before and after 0677

7/29/2019 Before and After 0677

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That ont you love wont work just anywhere;it has a style that needs to be complemented.

Heres how to work to its strengths.

How to use that typeface

Before&After

Continued How to use that typeface 0677

BAmagazine.com U Xi

Continued


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Ever spot a typeace that you really like and

cant wait to use? Its exciting, but go slow.Beore you buy it, youll want to know i the

lines, shapes and little doodads that make it

so appealingherewill work as well over there.

How to tell? Reading a typeace is a little

like reading a real ace. Tiny dierences in

the arch o an eyebrow, the curve o a lip and

the contour o a cheekbone convey real pres-

ence, personality and attitude. These need

complementary presence and attitude rom

the other visual elements, or the result will be

awkward, weak or just unny looking. Heres

how to do that.

How to use that typefaceThat font you love wont work just anywhere; it has a style that needsto be complemented. Heres how to work to its strengths.

University Roman Spotted on Montereys amous Cannery Row,

unky University Roman on this slab o a git-shop sign is out o its

element. Its obeat letterorms, opulent curlicues and toothpick

seris are like a mardi-gras costume in political science class. Not a

match. This is a typeace that wants to party! Lets nd it one!

Before&After BAmagazine.com Xi

How to use that typeface 0677

U


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3of13

3of13

AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSs

TtUuVvWwXxYyZz1234567890!$%&?

Make a visual overview

Set the ull alphabet and make a visual overview. Write down what you see.Why write it down? To make sure youve actually seen it. Seriously.

Thick-to-thin stroke dierences are subtle but present on every character.

I the signmaker on the previous page had been writing this stu down, he

wouldnt have axed the V to his signboard backward.

A and e have extremely small counters,

or enclosed spaces.

Characters like N and O thatin ordinary alphabets are

the same width are verydi-

erent in University Roman

Conversely, characters like M

and T that are normally di-

erent are alike here.

Other letters have REALLY BIG counters.Flamboyant University

Roman was developed

in 1983 by the LetrasetType Studio. Its quirky

and popular as a display

typeface, especially on

greeting cards. Its good

for more than that, as

well see.

Swashy tails

Opulent swirls

and curlicues

How to use that typefaceBefore&After BAmagazine.com Xi


U


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PRAB

Look at the details

University Roman is ull o swashy idiosyncracies that give it a hand-made,Christmasy style especially suitable or anciul and romantic topics.

Wacky x-heights Bulbous, rubbery letters have an Alice-in-Wonder-

land quality; some have HUGE tops, some have HUGE bottoms,

no apparent rhyme or reason.

Oddball character widths All straight letters are thin. Really thin.

All round letters are wide. Really wideso wide that round lowercase

letters are wider than their uppercase counterparts! (Ee, above right)NO EeQuilt

A tail long enough

to tickle three charac-

ters over.

Radical 50-angle seris and terminals! But only in lowercase!

Exaggerated

sizes

Seri extensions

rise above cap

height and drop

below baseline

Asymmetrical

seris



U


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Note strengths and weaknesses

The irregular proportions and embellishments that make University Roman anentertaining display ace make it very hard to read in text. Key is to keep it big.

Big, tight, even University Roman looks best big. Its enormous,

round letters create a lot o internal white space that looks

better when its squeezed out, so set your words tightly and as

evenly spaced as possible (below).

Texture and flasp net exating end mist of it snooling. Spaff forl isntcubular but quastic, leam restart that cant prebast. Its tope, thisfluant chasible. Silk, shast, lape and behast the thin chack. It haslarch to say fan. Why? Elesara and order is fay of alm. A card whintnot oogum or bont. Pretty simple, glead and tarm. Texture and flasp

Texture and flasp net exating end mist of it snooling. Spaff forl

isnt cubular but quastic, leam restart that cant prebast. Its tope,

this fluant chasible. Silk, shast, lape and behast the thin chack. It

has larch to say fan. Why? Elesara and order is fay of alm. A card

whint not oogum or bont. Pretty simple, glead and tarm. Texture

University Roman, a display ace . . .

Bembo, a text ace . . .

