Syllabus University of Mary Hardin-Baylor ARTS 2375 ...€¦ · jan 19 Project 1, Drawing &...
Transcript of Syllabus University of Mary Hardin-Baylor ARTS 2375 ...€¦ · jan 19 Project 1, Drawing &...
SyllabusARTS 2375Typography
University of Mary Hardin-Baylor College of Visual and Performing ArtArt Department
Spring 2015T Th 11:00A–1:30P BCVA 105
Typo-graphy
3
Contact Information Instructor: Matt Smith
Office: Baugh Center for the Visual Arts (BCVA) 111
Office phone: 254.295.4297
E-mail: [email protected]
Office Hours: MW 9:00 – 11:00 am, or by appointment
Catalog Description Name and Number: Typography, ARTS 2375
Time & Location: MW 11:00A–1:30P, Baugh Center for
the Visual Arts (BCVA) 103
Catalog Description: Historical overview of type and
letterforms; introduction to professional typography
in print and digital environments; primary focus will
be applications to contemporary communications.
Prerequisites: ARTS 1310, ARTS 1320, ARTS 2370, or
permission of instructor. materials fee.
Expanded DescriptionThis course provides students with a historical overview
of type and letterforms. Professional typography in
print and digital environments is introduced; primary
focus will be an introduction to contemporary commu-
nication and visual production techniques using Adobe
InDesign, web type, and motion design software.
Historical and contemporary cultural literacy is
also emphasized. Presentations, critiques, reading as-
signments, and class discussions allow the student to
develop a vocabulary and a critical framework for writ-
ing and speaking about typographic skills, techniques,
and practices.
Instructional FormatThis course is made up of the following components.
1. Lectures. The instructor will introduce the proj-
ects, reading assignments, and central ideas to be
covered.
2. Reading assignments. Reading assignments and
class discussions introduce a critical framework
for reflecting on the student’s design practice.
3. Visual Research Presentations. Visual research
presentations are designed to increase the student’s
cultural literacy. In short, the student will be de-
veloping his or her personal, individual taste as it
pertains to the practice of graphic design (“taste,”
as it is being used here, is sometimes described as
discernment, or critical acumen).
4. Studio projects, assignments, and exercises.
Projects and assignments allow the student to
learn by doing things. The student also learns by
working with and critiquing her peers.
5. A final project. The student will execute a project
based on a design brief, and present it to the class
in a formal critique setting. The final project is
summative. It is an opportunity to apply what has
been learned in the entire course.
Academic Honesty The University of Mary Hardin-Baylor policy on aca-
demic integrity applies to all courses. UMHB expects
the highest standards of academic integrity among all
members of the campus community. All acts of plagia-
rism or violations of academic honesty are considered
serious offenses and may result in failure of the assign-
ment or the course.
Special Accommodations If you have a disability for which you are or may be
requesting an accommodation, you are encouraged to
contact both your professor and the Accommodation
& Student Assistance Program office in the Robert &
Linda Black Center for Counseling, Testing & Health
Services, Mabee Student Center, Suite 310, as early as
possible in the term.
Typography
Course Description
54
Required Textbook While there is no textbook required for this class, you
will be expected to complete several reading assign-
ments. Texts will be distributed in class or made avail-
able online.
Suggested Reading: OnlineThinking with Type, thinkingwithtype.com
Suggested Reading: PrintBringhurst, Robert. The Elements of Typographic Style.
Point Roberts, WA: Hartley & Marks, Publishers,
2004.
Frutiger, Adrian. Signs and Symbols: Their Design and
Meaning. New York: Watson-Guptill Publications,
1998.
Lupton, Ellen. Thinking with Type: A Critical Guide for
Designers, Writers, Editors, & Students. New York:
Princeton Architectural Press, 2004.
Lupton, Ellen. Type on Screen: A Critcal Guide for Design-
ers, Writers, Developers, and Students. Princeton
Architectural Press, 2014.
