type like you mean it
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TYPE LIKE YOUMEAN IT.
A Process Book By Cami Manea
TYPE LIKE YOUMEAN IT.
Copyright © 2012 by Cami Manea
Type Like You Mean It; a process book
-1st edition/ by Cami ManeaAll rights reserved.
1objective
completed assignment Anatomy of Type
2Word Typographytracking
combining typefaces
contents
guidelines/suggestionsgrid systems
about Didotsketches: 3 conceptsdesign development
final posters
3sketches
1 size, 1 weight2 sizes, 2 weights3 sizes, 3 weights
Text Typography
4
5DOs & DON’Ts
Typeface Poster
prefaceEverything you hear about typography and design emphasizes, in one way or another, that “Simplicity is Key.” Looking at my chaotic pile of sketches, designs, notes, and inspirational magazine pages, I saw everything but simplicity. I created Type Like You Mean It in search for order and clarity beneath the mess of work I had compiled throughout this semester. This book organizes all that information in a way that is not only legible but also, as Milka Broukhim likes to call it, “delicious”.
7
1Anatomy of Type
The objective of this assignment is for the student to become familiar with the various anatomical parts of typography, as well as the definition of these parts.
9
1. Meanline/Median: Imaginary line running along the top of non-ascending, lowercase letters.2. Capline: A line marking the height of uppercase letters within a font.3. X-height: The distance between the baseline and the median.4. Baseline: The imaginary line upon which a line of text sits.5. Stem: Vertical, full-length stroke in upright characters.6. Beak: A sharp spur, found particularly at the top of letters in some 20th Century Roman fonts.7. Tail: A descending, often decorative, curved stroke.8. Vertex/Crotch: An acute, inside angle where two strokes meet.9. Descender: The part of letters that extends below the baseline.10. Counter: The open space in a fully or partly closed area within a letter.11. Oblique Stress: The direction in which a curved stroke changes height.12. Bowl: The fully closed, rounded part of a letter.13. Link: Stroke that connects the top and bottom bowls of double-story ‘g’s.14. Loop: The enclosed counter below the baseline of a double-story ‘g’.15. Ear: A decorative flourish usually on upper right side of the bowl.16. Terminal: The teardropped strokes in letters of some typefaces.17. Terminal: The end of a stroke that does not include a serif.18. Finial: A tapered or curved end.19. Spur: Small projection off a main stroke.20. Bracket: Curved/wedge-like connection between the stem and serif of some fonts.21. Ascender: Upward vertical stem on some lowercase letters.22. Shoulder: The curved stroke aiming downward from a stem.23. Serif: Tapered corners on the ends of the main stroke.24. Arm: Horizontal or upward, sloping stroke that does not connect to a stroke or stem on one or both ends.
11
“There are now about as many different varieties of letters as there are different kinds of fools.” Eric Gill
processAlthough this was a very simple assignment, it was extremely beneficial. By drawing out each letter and finding the definition of its parts, I was able to gain a clear understanding of the anatomy of typography.
13
The objective of this assignment is for the student to become familiar with the five classic type families, to experience them in different type styles and to learn how to track and kern a word successfully, for better readability and legibility.
2Word Typography
15
experimenting with tracking
everythingeverythingeverythingEVERYTHING
e v e r y t h i n geverythinge v e r y t h i n gEV E RY T H I NG
everythingeverythingeverythingEVERYTHING
Tight Tracking
Medium Tracking
Loose Tracking
17
combining typefaces
EVERYthing
everything
every thing
EVERYt h ing
everything
Garamond & Century Schoolbook
Century Schoolbook & Helvetica
Century Schoolbook & Helvetica
Helvetica & Bodoni
Garamond & Baskerville
19
completed assignment
e v e r y thingcapline
median
baseline
eye
crotch
ear
tail
serif
arm
ascender
shoulder
counter
loop
21
“The simpler the assignment, the more difficult the solution.” Wolfgang Weingart
processThis assignment taught me a lot about the five standard typeface families, as well as the basics of tracking and kerning. It challenged me to combine typefaces in a way that not only looked aesthetically pleasing, but was also readable and legible.
23
The objective of this assignment is for the student to gain experience in arranging body of text, deciding which words or phrases should be emphasized and how text should be arranged on a page. Students understand the considerations of how we read and how to create harmony and contrast, attracting attention or creating an interesting texture with text arrangement on the page considering readability and legibility. Students in the end learn the effective use of different sizes and weights of type in order to quickly and easily convey information effectively.
3Text Typography
25
sketches
27
one size, one weight
Die Neue Typographie, a manifesto of modern design
“Neue Typographie lays out text by
leading the eye of the viewer from one
word, one group to the next. Thus we
need to structure the text meaningfully,
using differences in size, boldness,
position in space, colour, etc. Neue
Typographie uses the possible effects
of the former background consciously
and considers
both the white background segments
and the black type and shapes as
design elements of equal value. With
that, Neue Typographie has added a
new element to the expressive poten-
tial of printing. It is exactly the use of
large white areas that creates the
startling impact of Neue Typographie.”