Its irregularities make University Roman unsuitable

or text, where a rhythmic, medium typeace works best

(above). University Roman can be used or very brie pass-

ages (let), but or anything more than a sentence

or so, use a real text ace.Best of theSeason to you!

Chris & Robin

aloe Even spacing Put more space betweenstraight letters, less between round.



U


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Put it to work

The challenge now is to combine type with graphics in a coherent whole. To learnhow, lets start at the endwith two cards that illustrate University Roman perectly

tuned to its environment.

Two beautiful cards The lines, shapes and colors o type and image

are so tightly integrated that the designs appear completely natural and

unorced. Both type and image are strong but together are greater than

the sum o their parts.

Card 1

Card 2

NOW THROUGH MARCH 28

Your presence is reques ted

for a festive evening of intrigue,

mYsterY and fantasY.



U


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Look for common shapes

To fnd an image that goes with your typeace, start with shapes. Round letters gonaturally with round images. Avoid triangles, squares and ambiguous shapes, which

will compete and weaken your design.

Circles (Right) Round shapes areobvious in the round letters, but look

at the smaller parts, toothe loops

and swirls and negative spaces that

are also round.

Teardrops (Below) Teardrops in the

image mirror those in the swashy S.

Complementary typeface (Above) Pair a ancy display ace with an ordinary typeace or contrast

plus readability at small sizes. Look for similarities. Whats interesting here is how dierent Futura is

rom University Roman, yet they have roundness in common.


OC Dbae



U


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Blend type and image using color and edge

Now bring the image into the type, which in this case means literally. Wrap the typearound the edge contours, then apply its beautiul gradients to the lettering.

Blend using color

Magenta to yellow (above) and

cyan to green (let) are light,

resh combinations. Sample

color pairs rom the image, add

to the color palette asgradient

swatches, then apply to the

type, which will take on a natu-

ral radiance that blends beauti-

ully into the image.


Blend using a common edge Wrap the words tightly to the

contours o the image (let). As a rule with display type, youll

do this by eye, paying attention to the nooks, crannies and other

details that the sotware would miss.




U


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Faint image activates a space

A smaller, lighter duplicate image in the

upper let activates the passive whiteand balances the design.

Lay out the card

Place type and image on the small card, which confnes and ocusesthe design. A small, duplicate image activates the opposite corner and

completes the layout.



Splashy composition is beauti-

ul in open space (let), but its ele-

ments must work on a card, which

connes them. Set as big as pos-

sible, bleeding beyond the lower

right corner (below).



U


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Party down!

Intrigue, mystery, antasy. For card 2, our anciul typeace goes lookingor an ideal party image and fnds it in a gold mask.

Picking the right image is key To

illustrate a masquerade party, a mask is

a natural choice, but which one? A quick

search brought up a multitude of lavish

creations, all visually interesting.

Flowers, fourishes and detailed textures mimic the extravagant forms of Uni-

versity Roman. Monochromatic gold is direct and intense and will partner well with the

typeface. Multicolor masks (left, top) are so engaging they require the stage to them-

selves. Real faces are similarly distracting; instead of a powerful design, the viewer will

be wondering who it is. Remember: common lines and shapes.

Your presence is reque sted





UHow to use that typeface


11/21

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Your presence is requested



Your presence is requested



The image then designs the page

With type and image together, now transer the colors, ornaments and textureso the mask to the rest o the page. Resulta unifed, powerul design.

Sample two colors Combine light

to dark monochromatic golds sampled

rom the mask into a gradient swatch,

then apply to the typeace. As we saw

earlier, the new radiance beautiully

refects the qualities o the image (right).

Ornamental border

Corners o the barely-

there borderjust

enough to rame the

pagemimic the image.

Woodcut Final, matching ornament punctuates

the page with a ull stop, completing the design.

Symmetrical mask is naturally centered.

Centered layout then doubles its power.





