CHAPTER 1

Use the samples in this chapter to fuel your search for creative ways of conveying themes of energy, motion, vitality, vigor, force and action through type and its supporting compositional elements.

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Looking for ways to addvisual punch to a letter-form, logotype, headline,word graphic or paragraph?Consider amplifying theambiance of your lettersusing concepts such asthose featured here.

Keep your eyes open

for other means thatdesigners use to intensifythe presentation of theirtype. Store these ideas inyour head, on paper or inyour computer for futureinspiration. SEE COLLECTINGSCRAP, PAGE 298.

1-3|Apply pop-art enhance-ments to bolster the aes-thetic vigor of type. Howabout employing radiatinglines, pseudo shadows or a Warhol-esque stack ofmisaligned forms?

4|Consider modifying characters so that they con-tain—or morph into—featuresthat exemplify action.

5|A viewer’s eye quicklyfalls under the spiritedinfluence of arrows. Howabout adding pointers of

some kind to your type tolead the viewer’s attentionor to express movement?

6|Look for ways of using arepeated letterform to cre-ate a thematically relevantand visually active shapefor use as an icon.

7,8|What about filling a letterform or word with an energetic illustration or photographic image?Software can be used toadd additional effects suchas the glow around thecharacter in example 8.

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1|Futura 2|Palatino 3|Century Schoolbook 4|Castellar 5|Rockwell, American Typewriter, Bodoni Antique, custom character 6|Albertus 7,8|Gill Sans

work of art connects with their audience. These connections bypass parts of the brain that insist

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These two pages featuresamples of digital treat-ments that can be appliedto all kinds of typographicelements. Endless varia-tions can be easily investi-gated using the computer.Explore!

The examples on this

spread were created byapplying the followingPhotoshop filters:

1|MOTION BLUR

2|RADIAL BLUR (SPIN)

3|WIND BLAST

4|RADIAL BLUR (ZOOM)

5|LENS FLARE

6|OCEAN RIPPLE

7|GAUSSIAN BLUR

8|COLOR HALFTONE

9|BLUR + PATCHWORK

10|DIFFERENCE CLOUDS

11|FRAGMENT

12|OUTER GLOW

13|BEVEL AND EMBOSS

14|PATTERN FILL

15|GRADIENT FILL

16|DIFFUSE GLOW

17|DROP SHADOW

18|COLOR NOISE

Note: Many typefaces arestand-alone works of art;they may not need digitalassistance to improve theirability to communicate andcharm. Apply digital effectssparingly and only whenthey are essential to adesign’s purpose.

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on literal meaning; striking instead synapses that prompt emotional and intuitive reactions.

AE RONAUT ICR E SE ARC H &DEVELOPMENT

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A monogram is a visualand conceptual expressionthat exists somewherebetween a typographic logo and pictorial icon. Thisspread is meant to be usedas idea-fuel for creatingmonograms that exemplifyenergetic themes.

1|Without the tiny breaksin the forms of this stencilface’s characters, thismonogram would appearquite plain. Fonts that con-tain subtle notes of individ-uality such as this can beused to amplify the vitalityof typographic designs.

2|Use software to exploreoptical/digital effects suchas the bulging sphericaltreatment that has beenapplied to these letters.

3|Is there a way of usingthe company’s initials tocreate a graphic image

that relates to the busi-ness’ function?

4|Mixed fonts and theuse of a reversed and tilt-ed character amount to amonogram that is bothsolid and spirited.

5|Consider using non-traditional fonts and icons whose meaning isambiguous when design-ing for audiences withcontemporary tastes.Legibility can also be tam-pered with when designingfor this demographic.

6-9|When the design ofyour typography has beenfinalized, continue toexplore options in howyour monogram isframed, colored andembellished.

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1|United Stencil 2|Franklin Gothic 3|Frutiger 4|House Gothic, Mona Lisa Recut, Caslon 5|Apollo 26, Aviner 6-9|House Gothic

Through the work of an attentive designer, these abstract conveyances, combined with the

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1-5|Designers are oftencalled upon to createtype/illustration hybrids for use in layouts.

Both new and experi-enced designers can ben-efit from practicing thiskind text/image fusion asa creative exercise.

Challenge yourself tocome up with visual treat-ments for various nouns,adjectives, verbs andadverbs. Aim for solutionsthat are directly related toa word’s meaning, as wellas for those that implyhumor or irony through

treatments that contradicta word’s definition.

When looking for typo-graphic conveyances thatinclude a visual twist, trybrainstorming using listsof relevant concepts andwords. Fill a page or twowith thumbnail sketches

based on material fromthese lists: quantity is asimportant as quality atthis stage of the creativeprocess. More often thannot, the best ideas hidethemselves until medioc-rity has been exhausted.Use these thumbnail

sketches to expand andnarrow your search for solutions.