Solomon, Martin. The Art of Typography: An Introduc-
tion to Typo-Icon-Ography. New York: Art Direction
Book Co, 1994.
Assignments & Final Grade40% — Studio projects/assignments
10% — Three (3) visual research presentations. Note:
students will be required to complete more than
three presentations, but only the highest three
grades will count
10% — Three (3) reading assignments. Note: students
will be required to complete more than three
reading assignments, but only the highest three
grades will count
30% — One (1) final project
10% — Participation and attendance
University Grading ScaleA — 91 to 100
B — 81 to 90
C — 71 to 80
D — 61 to 70
F — 60 or lower
Please note grade point cut-off points (71% is a C, 70%
is a D). You may always monitor current performance
level via myCampus.
Supplies (this list may change)The computers in the assigned classroom (BVCA 103)
will be the student’s primary source for producing
work. The computers have all the software required to
complete this course.
The student will also need:
• a sketchbook (8.5” x 11” is a good size)
• tracing paper
• fine point pens with black ink
• pencils and an eraser
• a metal ruler (inches and picas)
• black mat board or foamcore
• rubber cement or spray adhesive
• an X-acto knife and extra #11 blades
• an external hard drive, or flash drive (2 GB
minimum)
• headphones for watching tutorials during class
Back up your work!Use an external hard drive; flash drive; and/or a
Google Drive, Dropbox, or Box account. Technological
disasters DO occur. You will be shown absolutely zero
sympathy if you fail to complete a project due to not
having sufficiently backed up your work.
Critiques & ParticipationFormal and informal critiques will be held during the
course of the semester, and participation will be fac-
Typography
Course Requirements Typography
Course Requirementstored into final grading. Strong presentation skills are a
critical component of your creative work. Students are
expected to participate fully in class discussions and
critiques by offering constructive comments to their
peers, and by considering and applying received criti-
cisms of their own work.
AttendanceStudents are required to attend every scheduled class
meeting, complete all required readings, participate
actively in class discussions, and collaborate effectively
in assigned working groups. Studio courses don’t make
sense unless the student attends class (much, if not
most, of your work will be done in class). Presenta-
tions, participation in critiques, and class discussions
are a large part of your grade.
Attendance will be taken promptly at the beginning
of each class. Arriving late three times will result in a
recorded absence. If you have to leave class to get the
tools or materials needed to work, you will be counted
as late. Excessive absences (more than three) will lower
your grade.
If you have extenuating circumstances, inform the
instructor as soon as possible so that we can work with
you to determine how best to mitigate the situation.
Art Department Student LearningOutcomes and Course Objectives
I. Communication: Upon Completion of this
course, the student will be able to make effective
written, verbal, and visual presentations of their
work.
• The student will understand the relationship
between form and content
• Display works of art selectively
• Demonstrate how to self-promote with support-
ing and professional materials
II. Production: Upon Completion of this course, the
student will be able to use visual problem solving
by exploring tools, materials, and techniques.
• Understand the elements of composition and
principles of design
• Employ technical and conceptual expertise in
the creation of visual statements
• Use expressive and sensitive handling of materi-
als in two– and three–dimensional works of art
• Understand the health risks for artists and safe
handling of materials and equipment
III. History: Upon Completion of this course, the
student will demonstrate an understanding of art-
work in relationship to contemporary and histori-
cal practices and theory.
• Recognize culturally diverse art forms and
practices
• Understand how art reflects the history of hu-
man achievement
Credit HoursArt courses follow the recommendations for awarding
credit as recommended by The National Association
of Schools of Art and Design (NASAD) and the Texas
Association of Schools of Art (TASA). For our studio
classes, normally a ratio of one hour of credit = two
hours of contact time and one hour of outside work
per week, for example: a 3-credit hour course would
require six faculty contact hours per week.