Translation by Wolfgang Oertl
Die Neue Typographie, a manifesto of modern design
“Neue Typographie lays out text by
leading the eye of the viewer from
one word, one group to the next.
Thus we need to structure the text
meaningfully, using differences in
size, boldness, position in space,
colour, etc. Neue Typographie uses
the possible effects of the former
background consciously and con-
siders both the white background segments and the black type and shapes as design elements of equal value. With that, Neue Typographie has added a new element to the ex-pressive potential of printing. It is exactly the use of large white areas that creates the startling impact of Neue Typographie.” Translation by Wolfgang Oertl
Die Neue Typographie, a manifesto of modern design
“Neue Typographie lays out text by leading the eye of
the viewer from one word, one group to the next. Thus
we need to structure the text meaningfully, using
differences in size, boldness, position in space, colour,
etc. Neue Typographie uses the possible effects ofthe former background consciously and considers both the white background segments and the black type and shapes as design elements of equal value. With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that creates the startling impact of Neue
Typographie.”Translation by Wolfgang Oertl
“neue typographie lays out text by leading the eye of
the viewer from one word, one group to the next. thus
we need to structure the text meaningfully, using
differences in size, boldness, position in space, colour, etc.
neue typograhie uses the possible effects of the former background consciously and
considers both the
white background segments and the black type and shapes as design elements of equal value. with that, neue typographie has added a new element to the expressive potential of printing. it is exactly the use of large white areas that creates the startling impact of neue typographie.”Translation by Wolfgang Oertl
DIE NEUE TYPOGRAPHIE, A MANIFESTO OF MODERN DESIGN
29
two sizes, two weights
Die Neue Typographie,a manifesto of modern design
“Neue Typographie lays out text by leading the
eye of the viewer from one word, one group
to the next. Thus we need to structure the text
meaningfully, using differences in size, bold-
ness, position in space, colour, etc. Neue
Typographie uses the possible effects of the
former background consciously and consid-
ers both the white background segments and
the black type and shapes as design elements
of equal value. With that, Neue Typographie
has added a new element to the expressive
potential of printing. It is exactly the use of
large white areas that creates the startling
impact of Neue Typographie. “
Translation by Wolfgang Oertl
DIENEUE
TYPOGRAPHIE
a manifesto of modern
design
“Neue Typographie lays out text by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, colour, etc. Neue Typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shapes
as design elements of equal value. With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that creates the startling impact of Neue Typographie.”
Die Neue Typographie, a manifesto of modern design
“Neue Typographie lays out text by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, colour, etc.
Neue Typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shapes as design elements of equal value. With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that creates the startling impact of Neue Typographie.” Translation by Wolfgang Oertl
“NEUE TYPOGRAPHIE LAYS OUT TEXT BY LEADING THE EYE OF THE VIEWER FROM ONE WORD, ONE GROUP TO THE NEXT. THUS WE NEED TO STRUCTURE THE TEXT MEANINGFULLY, USING DIFFERENCES IN SIZE, BOLDNESS, POSITION IN SPACE, COLOUR, ETC. NEUE TYPOGRAHIE USES THE POSSIBLE EFFECTS OF THE FORMER BACKGROUND CONSCIOUSLY AND CONSIDERS BOTH THE WHITE BACKGROUND SEGMENTS AND THE BLACK TYPE AND SHAPES AS DESIGN ELEMENTS OF EQUAL VALUE. WITH THAT, NEUE TYPOGRAPHIE HAS ADDED A NEW ELEMENT TO THE EXPRESSIVE POTENTIAL OF PRINTING. IT IS EXACTLY THE USE OF LARGE WHITE AREAS THAT CREATES THE STARTLING IMPACT OF NEUE TYPOGRAPHIE.”
die neue typographie,a manifesto of modern designTranslated by Wolfgang Oertl
31
three sizes, three weights
design
Neue Typograph ie l ays out text by lead ing the eye of the v iewer f rom one
word , one group to the next . Thus we need to s t ructure the text mean ingfu l l y,
us ing d i f fe rences in s i ze , bo ldness , pos i t ion in space, co lour, e tc . Neue
Typograph ie uses the poss ib le e f fects o f the fo rmer background consc ious ly and
cons iders both the whi te background segments and the b lack type and shapes as des ign e lements of equa l va lue . Wi th that , Neue Typograph ie has added a new
e lement to the express ive potent ia l o f p r in t ing . I t i s exact ly the use of l a rge whi te a reas that c reates the s ta r t l ing
impact o f Neue Typograph ie .
