VLTYPOGRAPHY PORTFOLIO

SPRING 2019

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Table of ContentsDesign Works... 4-13 Recipe Card... 4-5 Type Poster... 6-7 Museum Poster... 8-9 Brochure... 10-13

In-Class Assignments... 14-21 Example of Grid Types... 14-15 Designing Grids... 16-17 Drawing type and Terminology... 18-19 Persona... 20-21

Notes... 22-25 Letter... 23 Text... 24 Grid... 25

Designers... 26-35 Marian Banjes... 26 David Carson... 27 Mathew Carter... 28 Jessica Walsh... 29 Stephan Sagmeister... 30 Paula Scher... 31 Nicolas Jenson... 32 Christopher Plantin... 32 Marinetti... 33 El Lissitzky... 33 Theo Van Doesburg... 34 Piet Zwart... 34 Jan Tschichold... 35 Josef Muller- Brockman... 35 Karl Gerstner... 35

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RECIPE DESIGN

IN THIS DESIGN WE WERE TOLD TO DESIGN A RECIPE CARD OF OUR FAVORITE FOOD. I DECIDED TO DO GUACAMOLE. WE FOCUSED IN ON KEARNING, TRACKING, LEADING AND PARAGRAPH STYLES. I WENT WITH A VERY SIMPLISTIC STYLE BECAUSE I WANTED IT TO BE EASY TO READ.

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TYPEPOSTER

THIS DESIGN WAS QUITE OF A CAHALLENGE FOR ME BECAUSE I WAS NOT SURE WHICH WAY TO GO WITH THIS POSTER. AFTER A COUPLE OF DESIGN CHANGES I DECIDED TO GO A LITTLE OUT OF MY COMFORT ZONE. WITH ADDING THE LETTERS AND NUMBERS COMING DOWN FROM THE SIDE ALLOWS THE VIEWER TO READ MORE ABOUT THE FONT I CHOSE. I ALSO BALANCED THE PAGE OUT MORE BY MAKING THE 1991 TWO DIFFERENT SHADES. OVERALL, I AM VERY HAPPY WITH THE WORK I PRODUCED FOR THIS PARTICULAR POSTER PROJECT. 19

Where has this font been used?The opening titles and the credits of The Hunger Games.The default typeface on the 2012 Summer Olympic.Games medallions.The band Franz Ferdinand’s logo.One of the lower thirds graphics for FoxNews Channel.The text in Point Blank as in keyboard.The main typeface of the video game Civilization V.The interface typeface of the computer game SimCity 5.

GEOMETRIC

Sol HessLike many geometric sans-serifs, Century Gothic’s design has a single-story “a” and “g”, and an “M” with slanting sides resembling an upturned “W”. Century Gothic has a high x-height. Its origins come from a design intended for large-print uses such as headings and signs, and so it has a reasonably purely geometric design closely based on the circle and square, with less variation in stroke width than fonts designed for small sizes tend to show, and a relatively slender design in its default weight. Its default spacing is quite tight in the style popular in American post-war display typefaces. Characters are quite wide; Monotype have described it as a “spacious” design.

SaNs-SeRiF

C E N T U R YG O T H I C

91

8 9

MU

SEU

M P

OST

ER

The Modern Masters Series 4.16 - 4.18 ‘19 Major Works Sol Lewitt was an American artist born on September 9, 1928, in Hartford,

Connecticut. He made his first prints while in college in the late ‘40s.

Lewitt then moved to New York City in 1953 to study at the Cartoonists

and Illustrators School and worked for Seventeen Magazine. He

progressed to a job at the Museum of Modern Art in New York. Lewitt

helped to launch Conceptual Art and Minimalism of the Post-War era.

He used basic shapes and colors to create drawings and structures.

Lewitt passed away on April 8, 2007, in New York City.