Why don’t you make a habit of keeping asketchbook with you?Sketchbooks are not onlyhandy for doodles and writing—they make great

platforms for exploringtypographic solutions suchas this kind of text/imagemerger. Many artists findthat exercises like this are useful for relaxationas well as for building creative muscle power.

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literal meaning of spirited text, can amount to a twin-barreled blast of communicative clout.

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When a visual message needs to be delivered to an audience, illustrations and photo-graphs are usually called to center stage. As a designer, don’t forget that you are thedirector of the show—why don’t you give the spotlight to a certain kind of graphic ele-ment that delivers its message through both visual and textual means? How about cast-ing type in your layout’s starring role?

Experiment with solutions that use only type (as seen on this spread); as well as withideas that incorporate illustrative or graphic additions to letterforms (as demonstratedthrough the previous spread’s examples.)

Franklin Gothic

Some typefaces radiate such vitality that they practically shout for attention. Furthermore,

EXPLORATIONS

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Featured here are sevenstraightforward approachesthat could be used to infuse an all-type logo with energetic conveyances.When working on a logo,weigh the virtues of an all-type solution vs. a design that includes an

icon, backdrop or framingelement. How about investi-gating both avenues ofexploration?

1,2|Hand-lettered and ital-ic typefaces are inherentlyenergetic. Consider using aforward-leaning font for the

main text and/or the subtext of your logotype.

3-5|How about tilting or curving the baseline of individual characters—orentire words—to add notesof excitement and individu-ality to a design?

6|The spirited conveyancesof energy in this logotypehave been generated bycombining characters fromthree distinctly differentfonts. The size and positionof each letter has beencarefully considered—with an eye for diversity,

readability and visual balance. The horizontalrule and evenly spacedrow of capitals beneaththe lively main text lend order to the design.

7|How about incorporat-ing punctuation to add

expression to a logo? Investigate both traditionaland non-traditional waysof using punctuation.

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1|Requiem, Formata 2|Franklin Gothic, Caflisch Script 3,4|Formata 5|Postino, Caslon 6|Bodoni Antique, Futura, Caslon Openface 7| Century Schoolbook

their vigor is infectious—when combined with other lively graphic elements (energetic

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1-3|Exploration is the key when it comes to creating type/image combinations that effec-tively honor the thematic goal of a logo. Ask yourself: Could the logo I’m working oninclude an image along with its typographic elements? If so, an image of what? Whatstyles of illustration should be considered? What sort of solution would the target audi-ence be most likely to respond to positively? SEE TARGETING AUDIENCE, PAGE 128.

If you are an adept illustrator, take advantage of the versatility and freedom that beingable to create your own images gives you when combining type with images. Experimentbroadly! If you think that the image being called for lies outside your areas of artistic proficiency, you may need to look for (and possibly hire) a helping hand.

4|When working with artwork that has an unrefined visual quality,how about adorning itwith a font that has a similarly weathered look?

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images, colors, backdrops, etc.), the result can be aesthetically explosive. When dynamic fonts are

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featured with sedate compositional companions, the energy coming from the type can add a spark

On this spread, a selectionof basic treatments hasbeen applied to a simpleheadline and its subhead.Consider employing—andexpanding upon—ideassuch as these when seekingenergetic ways of exhibitinga heading or masthead.

1|The static sans serif fontused in this sample seemsto contradict the headline’smessage. Not the bestchoice for this heading.

2|Use your pull-down typemenu to explore options.Does an italic font convey

a more appropriate level of energy? A condensed italic font? What about using multiple weights to add visual spice?

3|How about using anintense hue to amplify theexpression of your heading?

An energetic font, intensecolor and the use of anexclamation mark can raisethe volume of a headline’sdelivery to a virtual shout.

4,5|Here, a pairing betweena fine italic serif font and abold sans serif face present

a multitude of theme-boosting conveyances: energy— through the slanting forms of the italic; solidity—through the uprightforms of the sans serif; and diversity—through theextreme contrasts betweenthe two kinds of fonts used.

6|Why be normal? Exploreunconventional approachesas well!

7-8|Consider modifyingyour headline using the filters and effects availablefrom an image-altering pro-gram such as Photoshop.

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French Script

of zest to an otherwise restrained layout. Conversely, a passive font can be infused with

There are many ways of directing a viewer’s attention to important textual elements.Often, essential text is presented in a large point size, in a bright color, or within a hard-to-ignore shape or frame. Each of these methods of gathering attention is worthconsidering—individually or in combination with others.

Still, in the midst of all this chapter’s talk about large text, bright colors and energeticvisual environs, it seems worthwhile to feature a spread with this simple reminder:impact is relative. Text need not be large, colorful or framed in order to be noticed.Even a humble strip of tiny grey italic type hiding between a pair of brackets can call attention to itself if its visual competition is kept in check.