12/21

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Your presen ce is re quested



Typefaces

1 (ab) University Roman | a) 112/82 pt

b) 46 pt

2 Futura Light | 18/21.5 pt

3 Futura Extra Bold | 10 pt

4 Adobe Caslon Regular | 10.7/17 pt

5 Adobe Wood Type Std Regular

Images

Images: iStockphoto.com

6 (4836134)

7 (433813)

8 (2626360)

9 (1357805)

10 (3866203)

Article resources

Colors

C0 M85 Y0 K5

C0 M15 Y90 K0

C30 M45 Y80 K40

C10 M10 Y30 K20

11

13

11

14

12

12

13

6

7

4

5

5

1b

1a

2

3

8

9

14

10



http://www.myfonts.com/fonts/letraset/university-roman/http://www.myfonts.com/fonts/adobe/futura/light/http://www.myfonts.com/fonts/adobe/futura/extra-bold/http://www.myfonts.com/fonts/adobe/caslon/regular/http://store1.adobe.com/cfusion/store/html/index.cfm?store=OLS-US&event=displayFontPackage&code=1420http://www.istockphoto.com/file_closeup.php?id=4836134http://www.istockphoto.com/file_closeup.php?id=433813http://www.istockphoto.com/file_closeup.php?id=2626360http://www.istockphoto.com/file_closeup.php?id=1357805http://www.istockphoto.com/file_closeup.php?id=3866203http://www.istockphoto.com/file_closeup.php?id=3866203http://www.istockphoto.com/file_closeup.php?id=1357805http://www.istockphoto.com/file_closeup.php?id=2626360http://www.istockphoto.com/file_closeup.php?id=433813http://www.istockphoto.com/file_closeup.php?id=4836134http://store1.adobe.com/cfusion/store/html/index.cfm?store=OLS-US&event=displayFontPackage&code=1420http://www.myfonts.com/fonts/adobe/caslon/regular/http://www.myfonts.com/fonts/adobe/futura/extra-bold/http://www.myfonts.com/fonts/adobe/futura/light/http://www.myfonts.com/fonts/letraset/university-roman/


13/21

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Before & After magazine

Before & After has been sharing its practical approach

to graphic design since 1990. Because our modern world

has made designers of us all (ready or not), Before &

After is dedicated to making graphic design understand-

able, useful and even fun for everyone.

John McWade Publisher and creative director

Gaye McWade Associate publisher

Dexter Mark Abellera Staff designer

Before & After magazine

323 Lincoln Street, Roseville, CA 95678

Telephone 916-784-3880

Fax 916-784-3995

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www http://www.bamagazine.com

Copyright 2008 Before & After magazine

ISSN 1049-0035. All rights reserved

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15/21

Before&After

|www.b

ama

gazin

e.c

om

1of7

How

tousethatty

peface0677

0677How

tousetha

ttypeface

Thatfonty

oulovewontworkjust

anywhere;

ithasastylethatneedstobecomplemented.

Hereshowtoworktoitsstrengths.

H

owtouse

thattypeface

Eve

rspotatypefacethatyo

ureallylikeand

can

twaittouse?Itsexcitin

g,butgoslow.

Beforeyoubuyit,youllwanttoknowifthe

line

s,shapesandlittledoodadsthatmakeit

soappealingherewillwork

aswelloverthere.

Howtotell?Readingaty

pefaceisalittle

like

readingarealface.Tinydifferencesin

the

archofaneyebrow,the

curveofalipand

the

contourofacheekbone

conveyrealpres-

enc

e,personalityandattitu

de.Theseneed

com

plementarypresencea

ndattitudefrom

the

othervisualelements,o

rtheresultwillbe

awkward,weakorjustfunn

ylooking.Heres

how

todothat.

UniversityRoman

SpottedonM

on

tereysfam

ousCann

eryR

ow

,

fu

nkyUniversityR

om

an

on

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slab

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outofits

elemen

t.Its

offb

eatle

tterform

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lentcurlic

uesan

dtoothpick

se

rifsarelik

eam

ardi-gra

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e

inpolitic

al

scien

cecla

ss.N

ota

match.Thisis

atypefa

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an

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toparty!Le

tsfin

dit

on

e!
http://www.bamagazine.com/http://www.bamagazine.com/http://www.bamagazine.com/http://www.bamagazine.com/http://www.bamagazine.com/http://www.bamagazine.com/http://www.bamagazine.com/http://www.bamagazine.com/http://www.bamagazine.com/http://www.bamagazine.com/http://www.bamagazine.com/http://www.bamagazine.com/http://www.bamagazine.com/http://www.bamagazine.com/http://www.bamagazine.com/http://www.bamagazine.com/http://www.bamagazine.com/http://www.bamagazine.com/http://www.bamagazine.com/


16/21

Before&After

|www.b

ama

gazin

e.c

om

2of7

How

tousethatty

peface0677

0677How

tousetha

ttypeface

AaBbCcDdEeFfGgHhIiJj

KkLlM

mNnOoPpQqRrSs

TtUuVvWwXxYyZz

1234567890!$%&?

