Typography Workbook, Samara PDF

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T T T T T T T T T T T T T T T T T T T T T T T T T
T T T T T T T T T T T T T T T T T T T T T T T T T T
The Typography Workbook

T T T T T T T T T T T T T T T T T T T T T T T T TTT
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T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T
T T T T T T T T T T T T T T T T T T T ATReal-World
T T T T Guide
T T TtoT T T T T T T T T
T T T T T T T T T T T T T T T T T T T Using
T T TType
T in
T Graphic
T T T Design
T T T T T T T T T
Typography
T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T
Workbook
T T T T T T T T T T T T T T T T T T T T T T T T T T T T T Timothy
T T TSamara
T T T T T T

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Typography Workbook
contents Typography Fundamentals 10
A Type Mechanics|12
The Visual Tool Kit
Letterform Basics 14
Up Front The Foundation of Typographic Design
Alphabet Variation 22
Typography Is Everywhere |6 The Optics of Spacing 26
Foreword Form and Counterform within Text
The Spatial Mechanics of Paragraphs 32
Talking Type|8 Paragraphs in Sequence 40
A Discussion with Philippe Apeloig T T
B Form and Function|44 T T
Building the Bigger Picture
T T
Space: The Typographic Frontier 46
T T
Typographic Color 52
The Visual Texture of Language T T
Point, Line, and Plane 56 T T
The Expanded Typographic Repertoire
Appendixes T T
Developing Hierarchy 60
Index of Contributors 238 Clarifying the Content T T
The Typographic Grid 66 T T
Bibliography 240 Creating Architectural Space
Breaking the Grid 76 T T
About the Author 240
Alternative Organizational Approaches
T T
Acknowledgments 240 Typographic Systems 80
T T
C Expressing the Unspoken|82 T T
Image and Emotion in Typography T T
Integrating Type and Image 84 T T
Type as Image 96
Transforming Words into Pictures T T
Color in Typographic Expression 102 T T
T T
T T
T T
p4 Job no:80872 Title : RP-Typography Workbook Client : Pro-Vision Job no:
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0 Typography in Practice 110

featuring interviews with:
Typeface Design|112 Stein vre and Frode Slotnes

Creuna Design | Norway
Book Design|122 Fons Hickmann

Texts and Covers Fons Hickmann m23 | Germany
Collateral Texts|136 Wout de Vringer and Ben Faydherbe

Brochures and Annual Reports Faydherbe/DeVringer | Netherlands
T T T T T T T T T
Website Design|148
T T T T T T T T T T T
Denise Korn
TKornTDesign
T | USA
T T T T T T T T T T T T T
T T T T T T T T T Ephemera|
T Announcements,
T T T TPromotions, 160
T T andTAdvertising
T T T David Pidgeon
TGollings+Pidgeon
T T T |T T T T T T T T T T T T
Australia
T T T T T T T T T T Posters|
T T T 170 T T T T T T T TLeonardo
T TSonnoliT T T T
CODEsign | Italy
T T T T T T T T T
T T T T T T T T T T Type
T T in T Motion|
T T T 182 T T T T TDaniel
T Boyarski
T T T T T T T T T T T T T T
Animations and Film Titles Carnegie Mellon University | USA
T T T T T T T T T T Visual
T T TIdentity| T T T 194 T T T T TFrankTRocholl
Logos and Corporate Identity Systems KearneyRocholl | Germany
T T T T T T T T T T Environmental
T T T T T T Type| T T 208 T T TGiorgio
T Pesce
Signage, Exhibitions, and Architectural Branding Atelier Poisson | Switzerland
T T T T T T T T T T Publications|
T T T T T 218 T T T T T TMichael
T IanT Kaye
T T T T T T T T T T T T T
|
T T T T T T T T T T Newspapers,
T T TMagazines,T T and T Newsletters
T T T T TAR Media
T TUSAT T T T T T T T T T T T T
T T T T T T T T T T Packaging|
T T T T T 228
T T T T T TTakuTSatoh
T T T T T T T T T T T T T T T T T T T T TTakuTSatoh
T Design
T T OceT| Japan
T T T T T T T T T T
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T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T T
6 7
TYPOGRA P
IS E
Type surrounds T us at T every
T Tmoment T T ofTour T waking
T T hours T Tfrom T TtheTmundane T T T T T T T T T T T T T T T T T
line items on the T T T T T T T T T T T T T T T T explosions
bills we pay and the labels on our food to transcendent T T T T T T T T T T T T T T T T
of alphabetic experience in posters, on the Web, and on TV. We pass thousands
of typographic messages every day, most of which we discard or fail to see at all.
T T T T T T TDesigning
Typography stands at the crossroad of the beautiful and
the useful. Like a painting, it is something to look at and
T TwithTtype T means understanding the inescapable the human brain does with that information upon seeing
T T T T T T Tit. LikeTit orTnot, for
functionality of its nature: a functionality defined not
T example,
T Ta darker T form
T willTappear
T T T T T T
contemplate for its form.T UnlikeTa painting,
T Tit isT T Tby trends
also some- T Tor philosophy,
T T butTby the T simple
T and T powerful
T T Tspatially T inTfrontTof a lighter
T Tform.TOur view T ofTthe outside
T T T T T T
thing concretely functional since it is meant to be read. mechanism of human perception. world is genetically hardwired in us. Working effectively
Its helpful to think aboutTtypeT T likeTarchitecture
as being T T TOverTthousands T Tof years,T humanity
T T discovered
T T a way T toT Twith T T T
typography T onTmastering
depends T ways
T toTmanipulate
T T T T T T
designing a house is ultimately useless if, in the end, the perception objectively on its own terms, and typographic
house falls down or failsT to keepToutTthe rain. T T Ttransmit
T Typography T T its thoughts to each other language such
T T T T T T T T Tdesigners
that all its members, now and in the future, understand
T can T explore
T T these TvisualTcodesT T T
to expand the T T T T T
that cannot be read is no longer typography. But far from range of human perception.
T stark
the banal gray texture that Timperative
T Twould T seem T Twhat Tis being
T said.
T Language
T T is aTfunctionT ofTthe T group;T T T T T T T T T T T T T T T T
as individual as we would like to be, we rely on communal Like all things functional, typography is created at varying
to dictate, typography as a communicative form holds the
T T T T T
potential for deeply meaningful and emotional expression.
T T T T
understanding Tas theTfoundation
T T T
of the T
words weT T
speak. T
levelsT T T
of quality. TweT
How do T theTquality
estimate T ofTsome-T T T T T
When that understanding is codified for visual transmission, thing that seems ultimately subjective? The metaphor of
T T T T T T TweT furtherTrelyT T assumptions
on shared T T TaboutTthoseTvisual T Tarchitecture
T Tor, betterT T yet, a T
car, isT
usefulTin looking
T T for anT T T T T
codes letterforms and on the limitations of our eyes and answer. We will arrive at our destination whether we drive
T T T T T T Tbrains T toT T them.
interpret T The T rules
TthatTgovernT typographic
T T Ta cheap T get-around
T T or T Tsports
a luxury T sedan,
T but TtheTluxuryT T T T T
T T T T T T Tdesign T areTnot T T T T T T T T Tcar will
the dogmatic enslavement of creativity
that some would have us believe. They are simply objective
T getTus there
T faster
T and T inT greater comfort; the
T T T T T T T T
T T T T T T Tdescriptions T T ofThow T the human
T T eye sees
T form,
T andTwhatT T T T T T T T T T T T T T T T

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T T T T T T T T T
T T T T T T T T T Foreword
T T T T T T T T T
T T T T T T T T T
T T T T T T T T T
T T T T T T T T T
T T T T T T T T T
T T T T T T T T T
T T T T T T T T T
T T T T T T T T T
T T T T T T T T T
A PHY
T T T T T T T T T
T T T T T T T T T
T T T T T T T T T
S EVE RYW H E R E.
T T T T T T T T T
T T T T T T T T T
T T T T T T T T T
T T T T T T T T T
T T T T T T T T T
T T T T T T T T T
T T T T T T T T T
T T T T T T T T T
materials used and the engineering are clearly of greater subject by focusing to a great degree on the relationship Left to right:
T T T T T T T T T
value. Good typography is different from bad typography optical and conceptual between the crafting of typo- Animation stills
de
T T T T T inT muchTthe same
T T wayaside from being basically more graphic form and the meaning that form carries. Novices Qwer Design | Germany
functional and expressive, it offers a greater level of sensi- can follow a progression from basics to experimentation Web page
T
ate T T T T T inTits craft,
tivity T from
T its overall composition down to the and then practical application; working designers can like- Rocholl Projects | Germany
c spacing of its punctuation. Good typography is easy to wise reacquaint themselves with familiar ideas and also Stairway mural
T T T T T T beautiful
use, T Tto look T at, and pays attention to the way its find new ways of working. The goal of the typographic Poulin+Morris | New York
forms are arranged to achieve these ends. Another helpful designer, whether new or seasoned, will be the same: dis-
T T T T T T T is the
metaphor T comparison
T of fast food to three-star covering how the word and the image become one.
Milk container
Taku Satoh Design Office | Japan
g
culinary excellence; both are tasty and filling, but the latter
T
e- T T T T T T T T
is likely to be more nutritious and richer in experience.
Poster
f Stereotype Design | USA
nT T T T T T areTmany
There Tbooks
T about typography. This one is a guide Book jacket
ve for navigating through the mass of detail that makes up Gary Fogelson, Pratt Institute
T
ry T T T T T T formthe
typographic T T shapes of letters, the spaces between (Scott Santoro, Instructor) | USA
words, ligatures, rags, and grids and bringing those pieces