215.763.81002600 Benjamin Franklin Parkway

Philadelphia, PA 19130

Sol Lewitt The Modern Masters Series 4.16 - 4.18 ‘19 Major Works Sol Lewitt was an American artist born on September 9, 1928, in Hartford,

Connecticut. He made his first prints while in college in the late ‘40s.

Lewitt then moved to New York City in 1953 to study at the Cartoonists

and Illustrators School and worked for Seventeen Magazine. He

progressed to a job at the Museum of Modern Art in New York. Lewitt

helped to launch Conceptual Art and Minimalism of the Post-War era.

He used basic shapes and colors to create drawings and structures.

Lewitt passed away on April 8, 2007, in New York City.

215.763.81002600 Benjamin Franklin Parkway

Philadelphia, PA 19130

SOL LEWITT WAS A VERY FAMOUS ARTIST WHO WAS KNOWN FOR WALL ART. I ENJOYED THIS DESIGN BECAUSE I WANTED TO USE HIS DESIGN OF COLORS FOR MY POSTER SO IT REPRESENTED HIM. I DID THE SAME FOR THE CARD SO IT REFLECTED THE POSTER. OVERALL, THIS WAS ONE OF MY FAVORITE DESIGNS THAT I HAVE DONE.

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1

Summer Day Camp High Adventure

Youth Program

CAMP BROCHURE REDESIGN

IN THIS DESIGN WE WERE TOLD TO REDSIGN A CAMP BROCHURE. I DECIDED TO MAKE MINE FUN BUT EASY TO READ. I FOCUSED IN ON PARAGRAPH STYLES AND COLOR TO MAKE SURE MY WORK STAYED INTERESTING. I WAS HAVING TROUBLE MAKING SURE MY WORK DID NOT CONSTANTLY REPEAT ITSELF BY CONSTANTLY ADDING TREES OR BUTTERFLIES WHICH IS ANOTHER REASON WHY I WENT WITH A CLEAN BACKGROUND ON ALL OF THE PAGES WITH INFORMATION ABOUT THE CAMP.

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14 15

I love my dog.I love my dog.

I love my dog.I love my dog.

I love my dog.

I love my dog.

I love my dog.

I love my dog.

Dont have frutiger

I love my dog.

I love my dog.I love my dog.

I love my dog.

I love my dog.

I love my dog.

I love my dog.

I love my dog.

I love my dog.

I love my dog.

I love my dog.

Dont have Univers.

EXAMPLE OF GRID TYPES

FOR THIS IN-CLASS ASSIGNMENT WE STARTED TO LEARN ABOUT GRIDS AND THE DIFFERENT FONTS WE CAN USE. THIS LITTLE ASSIGNMENT WAS OUR FIRST PROJECT SO WE CAN GET USED TO INDESIGN AND HOW IT WORKS.

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DESIGNING GRIDS

HERE WE STARTED TO LOOK MORE INTO GRID STYLES AND COLUMNS. HERE WE WERE TOLD TO DESIGN A 2 PAGE SPREAD USING SHAPES AND TEXT. I DECIDED TO FOCUS IN ON FASHION SHOWS BECAUSE I LOVE FASHION. LOOKING BACK I WOULD HAVE ADDED MORE DESIGNS TO THIS SPREAD TO MAKE IT MORE INTERESTING. OVERALL, I AM HAPPY THAT WE STARTED OFF WITH THIS SIMPLE PROJECT.

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DRAWING TYPE AND

TERMINOLOGY

IN CLASS WE WERE TOLD TO PICK A FONT AND BE ABLE TO SHOW THE TERMINOLOGY SUCH AS TERMINAL, BOWL, DESCENDER AND MUCH MORE. THIS ALLOWS ONE TO RECOGNIZE WHEN THE RIGHT TIME IS TO USE CERTAIN FONTS.

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PERSONA

FOR THIS IN-CLASS ASSIGNMENT WE WERE TOLD TO MAKE A PERSONA FOR A MADE UP PERSON.

