmetrical arrangements, fervent allegiances to particular type-faces, unremitting hatred for others, and what could be construed as moral attitudes; ‘using bold caps’, declared Paul Rand, ‘is like wearing belt and suspenders.’

Times New roman 12/18pt

5. [] 34 PICA WIDE COLUMN

26

05


Bauer Bodoni Std 11/16pt

Most people read without seeing what they read. In all probability you have no idea of the name of this typeface. Not that it’s of over-whelming importance. As advertising doyen David Ogilvy once commented, no housewife ever bought a new detergent because the advertisement was set in Caslon. Nevertheless, if a piece of text looks unattractive or difficult to scan, one isn’t likely to read it.

Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Expands, Latin Extends and Modern Romans. Wordage is viewed in terms of colour and weight, points, picas and leading. The aesthetics involve pace, proportion, scale, balance, harmony and order. As you can see, there is more to it than you thought. Furthermore, the options held by this fraternity can excite an intensity of passion only equaled by medieval ecclesiastics arguing about how many angels can dance on the head of a pin. Typographers have ideological commitments to sym-metrical or asymmetrical arrangements, fervent allegiances to particular typefaces, unremitting hatred for others, and what could be construed as moral attitudes; ‘using bold caps’, declared Paul Rand, ‘is like wearing belt and suspenders.’

6. [] 24 PICA WIDE COLUMN (HIGHLY CONTRASTING STROKE WEIGHTS)

27


Most people read without seeing what they read. In all probability you have no idea of the name of this typeface. Not that it’s of overwhelming importance. As advertis-ing doyen David Ogilvy once commented, no housewife ever bought a new detergent because the advertisement was set in Caslon. Nevertheless, if a piece of text looks unattractive or difficult to scan, one isn’t likely to read it.

Typographers live in a world inhabited by serifs, counters, kerns, ligatures and line feeds, populated with Egyptian Expands, Latin Extends and Modern Romans. Wordage is viewed in terms of colour and weight, points, picas and leading. The aesthetics involve pace, proportion, scale, balance, harmony and order. As you can see, there is more to it than you thought. Furthermore, the options held by this fraternity can excite an intensity of passion only equaled by medieval ecclesiastics arguing about how many angels can dance on the head of a pin. Typog-raphers have ideological commitments to symmetrical or asymmetrical arrangements, fervent allegiances to par-ticular typefaces, unremitting hatred for others, and what could be construed as moral attitudes; ‘using bold caps’, declared Paul Rand, ‘is like wearing belt and suspenders.’

Helvetica Neue Lt. Std. Heavy 9/13pt

7. [ 9/? HELVETICA HEAVY

28

05

05


Typographers live in a world inhabited by

serifs, counters, kerns, ligatures and line

feeds, populated with Egyptian Expands,

Latin Extends and Modern Romans. Word-

age is viewed in terms of colour and weight,

points, picas and leading. The aesthetics

involve pace, proportion, scale, balance,

harmony and order. As you can see, there

is more to it than you thought. Further-

more, the options held by this fraternity can

excite an intensity of passion only equaled

by medieval ecclesiastics arguing about how

many angels can dance on the head of a pin.

Typographers have ideological commit-

ments to symmetrical or asymmetrical ar-

rangements, fervent allegiances to particular

typefaces, unremitting hatred for others,

and what could be construed as moral

attitudes; ‘using bold caps’, declared Paul

Rand, ‘is like wearing belt and suspenders.’

Gill Sans Light 9/15pt

8. [ 9/? GILL SANS LIGHT

29

06CHAPTER 06THE GRID

06

CHAPTER SIX: THE GRID

[ Memphis LT. Std. 9/10.8pt

It may seem that many people point-blank refused to use the telephone because they might have to speak to someone to whom they had no formal introduction! Can’t get much less intimate than that can you.

The telephone survived the stupidity of snobbery and opened up a whole new world of intimacy. People could keep in touch. They could swap confidences in a way they would never think of in a face-to-face encounter. They could make their lives faster, more efficient and easier.

In the 1990’s the mobile phone took the transformation of everyday life to another level altogether - constant communication. As the yup-pie label faded rapidly, the mobile phone became the instrument of intimacy; the builder of relationships. If you

wanted to be empathetic, you would have to admit there was a hell of a lot to listen to. In an average day an adult can use as many as 40,000 words. That’s about five hours of continuous speech. If you multiply this be 75, that’s about a billion words in a lifetime.

And what will all these words be about? Important issues of the day? Very few of them. Most of our talk could be termed trivial. It’s about the process of talking rather than the content; we talk about fam-ily and friends, the weather, local news, and (especially) the days goings-on. Gossip is the lifeblood of intimacy.

People automatically phone home to announce they are in the car and on the way home. Everyone is constantly call-ing everyone else to explain where they are, what is hap-pening, what might happen.

A point-by-point tracking throughout our lives with our loved ones.