T T T T T T T T T
together to create a visual whole that is far more than
T T T T T the
TsumTof mere T parts.
T It differs from other books on the
T T T T T T T T T
T T T T T T T T T
T T T T T T T T T

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T T T T T T T T T T T T T T T T T T T
8 9 Typography Workbook
Talking Type| T T T T T T T T T T T T T T T T T T T
A Discussion with Philippe Apeloig
Philippe Apeloig is a graphic designer whose extraordinary
typographic sensibility is internationally recognized. Fusing T T T T T T T T T T T T T T T T T T T
a Modernist approach that necessitates clarity and function
with an abstract, three-dimensional, and often kinetic or
pictorial space, Apeloigs work in branding and posters marks T T T T T T T T T T T T T T T T T T T
him not only as an innovator, but also one who knows his
craft inside and out. Within the luminous, textural, and T T T T T T T T T T T T T T T T T T T
painterly typography of his projects, a core understanding
of how type works and why is evident. With this solid T T T T T T T T T T T T T T T T T T T
knowledge of typographic form and function, its optical and
perceptual capabilities as well as its limitationsApeloig is T T T T T T T T T T T T T T T T T T T
able to manipulate type in astounding ways without
sacrificing its informational utility.
Apeloig heads his own studio in Paris, France. Upon graduating

from the cole Suprieure des Arts Appliqus, he interned with
Total Design in Amsterdam and April Greiman in Los Angeles,
before returning to Paris as a designer, then art director, for
the Muse dOrsay (19851987). During the 1990s, he taught
typography at ENSAD (the cole Nationale Suprieur des Arts
Dcoratifs); in 1996 he became a consultant to the Louvre
Museum, and its art director in 2001. From 2000 to 2002, he
was curator of the Herb Lubalin Study Center for Typography
and Design at New York Citys Cooper Union where he was
also full-time faculty and is a member of AGI (the Alliance
Graphique Internationale).
Transport Fluvial poster

Philippe Apeloig | France

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T T T T T T T T T T T T T T T T T T T T T
Talking Type: A Discussion with Philippe Apeloig
T T T T T ManyT designers
T T areTfascinated T Tby typography.
T T What T T Texploration
T TwithTtype.TAfterTall, it is a way of expressing is evoked by the perspective effect of the title text, which
inspired your interest? Why is typography such a my ideas by using visual elements. Later, I was introduced becomes smaller and smaller as it approaches the horizon
T T T T T profound
T Tcomponent T T of T T T
your work, T Tto other
as opposed T Tto theTcomputer.
T TThisT Tworking with extraordinary
way of line. The subtitle is found on the horizon, inside boxes that
kinds of image and symbol? Typography is a perfect speed and versatility really expanded my horizons. There are evocative of containers waiting to be loaded. I chose
T T T T T balance
T T betweenT shapes,
T images,
T TandT T T I amT
significations. Tis a long
T history
T Tbehind T typography.
T And this history is to use black for the text and soft colors for the background
fascinated by the way letters can work in unlimited enriched everyday by new technological advances. Now, to create a stark tension between the two, which also points
T T T T T combinations
T T T T form
to create T andTmeaning.
T T T T
The playfulness Teverything
T Tis possible.
T T T while this new technology
However, to the powerful impact of modernity on the environment.
and power of designing with letters to give readers an creates a sense of freshness and freedom in design,
T T T T T unexpected,
T T conceptual
T T dimension T T isT T T T
also very important
TI haveTalwaysT found
T that T theTmost remarkable design is Whose typographic design has influenced you the most?
Russian Avant-Garde, Dutch De Stijl, and Modernist design
T T T T T T T T T T T T T when
to me. I first became interested in typography T T also the
T T T T T T simplest.
have influenced me for decades. I am also very moved
I learned about calligraphy in art school. Later, in Holland,
T T T T T while
T working
T Tat Total T Design,
T ITdiscovered
T T DutchT T
modern TDescribe
T your T approach
T T toT typography in general.
Typography is my starting point for design. Every concept
by A. M. Cassandres [a French designer active in the
1920s and 1930s] creative use of typography in many of his
typography, which echoed my earlier fascination for the
T T T T T abstraction
T T ofT type. T T T the
I still remember T strong T impression
T T Tis invented
T TwithTtype:Tthe selection
T of a font, the shape of posters. I also find influences in architecture. The way
the letters, and of course, the types semantic dimensions. architects deal with three-dimensional space is similar to
I had as a student when I first saw The Black Square by
T T T T T Malevitch
T Tof the T Suprematist
T T Movement T T and T Mondrians
T T TI seeTtype T T T
as abstract Tcarrying a lot of meaning.
shapes the way graphic designers deal with the two-dimensional
It must first attract the attention of the viewer and then surface of a printed page.
paintings of the De Stijl period. It was a great moment
T T T T T of T T T T T T T T T T
enlightenment. The simple shapes, organized with a
Tcommunicate.
T T Each T person
T T uses and transforms type in
How do you feel about rules in typography? Are there
his own way, and it shows the designers personality
T T T T T mastery
T T of light
TandTgeometric T T dynamism,
T T had aTpowerful
T Tit is T T and
individual T unique.
T T any that should never be broken? The readability of
effect on me, something that I had never felt before. type should always be the foremost concern, even if it is
T T T T T TheTdiscovery
T T T typography
of modern T T T opened Tup T T
a whole TA designers
T T specificT typographic
T T concerns vary among pushed to the very edge of being legible. To me, creating
new world for me. projects. What is important to you (typographically) a poster that is impossible to read or be understood is a
T T T T T T T T T T T T T T T TwhenTyouTdesignTa poster?T TTypography is central to the failure on the part of the designer.
I have little interest in illustration, which lacks a kind of
design of a poster. Both the form and function of the type
T T T T T transcendental
T T Tquality. T It T is too T
literal.TI findT T T
typography TmustTcomeTtogetherT inTa poster.
T The type must be lively,
more straightforward, conceptual, and appealing, with its
T T T T T strict
T geometric
T Tvocabulary.T TThere T is aTbridgeTbetween
T T Treadable,
T expressive,
T T visuallyT Tarresting, and never neutral
or merely decorative. It must also relate to context type
typographic design and fine art, especially since typogra-
in a poster, for example, must also be bold and striking.
phy possesses a complex subtlety. The idea, the method,
Posters exist in public places over which designers have no
and the honesty in expression are central to a designer
control. They are looked at first from afar. The experience
who works with type. While following these principles
of looking at a poster is communal, not personal the way
and realizing the goal of communication, I try to go
books are experienced. Posters live in the streets as pieces
beyond pure functionalism of type in my work to create
of art that can speak and interact with their audience.
something that is fresh and liberating.
Describe your thought process for the poster entitled
Describe the kind of training in typography you had
Transport Fluvial (River Transport). Transport Fluvial was
what kinds of things did you learn? I learned about
commissioned by the company Voies Navigables de France
calligraphy even before I touched upon typography in an
(Navigable Roads of France). It was designed to promote a
art school in Paris, the cole Suprieure des Arts Appliqus.
conference about river transportation and its economic
I was trained in the traditional way; there was no computer
development. This mode of transport is still very much
at that time. We designed all the letters by hand. Later,
useful today despite its fierce competition with air, railway,
we learned about the composition of the letters: serifs,
and road transportation. I looked at ports along rivers.
sans serifs, lowercase and uppercase, bold and light weights,
The flat landscape surrounding the river is expansive, and
among other components. We learned to copy the letter
the river is pregnant with possibilities. I wanted my poster
shapes and to observethe design of their countershapes.
to evoke a feeling of being immersed in the landscape
Our teacher taught ushow to see the white spaces inside
without the use of decorative or figurative elements. At
the letters and between the letters. There are so many
the same time, the economic challenge and the implications
issues to focus on in typography: its technical, historical,
of the redevelopment of the river transportation should
stylistic, and semantic dimensions must be taken into
be present throughout the poster. I strove to achieve this
account. The curriculum at the school was very well struc-
goal by using the most minimal elements, with no images,
tured, from the basics to the more complex. Through my
illustrations, or boats. This sense of space and ambiance
experience at school, I learned to be open and daring in the