MICHAEL JONESMichael Jones, 20, sophmore at Quinnipiac University who currently studies Graphic and Interactive Design and is a minor in Advertising and Integrated Communication. Michael cannot wait to graduate though he wll miss it here at Quinnipiac. He hopes to get a job his first year out of college. He loves spending time with his family, friends and two dogs.

Interests SkillsCommunication Listening Technology

Adobe Creative Cloud Skills

5/5 5/5 4/5

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LETTER

• ANATOMY IS HOW LETTERS SIT ON A LINE

• ATTEMPTS TO STANDARDIZE THE MEASUREMENT OFTYPE BEGAN IN THE EIGHTEENTH

CENTURY. THE POINT SYSTEM IS THE STANDARD USED TODAY.

• THE WIDTH OF A LETTER IS INTRINSIC TOTHE PROPORTIONS AND VISUAL IMPRESSION OF THE TYPEFACE. SOME TYPEFACES HAVE A NARROW SET WIDTH, AND SOME HAVE A WIDE ONE.

• THE X-HEIGHT OF A TYPEFACE AFFECTS ITS APPARENT SIZE, ITS SPACE EFFICIENCY, AND ITS OVERALL VISUAL IMPACT.

• A TYPE FAMILY WITH OPTICAL SIZES HAS DIFFERENT STYLES FOR DIFFERENT SIZES OF OUTPUT.

• SCALE IS THE SIZE OF DESIGN ELEMENTS IN COMPARISON TO OTHER ELEMENTS IN A LAYOUT AS WELL AS TO THE PHYSICAL CONTEXT OF THE WORK. SCALE IS RELATIVE. 12-PT TYPE DISPLAYED ON A 32-INCH MONITOR CAN LOOK VERY SMALL, WHILE 12-PT TYPE PRINTED ON A BOOK PAGE CAN LOOK FLABBY AND OVERWEIGHT.

• HUMANIST LETTERFORMS ARE CLOSELY CONNECTED TO CALLIGRAPHY AND THE MOVEMENT OF THE HAND.

• TRANSITIONAL AND MODERN TYPEFACES ARE MORE ABSTRACT AND LESS ORGANIC.

• IN THE SIXTEEENTH CENTURY, PRINTERS BEGAN ORGANIZING ROMAN AND ITALIC TYPEFACES INTO MATCHED FAMILIES.

• A TRADITIONAL ROMAN BOOK FACE TYPICALLY HAS A SMALL FAMILY–AN INTIMATE GROUP CONSISTING OF ROMAN, ITALIC, SMALL CAPS, AND POSSIBLY BOLD AND SEMIBOLD STYLES.

• DESIGNERS, ENAMORED WITH THE SQUARISH PROPORTIONS OF TRUE SMALL CAPS, EMPLOY THEM NOT ONLY WITHIN BODIES OF TEXT BUT FOR SUBHEADS, BYLINES, INVITATIONS, AND MORE.

THINKING WITH TYPE- NOTES

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TEXT

• KERNING IS AN ADJUSTMENT OF THE SPACE BETWEEN TWO LETTERS.

• METRIC KERNING USES THE KERNING TABLES THAT ARE BUILT INTO THE TYPEFACE.

• OPTICAL KERNING IS EXECUTED AUTOMATICALLY BY THE PAGE LAYOUT PROGRAM.

• TRACKING IS ADJUSTING THE OVERALL SPACING OF A GROUP OF LETTERS IS CALLED TRACKING OR LETTERSPACING.

• DESIGNERS MOST COMMONLY APPLY TRACKING TO HEADLINES AND LOGOS.

• ADJUSTING THE OVERALL SPACING OF A GROUP OF LETTERS IS CALLED TRACKING OR LETTERSPACING.

• LINE SPACING IS THE DISTANCE FROM THE BASELINE OF ONE LINE OF TYPE TO ANOTHER.