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1|Knockout, French Script (logo, each poster) 2|Stempel Garamond 3|Century Schoolbook 4|French Script, Birch, Black Oak, Clarendon

notes of effervescence through its association with lively supporting elements (forceful images,

Thematically, the posterdesigns on this spread aimfor a balance between literary seriousness andkitsch amusement. Thesepredominantly typographiclayouts are intended toreflect this balance throughthe personalities of their

fonts and the presentationof their text (size, position,orientation, composition).

In addition to taking fontand compositional vari-ables into account as yousearch for energetic layoutideas, experiment with therelative visual importance

of each of your pieces oftextual information. Whatabout switching the roles ofyour subhead and head-line? What about elevatinga piece of information fromworker-bee status to queenof the hive?

1-4|The four layoutsshown here demonstratethis sort of informationalpecking-order exploration.

The first layout highlightsthe fact that this is the5th annual occurrence ofthe event. The seconddesign features the name

of the competition as itsmost prominent element.The third humorously playsup a restriction containedin the event’s rules. Thefinal layout gives topbilling to the name of thenewspaper that sponsorsthe competition.

Explore hierarchicaloptions such as these—especially when workingon layouts that containseveral distinct blocks of text.

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1|actual typewritten text, Franklin Gothic 2|Magda, Bodoni Antique, Franklin Gothic 3|Magda, Franklin Gothic

playful decorations, intense coloration, etc.).

Whether designing with typealone, or with a full range ofvisual elements, keep inmind that some solutionssucceed through aestheticmerit, some on their con-ceptual charms, and othersthrough a combination ofboth approaches.

1-3|Rather than portrayingenergy through their com-positions, the concept-driven layouts featured herestrive to create energy inthe form of a humorous oremotional connection withthe viewer. How aboutsearching for a conceptual

angle for your design?Concept can be king

when it connects power-fully with its subjects(pun acknowledged) and rules from a throneof sound aesthetics.

When designing a layout that calls for visual1 2 3

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pep, use the computer to explore typeface options as well as variables in the way the design’s other

Should type or imagedominate your layout?

This spread features apair of designs that favoropposing answers to the question of visualdomination between type and image.

1|A colorful and jubilantphoto has been given pri-ority over the typographicelements of this layout.

Note that the woman inthe image is not the onlything that’s topsy-turvy inthis design—the visual ele-ment that is arguably the

most important (the book’stitle) has been featured asthe cover’s smallest item.Though unconventional inits presentation, the title’sprominance is assuredbecause of its conspicuousplacement and unusual ori-entation. When applicable,

take advantage of thequirky conveyances that off-beat solutions such as thislend to their subject matter.

2|Here, the book’s title hasbeen given more conven-tional visual status: biggestand boldest. A playful and

conceptually relevant twisthas been added by flip-ping the word wrong onits head. The d in thetitle’s second word hasbeen tucked into a spacewithin the w above—thisgives the title an extrameasure of compositional

strength by helping its threewords appear as a singulargraphic element.

Energetic inferences have been bestowed on thelayout through the visuallyactive pattern that appearsbehind the type and alongthe cover’s right edge.

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Paragraphs can be infusedwith connotations of energythrough font choice, com-positional presentation,color and supporting graphic elements.

1|A bold, poster-esque initial cap sets a colorful

tone for a story being toldby the legendary musician,Louis Armstrong.* The vividcontrast between the thickand thin strokes of thefont’s characters generatesan energetic ambiance forthe narrative. A lively back-ground pattern of asterisks

adds yet another level of pep to the type’s presentation.

2|A modern font—onebuzzing with inferences ofshowbiz and nightlife—makes an intriguing con-nection between the old

and the new when used inthis context.

3|The unusual use of quo-tation marks in this designserves as a powerful andenergetic frame for the text.

Many people have diffi-culty reading text that is

lighter than its background.Sans serif fonts can alsoannoy readers when usedfor large amounts of text. Ifyou are going to mess withrules of legibility, it’s best todo it with a relatively smallblock of text such as this.

4|And speaking of mes-sing around with axioms of proper typography, howabout mixing fonts andpoint-sizes? Though uncon-ventional, this approachcan draw attention to aparagraph while highlight-ing key words within it.

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visual and compositional elements are presented. Think of your type, images, colors, decorations

*The text featured on pages 42-45 was borrowed from Louis Armstrong, In His Own Words, edited by Thomas Brothers. Inthis excerpt, Louis Armstrong relates his first impressions of renowned dancer and showman Bill “Bojangles” Robinson.

Inside this essential guide to typography for print and web design, you’ll find:

• The history of typography• The terms and definitions used to talk about typography• How to use techniques like kerning, leading, tracking, etc.• How to pair fonts• How to effective use type in an overall design• How to use typography on the web And so much more!

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