Intimate talking has become a 24/7 activity. Forget gram-mar and argument. We’re talking haphazard, incom-plete and emotional. This is not about communicating information as we know it. This is a constant sensing of where you are, where I am, and how we are both feeling.

To me commitment is one of the most demanding Love-mark attributes. Remember that great definition of the dif-ference between being com-mitted and being involved? In a plate of bacon and eggs, the pig is committed and the chicken is involved. Working with P&G I was introduced to Cape Town academics Jan Hofmeyr and Butch Rice from Commitment-Led Marketing. We all agree that loyalty is

not enough. As Hofmeyr and Rice point out, loyalty can just be consumers acting on autopilot, continuing to buy the same brand because they can’t be bothered to make another choice. But commitment can transform loyalty from an unthinking acceptance to a real state imbued with real emotions - loyalty beyond reason.

This continuation of loy-alty and commitment is the powerful force we need to harness for Lovemarks. Getting to the crucial place where people are beyond the information stage and point-by-point comparisons. They have made their choice. They have committed to it before friends and family. It is part of them and they are not going to change now.

gutter:1p0

9p11.52 width4 column grid

32

07CHAPTER 07HIERARCHIES

& SYNTAX 1

07

CHAPTER SEVEN: SYNTAX AND HIERARCHIES 1

1. WEIGHT

“GODISINTHEDETAILS”

34

07


THERE”

ARE GOINGARE GOING

ARE GO

ING

ARE GOINGA

RE GO

ING

ARE GOING

AR

E G

OIN

G

WHERE YOUIF YOU DON’T KNOW

ARE GOING,A

LL RO

AD

S LEA

D

T H E R E ”

2. DIRECTION

35

07


CORRUPTIONREALISMREALISM

REALITYREALITYrealism is a corruption of reality.

3.TEXTURE

36

07


4.FORM

typeismerelyhandwritingtheexigenciesand

accidentsofthescribes”

divestedof

37

08CHAPTER 08HIERARCHIES

& SYNTAX 2

08

CHAPTER EIGHT: SYNTAX AND HIERARCHIES 2

water

It may seem that many people point-blank refused to use the telephone because they might have to speak to someone to whom they had no formal introduction! Can’t get much less intimate than that can you.

The telephone survived the stupidity of snobbery and opened up a whole new world of intimacy. People could keep in touch. They could swap confi dences in a way they would never think of in a face-to-face encounter. They could make their lives faster, more effi cient and easier.

In the 1990’s the mobile phone took the transfor-mation of everyday life to another level altogether

- constant communication. As the yuppie label

faded rapidly, the mobile phone became the instru-ment of intimacy; the builder of relationships. If you wanted to be empathetic, you would have to admit there was a hell of a lot to listen to. In an average day an adult can use as many as 40,000 words. That’s about fi ve hours of continuous speech. If you multiply this be 75, that’s about a billion words in a lifetime.

And what will all these words be about? Important issues of the day? Very few of them. Most of our talk could be termed trivial. It’s about the process of talking rather than the content; we talk about family and friends, the weather, local news, and (especially) the days goings-on. Gossip is the lifeblood of intimacy.

FISH,are the last to recognize water.

headline (primary)

body (text)headline (secondary)

photograph

40

08

CHAPTER EIGHT: SYNTAX AND HIERARCHIES 2

water

fi sh,the last to recognize

It may seem that many people point-blank refused to use the telephone

because they might have to speak to someone to whom they had no formal introduction! Can’t get much less intimate than that can you.

The telephone survived the stupidity of snobbery and opened up a whole new world of intimacy. People could keep in touch. They could swap confi dences in a way they would never think of in a face-to-face encounter. They could make

their lives faster, more effi cient and easier.

In the 1990’s the mobile phone took the transformation of everyday life to another level altogether - constant communica-tion. As the yuppie label faded rapidly, the mobile phone became the instrument of intimacy; the builder of relationships. If you wanted to be empathetic, you would have to admit there was a hell of a lot to listen to. In an average day an adult can use as many as 40,000 words. That’s about fi ve hours of continuous speech. If you

multiply this be 75, that’s about a billion words in a lifetime.


wa

ter � shIn the 1990’s the mobile phone took the transformation of everyday life to another level altogether - constant com-munication. As the yuppie label faded rapidly, the mobile phone became the instrument of intimacy; the builder of relationships. If you wanted to be empathetic, you would have to admit there was a hell of a lot to listen to. In an average day an adult can use as many as 40,000 words. That’s about fi ve hours of continuous speech. If you mul-tiply this be 75, that’s about a billion words in a lifetime.


It may seem that many people point-blank refused to use the telephone because they might have to speak to some-one to whom they had no formal introduction! Can’t get much less intimate than that can you.

The telephone survived the stupidity of snobbery and opened up a whole new world of intimacy. People could keep in touch. They could swap confi dences in a way they would never think of in a face-to-face encounter. They could make their lives faster, more effi cient and easier.

� sh,FISH,last to recognize

waterater

41

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