• CHOOSING TO ALIGN TEXT IN JUSTIFIED, CENTERED, OR RAGGED COLUMNS IS A FUNDAMENTAL TYPOGRAPHIC ACT.

• THE FOUR MODES OF ALIGNMENT WHICH ARE CENTERED, JUSTIFIED, FLUSH LEFT, AND FLUSH RIGHT FORM THE BASIC GRAMMAR OF TYPOGRAPHIC COMPOSITION.

• USE MODES OF ALIGNMENT SUCH AS FLUSH LEFT, FLUSH RIGHT, JUSTIFIED, AND CENTERED ARE USED TO ACTIVELY INTERPRET A PASSAGE OF TEXT.

• CAPITAL LETTERS FORM MORE STABLE STACKS THAN LOWERCASE LETTERS.

• ENLARGED CAPITALS, ALSO CALLED VERSALS, COMMONLY MARK THE ENTRANCE TO A CHAPTER IN A BOOK OR AN ARTICLE IN A MAGAZINE.

• A TYPOGRAPHIC HIERARCHY EXPRESSES THE ORGANIZATION OF CONTENT, EMPHASIZING SOME ELEMENTS AND SUBORDINATING OTHERS.

• EMPHASIZING A WORD OR PHRASE WITHIN A BODY OF TEXT USUALLY REQUIRES ONLY ONE SIGNAL. ITALIC IS THE STANDARD FORM OF EMPHASIS. THERE ARE MANY ALTERNATIVES, HOWEVER, INCLUDING BOLDFACE, SMALL CAPS, OR A CHANGE IN COLOR.

• MAKE IT EASY FOR READERS TO FIND THE INFORMATION THEY WANT.

GRID

• SOME GRAPHIC DESIGNERS ARE FASCINATED WITH THE GOLDEN SECTION AND USE IT TO CREATE VARIOUS GRIDS AND PAGE FORMATS-INDEED, ENTIRE BOOKS HAVE BEEN WRITTEN ON THE SUBJECT.

• NO BOOK ABOUT TYPOGRAPHY WOULD BE COMPLETE WITHOUT A DISCUSSION OF THE GOLDEN SECTION, A RATIO (RELATIONSHIP BETWEEN TWO NUMBERS) THAT HAS BEEN USED IN WESTERN ART AND ARCHITECTURE FOR MORE THAN TWO THOUSAND YEARS

• WHILE SINGLE-COLUMN GRIDS WORK WELL FOR SIMPLE DOCUMENTS, MULTICOL-UMN GRIDS PROVIDE FLEXIBLE FORMATS FOR PUBLICATIONS THAT HAVE A COMPLEX HIERARCHY OR THAT INTEGRATE TEXT AND ILLUSTRATIONS.

• IN ADDITION TO CREATING VERTICAL ZONES WITH THE COLUMNS OF THE GRID, YOU CAN ALSO DIVIDE THE PAGE HORIZONTALLY. FOR EXAMPLE, AN AREA ACROSS THE TOP CAN BE RESERVED FOR IMAGES AND CAPTIONS, AND BODY TEXT CAN “HANG” FROM A COMMON LINE.

• A MODULAR GRID HAS CONSISTENT HORIZONTAL DIVISIONS FROM TOP TO BOTTOM IN ADDITION TO VERTICAL DIVISIONS FROM LEFT TO RIGHT.

• MODULAR GRIDS ARE CREATED BY POSITIONING HORIZONTAL GUIDELINES IN RELATION TO A BASELINE GRID THAT GOVERNS THE WHOLE DOCUMENT.

• BASELINE GRIDS SERVE TO ANCHOR ALL LAYOUT ELEMENTS TO A COMMON RHYTHM.