Note: Faculty contact must be sufficient to ensure
the development of knowledge and skills required by
each course. Normally, faculty contact is greater at the
foundation or introductory level than at the advanced
studio level.
76
Typography
Course Schedule Week 1jan 12 Welcome, course intro, syllabus overview; questionnaire distributed
• Reading Assignment 1 (due Wednesday)
jan 14 Reading Assignment discussion; Day 1 questionnaire due
• Introduction to Project 1, Drawing & Labeling Letterforms
• Introduction to Visual Research Assignment 1, “type you like”
Week 2
jan 19 Project 1, Drawing & Labeling Letterforms
jan 21 Project 1, Drawing & Labeling Letterforms
• Introduction to Type Quiz (due a week from today)
• Second half of class: Visual Research 1 Presentations, “type you like”
Week 3
jan 26 Project 1, Drawing & Labeling Letterforms: process critique
jan 28 Project 1, Drawing & Labeling Letterforms: final critique
• Type Quiz due
• Introduction to Project 2, Text You Like
Week 4
feb 2 Project 2, Text You Like
feb 4 Project 2, Text You Like: process critique
Week 5
feb 9 Project 2, Text You Like feb 11 Project 2, Text You Like: final critique
• Introduction to Project 3, A Deck of Types
• Reading Assignment 2 (due Monday)
• Introduction to Visual Research Assignment 2
Week 6
feb 16 Project 3, A Deck of Types
• Reading Assignment 2 discussion
feb 18 Project 3, A Deck of Types
• Visual Research Assignment 2 Presentations
Week 7
feb 23 Project 4, New Alphabet
feb 25 Project 4, New Alphabet, process critique
Week 8
mar 2 Project 4, New Alphabet
mar 4 Project 4, New Alphabet final critique
• Introduction to Project 5, Visual Meaning & Interpretation
• Reading Assignment 3: Elliman, “Printing Surface” (due Monday)
Spring 2015 MW 11:00 am – 1:30 pm
BCVA 103
Matt Smith
Office: BCVA 111
isnotmattsmith.com
254.295.4297
Office Hours
Monday–Thursday
9–11:00a & 4:30–5:00p
or by appointment
Note: This schedule
may change. Check
myCampus for latest
updates.
Typography
Course RequirementsSemester Events: Spring 2015
The Art Department has organized the following
events, talks, and lectures. Your attendance is
recommended.
1. Carlos Hernandez: Gig Posters. Jan. 12—Feb. 6,
2015. Gallery Opening: Thursday, Jan. 15, 2015 at
5:00 p.m.
2. Mary Vernon: Paintings. February 16—March 12.
Gallery Opening: Monday Feb. 16 at 5:00 p.m.
3. UMHB Student Art Competition: March 23—
April 8, 2015. Entry date: Wednesday or Thursday
March 11—12. Reception and Awards: Monday
March 23, 5:00—6:30
4. Senior Exhibitions: April 13—May 9; Reception
TBA
5. TAPPS State Winners: May 25—June 26; Reception
TBA
A Final Note from the DepartmentAll students are required to commit themselves to
the following concepts prior to participating in this
course:
• The student should understand that this course
could expose them to a wide range of experiences,
some of which, for example, may contain themes,
language, graphic violence, and sexual reference
not consistent with Christian values.
• The student should also understand that the pur-
pose for studying such material is to seek a mature
understanding of the potential and accomplish-
ment of the course subject as a means of exploring
the human predicament.
• The student should understand that this
instructor will strive for a mature Christian
discernment concerning the moral and aesthetic
appropriateness of the materials and assignments
for this course.
. . .
All art majors are strongly encouraged to enter student
competitions and exhibitions.
98
Find an example of typography that you like. Bring it
to class. Be prepared share it with the class, and dis-
cuss the following:
1. how it was made
2. who designed it (if you can find this information)
3. what typefaces were used, and
4. why you like it
Goals and Learning Outcomes: The purpose of this
assignment is to notice, analyze, and otherwise think
critically about the formal and informal (everyday,
quotidian) instances of typography in your environ-
ment.