Makeavisualove

rview

Setthefullalphabe

tandmakeavisualoverview.Writedownwhat

yousee.

Whywriteitdown?

Tomakesureyouveactuallyseenit.Seriously.

Thick-to-thin

strok

ediffe

rencesare

subtlebutpre

sen

ton

e

verych

ara

cter.

Ifthesignm

ak

er

on

thep

revio

uspageh

adbeenwritin

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e

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tohis

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ely

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idtharevery

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feren

tin

UniversityR

om

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Conversely,

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that

aren

orm

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feren

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alikeh

ere.

Otherle

ttersh

aveREALLYBIG

coun

ters.

Flamboya

ntUniversity

Romanwasdeveloped

in1983by

theLetraset

TypeStud

io.Itsquirky

andpopularasadisplay

typeface,

especiallyon

greetingcards.Itsgood

formorethanthat,as

wellsee.

Sw

ashytails

Opulen

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s

an

dcurlic

ues

PRAB

Lookatthedetail

s

UniversityRomanisfullofswashyidiosyncraciesthatgiveitahand-made,

Christmasystyleespeciallysuitableforfan

cifulandromantictopic

s.

Wackyx-heightsB

ulb

ous,rub

beryle

ttersh

av

eanAlic

e-in-W

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dquality;

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eh

aveH

UG

Etops,som

eh

aveH

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bottom

s,

noapparen

trh

ymeorre

ason.

OddballcharacterwidthsAll

straigh

tle

tters

are

thin.R

eall

ythin.

Allro

un

dle

tters

arewid

e.R

eallywid

e

sowid

ethatro

un

dlow

e

rcase

letters

arewid

er

than

their

u

pperc

asecoun

terp

arts!

(Ee,above

righ

t)

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Quilt

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geno

ugh

totickle

thr

eech

ara

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ters

over.

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al

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gle

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utonlyinlow

ercase!

Ex

aggera

t

ed

sizes

Serif

ex

ten

sion

s

riseabov

e

cap

heigh

tan

ddrop

below

baseline

Asymm

etrical

serifs


17/21

Before&After

|www.b

ama

gazin

e.c

om

3of7

How

tousethatty

peface0677

0677How

tousetha

ttypeface

Notestrengthsan

dweaknesses

Theirregularpropo

rtionsandembellishmentsthatmakeUniversityRomanan

entertainingdispla

yfacemakeitveryhard

toreadintext.Keyisto

keepitbig.

Big,tight,even

Univ

er

sityR

om

anlo

ok

sbestbig.Its

en

o

rmous,

roun

dle

tters

cre

atealo

tofin

tern

alwhite

spacethatlo

ok

s

betterwh

enits

squeeze

dout,sosetyourw

ord

stigh

tlya

ndas

evenly

spacedaspossib

le(below

).

Textureandflaspnetexatingen

dmistofitsnooling.Spaffforlisnt

cubularbutquastic,leamrestart

thatcantprebast.Itstope,this

fluantchasible.Silk,shast,lapeandbehastthethinchack.Ithas

larchtosayfan.Why?Elesaraandorderisfayofalm.Acardwhint

notoogumorbont.Prettysimple,gleadandtarm.Textureandflasp

Textureandflaspnetexatingendmistofitsnooling.Spaffforl

isntcubularbutquastic,leamrestartthatcantprebast.Itstope,

thisfluantchasible.Silk,shast,lapeandbehastthethinchack.It

haslarchtosayfan.Why?Elesaraandorderisfayofalm.Acard

whintnotoogumorbont.Prettysimple,gleadandtarm.Texture

Univ

ersityR

om

an

,adispla

yf

ace...