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MARIAN BANTJES

A CANADIAN DESIGNER, ARTIST, ILLUSTRATOR, TYPOGRAPHER AND WRITER. MARIAN BANTJES IS KNOWN FOR HER CUSTOM LETTERING, INTRICATE PATTERNING AND DECORATIVE STYLE. MARIAN’S WORK HAS AN UNDERLYING STRUCTURE AND FORMALITY THAT FRAMES ITS ORGANIC, FLUID NATURE. IT IS THESE COMBINATIONS AND JUXTAPOSITIONS THAT DRAW THE INTEREST OF SUCH A WIDE VARIETY OF DESIGNERS AND TYPOGRAPHERS, FROM EXPERIENCED FORMALISTS TO YOUNG STUDENTS. MARIAN NEVER ENTERS AWARDS FOR HER WORK, BUT SOMETIMES WINS THEM WHEN OTHER PEOPLE ENTER ON HER BEHALF. HER MOST RECENT AWARD WON WAS FOR SEVERAL PIECES INCLUDED IN THE EXHIBIT “FRAMING FRAKTUR” AT THE PHILADELPHIA FREE LIBRARY, PHILADELPHIA, PA. WHICH WAS IN MARCH 2015. SHE HAS NO DESIRE TO CREATE SOMETHING SHE HAS SEEN BE-FORE, AND SHE DOES NOT TROLL BOOKS FOR IMAGES TO TRIGGER IDEAS.

DAVID CARSON

DAVID CARSON IS AN AMERICAN GRAPHIC DESIGNER, ART DIRECTOR AND SURFER. HE IS BEST KNOWN FOR HIS INNOVATIVE MAGAZINE DESIGN, AND USE OF EXPERIMENTAL TYPOGRAPHY. HE WAS THE ART DIRECTOR FOR THE MAGAZINE RAY GUN, IN WHICH HE EMPLOYED MUCH OF THE TYPOGRAPHIC AND LAYOUT APPROACH FOR WHICH HE IS KNOWN. HE NAMED AND DESIGNED THE ADVENTURE LIFESTYLE MAGAZINE BLUE, IN 1997. DAVID DESIGNED THE FIRST ISSUE AND THE FIRST THREE COVERS. CARSON’S COVER DESIGN FOR THE FIRST ISSUE WAS SELECTED AS ONE OF THE “TOP 40 MAGAZINE COVERS OF ALL TIME” BY THE AMERICAN SOCIETY OF MAGAZINE EDITORS. IN 2004, CARSON WAS THE FREELANCE CREATIVE DIRECTOR OF THE GIBBES MUSEUM OF ART IN CHARLESTON.

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MATHEW CARTER

MATTHEW CARTER IS A BRITISH TYPE DESIGNER. A 2005 NEW YORKER PROFILE DESCRIBED HIM AS ‘THE MOST WIDELY READ MAN IN THE WORLD’ BY CONSIDERING THE AMOUNT OF TEXT SET IN HIS COMMONLY USED FONTS. CARTER’S CAREER BEGAN IN THE EARLY 1960S AND HAS BRIDGED ALL THREE MAJOR TECHNOLOGIES USED IN TYPE DESIGN: PHYSICAL TYPE, PHOTOTYPESETTING AND DIGITAL FONT DESIGN, AS WELL AS THE DESIGN OF CUSTOM LETTERING.CARTER’S MOST USED FONTS ARE THE CLASSIC WEB FONTS VERDANA AND GEORGIA AND THE WINDOWS INTERFACE FONT TAHOMA, AS WELL AS OTHER DESIGNS INCLUDING BELL CENTENNIAL, MILLER AND GALLIARD. CARTER’S CAREER IN TYPE AND GRAPHIC DESIGN HAS BRIDGED THE TRANSITION FROM PHYSICAL METAL TYPE TO DIGITAL TYPE.