. . .
Note: This project is derived from a Typography 1
project taught by Rob Giampietro at RISD.
Typography
Visual Research 1:Type You Like Week 9
mar 9 Project 5, Visual Meaning & Interpretation
• Reading Assignment 3 (Elliman) discussion
mar 11 Project 5, Visual Meaning & Interpretation: process critique
Week 10—Spring Breakmar 16 Spring Break
mar 18 Spring Break
Week 11mar 23 Project 6, Using Type (chap book)
mar 25 Project 6, Using Type (chap book)
• Intro to Project 5, Visual Meaning & Interpretation
Week 12mar 30 Project 6, Using Type (chap book)
• Reading Assignment 3 discussion
april 1 Project 6, Using Type (chap book)
• Visual Research 3 Presentations
• Introduction to Project 7, Type Specimen
Week 13apr 6 Project 7, Type Specimen
apr 8 Project 7, Type Specimen
• Introduction to Project 7, Type Specimen
Week 14apr 13 Project 7, Type Specimen, process critique
apr 15 Project 7, Type Specimen, final critique
• Introduction to Project 8: Motion Type
Week 15apr 20 Project 8: Motion Type
apr 22 Project 8: Motion Type
Week 16apr 27 Project 8: Motion Type
• Introduction to Final Project: Web Type & Type on Screen
apr 29 Final Project: Web Type & Type on Screen
Finals Weekmay ? Final Project Presentations & Critique (date and time TBA)
Spring 2015 MW 11:00 am – 1:30 pm
BCVA 103
Matt Smith
Office: BCVA 111
isnotmattsmith.com
254.295.4297
Office Hours
Monday–Thursday
9–11:00a & 4:30–5:00p
or by appointment
Note: This schedule
may change. Check
myCampus for latest
updates.
Typography
Course Schedule
1110
Using the templates provided, draw the examples of
each historical style.
1. once freehand
2. once using the tracing-and-transfer method
Choose the most interesting of your two drawings, and
label as many parts as you can (refer to the illustration
below, from Ellen Lupton’s Thinking With Type).
Finally, in the lower right-hand corner of each sheet,
please assign the typeface a historical period, choose
from:
1. Renaissance/Humanist
2. Baroque/Old Style
3. Enlightenment/Romantic/Transitional
4. Modern
Typography
Project 1: Drawing & Labeling Letterforms
Typography
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1716
Typography
Use InDesign to create an 8½ x 11 inch document, five
pages long. Place a 5½ x 5½ inch outline on each page.
Choose a quotation, or brief portion of text that you
like. Typeset your quotation four times, using each of
the typefaces we examined in the “Drawing & Labeling
Parts of the Letterform” assignment, namely:
1. Centaur (Renaissance/Humanist)
—other options: Bembo or Adobe Jenson Pro
2. Garamond (Baroque/Old Style)
3. Baskerville (Enlightenment/Romantic/Transi-
tional)
4. Bodoni (Modern)
—other options: Didot
Give your document a title. Typeset the title on page
one; also include the author, and your name as the
publisher. Be creative; look at the title page of several
books for models to emulate.
Goals and Learning Outcomes: The student will gain
experience using different typefaces. Each typeface
will need to be adjusted when setting blocks of type,
or when enlarged to display sizes. This project builds
off of previous projects (viz., drawing and labeling let-
terforms) by reinforcing the student’s familiarity with
historical styles and periods.
Typography
Project 2: Text You Like
1918
Typography
Purchase a pack of 36p x 24p (6 x 4 inch) unlined note-
cards.
part 1: On one side of the notecards, draw (in pencil
first, then black ink) each of the entries in “Appendix
A” (pages 271–286) of The Elements of Typographic Style
as they appear. Make the drawings as large as possible.
Then, synthesize Bringhurst’s notes about each of the
entries on the other side of the notecards.