DIENEUETYPOGRAPHIEA MANIFESTO OF MODERN
TRANSLATION BY WOLFGANG OERTL
33
D I E N E U ETYPOGRAPHIE
“ N e u e Ty p o g r a p h i e l a y s o u t t e x t b y l e a d i n g t h e e y e o f t h e v i e w e r f r o m o n e w o r d , o n e g r o u p t o t h e n e x t . T h u s w e n e e d t o s t r u c t u r e t h e t e x t m e a n i n g f u l l y , u s i n g d i f f e r e n c e s i n s i z e , b o l d n e s s , p o s i t i o n i n s p a c e , c o l o u r , e t c . N e u e Ty p o g r a p h i e u s e s t h e p o s s i b l e e f f e c t s o f t h e f o r m e r b a c k g r o u n d c o n s c i o u s l y a n d c o n s i d e r s b o t h t h e w h i t e b a c k g r o u n d s e g m e n t s a n d t h e b l a c k t y p e a n d s h a p e s a s d e s i g n e l e m e n t s o f e q u a l v a l u e . W i t h t h a t , N e u e Ty p o g r a p h i e h a s a d d e d a n e w e l e m e n t t o t h e e x p r e s s i v e p o t e n t i a l o f p r i n t i n g . I t i s e x a c t l y t h e u s e o f l a r g e w h i t e a r e a s t h a t c r e a t e s t h e s t a r t l i n g i m p a c t o f N e u e Ty p o g r a p h i e . ”
a manifesto ofmodern design
Tr a n s l a t i o n b y W o l f g a n g O e r t l
DIE NEUE
TYPOGRAPHIE
DESIGN
A MANIF
ESTOOF
MODERNTRANS
LATION
BY
WOLF
GANG
OERTL
Neue Typograp
hie has
added a new
element to the exp
ressiv
e potential
of
printing. It is exa
ctly the use
of large
white are
as that
create
s the startlin
g
impact of neue typ
ographie.”
“Neue Typograp
hie lay
s out
text by lea
ding the eye of
the viewer
from one word,
one group to the next.
Thus we need to stru
cture
the tex
t meaningfully,
using
differen
ces in size
, boldness,
position in space
, colour,
Neue Typograh
ie uses
the possible
effects
of the former
background
consciously
and co
nsiders
both the w
hite back
ground segments a
nd the
black t
ype and sh
apes as
design el
ements
of equal
value.
With that,
35
DIENEUE
“neue typographie lays out text by leading the eye of the viewer from one word, one group to the next. thus we need to structure the text meaningfully, using differences in size, boldness, position in space, colour, etc. neue typograhie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shapes as design elements of equal value. with that, neue typographie has added a new element to the expressive potential of printing. it is exactly the use of large white areas that creates the startling impact of neue typographie.”
T Y P O G R A P H I Ea manifesto of modern design, translated by wolfgang oertl
neuetypodie
graphie
A MANIFESTO OF MODERN DESIGN, TRANSLATION BY WOLFGANG OERTL
“Neue Typographie lays out text by leading the eye of the viewer from
one word, one group to the next. Thus we need to structure the text
meaningfully, using differences in size, boldness, position in space,
colour, etc. Neue Typographie uses the possible effects of the former
background consciously and considers both the white background
segments and the black type and shapes as design elements of equal
value. With that, Neue Typographie has added a new element to the
expressive potential of printing. It is exactly the use of large white
areas that creates the startling impact of Neue Typographie.”
37
“Negative space is magical-- create it, don’t just fill it up!” Timothy Samara
processBeing constrained with one size and one weight, the first part of this process challenged me to find creative ways to arrange a body of text on a page, while also having a sense of hierarchy between the heading, the body copy, and the sub-head. With two sizes and two weights, it became easier to create this hierarchy, but more difficult to keep a consistent relationship between the body copy and the headings. In the end, when it came to working with three sizes and three weights, I almost began to feel lost. With so much freedom, it became even more difficult to keep a consistency with hierarchy. After hundreds of sketches and a few trial-and-error processes, I was finally able to come up with a set of work that exhibits this body of text in a way that is creative, but still readable.
39
4The DOs and DON’Ts
of Typography
41
Do:
Play with width and height of body text.
Use kerning and tracking.
Be consistent!
Use letter spacing to create depth.
Pay attention to hierarchy of text.
Consider the Rule of Thirds to create movement.
Play with direction of text.
Be Diverse!
Use various ratios, step out of your boundaries.
Consider paragraph structure and readability.
Let the text breathe.
Don’t:Use punctuation at the end of a justified paragraph.
Use hyphenations at the end of a line.
Use negative leading or letterspacing.
Exceed optimum line length.
Make text read downwards.
Crowd text in a confined space.
43
grid systems
There are multiple ways to create a grid system. Graphic designers often use the Fibonacci Sequence to organize information because it is naturally appealing to the eye. Taking advantage of the “Golden Section” is another way to organize information. In the Golden Section, the ratio of the smaller number to the larger is the same as the ratio of the larger number to the sum of two. The Illuminated Books of the Middle Ages used their own unique grid system, which involved margins and text placement that was determined by diagonal lines through both pages. Essentially, the height of the text feild is equal to the width of the full page. Modern graphic designers today use a combination of these grid methods, along with sub-dividing and continuous division of the original grid.
“It’s all about DIVISION to bring harmony and organization.” Grid systems allow you to organize text in a meaningful way. They aid in navigation of text, including hierarchy and cohesiveness, and aesthetics. The grid not only makes a text and image layout more aesthetically pleasing, but also gives the designer a systematic format to follow. When used correctly, a grid system can be a designer’s best friend.