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TYPO G RAP HY
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F U N D A M E N TA L
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Typography Fundamentals
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T T
T T
T T
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T T
T T
Rules in typography, we are often told, are meant to be broken. This is not really the case.
T T
The rules remain the same how they are applied is what changes. Designing effectively
with type begins with an understanding of its intrinsic properties, a mastery of how those T T
properties can be manipulated, and how that manipulation affects the properties of type T T
in return. All typographic design revolves around reworking the parts of a system the
alphabet. In the same way that a musician can arrange seven basic pitches in limitless ways, T T
a designer can use twenty-six elements for unlimited design options. T T
Simplicity is usually considered desirable because the designers goal is to use type to convey
T T
information. But information is not solely the verbal meaning of words. It is also the way T T
the words convey their meaning the perceived rhythm and intent of the speaker, the symbolic
T T
power of their visual form. Simplicity, clarity, complexity, and ambiguity are not mutually
exclusive states in language; the sensitive typographer is one who can manifest these states in T T
the right mix by controlling the elements at his or her disposal. The first step in controlling T T
these elements like a musician performing scales is to see objectively what the elements
T T
T Type
Y PMechanics
OG RAP HY
are and how they work.
T T
T T
T T
T T
T T
T T
T T
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T T
The Visual Tool Kit T

T
T
T
T T
T T
T T
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c
A
Y
ALS
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Letterform Basics
The Foundation of Typographic Design
The Roman alphabet used in Western typography can be
understood as a system of line drawings. The drawing of
individual letters is archetypal; each form has been steadily
codified and passed along over the generations. The arche-
typal form of a particular letter is what distinguishes it
from other letters and makes it recognizable. Letterforms
Typography in Western culture happens simultaneously are iconic, so ingrained into Western consciousness
that their visual form holds sway over the perception of
on two visual levels. The macro level of overall composition other imagesmany objects remind us of letters. This
proposition is profound, since the letters of our alphabet
guides our eyes around a format, and the micro level of were originally derived from pictographic drawingslike
the hieroglyphs of the ancient Egyptiansrepresenting
minute details provides the basis for how we perceive real-world objects. Western culture has evolved such
that the image of the letter is preeminent over its pictorial
the big picture. The individual forms and interaction of origin. Its visual qualities drive modern typography at
every level.
alphabetic characters is the key to understanding and
working with typography at the macro level.
15 15
Typography Fundamentals Type Mechanics
e
f
ily
e-
ms
t
e
al
Archetypal Structure
Letters are composed of lines that have continuously for exampleare related visually and historically, but
evolved, but have remained relatively unchanged for while they are similarbeing composed only of horizontal
2,000 years. The twenty-six letters in the Roman alphabet and vertical strokesthey are different enough to be
are interrelated, a closed system of lines and spaces easily distinguished. The same holds true for letters sharing
that forms a code for our understanding of typography. another structural variation, the diagonal: A, K, M, N, V,
The capital, or uppercase, letters are the oldest forms W, X, Y, Z. A third group of letters is drawn with curved
in the alphabet, and the most simply drawn. Capital letters strokes, sometimes in combination with straight ones:
are direct descendants of those used by the Romans C, D, O, P, S, Q, U. A fourth category mixes curved, straight
for imperial inscription. They are the forms that were and diagonal strokesB, G, R. The small letters (also
first standardized from the legacy of the Greeks and called miniscules or lowercase) were developed much later,
The essential structure of Phoenicians after Rome conquered most of Europe and between the seventh and ninth centuries, and assimilated
letters has remained unchanged the Middle East in the first and second centuries (see into written language within a few hundred years. Their
for 2,000 years.
Alphabet Variation, page 22). The capital letters are made drawing is more complex and characterized by rounded
Left, the basic strokes of the up of a variety of linear forms: straight vertical and hori- strokes. The lowercase letters show much greater variety
capital, or uppercase, letters are
zontal lines, diagonal lines, and circular lines whose inher- and visual distinction.
shown in their simplest form.
ent qualities are simplicity and differentiation. Drawn
Above, the modern archetypes with a minimum of strokes, each form is as different as
of Roman forms. Each grouping
possible from all the others. Some formsE, F, H, I, J, L, T,
of letters is related by structure.

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Letterform Anatomy
Tittle Ascender
Shoulder
Stem or Main Stroke Crossbar Bowl Ear Counter

Terminal Leg
HtiQ f gxR
Ascent Line
Cap Line
Mean Line
Baseline
Descent Line
Crossbar Serif Tail Loop or Bowl Juncture or Joint
a eTyp fi
Cap Height
x-Height
Aperture Spur Descenders Ligature
The Anatomy of Letterforms

The letters of all alphabets,
The evidence of letterforms development through drawing In older typefaces, the terminals, especially in the lower-
whether classical or modern,
and, later, inscription into stone is a factor in their modern case letters, are clearly marked by this drawing origin. display the same basic structural
construction. Modulation within the strokes the appear- A bulbous flare at the entry stroke of a lowercase a, for characteristics and adhere to
ance of thicks and thinsand the shapes of the strokes example, is the result of a fully inked brush being com- similar conventions in drawing
ends, or terminals, are holdovers from their original drawing pressed against the page. These details of construction and detail.
by brush or flat reed pen, as is the internal distribution have morphed over time at the hands of thousands of The specific proportions, contrast
of thins and thicks. The right-diagonal of a letter A, for type designers to create an amalgam of characteristics of stroke thickness, and drawing
details may change, but the
example (or V or X) tends to be drawn more boldly, even that constitute the essential anatomy of letterforms.
essential architectural framework
in modern typefaces, because the angle of the brush of their structure always remains
(or reed pen) held by the ancient scribes who drew them the same.
determined how thick the strokes would be the brush
presented its thick or thin edges to the paper in different
ways depending on the angle and direction of the stroke.
15 15
Serif Structures
Bracketed Serif Terminal
Bracket
Fillet
Hairline Serif
Stem
Slab Serif
ral
Being able to recognize tiny differences between the
g forms helps designers understand what makes
ast letters act a certain way. Sharper serifs lend different
ng
ork
texture to lines of text than do slab serifs. At larger
ins
sizes, the smallest details in a letter are exaggerated.

15 15
Optical Compensation for Form

The goal of a type designer in creating a character set is smaller, creating a visual hole in a line of text. The same although they appear the same at reading size. The diagonal
to impart a uniform texture and optical gray value to is true for every curved form, whether an S, C, Q, U, or G. strokes are canted at different angles. The angled joints
the letters, so that when set together, the letters create To make the curved forms appear the same height as of the N extend above and below the cap height. Even the
an undisturbed line that wont distract the eye through the square forms, the type designer must extend the lengths of the horizontal strokes within the E are adjusted.
changes in color. To read efficiently, the fewer stops the outer edge of the form slightly above the cap line and If the middle stroke of the E were the same length as the
eye encounters, the better. Because letters are drawn below the baseline. This difference in height at a text- upper and lower strokes, for example, it would appear to
using inherently different-shaped lines, the visual interaction reading size is measurably invisible, but the eye can stick out.
of those lines is of great concern to the type designer. see it nonetheless. Every letter in the alphabet is drawn
Horizontal and vertical lines of the same weight appear with these optical compensations.
to be different weights because of how our eyes and
brains are conditioned to understand such forms. A hori- Correcting for Optical Disparities
zontal line appears heavier, being understood by the eye Minute changes in character height, stroke width, and shape
and brain to sink and stretch under the pull of gravity. must be made to each letter so that they work together
To correct this, the horizontal strokes of letters are drawn to create a uniform gray value. At a standard reading size,
slightly thinner than their vertical counterparts. Similarly, the eye perceives them to be all the same weight, height,
rounded strokes appear thinner than either horizontal and width without pausing. When the same sentence
or vertical strokes, and so are drawn more boldly. In addition, is enlarged, the optical corrections become apparent. The
round forms appear to contract: set at the same mathe- curved forms extend higher and lower than the square
matically measured height as an M, a letter O will appear forms. The widths of an E and F are clearly very different,
EOAV The seemingly simple structure

of an uppercase E reveals minute
optical corrections. The middle
cross bar is always shorter than
the others. The top counter is
smaller than the bottom.
Curved forms appear to contract,
and must be drawn to extend
above the cap line and below the
baseline to appear optically
the same height as squared forms.
Diagonal forms also appear to
contract and are adjusted in
height accordingly. The interior
and exterior angles of the As
right stroke appear the same, but
are actually different.
The diagonal strokes of the A
and V are drawn with different
slopes to adjust for different
lateral emphasis due to their
respective directions.
15 15
Character Sets and Type Families

nal The complete character set of an alphabetits total
component partsmay consist of upwards of 250
he characters, including the upper- and lowercase letters,
d. the numerals (numbers), punctuation, diacritical marks,
e and mathematical symbols. Together, this character
o set, distinguished from others by the specific qualities
of its drawing, is called a typeface. A group of typefaces
that are drawn the same way, but are different from
each other in overall thickness, is called a type family.
V
Its in the Details
Pay careful attention
to the shapes of characters
within a given typeface.
At large sizes, it may be
necessary to substitute a
character from another
face so that its details look
better in the layout.
The complete character set for

the Rotis Sans typeface, designed
by Otl Aicher of Germany (1989).
In addition to the letters them-
selves, punctuation marks, accent
marks, and symbols have all
been drawn using the same visual
logic so that these secondary
characters remain stylistically
consistent. The roman and bold
weight character sets, along
with the slanted italic variations,
comprise the Rotis type family.

