Typography II Process Book

Typography IIProcess Book

Cynthia Oh

Introduction

Typographic Rules

Letterform Relationship

3-D Letterform

Typographic Space

Type Designer: Adrian Frutiger

Type Designer: Web Page Layout

Grid Study: Japan Earthquake and Tsunami Brochure

Plant Classification: Coffea Arabica

Book Design: Alice in Wonderland

Colophon

This book is designed in Adobe Indesign, by Cynthia Oh, printed at Alphagraphics, Rhode Island.

The typeface is a variation of the Serifa family, designed by Adrian Frutiger in 1966.

This was a project done for Typography II class at Rhode Island School of Design, Spring of 2011.

Table of Contents

1

3

7

15

19

23

27

31

35

39

1

Introduction

This is a process book of Typography II course. Over the semester, I have learned about typographic structure, hierarchy, and dealt with large amounts of text in book format. I have explored vast amount of typo-graphic elements and form, as they relate to content and meaning.

The objective of this class was to understand and apply complex issues of typographic properities and principles.

2

5 Typographic Rules Exploration

3

5 Typographic RulesInitial Sketch

5 Typographic Rules8.5” x 11” print, Adobe InDesign

This exercise was to make a list of five impor-tant typographic rules that I learned in Typog-raphy I. The format of the rules is divided into two parts, the first being a unified, consistent type structure using a single font. The second part of the exercise’s aim was to expand the structural concept and relation of typographic elements. It was to highlight the different content of each of the five statements using variety of font or size.

Principles of Typography

Counterform of the type is just as important as the letterform itself.

Type will have the most integrity when it is effective, direct, and well communicated.

Visual and typographic elements work based on a framework of a grid.

Placement of the types is as much about where the type isn’t as where it is.

Content dictates form.

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5

Final Execution 5 Typographic Rules

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7

Letterform RelationshipInitial Sketches

Letterform RelationshipAdobe InDesign

The objective of this study was to explore structure of letterforms and its character-istics, especially its form and counterform and where they work in unison. There were four parts to this exercise, first exploring two individual letterforms, second with two letters with a bit more variation, third with two let-ters that can touch or overlap, and last with one letter in a format font and the other hand drawn. With these four explorations, I was able to see how letterforms work

8 9

Exploration Letterform RelationshipExplorationLetterform Relationship

C

G

B

d P

G

10 11

Two individual letters Letterform RelationshipTwo letters with variationLetterform Relationship

JL

12 13

Letterform RelationshipA font and hand drawnTwo overlapping lettersLetterform Relationship

U

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15

Initial Sketches 3-D Letterform

3-D Letterform10” x 6” x 5”, Bristol Board

After studying the form and counterform of letters on the previous exercise, this assign-ment was to select one of the letterform stud-ies and make it into a three dimensional form. The most important consideration that went when building this object was to see and read the form in all directions.

16 17

Final Execution 5 Typographic RulesSide and Back Views3-D Letterform

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19

Initial Layout Typographic Space

Typographic Space20” x 30” print, Adobe Photoshop

Following the three dimensional letterform, I designed a poster that had dynamic space and hiearchy. Four elements were required when designing this poster: the word “LET-TERFORM”, the 3-D object, the original let-ters forming the 3D shape, and the combina-tion of letters from the 2-D letter study.

20

Exploration

21

Final Execution Typographic SpaceTypographic Space

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23

Type DesignerInitial Layout

Type Designer: Adrian Frutiger12” x 18” print, Adobe InDesign

For this exercise I researched and studied about Adrian Frutiger as the designer that I wanted to explore. The poster included the designer’s name, a paragraph about the de-signer and their place in history, a display of the full font of Frutiger, and a letterform that display the unique character of this font. This poster was designed in the spirit of Frutiger, reflecting signages in Charles de Gaulle Inter-national Airport in France.