45
5Typeface Poster
Content: Understand more about the structure of type and its anatomy; learn the five classic typefaces and some of its authors. Concept: Become familiar with how “form follows function”; learn the value of sketching for exapnding thinking process; understand process of designing from concept to finish. Design: Practice exploring the system of organization, order of information and arrangement of type relative to its importance; using hierarchy of typography and establishing visual hierarchy. Production: Document all process work and thinking; produce a professional final.
47
chosen typeface: Didot
The Didot typeface family was named after the well-known type and printing family in Paris, France. At the
time, they were the King’s printers, and most of the family members were involved in various branches of
the printing trade. Firmin Didot, a punch-cutter, type founder, printer, publisher, and author born in 1764, was the original designer of the Didot font. In 1783,
he completed development of this new typeface and began to cut the letters and cast them. His brother,
Pierre, later used the type for his printing business in his “Editions du Louvre” series.
The Didot typeface gives text a classic and elegant feel. It is classified as one of the first Modern Roman typefaces. Didot takes inspiration from John Baskerville’s experimentation with contrast and is most prominently characterized by its high contrast between thick and thin strokes, as well as its thin, un-bracketed horizontal serifs. The lowercase ‘a’ has curved lines combined with a straight, clear vertical line. Its feature is more curved than most of the other letters of the Didot typeface. The top of the lowercase ‘t’ has a subtle indent, which also differentiates itself from the rest of the letters. In the 1960s and 70s, Didot was often found in advertising. Today, modern variations of Didot type are mostly seen in fashion-oriented magazines such as Vogue, Harpers Bazaar, etc.
Didot Font Characteristics
Firmin Didot
49
sketches: 3 concepts
Concept 1: Thick and Thin Strokes
Concept 2: Teardrop Terminals
Concept 3: Hairline Serifs
51
design development: 2 concepts
OOFirm
in Didot was the designer of th
e original Didot font.
The Didot type fa
mily was
named after th
e well-
known type and printin
g
family in
Paris, France. A
s
the time, th
ey were the
King’s printers, and m
ost
of the fa
mily m
embers
were involved in
various
branches of the printin
g
trade. Firmin Didot, a
punch-cutter, t
ype founder,
printer, publisher, a
nd
author borin in 1764, w
as
the original designer of
the Didot font. I
n 1783, he
completed development
of this new ty
peface and
began to cut th
e lette
rs and
cast them. H
is brother,
Pierre, later used th
e type
for his printing business in
his “Editions du Louvre”
series. The Didot ty
peface
gives text a
classic and
elegant feel. I
t is classifie
d
as one of the fir
st Modern
Roman typefaces.
Didot takes inspiration from John Baskerville
’s
experimentation with contrast and is most prominently
characterized by its high contrast between th
ick and thin
strokes, as well as its
thin, unbracketed horizontal serifs.
The combination of hard and soft l
ines is ultimately
what makes Didot stand out fr
om other typefaces during
its era. It has a short x-height, a
llowing ascenders
and descenders to look elongated and therefore more
delicate. The lowercase ‘a’ has features that are more
curved than th
e rest of the Didot ty
peface The top
of the lowercase ‘t’
has a subtle indent, which also
differentiates its
elf from other Didot le
tters. Although
primarily used for display type, Didot is
also often
modified to make it
more legible for larger bodies
of text. I
n the 1960s and 70s, D
idot was often found
in advertising. Today, modern variations of th
e Didot
typeface are mostly seen in fashion-oriented magazines,
such as Vogue and Harpers Bazaar. NNT
he D
idot
typ
e fa
mil
y w
as n
amed
afte
r th
e w
ell-
know
n ty
pe
and
prin
ting
fa
mil
y in
Pa
ris,
Fr
ance
.
As
the
tim
e, t
hey
wer
e th
e K
ing’
s
prin
ters
, an
d m
ost
of
the
fam
ily
mem
bers
wer
e in
volv
ed i
n va
riou
s
bran
ches
of
th
e pr
inti
ng
trad
e.
Fir
min
Did
ot,
a pu
nch-
cutt
er,
type
foun
der,
prin
ter,
publ
ishe
r, an
d
auth
or b
orin
in 1
764,
was
the
orig
inal
desi
gner
of
the
Did
ot f
ont.
In 1
783,
he c
ompl
eted
dev
elop
men
t of
thi
s
new
typ
efac
e an
d be
gan
to c
ut t
he
lett
ers
and
cast
the
m.
His
bro
ther
,
Pie
rre,
lat
er u
sed
the
type
for
his
prin
ting
bus
ines
s in
his
“E
diti
ons
du
Lou
vre”
se
ries
.
The
D
idot
type
face
gi
ves
text
a
clas
sic
and
eleg
ant f
eel.
It is
cla
ssif
ied
as o
ne o
f
the
firs
t M
oder
n R
oman
typ
efac
es.