15 15
Archaic
Typeface Classification Roman Inscription

The individual characteristics of a typefaces drawing are
what distinguish it from other typefaces. These characteristics
are related to the historical development of typefaces, and
our sense of a typefaces style is sometimes colored by this Uncial [Majuscule ]
historicity. Classifying type helps designers grasp the subtle
differences among styles and further helps them to select an
appropriate typeface for a particular project; sometimes
the historical or cultural context of a particular style will add
relevant communication to a typographic design. Miniscule
Classification is by no means easy, however, especially as

our typographic tradition becomes increasingly self-referential
and incorporates historical formal ideas into modern ones.
The typeface Optima, for example, drawn in 1958 by the Oldstyle
German designer Hermann Zapf (b. 1918, Nuremburg), is a
modern sans serif face sharing characteristics associated
with oldstyle serif types: contrast in the stroke weights,
modulation of weight within major strokes, an oblique axis,
and a bowl-formed lowercase g. Type designers have tradi-
tionally used older forms as a basis for exploration, and so Transitional
even in earlier centuries, classifying a typeface was difficult.
The historical development of type is tied very directly
to the evolution of technology used to make and print it.
From early Roman times to the fifteenth century, type was
drawn by hand, either with a brush, a flat reed pen, or a
chisel. These archaic methods influenced the aesthetic of Modern
older typefaces. In the mid-1500s, casting letters in lead
allowed for a new precision in form. From that point for-
ward, the evolution of typefaces moved away from those
inspired by brush and stone carving toward a more rational
aesthetic and typefaces that were more finely drawn and
technically demanding. Sans Serif
Slab Serif
Categories of Type Classification
The progression from archaic to

modern and then sans serif
faces becomes clear in comparison
as the hand-drawn influence Graphic
steadily disappears and the
assertion of a rational aesthetic
begins to dominate.
15 15
Archaic Modern
Characterized by a relatively consistent stroke weight, In the late eighteenth century, reference to the hand- A direct, modern asymmetrical
Imperial Roman characters form the basis for type design drawn form was diminished, first by Giambattista Bodoni composition is enhanced by
the designers selection of an
over subsequent millennia. In these forms, the essential (b. 1740, d. 1813) in Italy and then by Firmin Didot (b. 1764, oldstyle face, bridging past
structure and proportions of letters are codified. The origin d. 1836) son of Franois Didot, founder of the Didot and present in one gesture.
of the serif, the small feetat the terminals of the strokes, Foundry. The drawing of a modern typeface, although Philippe Apeloig | France
is the chisel, used by stone carvers to finish the dirty ends dependent on its derivation from brush or broad-nibbed
of the strokes, and emulated by scribes drawing their pen, is a radical departure. The contrast in the strokes is
letters on paper. The scribes of Charlemagne (b. 742, d. 814) extreme, with the thin strokes reduced to hairlines and
mainstreamed a secondary set of formsthe mininscules the thick strokes made bolder; the axis of the curved
derived from poorly copied Christian manuscripts. These forms is completely upright; and the brackets connecting
less formal letters were eventually assimilated into the the serifs to the stems have been removed, creating a
modern character set as the lowercase letters. stark and elegant juncture. The serifs are completely
rounded to correspond to the logic of the stroke contrast
Oldstyle and the circular structure of the curved letters.
Renaissance type designers looked to the archaic forms
for inspiration but refined their structure and expression Sans Serif
into the kinds of typefaces we call classical, or oldstyle. These typefaces are an outgrowth of display types of the
They are characterized by Roman proportion, organic con- nineteenth centuryaggressively stylized faces designed
trast of weight in the strokesfrom brush or pen drawing for the Industrial Revolutions new industry: advertising.
an angled, or oblique, axis in the curved forms; and a small They were designed to be as bizarre as possible or bold
x-height defining the lowercase letters. The terminals are and simplified, stripped of nonessential details. Designers
pear-shaped and the apertures in the lowercase letters began to explore them as a new form; in the twentieth
are small. century they became widely used. Sans serif types are
characterized by a lack of serifs (sans means without in
Transitional French): the terminals end sharply without adornment.
This term describes faces that evolved out of oldstyle Their stroke weight is uniform, and their axis is completely
types but show a marked change in their structure. They upright. Sans serif types set tighter in text and are legible
appeared in England in the eighteenth century as type at small sizes; during the past 50 years, they have become
drawing began to move away from the written model common as text faces for extended reading.
and toward a more rational approach. John Baskerville
(English, b. 1706, d. 1775) introduced one of the first such Slab Serif
faces, in which the stroke contrast is remarkably less Another outgrowth of display types, the slab serif (or
derivative of the drawing tool: rationally applied and of Egyptian) face is a hybrid form. Mixing the bold, solid
greater variety, so that the rhythm of the strokes is greatly presentation of a sans serif and the distinctive horizontal
pronounced. The x-height of the lowercase is noticeably stress of a serif face, the slab serif is characterized by an
larger; the axis, while still oblique, is more upright; and overall consistency in stroke weight. The serifs are the
the serifs become sharper and more defined, their brackets same weight as the stems, hence slabs; the body of the
curving more quickly into the stems and producing a slab serif is often wider than what is considered normal.
sharper angle. These faces were sometimes referred to as Egyptian
because of their exotic, foreign qualities.
Graphic
These typefaces are the decorative, experimental children
of the display types. Their visual qualities are expressive
but not conducive to reading in a long text. This category
of faces includes specimens like script faces, fancy and
complex faces inspired by handwriting, and idiosyncratic
faces that are conceptually interesting or illustrative.

TypogWrkbk_p010-043.qxd5 19/04/2006 9:28 AM Page 22
8
Alphabet Variation
The construction of letterforms in the Roman alphabet And yet, there are thousands of different typefaces that
remains largely unchanged after 2,000 years. As readers, were able to read with ease. Our alphabets letterforms
we rely on the consistent forms of our letters to under- are strong, simple structures, and this makes them very
stand them. Their design is a syntax of line shapes, a visual flexible for manipulation. A typeface is a closed system of
grammar that allows us to know that were looking at stylistic exploration; the essential shapes of each letter
a V rather than a U. Too much deviation from the master are modified according to the same criteria in one typeface,
shape, and we lose our sense of the letter. and modified by other criteria in another. Each typeface
has its own internal logic that, while subordinate to the
essential forms of its letters, provides an unlimited range
There are five aspects of form that distinguish one typeface of expressive variation.
from another and that create the contrasts in rhythm