Consider extending your research into analphabetic
characters beyond Bringhurst’s basic catalog.
part 2: Select a letter of the alphabet, excluding Ii, Jj,
or Ll. Select a typeface (your first card might be your
selection from the “Type You Like” assignment), and
draw (in pencil first, then black ink) the upper- and
lower-case letter you’ve selected on one side of one of
the notecards.
Be creative: type is everywhere. There’s inspiration
in class readings, discussions, or simply your visual
environment.
On the back of the card, write some details about the
typeface: who designed it, the year it was designed,
other typefaces related to it, outstanding features of
the typeface, some aspects of its history, etc. Over
the course of the semester, try to add about five cards
per week to your deck. At the end of the course, you
should have a total of fifty (50). Remember to carefully
craft each card, presentation will be a large part of
your grade.
. . .
This project is largely derived from a Typography 1
project first taught by Rob Giampietro, at Parsons
School of Design in New York.
Typography
Project 3: A Deck of Types
2120
Typography
objective: To develop your own alphabet based
on what you have learned and observed about type
anatomy (the parts of the letterform).
assignment
1. Read Paul Elliman’s “The World as a Printing
Surface.” Be prepared to discuss it in class. (The
article is taken from Martens, Karel, and Paul Elli-
man. Counterprint. London: Hyphen Press, 2004).
2. Create an alphabet by finding/utilizing existing
letters or by making your own from scratch. The
alphabet must hold together as a system-there
should be consistency in the structure and design
of the letters-and in the final presentation they
must appear in alphabetical order.
procedure: Brainstorm four possible alphabets that
you want to create, developing sketches of the first five
letters for each idea. (You do not have to sketch all 26
letters.) You highly are encouraged to work ahead.
You will present your alphabet in the form of a poster
design measuring 10.75 x 16 inches. (You may choose
the paper orientation.) Consider how the poster design
might complement the characteristics or qualities of
your letters.
final deliverables: The day the project is due, you
will turn in the following:
• Two full-color printouts of your poster (measur-
ing 10.75 x 16 inches); one will be returned to you
after grading, and the other will remain with
the instructor. The final prints do not need to be
mounted and veiled.
• A high-res PDF of the final poster design submit-
ted electronically via Canvas/myCampus/my-
Courses.
examples: Several examples of what a “new alphabet”
might look like are included on the following pages.
. . .
This project is almost entirely derived from an exercise
taught by Anne Berry in Visual Communications
Design 4: Typography (spring 2014), at the University
of Notre Dame.
Typography
Project 4: A New Alphabet
2322
example of student work (a New Alphabet), by Katie Pricer. example of student work (a New Alphabet), by Tiffany Dunn.
Typography
Project 4, continuedTypography
Project 4, continued
2524
Typography
Reading Assignment: “The World as a Printing Surface,” by Paul Elliman
example of student work (a New Alphabet), by Sarah Wright.
Typography
Project 4, continued
2726
Typography Typography
2928
Typography
“You can express the meaning of a word or an idea through the spacing, sizing, and placement of letters on the page. Designers often think this way when creating logotypes, posters, or editorial headlines. In this project, physical processes such as disruption, expansion, and migration are expressed through the spacing and arrangement of letters. The round Os in Futura make it a fun typeface to use for this project.”
—Ellen Lupton, Thinking with Type, p. 104
step one. Choose three (3) of the following words to
interpret typographically.
step two. Sketch! Perform changes in scale or acts
of cutting, cropping, shifting, turning, repeating, or
otherwise transforming the letterforms; you may also
create your own forms or manipulate the outlines of the
letters (convert text to outlines). Turn in at least five good
ideas in sketch form for each finished composition—a total
of fifteen sketches, and three finished compositions.
step three. Use Illustrator to create three finished, well-
crafted 7 x 7 inch compositions. In addition to changing
scale, cutting, cropping, shifting, turning, repeating, or
otherwise transforming the letterforms, consider creating
your own forms or manipulate the outlines of the letters (convert
text to outlines).