Did
ot t
akes
in
spir
atio
n f
rom
Joh
n
Bas
kerv
ille
’s e
xper
imen
tati
on w
ith
con
tras
t an
d is
mos
t pr
omin
entl
y
char
acte
rize
d by
its
hig
h c
ontr
ast
betw
een
th
ick
and
thin
st
roke
s,
as
wel
l as
it
s th
in,
unbr
acke
ted
hor
izon
tal
seri
fs. T
he
com
bin
atio
n
of h
ard
and
soft
lin
es i
s ul
tim
atel
y
wh
at m
akes
Did
ot s
tan
d ou
t fr
om
oth
er t
ypef
aces
dur
ing
its
era.
It
has
a
shor
t x-
hei
ght,
al
low
ing
asce
nde
rs
and
desc
ende
rs
to
look
el
onga
ted
and
ther
efor
e
mor
e de
lica
te.
Th
e lo
wer
case
‘a’
has
fe
atur
es
that
ar
e m
ore
curv
ed t
han
th
e re
st o
f th
e D
idot
type
face
Th
e to
p of
th
e lo
wer
case
‘t’
has
a s
ubtl
e in
den
t, w
hic
h a
lso
diff
eren
tiat
es
itse
lf
from
ot
her
Did
ot l
ette
rs.
Alt
hou
gh p
rim
aril
y
used
fo
r di
spla
y ty
pe,
Did
ot
is
also
of
ten
m
odif
ied
to
mak
e it
mor
e le
gibl
e fo
r la
rger
bod
ies
of
text
. In
th
e 19
60s
and
70s,
Did
ot
was
of
ten
fo
und
in
adve
rtis
ing.
Toda
y,
mod
ern
va
riat
ion
s of
th
e
Did
ot
type
face
ar
e m
ostl
y se
en
in
fash
ion
-ori
ente
d m
agaz
ines
,
such
as
Vog
ue a
nd
Har
pers
Baz
aar.
Firm
inD
idot
cJ
The Didot type family was named after the well-known type and printing family in Paris, France. As the time, they were the King’s printers, and most of the family members were involved in various branches of the printing trade. Firmin Didot, a punch-cutter, type founder, printer, publisher, and author borin in 1764, was the original designer of the Didot font. In 1783, he completed development of this new typeface and began to cut the letters and cast them. His brother, Pierre, later used the type for his printing business in his “Editions du Louvre” series. The Didot typeface gives text a classic and elegant feel. It is classified as one of the first Modern Roman typefaces. Didot takes inspiration from John Baskerville’s experimentation with contrast and is most prominently characterized by its high contrast between thick and thin strokes, as well as its thin, unbracketed horizontal serifs. Didot takes inspiration from John Baskerville’s experimentation with contrast and is most prominently characterized by its high contrast between thick and thin strokes, as well as its thin, unbracketed horizontal serifs. The combination of hard and soft lines is ultimately what makes Didot stand out from other typefaces during its era. It has a short x-height, allowing ascenders and descenders to look elongated and therefore more delicate. The lowercase ‘a’ has features that are more curved than the rest of the Didot typeface The top of the lowercase ‘t’ has a subtle indent, which also differentiates itself from other Didot letters. Although primarily used for display type, Didot is also often modified to make it more legible for larger bodies of text. In the 1960s and 70s, Didot was often found in advertising. Today, modern variations of the Didot typeface are mostly seen in fashion-oriented magazines, such as Vogue and Harpers Bazaar.
firminDIDOT
The Didot type family was named after the well-known type and printing family in Paris, France. At the time, they were the King’s printers, and most of the family members were involved in various branches of the printing trade.
Firmin Didot, a punch-cutter, type founder, printer, publisher, and author borin in 1764, was the original designer of the Didot font. In 1783, he completed development of this new typeface and began to cut the letters and cast them. His brother, Pierre, later used the type for his printing business in his “Editions du Louvre” series.
The Didot typeface gives text a classic and elegant feel. It is classified as one of the first Modern Roman typefaces. Didot takes inspiration from John Baskerville’s experimenta-tion with contrast and is most prominently characterized by its high contrast between thick and thin strokes, as well as its thin, unbracketed horizontal serifs. The combina-tion of hard and soft lines is ultimately what makes Didot stand out from other typefaces during its era. It has a short x-height, allowing ascenders and descenders to look elongated and therefore more delicate. The lowercase ‘a’ has features that are more curved than the rest of the Didot typeface The top of the lowercase ‘t’ has a subtle indent, which also dif-ferentiates itself from other Didot letters. Although primarily used for display type, Didot is also often modified to make it more legible for larger bodies of text. In the 1960s and 70s, Didot was often found in advertising. Today, modern variations of the Didot type-face are mostly seen in fashion-oriented magazines, such as Vogue and Harpers Bazaar.