One of the most well known type designers in this century, Adrian Frutiger has designed over 170 fonts in his lifetime. In 1952, Frutiger worked under Deberny & Peignot foundation and helped move classic typefaces to newer phototypesetting technologies. In 1957, he created the famous type Univers, which was significant in its optically even stroke weights and large x-height for legibility.

After creating a graphic design studio in Arcueil, Paris, Frutiger was assigned to make the entire signage system for the Charles de Gaulle airport in 1968. This particular typeface is also call the “way-finding signage” because of its legibility from afar and from an angle.

This typeface, originally called Roissy, changed its name to “Frutiger” after its creator. It is essentially a fusion between Univers and the organic influ-ences of Gill Sans.

The goal of Adrian Frutiger, when he was designing typefaces, was to make it have efficient communication and readability. The result was a set of capi-tals and numbers that could be read even in poor light.

Frutiger’s typefaces such as Univers or Frutiger influenced the overall look of a directional, readible typography. His works are one of the most widely used typefaces in the world, used for branding, display, and textfonts alike.

24 25

Final Execution Type DesignerExplorationType Designer

One of the most well known type designers in this century, Adrian Frutiger has designed over 170 fonts in his lifetime. In 1952, Frutiger worked under Deberny & Peignot foundation and helped move classic typefaces to newer phototypesetting technolo-gies. In 1957, he created the famous type Univers, which was significant in its optically even stroke weights and large x-height for legibility. After creating a graphic design studio in Arcueil, Paris, Frutiger was assigned to make the entire signage system for the Charles de Gaulle airport in 1968. This particular typeface is also call the “way-finding signage” because of its legibility from afar and from an angle. This typeface, originally called Roissy,

changed its name to “Frutiger”after its creator. It is essentially a fusion between Univers and the organic influ-ences of Gill Sans. The goal of Adrian Frutiger, when he was designing typefaces, was to make it have effi-cient communication and readability. The result was a set of capitals and numbers that could be read even in poor light. Frutiger’s typefaces such as Univers or Frutiger influenced the overall look of a directional, readible typography. His works are one of the most widely used typefaces in the world, used for branding, display, and textfonts alike.

One of the most well known type designers in this century, Adrian Frutiger has designed over 170 fonts in his lifetime. In 1952, Frutiger worked under De-berny & Peignot foundation and helped move classic typefaces to newer phototypesetting technologies. In 1957, he created the famous type Univers, which was significant in its optically even stroke weights and large x-height for legibility.

After creating a graphic design studio in Arcueil, Paris, Frutiger was assigned to make the entire signage system for the Charles de Gaulle airport in Paris. This particular typeface is also call the “way-finding sig-nage” because of its legibility from afar and from an angle. This typeface, originally called Roissy, changed its name to “Frutiger” after its creator. It is essentially a fusion between Univers and the organic influecnes of Gill Sans.

The goal of Adrian Frutiger, when he was designing typefaces, was to make it have efficient communica-tion and readability. The result was a set of capitals and numbers that could be read even in poor light.

Frutiger’s typefaces such as Univers or Frutiger influ-enced the overall look of a directional, readible ty-pography. His works are one of the most widely used typefaces in the world, used for branding, display, and textfonts alike.

One of the most well known type designers in this century, Adrian Frutiger has designed over 170 fonts in his lifetime. In 1952, Frutiger worked under De-berny & Peignot foundation and helped move classic typefaces to newer phototypesetting technologies. In 1957, he created the famous type Univers, which was significant in its optically even stroke weights and large x-height for legibility.

After creating a graphic design studio in Arcueil, Paris, Frutiger was assigned to make the entire signage system for the Charles de Gaulle airport in Paris. This particular typeface is also call the “way-finding sig-nage” because of its legibility from afar and from an angle. This typeface, originally called Roissy, changed its name to “Frutiger” after its creator. It is essentially a fusion between Univers and the organic influecnes of Gill Sans.

The goal of Adrian Frutiger, when he was designing typefaces, was to make it have efficient communica-tion and readability. The result was a set of capitals and numbers that could be read even in poor light.

