designing with type bristol community college bristol community college cis 13 business creativity...
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![Page 1: DESIGNING with TYPE Bristol Community College Bristol Community College CIS 13 Business Creativity Sources: The Non Designers Design Book, Robin Williams](https://reader034.vdocuments.site/reader034/viewer/2022042821/56649f435503460f94c6430c/html5/thumbnails/1.jpg)
DESIGNING withTYPE
Bristol Community CollegeBristol Community CollegeCIS 13 Business Creativity
Sources: The Non Designers Design Book, Robin Williams
Thinking with type.com John Magnik, Typography-1st.com
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Review
Type Color Shapes Lines Graphics
REVIEWWhat are we looking at?“Elements” on the Page:
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Review
REVIEW What are the FOUR Basic Principles of Design?
1 Contrast
2 Repetition
3 Alignment
4 Proximity
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Review
REVIEWWhat is BACHV?1 Balance
2 Action
3 Consistency
4 Harmony
5 Variety
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DESIGNING with TYPE
TYPE Relationships
Concordant
Conflicting
Contrasting
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DESIGNING with TYPE
CONCORDANT Type
One type family, not much variety
Easy and safe
Sedate and Formal…
Yet, perhaps a little dull
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DESIGNING with TYPE
With CONCORDANT TYPE First impressions count!
You are Cordially invited to a very
easy and safe design element by making your type concordant,
and although it has it’s place, it could put your audience to sleep.
Formal Attire Required
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DESIGNING with TYPE
CONFLICTING Type Combining typefaces that are similar in
size, weight, and so on
Not the same, yet not different
Can be visually disturbing
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DESIGNING with TYPE
CONFLICTING TypeNot the same, yet not different
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DESIGNING with TYPE
Will the real HELVETICA Please Stand Up!
(1) Myriad Pro, (2) Verdana, (3) Arial, (4) Helvetica, (5) Skia
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DESIGNING with TYPE
CONFLICTING Type
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DESIGNING with TYPE
CONFLICTING Type Notice the subtle differences between the ‘t’
and ‘n’ in both type faces
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DESIGNING with TYPE
CONTRASTING Type
Separate typefaces are used Clearly distinct Visually appealing Creates an exciting design that will
attract attention
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DESIGNING with TYPE
CONTRASTING TypeBe BOLD, not wimpy
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DESIGNING with TYPE
PLEASE… Do not “wing it” when combining
typefaces
Recognize and Name the Contrasts
Avoid Conflicting Type at all costs!
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DESIGNING with TYPE
CATEGORIES of Typefaces
Fonts, top to bottom: Times New Roman; Birch Standard; SlabTallX; Arial; Edwardian Script; Curlz
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DESIGNING with TYPE
[1600s] Based on hand-lettering
Slanted Serifs
Thick/Thin transition - moderate
“Invisible” - does not draw attention
Good for large bodies of text
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DESIGNING with TYPE
[1700s] Moves away from hand lettering
Horizontal Serifs
Thick/Thin transition - more contrast
Cold, elegant look
Not good for large bodies of text
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DESIGNING with TYPE
[Late 1800s] Used for Advertisement
Heavy Horizontal Serifs
Thick/Thin transition - little to none
Clean, straightforward
High readability, yet overall darker page than Oldstyles
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DESIGNING with TYPE
SAN SERIF [early 1900s] Without Serifs
Monoweight - little to none Thick/Thin transition
Offers a variety of weights
Good for getting attention
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DESIGNING with TYPE
Based on hand printing, calligraphy pen/brush, pencil or technical
writing
Like cheesecake - use sparingly and no one gets sick
Never use all caps
Lends contrast and a graphic element when used appropriately
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DESIGNING with TYPE
Offers a graphic element
But should never be used in all cap because…
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DESIGNING with TYPE
Fun, distinctive
Many varieties
Carries obvious emotions
Use sparingly
Good to experiment with
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DESIGNING with TYPE