Concept 1: Thick and Thin Strokes
Concept 2: Teardrop Terminals
53
design development: 1 concept
fallingr ain
DIDOT
D I D O T t y p e f a c e g i v e s
t e x t a c l a s s i c a n d e l e g a n t
f e e l . I t i s c l a s s i f i e d a s o n e
o f t h e f i r s t M o d e r n R o m a n
t y p e f a c e s . D i d o t i s
c h a r a c t e r i z e d b y i t s
h i g h c o n t r a s t b e t w e e n
t h i c k a n d t h i n s t r o k e s ,
a s w e l l a s i t s t h i n ,
u n b r a c k e t e d h o r i z o n t a l
s e r i f s a n d t e a r d r o p
t e r m i n a l s . T h e c o m b i n a t i o n
o f h a r d a n d s o f t l i n e s i s
u l t i m a t e l y w h a t m a k e s
D i d o t s t a n d o u t f r o m o t h e r
t y p e f a c e s d u r i n g i t s e r a . I t
h a s a s h o r t x - h e i g h t , a l l o w i n g
a s c e n d e r s a n d d e s c e n d e r s t o l o o k
e l o n g a t e d a n d t h e r e f o r e m o r e
d e l i c a t e .
F I R M I N D I D O T,
a p u n c h - c u t t e r , t y p e f o u n d e r , p r i n t e r ,
p u b l i s h e r , a n d a u t h o r b o r i n i n 1 7 6 4 ,
w a s t h e o r i g i n a l d e s i g n e r o f t h e
D i d o t f o n t . I n 1 7 8 3 , h e c o m p l e t e d
d e v e l o p m e n t o f t h i s n e w t y p e f a c e a n d
b e g a n t o c u t t h e l e t t e r s a n d c a s t t h e m .
H i s b r o t h e r , P i e r r e , l a t e r u s e d t h e
t y p e f o r h i s p r i n t i n g b u s i n e s s i n h i s
“ E d i t i o n s d u L o u v r e ” s e r i e s .
ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz
1234567890 (“‘,;.:&!?’”)
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DIDOTF I R M I N D I D OT, a punch-cut ter, t ype founder, pr inter,
publ i sher, and author bor in in 1764 , was the or ig ina l
des igner o f the Didot font . In 1783 , he comple ted
deve lopment o f th i s new type face and began to cut the
l e t ters and cas t them. His brother, P ierre, l a ter used the
t ype for h i s pr int ing bus iness in h i s “Edi t ions du Louvre”
ser ie s. D I D O T T Y P E FA C E g i v e s t e x t a c l a s s i c a n d
e l e g a n t f e e l . I t i s c l a s s i f i e d a s o n e o f t h e f i r s t
M o d e r n R o m a n t y p e f a c e s . D i d o t i s c h a r a c t e r i z e d b y
i t s h i g h c o n t r a s t b e t w e e n t h i c k a n d t h i n s t r o k e s ,
a s w e l l a s i t s t h i n , u n b r a c k e t e d h o r i z o n t a l s e r i f s
a n d t e a r d r o p t e r m i n a l s . T h e combinat ion o f h a r d a n d
s o f t l i n e s i s u l t i m a t e l y w h a t m a k e s D i d o t s t a n d o u t
f r o m o t h e r t y p e f a c e s d u r i n g i t s e r a . I t h a s a s h o r t
x - h e i g h t , a l l o w i n g a s c e n d e r s a n d d e s c e n d e r s t o l o o k
e l o n g a t e d a n d t h e r e f o r e m o r e d e l i c a t e .
55
JyaF I R M I N D I D O T,
a p u n c h - c u t t e r , t y p e f o u n d e r , p r i n t e r ,
p u b l i s h e r , a n d a u t h o r b o r i n i n 1 7 6 4 , w a s
t h e o r i g i n a l d e s i g n e r o f t h e D i d o t f o n t . I n
1 7 8 3 , h e c o m p l e t e d d e v e l o p m e n t o f t h i s
n e w t y p e f a c e a n d b e g a n t o c u t t h e l e t t e r s
a n d c a s t t h e m . H i s b r o t h e r , P i e r r e , l a t e r
u s e d t h e t y p e f o r h i s p r i n t i n g b u s i n e s s
i n h i s “ E d i t i o n s d u L o u v r e ” s e r i e s .
D I D O T T Y P E F A C E
g i v e s t e x t a c l a s s i c a n d e l e g a n t f e e l . I t
i s c l a s s i f i e d a s o n e o f t h e f i r s t M o d e r n
R o m a n t y p e f a c e s . D i d o t i s c h a r a c t e r i z e d
b y i t s h i g h c o n t r a s t b e t w e e n t h i c k a n d t h i n
s t r o k e s , a s w e l l a s i t s t h i n , u n b r a c k e t e d
h o r i z o n t a l s e r i f s a n d t e a r d r o p t e r m i n a l s .
T h e c o m b i n a t i o n o f h a r d a n d s o f t l i n e s
i s u l t i m a t e l y w h a t m a k e s D i d o t s t a n d
o u t f r o m o t h e r t y p e f a c e s d u r i n g i t s
e r a . I t h a s a s h o r t x - h e i g h t , a l l o w i n g
a s c e n d e r s a n d d e s c e n d e r s t o l o o k
e l o n g a t e d a n d t h e r e f o r e m o r e d e l i c a t e .
AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz1234567890 (“‘,;.:&!?’”)
F I R M I N D I D OT, a punch - cu t t e r, t y p e f ounde r,
p r i n t e r, pub l i she r, and au tho r bo r i n i n 1 764 ,
wa s t h e o r i g i n a l d e s i gne r o f t h e D ido t f on t . I n
1783 , h e c omp l e t ed d eve l opmen t o f t h i s n ew
t ype f a c e and beg an t o cu t t h e l e t t e r s and c a s t
t h em . H i s b r o the r, P i e r r e, l a t e r u s ed t h e
t ype f o r h i s p r i n t i ng bu s ine s s i n h i s
“Ed i t i on s du Louv r e ” s e r i e s .
T h e D I D O T t y p e f a c e
g i v e s t e x t a c l a s s i c
a n d e l e g a n t f e e l . I t
i s c l a s s i f i e d a s o n e
o f t h e f i r s t M o d e r n
R o m a n t y p e f a c e s .
D i d o t i s c h a r a c t e r i z e d
b y i t s h i g h c o n t r a s t
b e t w e e n t h i c k a n d
t h i n s t r o k e s , a s w e l l a s
i t s t h i n , u n b r a c k e t e d
h o r i z o n t a l s e r i f s a n d
t e a r d r o p t e r m i n a l s .
T h e combina t ion o f
h a r d a n d s o f t l i n e s
i s u l t i m a t e l y w h a t
m a k e s D i d o t s t a n d o u t
f r o m o t h e r t y p e f a c e s
d u r i n g i t s e r a . I t
h a s a s h o r t x - h e i g h t ,
a l l o w i n g a s c e n d e r s
a n d d e s c e n d e r s
t o l o o k e l o n g a t e d
a n d t h e r e f o r e m o r e
d e l i c a t e .
AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRr
SsTtUuVvWwXxYyZz1234567890 (“‘,;.:&!?’”)
falling rain
DIDOT
falling
rainA
BC
DE
FG
HIJK
LM
NO
PQ
R
ST
UV
WX
YZ
abcdefghijklmnopqrstuvw
xyz
1234567890
(“‘,;.:&!?’”)
F I R M I N D I D O T,
a p u n c h - c u t t e r , t y p e f o u n d e r , p r i n t e r ,
p u b l i s h e r , a n d a u t h o r b o r i n i n 1 7 6 4 , w a s
t h e o r i g i n a l d e s i g n e r o f t h e D i d o t f o n t . I n
1 7 8 3 , h e c o m p l e t e d d e v e l o p m e n t o f t h i s
n e w t y p e f a c e a n d b e g a n t o c u t t h e
l e t t e r s a n d c a s t t h e m . H i s b r o t h e r , P i e r r e ,
l a t e r u s e d t h e t y p e f o r h i s p r i n t i n g b u s i n e s s
i n h i s “ E d i t i o n s d u L o u v r e ” s e r i e s .
D I D O T T Y P E F A C E
g i v e s t e x t a c l a s s i c a n d e l e g a n t f e e l .
I t i s c l a s s i f i e d a s o n e o f t h e f i r s t
M o d e r n R o m a n t y p e f a c e s . D i d o t i s
c h a r a c t e r i z e d b y i t s h i g h c o n t r a s t b e t w e e n
t h i c k a n d t h i n s t r o k e s , a s w e l l a s
i t s t h i n , u n b r a c k e t e d h o r i z o n t a l s e r i f s a n d t e a r d r o p t e r m i n a l s .T h e c o m b i n a t i o n o f
h a r d a n d s o f t l i n e s i s u l t i m a t e l y w h a t
m a k e s D i d o t s t a n d o u t f r o m o t h e r t y p e f a c e s
d u r i n g i t s e r a . I t h a s a s h o r t x - h e i g h t ,
a l l o w i n g a s c e n d e r s a n d d e s c e n d e r s
t o l o o k e l o n g a t e d a n d t h e r e f o r e m o r e
d e l i c a t e .
57
final posters
2H
T
Dm
R
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il
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4
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7
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a
L,
p
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q
C
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r
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d
(
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t
S
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h
5b
W
f
n
;
6e
P
M
E
a
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9
Ax
Q
0v
F
g
N
&
J
B
G
ic
’
n
y
z
Y
ZJyaF I R M I N D I D O T , a punch-cutter, type founder, printer, publisher, and author borin in 1764, was the original designer of the Didot font. In 1783, he completed development of this new typeface and began to cut the letters and cast them. His brother, Pierre, later used the type for his printing business in his “Editions du Louvre” series.
The D I D O T typeface gives a classic and elegant feel. It is classified as one of thefirst Modern Roman typefaces. Didot is characterized by its high contrast between thick and thin strokes, as well as its thin, unbracketed horizontal serifs and teardrop terminals.