and feeling that typographers depend on to add dimension
to text and composition.
Case Weight
Selected letters in uppercase and lowercase forms Light Medium Bold Black Stroke contrast
Aa Gg Mm A A A A A
Each letter in the alphabet has two forms: an uppercase, The overall thickness of the strokes, in relation to their
or capital, form and a lowercase form. The capitals are height, is called their weight. A regular-weight, capital
the big lettersolder, official forms the Romans used for letter I has a thickness equal to one seventh of its height.
imperial inscriptions. They are considered more formal Variation in weight within a typeface is what determines
than lowercase letters and serve several functions, from the basic family. Standard weights within a family often
starting sentences to creating acronyms to marking proper include light, medium (or regular), bold, and black or
nouns. The lowercase letters are a development of the heavy weights. A designer may choose to use a variety
Middle Ages (4761200 AD), and are generally attributed of weights within a text or an overall composition to
to the work of Charlemagnes scribes (see Classification, enhance rhythm or emphasize particular words or phrases.
page 20). Lowercase letters are more varied in shape and The weights of the strokes within the individual letter-
are distinguished from uppercase letters by ascenders and forms in a typeface may also change. This contrast in
descenders; their differentiation allows them to be recog- stroke weights is a clue to their origins in brush and pen
nized more quickly. The uniformity of height and width in drawing. These tools, held at a specific angle, produce
the uppercase tends to require more space between the strokes of differing thickness depending on the direction
letters to allow each to be recognized individually. the stroke is drawn: the upward-left diagonal of a
capital A is narrow; the right-downward stroke is always
heavier (see above, far right).
Dept : DTP D/O : 08.04.04(Job no:80872.3 D/O : 19.04.06 Co: CM8) Text Black Dept : D
15 15
ce, This logo incorporates a variety to the typefaces to help transmit case black italic whose round The forms in this logo were
of letterform styles to communi- ideas, and their formal variety forms and smiling aperture exaggerated to create a
e cate specific aspects of the client, adds depth and interest to the allude to learning. custom typeface for the client.
a not-for-profit AIDS awareness cluster of forms. The H is a robust, Timothy Samara | New York The designer focused on the
organization: health, optimism, heavy sans serif; the O has been aspects of width and stroke
philanthropy, and education redrawn so that its counterform shape to differentiate these
(the clients mission). The designer transforms it into a sun; the P is letterforms from those of
has relied on culturally perceived a classic Roman capital that a standard text face while
conceptual qualities intrinsic implies money; the E is a lower- retaining their legibility.
Niklaus Troxler | Switzerland
Posture Width Style
ke contrast Regular Condensed Serif Sans Serif
A AA GG MM AG M A G M AGM AG M
The posture of a letterform is its vertical orientation to How wide the letterforms in a typeface are in relation to Style is a broad term that refers to several aspects of
the baseline. Letters that stand upright, their center axis their height is referred to as their width or extension. a typeface. First, style can be divided into two basic
t. 90 to the baseline, are called roman. Letters that slant Regular width is based on a square dimension: a capital categories: serif and sans serif. Second, style refers to
s are called italic. A true italic letter has been drawn at an letter M of regular width is optically as wide as it is tall. the typefaces historical classification and the visual
angle 12 to 15 less upright than its roman counterpart. The width of other letters in the same typeface is derived idiosyncrasies related to its historical context. Third, style
Italic characters began to appear during the Renaissance, from this initial ratio, although they themselves may refers to the specific form variations that the designer
when scholars became interested in type that was more not be as wide as the letter M. A typeface in which the has imposed on the letters (i.e., its decorative qualities).
organic than roman forms. They based their slanted let- letterforms are narrower than regular is referred to as In this sense, the style of a typeface is referred to as
es. ters on handwriting. In general, italic letters read with condensed or compressed; a face that is wider than neutral (not particularly decorative or manipulated
greater stress than roman letters. They serve a number regular is referred to as extended or expanded. Like posture sticking close to the basic forms) or stylized (decorative
of functions in text, from adding emphasis to helping and weight, varying the width of letterforms lends a or idiosyncratic manipulation of the forms).
n distinguish one type of information from another. different cadence to the reading; the rhythm of the text
is changed by condensing or expanding type.
n

15 15
Typeface Attributes and Their Effect on Text

The choice of typeface style and its setting profoundly The lowercase letters are greatly varied in their shapes. more quiet, more reserved, less important, or as support-
affects the legibility and visual rhythm of type. Knowing The variety of curves, loops, ascenders, and descenders ing a heavier text. Similarly, posture changes the rhythmic
the implications for text that is set all uppercase or lower- provides a wealth of clues for the eye and brain. In grab- alternation of strokes and counters within a text. Slanted
case, or including a bold weight or an extended width bing a snapshot of a several words, the eye transmits the type is often perceived as reading faster or having a more
within text, allows the designer to make decisions that exterior shape of the configuration to the brain first and intense cadence than roman text around it. Italics are
will facilitate reading, as well as enhance compositions. a sense of the individual letters second. Very often, the usually used to provide emphasis to a phrase; they are
brain doesnt even need to recognize individual letters also used to distinguish titles in running text as a way of
Case and Legibility because it is able to interpret them from the exterior reserving quotation marks for their official usedistin-
Uppercase letters share an optically uniform width, and shape. For this reason, extended texts are best set lower- guishing spoken phrases. Both heavier weights of text
their shapes are similar, compared to the lowercase. case, with the uppercase reserved for the beginnings and italics require spacing correction. Bold and black types
Further, the uppercase forms tend to be closed, while the of sentences and the initials of proper nouns. In English, have smaller counterforms because of their thicker
lowercase are more open on both sides. This means that this structure results from its evolution from German, strokes, and can withstand a slightly tighter setting to
when set together, uppercase letters produce a visual in which all nouns are capitalized. keep their rhythm consistent in sequence. Italics tend to
rectangle with few differentiating details. In terms of appear crowded together if set with the same spacing as
legibility, words set all uppercase are less recognizable, Functions of Weight and Posture the corresponding roman, and so need a bit more space
because their overall shape interferes with the recogniz- One asset to the designer is the use of bold weights and to maintain optimal rhythm. As minute as a change
ability of individual letters. In reading, the eye makes italic faces in concert with regular and roman faces within in weight or posture is, it creates significant alteration in
quick snapshots of word groups. The less defined the a family. Weight and posture changes express changes gray value, introducing fixation points that stop the
individual forms are in a sequence, the harder it is to in rhythm or cadence, sometimes called stress or empha- eye and demand attention. Because of this effect, changes
understand what forms have been read. Settings in upper- sis. The use of weight and posture changes within type is in weight and posture are extremely effective in helping
case, therefore, must be spaced more loosely than normal an invaluable tool for enhancing the voice of a text, sim- to create a sense of hierarchy among text elements in
to permit the eye to recognize each character. Uppercase ilar to how oral communication relies on emphasis and a format. Hierarchy is explored in depth in the following
setting is not conducive to comfortably reading extended cadence to convey subtle shades of meaning. A word or section, Form and Function (pages 4481).
texts, and is often reserved for small groups of words, phrase set in a heavier weight from surrounding text is
such as titles or subheads. interpreted as being louder, more aggressive, or of greater
importance. Similarly, lighter-weight text is perceived as
TYPOGRAPHY TYPOGRAPHY
Typography TYPOGRAPHY
A word set all in uppercase and
Adding space between the letters
then again in lowercase. The word
in the uppercase setting allows the
set in lowercase offers a distinctive
eye to interpret the letters individ-
exterior shape, improving reading
ually by giving their specific shapes
efficiency and understanding.
enough space to be recognized.
15 15
-
mic
d
uniform uniform pentameter
re
pes
o
s Optical correction for weight same weight as the correspon- Above, the cadence of italic and The tremendous power of slight
and width within a type family. ding regular-width face, and so bold type, compared to regular changes in weight is evident in
The letters in a bold-weight face are drawn heavier. Again, these posture and weight. The even this minimal identity (below).
must appear to be the same minute details are visible only alternation of stroke and counter The bold words advance into the
n width as those in the regular when the letters are increased in is continued in the bold weight, foreground and are considerably
weight; consequently, they are size for comparison. but its increased darkness calls darker than the regular-weight
drawn wider as their weight attention to the individual letters.
ges text that follows them. In the
increases. The letters in an The italic, on the other hand, context of the logotype, the bold
g extended face must appear the maintains the same color but creates an emphasis on the
appears to speed up. initial word, as well as separates
g the two words without need
for a wordspace.
Text Width and Tempo
Changes in the width of letters in a text setting can alter
cadence or tempo. Extended faces are often perceived as
reading more slowly because of the relationship between
our linear sense of time and the linear sequence of reading.
Text is often perceived to be taking place over time; this
is especially true of dialogue, in which words of a quotation
seem to happen as they are being read. As we read, our
internal rhythm of digesting the words becomes congruent
with the types visual cadence; when that cadence is
altered, we experience a change in time. Words set in an
extended typeface seem to get stretched out in time.
Conversely, words set in a condensed face stress the verti-
cals and take up less linear spacethe sense of time
decreases, and we perceive these words at a faster tempo.
The width of letters plays a role in the drawing of bold
weights. Whether regular width or extended, the bold
version of a face must be widened so that it appears to
be the same width as the regular weight. This is simply
another example of optical compensation. Similarly, an
extended typeface must be drawn with slightly heavier
strokes so that it appears the same weight as its regular-
width counterpart; condensed faces must be drawn
slightly lighter or they will be perceived as bold.