Frutiger’s typefaces such as Univers or Frutiger influ-enced the overall look of a directional, readible ty-pography. His works are one of the most widely used typefaces in the world, used for branding, display, and textfonts alike.

26


27

Web Page LayoutInitial Sketch

Type Designers

A professional type designer is highly skilled and knowl-edgeable about the anatomy of typefaces as well as type history. Type designers cre-ate new typefaces from scratch or based on exist-ing typeface designs. Today, with the ready availability of font editors and type design software, anyone can modify fonts or create new ones and can be considered a type designer, although the best typefaces are still generally created by dedicated, profes-sional type designers.

This site will introduce you to a variety of typedesigners and typefaces to learn about.

Type Designer: Web Page Layout10” x 9”, Adobe InDesign

After designing a poster with a style of Adri-an Frutiger, this assignment was to create a web page layout in my personal style. For me, I wanted to design a website that was simple and easy to navigate. My theme was a website for different type designers, among them Adrian Frutiger.

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Web Page LayoutFrutiger’s PageSequenceWeb Page Layout

Ecessit is rerchiciis rerione ctibus adic tet aut aligni te nonsequi cullicil ius mos dello molent adit vellore iciam, nonsequi doluptio. Nequi re-restis in re nonem inulluptium velignisqui nam, consedis et eic to beaqui nietur, nimi, unt dolupta tquidel iliquo et ute nonet invenimil in re lique conserum nem.

Voluptas solut mod eum num etur audit eum rempor sam, ommo con reritis ut mil inveris niendemquam di ommosam velictaeaprem quam volupta tquiaeriti tempossus dolor mi, ulliquamus quis ratat.Everum ad que sitate est, omnim everiti bea que lam ut hil id mi, sa dercia pero conet vo-lupta digenis tiatini omnieni.

- Paul Renner

- Herb Lubalin

- Adrian Frutiger

- Max Miedinger

- Claude Garamond

- William Caslon

- Frederic W. Goudy

- Francesco Griffo

- John Baskerville

- Morris Fuller Benton

- Giambattista Bodoni

- Emil Rudolf Weiss

- Edward Johnston

- Eric Gill

- Stanley Morison

- Rudolf Koch

- Nicholas Jenson

Ondine

President

Meridien

Univers

Frutiger

Apollo

Serifa

OCR-B

Iridium

Glypha

Icone

Breughel

Versailles

Avenir

Westside

Herculanum

Vectora

Pompeijana

Rusticana

Nami

Type DesignersType Designers

an angle. This typeface, originally

called Roissy, changed its name to

“Frutiger”after its creator. It is es-

sentially a fusion between Univers

and the organic influences of Gill

Sans. The goal of Adrian Frutiger,

when he was designing typefac-

es, was to make it have efficient

communication and readability.

The result was a set of capitals

and numbers that could be read

even in poor light. Frutiger’s type-

faces such as Univers or Frutiger

influenced the overall look of a

directional, readible typography.

His works are one of the most

widely used typefaces in the

world, used for branding, display,

and textfonts alike.

One of the most well known type

designers in this century, Adrian

Frutiger has designed over 170

fonts in his lifetime. In 1952,

Frutiger worked under Deberny

& Peignot foundation and helped

move classic typefaces to newer

phototypesetting technologies. In

1957, he created the famous type

Univers, which was significant in

its optically even stroke weights

and large x-height for legibility.

After creating a graphic design

studio in Arcueil, Paris, Frutiger

was assigned to make the entire

signage system for the Charles

de Gaulle airport in 1968. This

particular typeface is also call the

“way-finding signage” because

of its legibility from afar and from

Adrian Frutiger

30


31

Grid StudyInitial Sketch

Grid Study: Japan Earthquake and Tsunami15” x 10”, print, Adobe InDesign

On March 11, 2011, a terrible Earthquake and Tsunami shook Japan. This brochure was a study of using a specific grid system that I set up. The objective was to design a structured layout that had hierarchy of information. I also wanted the brochure to be impactful in the front and informative inside, so I decided to use mostly imagery and bold fonts in the front and graphs and maps inside.