DIDOTfrance, 1783
The combination of hard and soft lines is ultimately what makesDidot stand out from other typefaces during its era. It has
a short x-height, allowing ascenders and descenders to lookelongated and therefore more delicate. Today, modernvariations of Didot can be seen in fashion-oriented magazines
such as VOGUE and Harper’s Bazaar.
“The Didot typeface was named after the well-known type and printing family in Paris, France.”
59
falling
r ainDIDOT
D I D O T t y p e f a c e g i v e s
t e x t a c l a s s i c a n d e l e g a n t
f e e l . I t i s c l a s s i f i e d a s o n e
o f t h e f i r s t M o d e r n R o m a n
t y p e f a c e s . D i d o t i s
c h a r a c t e r i z e d b y i t s
h i g h c o n t r a s t b e t w e e n
t h i c k a n d t h i n s t r o k e s ,
a s w e l l a s i t s t h i n ,
u n b r a c k e t e d h o r i z o n t a l
s e r i f s a n d t e a r d r o p
t e r m i n a l s . T h e c o m b i n a t i o n
o f h a r d a n d s o f t l i n e s i s
u l t i m a t e l y w h a t m a k e s
D i d o t s t a n d o u t f r o m o t h e r
t y p e f a c e s d u r i n g i t s e r a . I t
h a s a s h o r t x - h e i g h t , a l l o w i n g
a s c e n d e r s a n d d e s c e n d e r s t o look
elongated and th e r e f o r e m o r e d e l i c a t e .
F I R M I N D I D O T,
a p u n c h - c u t t e r , t y p e f o u n d e r , p r i n t e r ,
p u b l i s h e r , a n d a u t h o r b o r i n i n 1 7 6 4 ,
w a s t h e o r i g i n a l d e s i g n e r o f t h e
D i d o t f o n t . I n 1 7 8 3 , h e c o m p l e t e d
d e v e l o p m e n t o f t h i s n e w t y p e f a c e a n d
b e g a n t o c u t t h e l e t t e r s a n d c a s t t h e m .
H i s b r o t h e r , P i e r r e , l a t e r u s e d t h e
t y p e f o r h i s p r i n t i n g b u s i n e s s i n h i s
“ E d i t i o n s d u L o u v r e ” s e r i e s .
AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 (“‘,;.:&!?’”)
FIRMIN D
IDO
T, a punch-cut te r, t ype founder,
falling rain
DIDOT
printer, pub l i sher, and au thor born in in 1764 , was the
o r ig ina l des igner o f the Didot fon t . In 1783, he
comple ted deve lopm
ent o f th i s new type face
and began to cu t the l e t t e r s and cas t them. His
h i s pr in t ing bus iness in h i s “Edi t ions du Louvre” se r i e s.
b ro ther, P ie r re, l a t e r used the t ype fo r
The D
IDO
Tty
pefa
ce
give
s te
xt a
cla
ssic
and
eleg
ant
feel
.
I t i
s c l
ass i
f ied
as
one
of t
he f i
rst
Mod
ern R
oman
typ
efac
es. D
idot
is
char
acte
r ize
d by
its
hig
h con
tras
t
betw
een th
ick a
nd t h
i n s
trok
es, a
s w
ell
as i
ts t
hin, u
nbrac
kete
d hor
izon
tal
ser i
fs a
nd te
ardr
op te
rmin
als.
The
com
bina
tion
of h
ard
and
soft
lin
es is
ulti
mat
ely
wha
t m
akes
Did
ot s
tand
out
from
oth
er t
ypef
aces
dur
ing
i ts
era .
It
has a
shor
t x-
heigh
t , a
l low
ing
asce
nders
and
desc
ende
rs t
o lo
ok e
longa
ted
and
mor
e del
icate
. Tod
ay, m
oder
n var
iat i
ons
of D
idot
can
be
seen
in f
ashio
n-
orie
nted
mag
azin
es s
uch a
s V
OG
UE
and
Har
pers
Baz
aar.
AB
CD
EF
GH
I JK
LM
NO
P
no p
qr s
t uv w
x y z 123
4567
890
(“‘,;.
:&!?’
”)
QR
STUVWXYZ
ab cd e f g h i j k lm
61
“Creativity is allowing yourself to make mistakes. Design is knowing which ones to keep.” Scott Adams
processWhile working on this project, I spent a lot of time looking up design and layout work to get inspired. There is so much amazing typography and design work out there, and looking at other people’s examples eventually helped me come up with a clear solution for my design ideas. This project was by far the most stressful and time-consuming assignment of the semester, but in the end, it was also the most rewarding. I was challenged to find a way to combine all of the typographic skills I had learned in the previous months into one poster, while also conveying a concept about the font I had chosen. It was a tough process, but overall I am very satisfied with my work.
63
Type Like You Mean It was designed, printed, and bound by Cami Manea for Milka Broukhim’s Typography 1 class in the fall of 2012. This book was set in Univers and Baskerville typefaces. It was created using InDesign CS6. A lot of blood, sweat, and tears went into my work throughout this semester. I hope you enjoy Type Like You Mean It as much as I enjoyed making it.
65
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