final project-advanced graphic design3

8/6/2019 Final Project-ADVANCED Graphic Design3

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Type Specimen Book

Ad v a n c e d G r a p h i c De s i g n

2Advanced Graphic Design Type Specimen Book

Spring 2011 Joemell DalitAll rights reserved. No part of this publication may be republished, systematically reproducedor transmitted in any form or by any means, including photocopying, recording, or by any infor-mation storage or retrieval system, without permission in writing from Jdal21 productions.

Publisher:Jdal21 Productions4433 Pala RoadOceanside, CA 92057

Production Notes:This book was designed using Adobe InDesign, Illustrator, and Photoshop and output to Por-table Document Format (PDF). The fonts in the book are Helvetica, Ayuthaya, and Unlearned 2RBK. Sixteen pages 10X10; 10 Illustrations, 10 photos.

Contributors:This book has been a collection of work that I have done during my class time in AdvancedGraphic Design (VPA-380-2). All the work was done in Illustrator and imported into InDesign.

Publication Editor: Joemell DalitBook and cover design, photography and selected authorship: Joemell Dalit

Refrences:James Miller, Type Speicmen book sample: Making and Breaking the Grid (Beverly Massachu-setts, Rockport Publisher, Inc. 2005)

University Afliation:California State University San Marcos333 S Twin Oaks Valley RoadSan Marcos, CA 92096-0001United States of America760-750-4000www.csusm.edu

Disclaimer: The publisher shall not be held liable for inaccu in the text. The views expressedare those of the author. The articles are not intended to be denitive and should not be reliedupon as a substitute for specialist advice. The photos seen in the design are only for expres-sion of art and not intended for resale.


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4Text Heavy Assignment

Common Typographic Diseases

Various forms of dysfunction appear among populations exposed to typography for long periods oftime. Listed here are a number of frequently observed afictions.

Typophilia: An excessive attachment to and fascination with the shape of letters, often to the exclu-sion of other interests and object choices. Typophiliacs usually die penniless and alone.

Typophobia: The irrational dislike of letterforms, often marked by a preferance for icons, dingbats,and-in fatal cases-bullets and dagges. The fears of the typophobe can often be quieted (but notcured) by steady doses of Helvetica and Times Roman.

Typochondria: A persistent anxiety that one has selected the wrong typface. This condition is oftenpaired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces be-tween letters.

Typothermia: The promiscuoius refusal to make a lifelong commitment to a single typeface-or evento ve or six, as some doctors recommend. The typothermiac is constantly tempted to test drive hotnew fonts, often without a proper license. Ellen Lupton , Thinking with Type, 2nd revised and ex-panded edition: A critical guide for designers, writers, editors, and students (design briefs) (New York,Princeton Press, 2004, 2010)

Print situates words in space more relentlessly than writing ever did. Writing moves words

from the sound world to a world of vi sual space, but print locks words into posi tion in this

space. Control of position is everything in print. Printed texts look machine-made, as they are.

In handwriting, control typically impresses most ornamental, ornate, as in calligrapy. Typo-graphic control typically impresses most by its tidiness and invisibility: the lines perfectly

regular, all justiied on the right by its tidiness and invisibilty: the lines perfectly regular, all

justied on the right side, everything coming out even visually, and withouth the aid of guide-

lines or ruled borders that often occur in manuscripts. This is an insistent world of cold, non-

human facts.

Quote adpated from Walter Ong, Orality and Literacy: The Technologizing of the Word (London andNew York: Methuen, 1982)

Ranking for HieararchyAccording to Scrojo (http://www.scrojo.com/), a promotional poster should answer three questions:

Why? When? Where?

All remaining information is subordinate. Unless restricted from doing so, consider adding informationof your own to support or elaborate upon the primary question-why?

This is where the research is needed. Both textual and visual solutions need to be explored to build aunied design, a unied whole that is bigger than the sum of its parts.

The exisiting fan is already sold. The goal of the poster (commercially) is to grab a potential fan whocomes to the event based solely on the poster!

As virtually no design is accepted by the client witouth at least a few changes, sometimes its okay touse that to your advantage. Go ahead and add supportive text or remove what you may consider tobe extraneous. The client may like your words better than his or her own. Use the proong process toyour advantage.

Establish hierarchy. Rank groupings into order of importance-what you wish to be read, then sec-ond, and so on. Dont let the given order of importance inuence you overly. You may wish to empha-size a differnt order, based on logic or aesthetics of your own. Copy/paste each line of text into its owntext box so it may be moved around stylized indpendently. Ranking now saves time later.

Create subsets within the rankings (i.e. Organized By, can be signicantly less emphasized than,

Univerisity Global Affairs Committee.) Although ranked the same, the identtier is not as important asthe proper noun, but must remain clustered to make logical sense.

Subdivide Text groupings with line breaks intos smaller units and remove extraneous punctuation andconjuctions. Simpliify text wherever possible (you can add these items back in later, if necessarry)What your client likes and expects plays a big part in what you choose to emphasize. Sometimes youare given broad creative license, sometimes not. Either way, a strong visual path of information hierar-chy is essential to effective communication.

James Howard Miller, Hiearchy lecture, Spring 2011.


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6Letter + Digit Combinations

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J l12 1J2

Calendar List


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8Type Anatomy and Design Exercises

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Transition

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10Palm Assignment and Forty List


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12International Fair Poster Designs

Before After


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14Menu Redesign & Diagram Dots

Before After


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16Point-Counterpoint Assignment


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18Making Connections

W

hatMeanstheMosttoME

T C i


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20Type Crimes


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22

END

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