see next page for examples
suspicion
longing
faith
disbelief
doubt
conviction
certainty
hope
grief
melancholy
joy
dismay
delight
guilt
worry
desire
anxiety
fear
paranoia
tension
surprise
lust
trust
honor
Typography
Project 5: Visual Meaning & Interpretation
30 31
johnschen kudos
sition transition
johnschen kudos
dis uptionr
johnschen kudos
c o mpression
jason hogg
migration
igr
a
t
m
ion
chelsea munion
repetition
o
o
oo
o
o
o
o
o
chelsea munion
elimina iont
t
t
t
t
t
t
t
t t
tt
credits: This exercise is taken directly from Lupton, Ellen. Thinking with Type: A Critical Guide for Designers, Writers, Editors,
& Students. New York, NY: Princeton Architectural Press, 2005, pp. 104–105. Examples of student work from the Maryland
Institute College of Art.
Typography
Project 5, continuedTypography
Project 6: Using Type (chap book project)
The result of this project will be a small book
(5½ x 5½ inches, 5½ x 11 inches when open).
Use InDesign.
Your book should include each of the following elements:
1. Outside and inside covers (sometimes referred to as
covers i–iv). Your book will be self-covered, although
you may choose to use heavier paper or card stock for
the covers.
2. A half-title page (optional): This is the first page of
the actual book. It can be blank, or it can contain an
element from the cover, or from the full title page.
Look at several examples of half-title pages before
designing your own.
3. A title page: This is the first full spread inside your
book. It should include your title, author, your name
as editor and designer, and the year of publication (2
pages / 1 spread).
4. A table of contents (optional): this provides a map to
the interior of your book. It could be simple or quite
complex.
5. The main text/content of book.
6. A colophon (optional). Some books have a colophon at
the back, which describes the typefaces used and the
paper or printing method (1 page).
procedure: Use InDesign to create an 5½ x 5½ inch
document. Typeset the Jorge Louis Borges story “The
Library of Babel.” The full text can be found here:
archive.org/stream/TheLibraryOfBabel/babel_djvu.txt
Place the title on page one. Include the title, author, and
(this part’s optional) the publisher from Project 3: A Text
You Like. Remember to look at several books for models to
emulate (your Visual Research may be useful here).
goals and learning outcomes: The student will
become familiar with the typesetting large amounts of
text. Special attention will be paid to setting book titles,
book half titles, epigraphs, paragraphs, running heads and
folios.
32 33
Typography
Project 7: Type Specimen
You will design a booklet that teaches new
design students, and/or your classmates, about
typography through a specific typeface. You will
be responsible not only for designing the book; you will
also be researching, writing, gathering, and creating the
content. Each spread in your booklet will have different
information. It is up to you to determine the hierarchy of
information and sequence. Explore scale, direction, color,
size relationships, positive/negative space, the edge of the
space, etc. The result of this project will be a small book
(5½ x 5½ inches, 5½ x 11 inches when open). Use Microsoft
Word to write the initial text, and InDesign to design the
final publication.
step one. research. First choose a typeface that has had
a significant impact on the world. (No two students in the
class can use the same typeface).
Before doing any design, research and write about the
historical precedence and contribution of your chosen
typeface. This text will be used in your booklet. You must
use at least four bibliographic resources. All sources must
be directly referenced in the written content.
1. Write two paragraphs that include factual information
such as: who designed the typeface (dates of birth and
death) what type foundry it belongs to, when was it
designed, which classification does it belong to, why
was the typeface designed (what was happening in the
world at the time that necessitated the typeface? What
was its original intended purpose or audience?), name
any other typefaces by the designer (up to three).
2. Write one paragraph about your personal critique of
the typeface. Consider discussing the circumstances
in which it would be appropriate to use, do you find it
unique and interesting (why), and how do you see it as
different from other typefaces.