15 15
The Optics of Spacing

Form and Counterform within Text
The spacing of letters in words, sentences, and paragraphs
is vital to create a uniform gray value for minimal reader
distraction. Looking at letters set together as a word offers
a clue to how they should be spaced in that particular
typeface and size. Creating a consistent gray value in text
depends on setting the letters so that there is even alter-
Every typeface has a distinct rhythm of strokes and nation of solid and voidwithin and between the letters.
A series of letters that are set too tightly, so that the
spaces. This relationship between form and counterform counterforms within the letters are optically bigger than
those between letters, creates noticeable dark spots in
defines the optimal spacing of that particular typeface the line: the exterior strokes of the letters bond to each
other visually where they come together. At the other
and, therefore, of the overall spacing between words and extreme, letters that are set too loosely become singular
elements, divorced from the line and recognizable as
lines of type, and among paragraphs. individual forms, making the appraisal of words difficult.
Evenly set sequences of letters show a consistent, rhythmic
alternation of black and white form and counterform
repeating at the same rate from left to right.
I MAGE
The primary difficulty in achieving evenly spaced type is
that the letters are of different densities. Some letters are
lighter or darker than others. Added to this phenomenon
are the directional thrusts of different strokes and the
varied sizes and shapes of the counterforms. Some are
very open, some are closed, and some are decidedly
uneven in relation to the distribution of strokes in a given
letter. To correct for these disparities, digital typefaces
are programmed to add and subtract space from between
The alternation of strokes and
counterforms creates a distinctive
different pairs of letters depending on what the combina-
optical rhythm in a given type- tions of letters are. These sets of letters, called kerning
face. The pace and density of an pairs, provide for most circumstances of letterform
alphabets strokes is a clue to opti- combination, but not all. Invariably, a designer will need
mally spacing them in text.
to correct unusual spacing that the computers software
IMAGE
Here, two typefaces reveal is unable to address.
intrinsically different rhythmic
alternation between their
strokes and counters, affecting
the space between letters. The
serif, above, sets more loosely;
the similarly sized condensed
sans serif sets more tightly.
15 15
words words words

hs
rs
xt
words words words
r-
s.
r
words words words
words words words
t.
mic
re
n
Mathematically uniform spacing Optically uniform spacing Optimal spacing (above) and tight spacing (below)
en
en
Type To
The study above shows optical A designer must be conscious of
a- spacing for the Univers (top) and spacing problems that may occur
Garamond (bottom) regular in text, especially at larger sizes.
weights, compared to mathemat-
Ti
Tightening or loosening the
d ically spaced or overly tight or
spacing between certain pairs of
loose spacing.
e letters corrects for the awkward
Default spacing
The optimally spaced lines show counterspaces inherent in their
Pe
consistent rhythmic alternation forms. Shifting the lowercase
between dark (the strokes) and Y to the right, under the right
light (the counterforms), both crossbar of the T, for example,
Type
within characters and between allows the spacing between them
We
them. Dark spots are evident in to become optically similar to
the examples spaced too tightly, that of subsequent letters.
where the strokes are closer
Other letter pairs that benefit
together between letters than
from this sort of correction are
Yo
within them.
shown at right.
Corrected spacing

15 15
Type Sizes and Spacing Considerations

Until the eighteenth century, there was no standard size was measured from its cap line to its descent line; pers, or journals, takes place when the type size ranges
measuring system in use for type size or spacing. Lead type but this measuring system has been thrown off over between 10 and 14 pointthe texture of the type is a
was produced at fixed sizes by different foundries and so the years. Sometimes, this measurement still holds true, uniform gray and the letterforms are small enough that
was incompatible with those of other foundries. In 1737, while, in other cases, the measure is made from cap line their details are not perceived as distinct visual elements.
Pierre Fournier (b. 1712, d. 1768) created a measuring system to baseline only. Optimal spacing at reading size means that the strokes
by dividing an inch into 12 lines and further dividing and counterforms are evenly alternating. As type is
The drawing of a typeface has an impact on the perception
those each into 6 points. In 1785, Francois Didot (b. 1689, decreased in size, the letterspace must be increased to
of its size. A sentence set in an oldstyle serif and a similar-
d. 1757) created a new standard related to the official allow the eye to separate the letters for clarity. At the
weight sans serif at the same point size will appear to be
French measure, the pied du roi (a somewhat foot-long other extreme, space between letters must be decreased
two sizes. The discrepancy results from the sans serifs
measure based on the size of the kings foot) that was also as the type size increases beyond reading size.
larger x-height: its lowercase letters are larger in relation
broken into points (the D or Didot-point); type and paper
to the cap height than those of the serif. The difference
measurements were now compatible. After the French
in set size and apparent size can vary as much as 2 or 3
Revolution of 1789, that standard was replaced with the
points depending on the face. A sans serif such as Univers
metric system, and eventually the Didot point was fixed
may be perfectly comfortable to read at a size of 9 points,
at 0.376 mm; this system is still in use in Europe today.
but an oldstyle such as Garamond Three at that size will
The Anglo-American system of points is similar, using an
appear tiny and difficult to read. Setting the Garamond at
inch divided into 6 picas that are subdivided into 12 points.
11 or 12 points will make it more legible, as well as make
The measure of a line of type can be expressed as 30 x 12
it appear the same size as the Univers.
(30 picas long by 12 points high or 12 points in size). There
is a hazy correspondence between the point measure Setting type smaller or larger than the optimal reading
and its use in determining type size. Historically, a type size for text also has an impact on spacing. Comfortable
and efficient reading of long texts, such as books, newspa-
Trips Trips Trips

The word trips is set here
in three faces at the same size.
Type is measured in points;
all the words are set at 60 points,
but because the sans serif
lowercase letters are larger in
proportion to the cap height,
they appear larger; the same is
true of the modern serif to the
right. Note also the difference
in the depth of the descenders.
Space That Type!

Never take digital spacing
or sizes for granted
always check it for loose or
tight characters, and size
different type styles by
eye to make them similar.
15 15
The printing process exacerbates

the issue of space between letters,
The line is spaced one way at this size.
especially at smaller sizes. Ink
bleeds when it hits paper; as a
s. result, the spaces between letters The line is spaced one way at this size.
are made smaller.
Trying to judge proper spacing

on a monitor, with its coarse
resolution, is nearly impossible;
a laser or inkjet printer creates
some bloating in the type,
but not nearly as much as will
happen on press. A designers The same words set at 14 points good character recognition. in spacing of the small type
prior printing experience can (top) and at 6 points. Uncorrected Adding space between letters becomes more evident when it
help judge these spacing issues. (middle), the spacing in the (bottom) greatly improves their is enlarged to 14 points for
smaller type is inadequate for legibility and look. The difference comparison with the original.
Horizontal Measurement and Spacing

Point size and horizontal measurement are related, but
M Proportion The proportional horizontal
measure set-em is determined
by the width of a capital M at a
different. The point size, as noted, is historically determined given size. The size of the em as
by the distance from the cap height to the descent line. a measurement base changes
Horizontal measure, for purposes of spacing, is divided as type size changes.
into units based on the width of a typefaces uppercase
M Proportion
Prior to digital typesetting, the
M at a given size. The square of this width, which vertically limited spacing options available
includes the depth of the descenders, is called the set-em to typesetters consisted of five
increments based on the set-em,
or em. Unlike the pica-em, which is a constant measure
shown at the bottom.
of 12 points, the set-em changes as the size of the type
changes. When type was still set in lead, the em (set-em)
was the source for measurements with which the
typesetter could alter spacing within words and between
M Proportion
nts, them in sentences. Until the advent of photo and then
digital typesetting, there were only five proportional
slugs available to the typesetter for this purpose: the en
s (or nut), measuring half an em; the thick space, one-third
of the em; the mid space, or one-quarter of the em;
the thin space, or one-sixth of an em; and the hair, one-
.
twelfth of an em. The em is still used as the basis for
horizontal spacing, but through the precision allowed
by the computer, digital spacing has become extremely
refined. The em in page layout software such as Quark
XPress and Adobe InDesign is divided into 1,000 units,
which is shown in the measurement palette as 0.001 of
an em.
Em En Thick Mid Thin Hair

15 15
$ 6
The Finer Points of Text Setting
Very little attention is paid to the spacing of punctuation,
symbols, and diacritical marks in text. It is often assumed,
as with letter- and wordspacing, that software adequately
addresses the spacing of these characters and, therefore,
1
A single wordspace, never two,
latitude. Westerly
?! >
their spacing need not be evaluated. Unfortunately, this follows a period before the ini-
is not the case. The default spacing of punctuation marks tial cap of the next sentence.
tends to be excessive, creating accidental holes in text. latitude. Westerly d