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Grid StudyInside ViewFront and Inside ViewGrid Study

Explosion at Fukushima Daiichi’s No. 1 reactor, radiation detected.

Explosion at Fukushima’s No. 3 reactor, and cooling functions in No. 1 has stopped.

Radiation levels shot up at the plant after a new explosion of No. 2 and No.4 caused by a fire over-heating of spent fuel rods.

Fire breaks out on No. 4 reactor. An estimated 70% of the nuclear fuel rods have been damaged.

Authorities reached for methods to cool stricken reactors, deploying helicopters and water cannons to prevent perilous overheating.

Radioactive iodine detected in Tokyo’s water supply spurred a warning for infants, and added to the growing anxiety about the safety near the plant.

March 12

March 14

March 15

March 16

March 17

March 23

Nuclear Crisis

The Fukushima I, Fukushima II, Onagawa Nuclear Power Plant and Tokai nuclear power stations, consisting of a total eleven reactors, were automati-cally shut down following the earthquake. Higashidori, also on the northeast coast, was already shut down for a periodic inspection. Cooling is needed to remove decay heat after a reac-tor has been shut down, and to maintain spent fuel pools.

The backup cooling process is powered by emergency diesel generators at the plants and at Rokkasho nuclear reprocessing plant. At Fuku-shima I and II, tsunami waves overtopped seawalls and de-stroyed diesel backup power systems, leading to severe problems at Fukushima I, in-cluding two large explosions and radioactive leakage.Over 200,000 people were evacuated near the Fuku-shima reactor site. The April

7 aftershock caused the loss of external power to Rokkasho Re-processing Plant and Higashi-dori Nuclear Power Plant but backup generators were func-tional. Onagawa Nuclear Power Plant lost 3 of 4 external power lines and lost cooling function for as much as 80 minutes. A spill of a couple liters of radioac-tive water occurred at Onagawa. Europe’s Energy Commissioner Günther Oettinger addressed the European Parliament on 15 March, explaining that the nuclear disaster an “apocalypse”.

As the nuclear crisis entered a second month, experts recog-nized that Fukushima I is not the worst nuclear accident ever, but it is the most complicated.

0.1

1.02.0

10

100

400

500

1,000

5,000

10,000

30,000

50,000

100,000

Chest X-Ray

Natural radiation per year

Full body CT scan

Decrease in bloodcell counts

Extremely severe radiation, 60% fatality risk after 30 days

Destruction of intestinal lining, internal bleeding, 100% fatality

after 14 days

Symptoms appear within 30 min-utes, massive diarrhea, internal

bleeding, delirium

Radiation exposed to the Chernobyl reactor core after

meltdown in 1986

Immediate to severe vomiting and coma, death following

within hours of exposure

Radiation per hour in surface water in tunnels outside of

Fukushima No.2 reactor

Recommended limit for radia-tion workers every 5 years

Radiation detected at Fukushima site, March 12

Maximum radiation levels per hour recorded at Fukushima

plant, March 14

Radiation Levelsin milliSieverts (1mSv)

Timeline of the Crisis

What is Radiation? Health EffectsPower Plant Damages

– places that detected a heightened radiation levels

Radioactive materials that decay spontaneously produce ionizing radiation, which has sufficient energy to strip away electrons from atoms (creating two charged ions) or to break some chemical bonds. Any living tis-sue in the human body can be damaged by ionizing radiation in a unique manner. The body attempts to repair the damage, but sometimes the damage is of a nature that cannot be repaired or it is too severe or widespread to be repaired. Also mistakes

made in the natural repair process can lead to cancerous cells. The most common forms of ionizing radiation are alpha and beta particles, or gamma and X-rays.

A cumulative dose of 1,000 millisieverts would increase the incidence of fatal cancer by about 5 percent. A single dose of 1,000 millisieverts causes temporary radiation sickness and decreased white blood cell count, but not death.