JESSICA WALSH

JESSICA WALSH IS AN AMERICAN GRAPHIC DESIGNER, ART DIRECTOR AND ILLUSTRATOR, AND A PARTNER AT CREATIVE AGENCY SAGMEISTER & WALSH. SHE BEGAN CODING AND DESIGNING WEBSITES AT AGE 11. IN 2010, WALSH MET STEFAN SAGMEISTER. HE LOOKED THROUGH HER PORTFOLIO AND OFFERED HER A JOB AT HIS DESIGN STUDIO, SAGMEISTER INC. IN JUNE 2012, AFTER TWO YEARS AT THE FIRM, WALSH WAS MADE PARTNER, AT AGE 25. BLENDING HANDCRAFT, PHOTOGRAPHY AND PAINTING WITH DIGITAL DESIGN, WALSH WORKS PRIMARILY ON BRANDING, TYPOGRAPHY, WEBSITE DE-SIGN AND ART INSTALLATIONS.HER SIGNATURE STYLE HAS BEEN DESCRIBED AS “BOLD, EMOTIONAL AND PROVOCATIVE” WITH THE OCCASIONAL SURREALISTIC FLOURISH,AND HER ART HAS BEEN SAID TO LOOK “HAND-MADE AND AT TIMES QUITE DARING.”

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STEPHAN SAGMEISTER

STEFAN SAGMEISTER IS A NEW YORK-BASED GRAPHIC DESIGNER, STORYTELLER, AND TYPOGRAPHER. SAGMEISTER CO-FOUNDED A DESIGN FIRM CALLED SAGMEISTER & WALSH INC. WITH JESSICA WALSH IN NEW YORK CITY. HE HAS DESIGNED ALBUM COVERS FOR LOU REED, OK GO, THE ROLLING STONES, DAVID BYRNE, JAY Z, AEROSMITH AND PAT METHENY. HE BEGAN HIS DESIGN CAREER AT THE AGE OF 15 AT “ALPHORN”, AN AUSTRIAN YOUTH MAGAZINE, WHICH IS NAMED AFTER THE TRADITIONAL ALPINE MUSICAL INSTRUMENT. HIS MOTTO IS “DESIGN THAT NEEDED GUTS FROM THE CREATOR AND STILL CARRIES THE GHOST OF THESE GUTS IN THE FINAL EXECUTION.” HE HAS SPENT MANY YEARS DESIGNING FOR THE MUSIC INDUSTRY.

PAULA SCHER

PAULA SCHER IS AN AMERICAN GRAPHIC DESIGNER, PAINTER AND ART EDUCATOR IN DESIGN. SHE ALSO SERVED AS THE FIRST FEMALE PRINCIPAL AT PENTAGRAM, WHICH SHE JOINED IN 1991. SCHER HAS DEVELOPED IDENTITY AND BRANDING SYSTEMS, PROMOTIONAL MATERIALS, ENVIRONMENTAL GRAPHICS, PACKAGING AND PUBLICATION DESIGNS FOR A BROAD RANGE OF CLIENTS THAT INCLUDES, AMONG OTHERS, BLOOMBERG, MICROSOFT, BAUSCH + LOMB, COCA-COLA, SHAKE SHACK. DURING THE COURSE OF HER CAREER SCHER HAS BEEN THE RECIPIENT OF HUNDREDS OF INDUSTRY HONORS AND AWARDS. IN 1998 SHE WAS NAMED TO THE ART DIRECTORS CLUB HALL OF FAME, AND IN 2000 SHE RECEIVED THE CHRYSLER AWARD FOR INNOVATION IN DESIGN.

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NICOLAS JENSON JENSON’S HIGHLY LEGIBLE AND EVENLY COLORED TYPEFACE, BASED UPON HUMANISTIC SCRIPTS, HAS BEEN REINTERPRETED THROUGH THE CENTURIES BY NUMEROUS TYPE DESIGNERS, MOST NOTABLY WILLIAM MORRIS. JENSON’S FAME AS ONE OF HISTORY’S GREATEST TYPEFACE DESIGNERS AND PUNCH CUTTERS RESTS ON THE TYPES FIRST USED IN EUSEBIUS’S DE PRAEPARATIONE EVANGELICA, WHICH PRESENTS THE FULL FLOWERING OF ROMAN TYPE DESIGN.