Bem

bo,atex

tfa

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Itsirregularitiesm

ak

eUniversityR

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an

un

suita

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for

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ere

arh

ythmic,m

edium

typefa

cew

ork

sbest

(abov

e).Univ

ersityR

om

an

canb

eusedforvery

brief

pass-

ages(left),

butfor

a

nythin

gm

ore

than

asen

ten

ce

or

so,useare

al

tex

tface.

Bestofthe

Seasontoyou!

Chris&R

obin

aloeEven

spacingP

utm

ore

spacebetween

s

traigh

tle

tters,le

ssbetweenro

un

d

.

Putittowork

Thechallengenow

istocombinetypewith

graphicsinacoherentwhole.Tolearn

how,letsstartatth

eendwithtwocardst

hatillustrateUniversity

Romanperfectly

tunedtoitsenvironment.

TwobeautifulcardsTh

eline

s,shapesan

dcolors

of

typean

dimage

are

sotigh

tlyin

tegra

tedthatthedesign

sappear

com

ple

telyn

atural

an

d

unforc

ed.B

othtypean

dim

a

geare

stron

gbuttogether

are

gre

ater

than

thesum

of

their

parts.

Card1

Card2

NOW

THROUGHMARCH

28

YOURPR

ESENCEISREQUESTED

FORAFESTIVEEVENINGOFINTRIGUE,

MYSTERYANDFANTASY.


18/21

Before&After

|www.b

ama

gazin

e.c

om

4of7

How

tousethatty

peface0677

0677How

tousetha

ttypeface

Lookforcommon

shapes

Tofindanimageth

atgoeswithyourtypefa

ce,startwithshapes.Ro

undlettersgo

naturallywithroun

dimages.Avoidtriangles,squaresandambiguo

usshapes,which

willcompeteandw

eakenyourdesign.

Circles(Ri

ght)R

oun

dshapesare

obvio

usin

thero

un

dle

tters,

butlo

ok

atthesmaller

parts,

too

thelo

ops

an

dswirls

andn

egativespacesthat

are

alsoro

und.

Teardrops

(Below

)Te

ardro

psin

the

imagemirrorth

osein

theswashyS.

Complementarytypeface(Abov

e)P

air

afan

cydispla

yfa

cew

ithan

ordin

ary

typefa

cefor

con

tra

st

plu

sre

adability

atsmall

sizes.Lookforsimilarities.Wh

atsin

tere

stingh

ereish

ow

differen

tF

uturai

s

from

Univ

ersityR

om

an

,yettheyhavero

un

dn

essin

comm

on.

NOW

THROUGHMARCH

28

OCDb

a

e

Blendtypeandim

ageusingcolorande

dge

Nowbringtheimageintothetype,whichinthiscasemeansliteral

ly.Wrapthetype

aroundtheedgeco

ntours,thenapplyitsbeautifulgradientstothe

lettering.

Bl

endusingcolor

Magen

tatoyellow

(abov

e)an

d

cy

antogre

en

(left)

areligh

t,

fre

shcom

bin

ation

s.Sam

ple

co

lorpairsfrom

theim

age,add

to

thecolor

pale

tteasgradient

sw

atch

es,then

apply

tothe

type,whichwill

tak

eon

an

atu-

ralradian

cethatblen

dsbeauti-

fullyin

totheim

age.

NOW

THROUGHMARCH

28Blendusingacommonedge

Wrapthew

ord

stigh

tlytothe

con

tours

of

theim

age(left).A

sa

rulewith

displa

ytype,youll

dothis

byeye,payin

gatten

tion

t

othen

ook

s,crannie

san

dother

details

thatthesoftw

arew

ouldm

iss.

NOW

THROUGHMARCH28


19/21

Before&After|www.ba

magazine.com

5of7

Howtousethatty

peface0677

0677Howtousethattypeface

F

aintimageactivatesaspace

A

smaller,lighterduplicateimagein

the

u

pperleftactivatesthepassivewhite

a

ndbalancesthedesign.

Layoutthecard

Placetypeandimageonthesmallcard,wh

ichconfinesandfocuse

s

thedesign.Asmall,duplicateimageactivatestheoppositecornera

nd

completesthelayout.

NOW

THROUGHMARCH28

NOW

THROUGHMARCH28

Splash

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21/21

Before&After

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tousethattypeface

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DexterMarkAbelleraStaff

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