The first symptoms of acute radiation syndrome are typically nausea, vomiting and diarrhea. These symptoms can start with-in minutes to days of exposure and can last for days. After that, a person with acute radiation syndrome may look and feel healthy for a short time, then become sick again with loss of appetite, fatigue, fever and pos-sibly seizures and coma.

March 25

March 31

April 4

April 12

Occurance of unexpected radia-tion injuries happened to workers, suggesting that the reactor vessel of the No. 3 unit may have been breached.

A long-lasting radioactive element, cesium 137, has been measured at levels that pose a long-term dan-ger at one spot 25 miles from the crippled Fukushima Daiichi nuclear power plant.

They would release almost 11,500 tons of water contaminated with low levels of radiation from the Fukushima Daiichi nuclear plant into the Pacific Ocean.

Japan has raised its assessment of the accident at the crippled Fukushima Daiichi nuclear power plant from 5 to 7, the worst rating on an international scale.

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35

Initial Sketch Coffea Arabica

Plant Classification System: Coffea Arabica5” x 9” folded, 5” x 29” spreaded, printed on Rives BFK

This was a study of a specific group of plant classification system, mine being the Coffea Arabica, a type of coffee plant. The objec-tive of this study was to organize a plant cateogory using typographic organization and hierarchy, such as type grids, font sizes, and properties. I chose to format the print in a way that people can understand one by one, whether flipping through the pages or spreading it out on a table. It starts with the broad kingdom of Plantae to the very specific variation of Coffea Arabica.

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Coffea ArabicaSpreadedPage by PageCoffea Arabica

39

Initial Sketch Book Design

Alice’s Adventures in

by Lewis Carroll

Book Design: Alice’s in Wonderland7” x 10” x 0.75”, print Adobe InDesign

This assignment explored every aspect of making a book, subject being Alice in Won-derland. I was responsible to design a layout that was legible and accessible to the general reader, and also the form had to reflect the content of the book. I chose to explore the idea of “challenging the logical sense and natural order” by breaking the type to reflect the significance of its content. In replace of the classic illustrations of the book, I decided to photograph abstract forms using ink and water to reflect the ambiguity and confusion that Alice felt while in Wonderland.

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Book DesignBook BindingText LayoutBook Design

58 59

She had not gone much farther before she came in sight of the house of the March Hare: she thought it must be the right house, because the chimneys were shaped like ears and the roof was thatched with fur. It was so large a house, that she did not like to go nearer till she had nibbled some more of the lefthand bit of mushroom, and raised herself to about two feet high: even then she walked up towards it rather tim-idly, saying to herself ‘Suppose it should be raving mad after all! I almost wish I’d gone to see the Hatter instead!’

Chapter 7

A Mad Tea-Party

There was a table set out under a tree in front of the house, and the March Hare and the Hatter were having tea at it: a Dormouse was sitting between them, fast asleep, and the other two were using it as a cushion, resting their elbows on it, and talking over its head. ‘Veryuncomfortable for the Dormouse,’ thought Alice; ‘only, as it’s asleep, I suppose it doesn’t mind.’

The table was a large one, but the three were all crowded to-gether at one corner of it: ‘No room! No room!’ they cried out when they saw Alice coming. ‘There’s PLENTY of room!’ said Alice indignantly, and she sat down in a large arm-chair at one end of the table.

‘Have some wine,’ the March Hare said in an encouraging tone.

Alice looked all round the table, but there was nothing on it but tea. ‘I don’t see any wine,’ she remarked.

2 3

ried on, Alice started to her feet, for it flashed across her mind that she had never before seen a rabbit with either a waistcoat-pocket, or a watch to take out of it, and burning with curiosity, she ran across the field after it, and fortunately was just in time to see it pop down a large rabbit-hole under the hedge.

In another moment down went Alice after it, never once con-sidering how in the world she was to get out again.

The rabbit-hole went straight on like a tunnel for some way, and then dipped suddenly down, so suddenly that Alice had not a moment to think about stopping herself before she found herself falling down a very deep well.