CHRISTOPHER PLANTINPLANTIN WAS A PROLIFIC PRINTER AND PROSPEROUS ENTREPRENEUR, PUBLISHING MORE THAN 40 EDITIONS OF EMBLEM BOOKS.

MARINETTIMARINETTI CREATED THE MODERN VISUAL COMMUNICATION. MARINETTI’S TYPOGRAPHICAL INNOVATIONS, WITHIN THE PARAMETERS OF GRAPHIC DESIGN, INTRODUCED A POWERFUL TECHNIQUE FOR REPRESENTATION OF THE CLAMOROUS HUM-DRUM OF MODERN LIFE, WHICH USED EXPRESSIVE TYPOGRAPHY WITH POETIC IMPRESSIONS TO ILLUSTRATE THE REPETITION OF THE DRUMBEAT OF WAR.

EL LISSITZKYLISSITZKY’S DESIGN WORK HAD SEVERAL DISTINGUISHING CHARACTERISTICS—LAYOUTS STRUCTURED ON A GRID, LIMITED COLOR PALETTES, TENSE DIAGONALS, SANS SERIF TYPE, AND REPETITION OF PURE GEOMETRIC FORMS. HE EXPERIMENTED WITH PHOTOMONTAGE, A METHOD OF LAYERING AND SUPERIMPOSING MULTIPLE IMAGES.

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THEO VAN DOESBURGCOUNTER-COMPOSITION VI IS A SQUARE OIL PAINTING BY THE DUTCH ARTIST THEO VAN DOESBURG. THIS MONOCHROME WORK FEATURES TWO GRIDS, ONE ON A VERTICAL AXIS AND THE OTHER ON A DIAGONAL, THAT CRISSCROSS AGAINST A WHITE BACKGROUND.

PIET ZWARTPIET DID NOT ADHERE TO TRADITIONAL TYPOGRAPHY RULES, BUT USED THE BASIC PRINCIPLES OF CONSTRUCTIVISM AND “DE STIJL” IN HIS COMMERCIAL WORK. HIS WORK CAN BE RECOGNIZED BY ITS PRIMARY COLOURS, GEOMETRICAL SHAPES, REPEATED WORD PATTERNS AND AN EARLY USE OF PHOTOMONTAGE.

JAN TSCHICHOLD“A METHOD TO PRODUCE THE PERFECT BOOK.” NO MATTER THE PAGE SIZE, YOU WILL ALWAYS END UP WITH A 9×9 GRID, WITH THE TEXTBLOCK 1/9TH FROM THE TOP AND INSIDE, AND 2/9THS FROM THE OUTSIDE AND BOTTOM.

JOSEF MULLER-BROCKMANHIS WORK IS RECOGNIZED FOR ITS SIMPLE DESIGNS AND HIS CLEAN USE OF FONTS, SHAPES AND COLORS, WHICH STILL INSPIRES MANY GRAPHIC DESIGNERS THROUGHOUT THE WORLD TODAY. SINCE THE 1950S GRID SYSTEMS HELP THE DESIGNER TO ORGANIZE THE GRAPHIC ELEMENTS AND HAVE BECOME A WORLD WIDE STANDARD.

Karl GerstnerKARL ALSO PRO POSED WHAT HE CALLED INTE GRAL TYPOG RA PHY WHICH EXTENDED MAX BILL’S IDEAS ON TYPOG RA PHY. A MES SAGE IN THE FORM OF TEXT CAN CON VEY A MEAN ING OR SOME INFOR MA TION, HOW EVER, WHEN TYPOG RA PHY IS USED IN AN INFORMED MAN NER, GER ST NER FELT THAT IT COULD GREATLY CON TRIBUTE TO THE CON NEC-TION BETWEEN THE WORDS AND THE ACTUAL MEAN ING.

VLTYPOGRAPHY PORTFOLIO

SPRING 2019