3. Find one quote about the typeface or the type designer.
The three paragraphs should total about 200–225 words,
and be written using proper grammar. Use Microsoft Word
to write the text. Include a bibliography for at least four
sources (three online resources, one book).
step two. exploring typographic nuance. In your
historical classification groups, identify the parts of the
letter and study the differences among the typefaces in
your group. Compare your typeface to several others
so that you can see what makes yours unique within its
historical classification. For your assigned typeface, look
at all letters, numbers and punctuation. Circle, highlight,
indicate, make notes about any and all characteristics
of your typeface. Identify at least 10–15 characteristics
that make up your typeface, and describe them using the
anatomy terms we went through in Project Two: Drawing
and Labeling Letterforms. Clearly indicate your observations.
These must be organized and legible.
step three. drawing and sketching. Create
analog sketches to explore your booklet’s style and the
organization of parts and hierarchy.
step four. final design and production. Working in
InDesign, create a printed booklet. (Hopefully we’ll have
toner for the printer!)
components to include in your book
• 8–10 typeface characteristics diagrammatically shown
• the name of the typeface
• the typeface designer’s name (date of birth–dod)
• year the typeface was designed
• the entire alphabet, punctuation, numbers, and glyphs
• one quote about the typeface or designer
• the three paragraphs you wrote about your typeface
Typography
example of student work: Type Specimen, by Kateland Pricer.
1
TheLibraryofBabel
JorgeLuisBorges
34 35
formatting your sources
Electronic source:
Author’s last name, First name. Title of Publication. URL.
Printed source:
Author’s last name, First name. Title of Publication, page or
plate/figure/slide number referenced. Place (city, state,
country) of publication: publisher’s name, date of pub-
lication.
a final note
This project is largely derived from an exercise taught by
Marty Maxwell Lane in arts 4363, Typography 1, at the
University of Arkansas (fall 2014), and Anne Berry’s Visual
Communications Design 4: Typography (spring 2014), at
the University of Notre Dame.
Typography
Type Specimen, continuedTypography
Type Specimen, continued
example of student work: Type Specimen, by Sarah Wright.
3 | | 4
CLAUDEGARAMOND
was born in Paris, France in 1480. His skills in creating his famous typeface began when he learned and became an independent skilled punch cutter during the early times of the French Renaissance. Claude was an apprentice to printer and publisher Antoine Augereau at the time when he took upon the challenge to create his own Old Style Roman type. In 1530, his type was used in the book Paraphrasis in Elegantiarum Libros Laurentii Vallea. Garamond’s work became well known and greatly admired. When he passed away in Paris, France in 1561, his work was spread out and placed with Christophe Plantin from Antwerp, the Le Bé type foundry and the Frankfurt foundry Egenolff–Berner.Later on, at around 1621, a French printer named Jean Jannon created a typeface that was similar to Garamond’s typeface. Jannon’s typeface was not discovered until
about 200 years later, when the French national printing office had found his work, and was wrongly declared the original Garamond typeface. This information wasn’t corrected until 1927
by researcher Beatrice Ward. However, before Beatrice’s discovery, many of
Jean Jannon’s “Garamond” versions have already been created into other different font types. Today, well–known typefaces that have followed
Jean Jannon’s design are Monotype Garamond, Simoncini Garamond, and
LTC Garamont. Typefaces that have followed Claude Garamond’s type are Adobe Garamond and Garamond Premier, Granjon, and Sabon.
