Modular Type Grid Exercise
Modular Typographic Grid Exercise:
Layout three different "typographic expressions" of the meaning of the following weather report for Ogden using the variables of type and layout.
Weather Report
Ogden
Tuesday
October 22, 2013
High- 63° F
Low- 38° F
Precip- 0%
Winds- SW at 5 to 10 mph
UV Index- 4 Moderate
Sunrise- 7:48 am
Sunset- 6:36 pm
Sunny Skies
Size: 6x6”
Grid: 9-unit modular
Layouts: Serif only, Sans-serif only, Serif & Sans serif mix
Rules of Type Poster
Rules of Type Poster
This project is to design a poster typographically conveying one of the following rules of type. Your design must include a running head, “Typography Rules” (without the quote marks), set in Meta Regular, 14 pt, all aaps, letterspaced +30 pts, positioned 1/2" from the top and left margins. The final poster will be printed 13x19" on the Epson printer in the digital lab.
Individual students have been assigned to the following rules:
Begona - Rule #16
Shanna - Rule #14
Nic - Rule #15
Jeremy - Rule #4
Eric - Rule #13
Autumn - Rule #3
Alyssa - Rule #9
Laura - Rule #8
Jessica - Rule #17
Taylor - Rule #12
Alyse - Rule #19
Ingemar - Rule #18
Cori - Rule#11
Jenni - Rule #2
Carly - Rule #1
Magda - Rule #6
_______________________________________________________________________
RULES OF TYPE
Over the centuries, typographic guidelines have been developed to provide consistency and competency within the profession, to preserve the beauty and legibility of typographic form, and to ensure that typography functions as often mandated: to clearly represent the thoughts of the author. The following rules are not absolute of definitive, but they are representatives of a sturdy, time-tested collection of typographic guidelines.
These rules provide a critical foundation for informed and responsible practice.
2. Be mindful not use too many typefaces at any one time.
3. Avoid combining typefaces that are too similar in appearance.
4. Text set in all capital letters severely retards reading. Use upper- and lower-case letters for
optimum readability.
5. For text type, use sizes that according to legibility studies prove most readable.
6. Avoid using too many different type sizes and weights at the same time.
7. Use text types of book weight. Avoid typefaces appearing too heavy or too light.
8. Use typefaces of medium width. Avoid typefaces that appear extremely wide or narrow in width.
9. For text type, use consistent letter and word spacing to produce an even, uninterrupted texture.
10. Use appropriate line lengths. Lines that are too short or too long disrupt the reading process.
11. For text type, use line spacing that easily carries the eye from one line to the next.
12. For optimum readability, use a flush left, ragged right type alignment.
13. Strive for consistent rhythmic rags.
14. Clearly indicate paragraphs, but be careful not to upset the integrity and visual consistency
of the text.
15. Avoid widows and orphans whenever possible.
16. Emphasize elements within text with discretion and without disturbing the flow of reading.
17. Always maintain the integrity of type. Avoid arbitrarily stretching letters.
18. Always align letters and words on the baseline.
19. When working with type and color, ensure that sufficient contrast exists between type
and its background.
Project Schedule
• Tight Design Comp due
Tuesday, October 15th
This project is to design a poster typographically conveying one of the following rules of type. Your design must include a running head, “Typography Rules” (without the quote marks), set in Meta Regular, 14 pt, all aaps, letterspaced +30 pts, positioned 1/2" from the top and left margins. The final poster will be printed 13x19" on the Epson printer in the digital lab.
Individual students have been assigned to the following rules:
Begona - Rule #16
Shanna - Rule #14
Nic - Rule #15
Jeremy - Rule #4
Eric - Rule #13
Autumn - Rule #3
Alyssa - Rule #9
Laura - Rule #8
Jessica - Rule #17
Taylor - Rule #12
Alyse - Rule #19
Ingemar - Rule #18
Cori - Rule#11
Jenni - Rule #2
Carly - Rule #1
Magda - Rule #6
_______________________________________________________________________
RULES OF TYPE
Over the centuries, typographic guidelines have been developed to provide consistency and competency within the profession, to preserve the beauty and legibility of typographic form, and to ensure that typography functions as often mandated: to clearly represent the thoughts of the author. The following rules are not absolute of definitive, but they are representatives of a sturdy, time-tested collection of typographic guidelines.
These rules provide a critical foundation for informed and responsible practice.
1. For optimum legibility, choose classical, time-tested typefaces with a proven track record.
2. Be mindful not use too many typefaces at any one time.
3. Avoid combining typefaces that are too similar in appearance.
4. Text set in all capital letters severely retards reading. Use upper- and lower-case letters for
optimum readability.
5. For text type, use sizes that according to legibility studies prove most readable.
6. Avoid using too many different type sizes and weights at the same time.
7. Use text types of book weight. Avoid typefaces appearing too heavy or too light.
8. Use typefaces of medium width. Avoid typefaces that appear extremely wide or narrow in width.
9. For text type, use consistent letter and word spacing to produce an even, uninterrupted texture.
10. Use appropriate line lengths. Lines that are too short or too long disrupt the reading process.
11. For text type, use line spacing that easily carries the eye from one line to the next.
12. For optimum readability, use a flush left, ragged right type alignment.
13. Strive for consistent rhythmic rags.
14. Clearly indicate paragraphs, but be careful not to upset the integrity and visual consistency
of the text.