Either the well was very deep, or she fell very slowly, for she had plenty of time as she went down to look about her and to wonder what was going to happen next. First, she tried to look down and make out what she was coming to, but it was too dark to see anything; then she looked at the sides of the well, and noticed that they were filled with cupboards and book-shelves; here and there she saw maps and pictures hung upon pegs. She took down a jar from one of the shelves as she passed; it was labelled ‘ORANGE MARMALADE’, but to her great disappointment it was empty: she did not like to drop the jar for fear of killing somebody, so managed to put it into one of the cupboards as she fell past it.

‘Well!’ thought Alice to herself, ‘after such a fall as this, I shall think nothing of tumbling down stairs! How brave they’ll all think me at home! Why, I wouldn’t say anything about it, even if I fell off the top of the house!’ (Which was very likely true.)

Down, down, down. Would the fall NEVER come to an end! ‘I wonder how many miles I’ve fallen by this time?’ she said aloud. ‘I must be getting somewhere near the centre of the earth. Let me see: that would be four thousand miles down, I think–’ (for, you see, Alice had learnt several things of this

sort in her lessons in the schoolroom, and though this was not a VERY good opportunity for showing off her knowledge, as there was no one to listen to her, still it was good practice to say it over) ‘–yes, that’s about the right distance–but then I wonder what Latitude or Longitude I’ve got to?’ (Alice had no idea what Latitude was, or Longitude either, but thought they were nice grand words to say.)

Presently she began again. ‘I wonder if I shall fall right THROUGH the earth! How funny it’ll seem to come out among the people that walk with their heads downward! The Antipathies, I think–’ (she was rather glad there WAS no one listening, this time, as it didn’t sound at all the right word) ‘–but I shall have to ask them what the name of the country is, you know. Please, Ma’am, is this New Zealand or Australia?’ (and she tried to curtsey as she spoke–fancy CURTSEYING as you’re falling through the air! Do you think you could manage it?) ‘And what an ignorant little girl she’ll think me for asking! No, it’ll never do to ask: perhaps I shall see it written up some-where.’

Down, down, down. There was nothing else to do, so Al-ice soon began talking again. ‘Dinah’ll miss me very much to-night, I should think!’ (Dinah was the cat.) ‘I hope they’ll remember her saucer of milk at tea-time. Dinah my dear! I wish you were down here with me! There are no mice in the air, I’m afraid, but you might catch a bat, and that’s very like a mouse, you know. But do cats eat bats, I wonder?’ And here Alice began to get rather sleepy, and went on saying to herself, in a dreamy sort of way,

‘Do cats eat bats? Do cats eat bats?’ and sometimes, ‘Do bats eat cats?’ for, you see, as she couldn’t answer either question, it didn’t much matter which way she put it. She felt that she was dozing off, and had just begun to dream that she was walking hand in hand with Dinah, and saying to her very earnestly, ‘Now, Dinah, tell me the truth:did you ever eat a bat?’ when

Project Gutenberg’s Alice’s Adventures in Wonderland, by Lewis Carroll

This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org.

Title: Alice’s Adventures in Wonderland

Author: Lewis Carroll

Posting Date: June 25, 2008 [EBook #11]Release Date: March, 1994

Language: English

THE MILLENNIUM FULCRUM EDITION 3.0

Table of Contents

1

10

18

27

38

48

59

72

83

95

108

118

Down the Rabbit Hole

The Pool of Tears

The Caucus Race and a Long Tale

The Rabbit Sends in a Little Bill

Advice from a Capterpillar

Pig and Pepper

A Mad Tea Party

The Queen’s Croquet Ground

The Mock Turtle’s Story

The Lobster Quadrille

Who Stole the Tarts?

Alice’s Evidence

42 43

Book DesignTypographic ExpressionTypographic ExpressionBook Design

44 45

Final Execution 5 Typographic RulesInk and Water PhotographyBook Design

Typography II Process Book

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Transcript of Typography II Process Book