Looking closely at Claude Garamond’s work, it is very readable and the upper and lower case
letters are very nice together. It gives off a classic and simple look. The lack of contrast with the thick and thin lines of the curves of the letters is most likely what makes it such a legible reading font of choice. Modern literature today have used Garamond for their font to not only make things easier to read, but to also save
some money since Garamond takes up less ink than other fonts like Times New Roman.§
§Aad
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Elegantly rounded serifs
Lower case ascenders exceed the height of Capitol letters Long Ascenders
Small BowlsLow contrast between thick and thin strokes
p fo| 8
Downward sloped serifs
Thick, course serifs
Stress in counters are diagonal
Typeface is relatively thin and takes little ink to print, making it eco-friendly
(used to mimic free-hand writing)
Short x-axis
[
36 37
“Having been an early admirer of the beauty of letters, I became insensibly de-sirous of contributing to the perfection of them. I formed to myself ideas of greater accuracy than had yet appeared, and had endeavoured to produce a set of types according to what I conceived to be their true proportion.”
John Baskerville
The creator of Basker-ville, John Baskerville,
was born in 1706 in En-gland. He got his start with typography by engraving tombstones (Lienhard). In his twenties, J. Baskerville was already teach-ing writing and bookkeeping as well as running an engraving business. When J. Baskerville decided to start a type foundry, Phillipe Grandjean’s type, Romain du Roi for Louis XIV, was
circulating around Eu-rope. The mathematically precise characters felt too “cold” to J. Baskerville so he decided to create a soft-
er typeface with rounded bracketed serifs
and a vertical axis (Yau). By applying his un-usual engraving
skills to typog-raphy, J. Basker-
ville created his type Baskerville in 1754 after four years of working on it (Lienhard). John Basker-ville died in 1775.
Typography
Type Specimen, continuedTypography
Project 8: Motion Type
First review the lecture slides from “Type, Motion
Graphics, and the Art of the Title Sequence.”
Also read “Animating Type,” (especially “Basic
Animations”), here: typeonscreen.info.
Then design either (a) three animated GIFs, or (b) one more
complex video animation using Photoshop, Flash, or After
Effects, Premiere, or Final Cut Pro.
The subject of your composition must be: type,
typography, type design, type history, or letterforms of
some kind.
example of student work: Type Specimen, by Kateland Pricer.
bask
ervi
lle
BASKERVILLEB
3938
example of student work: Type in Motion, by Tiffany Dunn.
Typography
Motion Type, continued
example of student work: Type in Motion, by Kateland Pricer.
Typography
Motion Type, continued
4140
Typography
Final Project: Web Type& Type on Screen
Use the HTML files provided to complete the
assignment. Upload your edited, redesigned
files to the server at: umhbdesign.com
Double check all links, and be sure your web pages are fully
functional (images are displaying, and all edits have been
made correctly).
Typography
Motion Type, continued
example of student work: Type in Motion (Countdown), by Justin Minchew.
42
The Elements of Art1. line
• implied line
• contour line
• cross-hatching
2. shape
• positive shape (figure)
• negative space (ground)
1. space—see “Illusions of Space,” below
2. value
3. texture
4. color—see “Elements of Color,” below
The Elements of Color1. primary colors
2. secondary colors
3. tertiary colors
4. analogous color
5. complementary colors
6. tint
7. shade
8. hue
9. CMYK
10. RGB
11. additive color mixing
12. subtractive color mixing
13. monochromatic
14. accent color
15. color temperature
The Principles of Design1. harmony
• repetition
• rhythm/pattern
• visual connections
• grid
2. variety
• difference
• contrast
• emphasis
• elaboration
3. balance
• symmetry
• asymmetry
4. proportion
5. dominance
• emphasis
• visual weight
• hierarchy
• focal point
6. movement
7. economy
8. unity (elements + principles = unity)
Illusions of Space1. one-point perspective
2. two-point perspective
3. three-point perspective
4. picture plane
5. horizon line
6. atmospheric perspective
7. vanishing point
8. kinesthetics
9. amplified perspective
Appendix
The Elements andPrinciples of Design
SyllabusARTS 2375Typography
University of Mary Hardin-Baylor College of Visual and Performing ArtArt Department
Spring 2015T Th 11:00A–1:30P BCVA 105
Typo-graphy