15. Avoid widows and orphans whenever possible.
16. Emphasize elements within text with discretion and without disturbing the flow of reading.
17. Always maintain the integrity of type. Avoid arbitrarily stretching letters.
18. Always align letters and words on the baseline.
19. When working with type and color, ensure that sufficient contrast exists between type
and its background.
______________________________________________________
Project Schedule
• Written Project Description, Visual Research, Concept Thumbnails due
Thursday, October 10th
• Tight Design Comp due
Tuesday, October 15th
• Final Poster due
Thursday, October 17th
Thursday, October 17th
Readings
Chapter One - Relational Systems (Type as Content)
• Primer- pgs 18-21
• Text- pgs 17, 26-39
Outline due on Blog Thursday, August 29
• Primer- pgs 18-21
• Text- pgs 17, 26-39
Outline due on Blog Thursday, August 29
Chapter One - Relational Systems (Type as Form)
• Primer- pgs 22-25
• Text- pgs 39-47, 51-55
Outline due on Blog Tuesday, September 3
Chapter Four - Materiality (Four Type Revolutions)
• Primer- pgs 154-161
• Text- pgs pgs 153, 164-16
Outline due on Blog Tuesday, October 1
Chapter Six - Disorder of Things (Type Measuring Systems, Type Anatomy)
• Primer- pgs 224-227
• Text- pgs 223, 228-236, 242-245
Outline due on Blog Thursday, October 3
Chapter Three - Formal Systems (Rules of Type)
• Primer- pgs 104-109
• Text- pgs 103, 110-132
Outline due on Blog Tuesday, October 8
Chapter Six - Disorder of Things (Classifying Type)
• Text- pgs 236-242
Chapter Three - Formal Systems (Grids)
• Text- pgs 132-147
Chapter Five - Language Systems (Grids)
• Text- pgs 212-214
Outline due on Blog Tuesday, October 22
Chapter Two - Reading Systems
• Primer- pgs 60-63
• Text- pgs 59, 64-65, 88-96
Outline due on Blog Tuesday, November 5
Magazine as Message Assignment
Design is practiced within the context of culture. It signifies aspects of a society’s belief and value systems.It constructs symbols that refer to things and ideas, and uses words that bring objects and concepts to mind, for the purpose of communication.
Context in design is a set of conditions and circumstances present at a given time, in a given place,
including the motives of makers and readers, the content of the message, the material aspects of the design artifact, and the particulars of presentation and delivery. Context is produced by converging (overlapping) systems – societal systems in which makers and readers exist, physical and technological systems that form and convey the design. A magazine is a good example of a message in context.
To understand the context of a message, a designer must ask six questions:
• WHO initiates the work? (Initiator and/or Sender - what is their Intention?)
• WHO are the readers? (Audience - what are their expectations?)
• WHAT is the artifact? (Design Object - sign, a magazine, a poster?)
• HOW is the artifact manifested? (Production/Fabrication - printed, projected, constructed?)
• WHERE does the delivery take place? (Place -in the living room, a car, the theatre?)
• WHEN does the delivery take place? (Span of Time - during a concert, an emergency?)
Also included within the context of a message is:
• PURPOSE (Meeting the objectives - wants / needs - of the initiator / sender)
• RESPONSE (Fulfilling the objectives - wants / needs - of the reader / audience)
Exercise - Magazine Message Analysis
Visit a bookstore and purchase a magazine of choice. Choose something that you are drawn to and are familiar with the content. Imagine the contexts of its production and distribution (including your experience with it). Describe in a short written essay (and visual form), the voice of the publication, who you thick the readers are, as well as the what / how / when / where of the magazine (design artifact). What design attributes – typography, composition, materials, etc, led you to your conclusions?
Comping Type Exercise
In Class Exercise
Using three separate sheets of tracing paper and a pencil, trace and/or comp the following “R” letters at 100% of their size. Be sure to include the name of the font, its weight, and point size at the bottom of each sheet. Note the different line, shape and negative space characteristics of the three different fonts.
Next, using the following alphabet sheets, trace and/or comp your name in both Garamond and Meta on a single sheet of tracing paper. Be sensitive to letter spacing, word spacing and the negative space surrounding the names.
Bring your final comps to class again on Thursday, September 5th. We will scan and post your comps to your blog under “Exercises,” and title and label he post “Comping Type.”
Using three separate sheets of tracing paper and a pencil, trace and/or comp the following “R” letters at 100% of their size. Be sure to include the name of the font, its weight, and point size at the bottom of each sheet. Note the different line, shape and negative space characteristics of the three different fonts.
Next, using the following alphabet sheets, trace and/or comp your name in both Garamond and Meta on a single sheet of tracing paper. Be sensitive to letter spacing, word spacing and the negative space surrounding the names.
Bring your final comps to class again on Thursday, September 5th. We will scan and post your comps to your blog under “Exercises,” and title and label he post “Comping Type.”
Subscribe to:
Posts (Atom)