The problem is accentuated by designers and editors who
are ill-informed about the conventions of typesetting
punctuation and who either space punctuation poorly or
2
use punctuation marks incorrectly. In both instances the Numerals within running text condensed and more varied in
clarity and the visual quality of the text are compromised. always need spacing adjustments, form than uppercase letters.
especially within groups. Lining Numerals in tables are generally
numerals, which extend from arranged flush right or around
baseline to cap height, usually a decimal point in vertical
require a bit of extra letterspace, arrangements of figures.
but they tend to be more
the year 1045 brou
*
the year 1045 brou
Content within parentheses
and brackets will usually
benefit from additional space
to separate it from these
with ascenders that are likely
to crash into the marks if left
at the default spacing. In par-
ticular, lowercase italic f, l, k, h,
letters, will need adjustment.
In some instances, shifting
these marks below the baseline
will help them align optically
3
The spaces before and after a
marks, especially italic forms and many of the uppercase with the line of text. yes, she did
@ 5
comma or quotation mark
should be reduced; these marks g
carry additional space above or
yes, she did
4
below them, respectively.
Colons and semicolons need
(smile) (smile)
additional space preceding
them and less space following.
was horrid
was horrid
(factor) (factor)
[factor] [factor] There are three different hori-
zontal punctuation marks. Use
need to be altered to improve
their relationship to surround-
Hyphen Combines words or breaks them
the correct one for its intended

function, and adjust the spaces
ing textthe hyphen often sits
low, and the em-dash is some-
in-depth look
around them so that they flow times too long.
optically within text. A full En-Dash Separates ranges or times
wordspace on either side is too
much. The default lengths and
baseline shift of each mark may
100 200 pages
Em-Dash Separates phrases or evolutionary thoughts
bewareit is
15 15
Typographic Fundamentals Type Mechanics
6
%
Exclamation and question marks
often benefit from being separated
from their sentences by an extra
7
bit of space. A full wordspace is
too much, as is half a wordspace;
but 20/100 of an em (set-em), or
+20 tracking, is usually sufficient.
Ligatures specially drawn char- space for the pair is the optimal
acters that correct spacing spacing for the entire face. If
did you? difficulties between letter pairs the ligatures within text appear
11
provide a clue to optimal spacing. more tightly or loosely spaced
{ &
Since ligatures are drawn with a than the nonfixed characters
did you ? fixed space between characters around them, the text needs to
(for example, an fi), assume this be respaced accordingly.
diculty is clear
8
Most punctuation marks
diculty is clear especially quotations should of listening to the sea calling

be hung outside the aligned text determined, and thought it h
if it occurs at the beginning of a
Think carefully, he said, agai
u
line. This rule sometimes applies
to bullets 8as well; a designer foremost a kind of singular wi
may opt to maintain the align- responds with a word in kind
* :
Punctuation can be altered or
Typography: Designing Words ment of bulleted text and hang
u removed entirely if the text treat-

ment creates the equivalent mean-
the bullets in the margin.
Optional leather seats

ing. For example, a colon separating
a title and subtitle must remain if Typography Five-speed transmission
they follow each other on the same
ABS breaking system
line; remove the colon if the subtitle
is treated differently enough from
DESIGNING WORDS Power steering
the title to visually imply the same
grammatical separation.
10
The appearance of analphabetic slight shift below the baseline their overall rhythm in text.
9
symbols, like the @, #, $, and %, optically centers it on the text. The / tends to benefit from
and some linear punctuation The # and % display a diagonal added space on either side,
marks, like the forward slash ( /) thrust akin to italic forms, and although a full wordspace is
are improved by slight spatial decreasing the space preceding far too much; +20 to +30
adjustments. The @ usually thembut increasing the space tracking is adequate.
Small caps within text, for acronyms, appears too high on the line; a following themhelps improve
need additional space around them.
The small caps of many fonts appear
lighter in weight than the upper- and
even the lowercase letters. A designer
may adjust the point size of small
caps up by as much as two points to [email protected] as does #25
achieve uniform weight without
confusing them with the uppercase. address @ domain.com as does # 25
from the aiga. The figure

from the aiga.The figure

15 15
The Spatial Mechanics of Paragraphs
As more and more sentences are strung together, they

cluster to form a basic component of typographic design:
the paragraph. Paragraphs can be set in all manner of
wayswide, narrow, aligned or nonaligned, singly or in Wordspace within Lines of Text
groups. The paragraph is the archetypal building block of The space between words is derived from the rhythm of
a text; as such, its structure, spacing, and optical qualities strokes and counters established by the letterspacing
warrant a focus of attention by the designer. itself. Typically, the wordspace can be defined by the width
taken up by a lowercase i as though it has been spaced
continuously with the last letter of a word and the first
letter of the word that follows. The space between words
is, therefore, smaller when the text is set more tightly
Regardless of the nature of the content in a particular and larger when the text is set more loosely. The space
between words should be the minimum needed to sepa-
paragraph, it must first be considered independently to rate them. When the wordspace becomes too great, the
lines of type begin to fracture. If large wordspaces appear
a certain degree to find an optimal width and depth for over and over again, they tend to align from one line to
the next, creating white channels of space called rivers.
comfortable reading. The width of a paragraph depends The problem with rivers is that they appear to connect
words between lines, interfering with sequential under-
on a few features: type size, wordspace, and interline standing in sentences. If the eye can not hold the line of
type, comprehension is effectively destroyed.
space, or leading.
oneihopesitheiwordsiareispacedievenly Normal, uniform wordspacing

can be conceived of as the
space determined by setting an
invisible lowercase i between
oneihopesitheiwordsiareispacedievenly words as though being letter-

spaced as continuous text. The
effect of uneven wordspacing
is evident in the appearance
of rivers.
As overall spacing within text

oneihopesitheiwordsiareispacedievenly so that changes, wordspace must be
altered accordingly.
oneihopesitheiwordsiareispacedievenly so
o n e ih o p e s it h e iw o r d s ia r e is p a c e d
15 15
spacing Many factors affect the interline

spacing, or leading, of a text, including
leading, the height of the lowercase letters
and the respective height and depth
f the heig of the ascenders and descenders.
th
s
Examples of leading set solid
(top) and correcting for the
large x-height of the lowercase
spacing Many factors affect the interline
spacing, or leading, of a text, including
(bottom). The added leading
improves readability and keeps
the ascenders and descenders
leading, the height of the lowercase letters
the heig
from creating dark spots.
r
and the respective height and depth
of the ascenders and descenders.
t
Space between Lines of Text

Leading (pronounced ledding) is the vertical measure the eye. Typefaces with tall ascenders and deep descenders
from the baseline of one line to the baseline of the line need added space between lines to avoid this problem.
below it in a paragraph. This term, like so many in modern Likewise, a typeface with a large x-height fills the line
typography, is another holdover from the days of lead depth considerably, and more leading is required to offset
n type, when metal letters were set individually by hand. its increased density. The next consideration affecting
The typesetter had the option of setting the next line leading is the line length of the paragraph, and this can be
e
solid butting it up directly to the preceding line or of complicated. A mature reader grabs a snapshot of several
introducing additional space between the lines with a words simultaneously; the more advanced the reader,
thin strip of metal, also of lead. By adding these strips the more the eye grabs. Over time, a reader is able to
of lead between lines, a typesetter could change the process several snapshots together in rapid succession
overall depth of a paragraph (and its color) as needed. but only to a point. Without a slight break in the process,
Leading greatly influences the legibility of a paragraph the reader begins to jumble the snapshots and becomes
as well as changes its visual texture. confused. That break is the return: the end of a line
and the backtrack across the paragraph in reverse to find
The first considerations affecting the leading of text are
the next line. The reader must keep track of the sequence
the height of the lowercase letters and the height and
of snapshots and locate the beginning of the next line.
depth of their ascenders and descenders, respectively.
The designers goal is to find the optimal relationship
Clearly, these strokes can not interfere with each other
between these factors so that the paragraph is as easy
between linesjoined or overlapped strokes diminish
to negotiate as possible, and interferes minimally with
character recognition and create dark spots that stop
reading comprehension.

15 15
A desirable paragraph setting is one in which

a constellation of variables width, leading,
wordspaceachieves a harmonic balance.
The mature readers visual

snapshot of word groups may
In the finest bookwork In the finest bookwork
conflict with a narrow para- the pages of text are printed
graph that is leaded too tightly.
in such a manner that the the pages of text are printed
In the first example, the
snapshot takes in not just a lines on a recto page backup in such a manner that the
full line of type on the narrow exactly those printed on
column but portions of the
lines below. The second example the reverse, or verso, side. lines on a recto page backup
shows a reduced snapshot that This care in setting and exactly those printed on
aids comprehension; the reader
is forced to assimilate the word
printing, nullified when extra
groups in sequence because space is inserted between the reverse, or verso, side.
the lines have been leaded far
enough apart to prevent subse-
paragraphs (for there is some This care in setting and
quent lines from interfering. show-through even on
reasonably good paper), printing, nullified when extra
adds to the beauty and clarity
character fit
of the pages by heightening space is inserted between
the contrast between lines paragraphs (for there is some
and their interlinear whiting.
alignment
spacing
Text from
leading
The Finer Points of Spacing and Arranging Type
by Geoffrey Dowding. Wace & Company, 1954.
Start Off Right

Finding the ultimate
paragraph configuration for
text at the beginning of a
project can be a helpful place
to start developing the
rest of the layouts.
15 15
The Ultimate Paragraph 1 Initial setting: solid leading, larger type size
The width of a paragraph depends heavily on the size Whenever we speak or write, we communicate. Language, whether
of type being used and, therefore, how many characters
can be fit onto a single line. Regardless of a readers maturity
spoken or written, is part of what makes us unique as humans. Spoken
or the type size, between fifty and eighty characters language is ephemeral and intangible, it disappears as soon as it is
(including spaces) can be processed before a return with uttered. When written, language is captured in a visual and spatial
words averaging between five and ten letters, that means form, permanent and concrete. As the art of visual language, typogra-
approximately eight and twelve words per line. Achieving phy is inherently communicative.
this character count determines the width of a paragraph.
That width may be affected by the proportions of the
page format and how much text must be made to fit
2 Solid leading, smaller type sizecolumn wider than optimal
overall, as well as subjective factors, but this method is
the best way of finding an optimal paragraph width as Whenever we speak or write, we communicate. Language, whether spoken or written,
a starting point. The leading of the lines, as noted earlier, is part of what makes us unique as humans. Spoken language is ephemeral and intangible,
is somewhat dependent on the width of the paragraph, it disappears as soon as it is uttered. When written, language is captured in a visual and
the type size, and its spacing. The space between lines spatial form, permanent and concrete. As the art of visual language, typography is
should be noticeably larger than the optical height of inherently communicative.
the lines, but not so much that it becomes pronounced.
Similarly, the leading must not be so tight that the reader
locates the beginning of the same line after the return
and begins reading it again. As paragraph width increases,
3 Increased leading; rag is indecisive, paragraph still too wide
so too must the leading, so that the beginnings of the
lines are more easily distinguished. Oddly, as the width of Whenever we speak or write, we communicate. Language, whether spoken or written,
a paragraph narrows, the leading must also be increased;
is part of what makes us unique as humans. Spoken language is ephemeral and intangible,
otherwise, the reader may grab several lines together
because the snapshots he or she takes while scanning it disappears as soon as it is uttered. When written, language is captured in a visual and
encompass the full paragraph width. spatial form, permanent and concrete. As the art of visual language, typography is
inherently communicative.
character fit
line length
4 Optimal paragraph width
Whenever we speak or write, we communicate. Language,

whether spoken or written, is part of what makes us unique
as humans. Spoken language is ephemeral and intangible,
text size
it disappears as soon as it is uttered. When written, language

is captured in a visual and spatial form, permanent and
concrete. As the art of visual language, typography is inher-
ently communicative.
width
A sequence of paragraph studies, type downward (2) on the same achieves a harmonic relationship
each changing a specific variable, width creates a paragraph with between the variables: a read-
culminates in the ultimate lines that are too long to read able type size, comfortable line
paragraph, above. The initial set- comfortably. Adding interline length, and enough leading to
ting (1) produces a paragraph space, or leading, (3) mitigates ensure proper reading sequence.
Text from that is too narrow for the type the line length, but the line end-
Typography: Micro- + Macro-aesthetics size, and the solid leading is too ings seem indecisive. Making the
by Willi Kunz. Verlag Niggli AG, 1998. tight. Adjusting the size of the paragraph narrower (4) finally

15 15
Aligning Text within Paragraphs

No matter how wide or deep, a paragraph may be set in an effect on the spacing within it. In a paragraph set for the size of the type before justifyingand then to
several different configurations called alignments. It may with a left alignment (flush-left, ragged-right or FLRR), the widen the paragraph slightly or shrink the type size by
be set so that every line begins at the same left-hand wordspaces are uniform. This is also true in a paragraph a half-point or point. This adjustment can result in an
starting point (aligned left), at the same right-hand start- set flush-right, ragged-left (FRRL) and in a centered para- optimal number of characters and words that comfortably
ing point (aligned right), or with an axis centered on graph. The wordspace in a justified paragraph, however, fit upon justification and will often compensate for the
the paragraph width. In this case, there are two options: varies because the width of the paragraph is mathematically potential of long words to create undesirable spacing.
in centered type, the lines are different lengths and are fixed, and the words on any given line must align on A slightly wider paragraph also allows some flexibility in
centered over each other on the widths vertical axis; in both sidesno matter how many words or how long they how words are broken from line to line, and gives the
justified type, the lines are the same length, aligning on are. In justified text, wordspacing variation is the single designer more options for rebreaking text to make it fit
both left and right sides. Justified text is the only setting most difficult issue to overcome. The result of poorly with good spacing.
in which the lines are the same length. justified text in which the wordspace constantly changes
is a preponderance of rivers. In particularly bad justified
In text set to align left, right, or centered, the uneven
setting, the rivers are even more apparent than the inter-
lengths of the lines create a soft shape that is called the
line space, causing the paragraph to become a jumble of
rag. The relationship of the paragraphs alignment and
strange word clusters. One method of minimizing this
rag is yet another factor in determining a desirable text
problem is to find the optimal flush-left paragraph width
setting. First, the alignment of text in a paragraph has
Think of the blank page as Think of the blank page as Think of the blank page as
alpine meadow, or as the purity alpine meadow, or as the purity of alpine meadow, or as the purity
of undifferentiated being. The undifferentiated being. The of undifferentiated being. The
typographer enters this space and typographer enters this space and must typographer enters this space and
must change it. The reader will change it. The reader will enter it later, must change it. The reader will
enter it later, to see what the typog- to see what the typographer has enter it later, to see what the typog-
rapher has done. The underlying done. The underlying truth of the blank rapher has done. The underlying
truth of the blank page must be page must be infringed, but it must truth of the blank page must be
infringed, but it must never alto- never altogether disappearand infringed, but it must never alto-
gether disappearand whatever whatever displaces it might well aim to gether disappearand whatever
displaces it might well aim to be be as lively and peaceful as it is. displaces it might well aim to be
as lively and peaceful as it is. as lively and peaceful as it is.
F L U S H - L E F T / R AG G E D - R I G H T CENTERED AXIS F L U S H - R I G H T / R AG G E D - L E F T
Text from
Examples of the three ragged The Elements of Typographic Style [version 2.4]
alignment structures. by Robert Bringhurst. Hartley & Marks, 2001.
15 15
Think of the blank page as alpine mead- Think of the blank page as alpine meadow, or as the purity
ow, or as the purity of undifferentiated of undifferentiated being. The typographer enters this space
bly being. The typographer enters this and must change it. The reader will enter it later, to see what
space and must change it. The reader the typographer has done. The underlying truth of the blank
will enter it later, to see what the typog- page must be infringed, but it must never altogether disap-
rapher has done. The underlying truth pearand whatever displaces it might well aim to be as lively
A poorly justified text (right)
of the blank page must be infringed, and peaceful as it is. It is not enough, when building a title
displays varied wordspaces
and rivers, as well as extensive but it must never altogether disappear page, merely to unload some big, prefabricated letters into
hyphenation. Adjusting the
width of the paragraph, using and whatever displaces it might well the center of the space, nor to dig a few holes in the silence
the same point size, may
help alleviate such problems
aim to be as lively and peaceful as it is. with typographic heavy machinery and move on. Big type,
( far right). It is not enough, when building a title even huge type, can be beautiful and useful.
as
ty
he
d
ll
g-
The designers attention to detail
ng is evident in the various examples
be of justified setting shown in the
pages of this annual report.
o- Two typefaces, each set at a differ-
er ent size, exhibit uniform spacing
characteristics. This is the result
be of finding each faces optimal size-
to-width relationship.
s. First Rabbit GmbH | Germany

15 15
Investigating the Ragged Edge

A paragraph rag may exhibit desirable or undesirable char- consistent throughout the duration of the text. The uni-
acteristics. As with letter- and wordspacing, uniformity is formity of an active rag will also render it invisible as a
key to developing a good ragged edge. A rag can range result of its consistency. A designer may opt to mitigate
from deep to shallow, active to subtle, but its uniformity a deep rag by introducing more interline space. What is
and consistency overall are what make it desirable. Ragged never desirable, however, is a rag that begins at the outset
line endings are considered optimal if they create an of a paragraph guided by one kind of logic and transforms
organic, unforced ripple down the edge of the paragraph, into another kind of logic as the paragraph progresses
without pronounced indents or bulges. In an optimally in depth; or a rag with excessive indenting from the right;
ragged paragraph, the rag becomes invisible: the reader or sharp, angular inclusions of space created by lines that
is never aware that the lines are ending at their natural become sequentially shorter. The overall unity of a rag
conclusion. If the alternating lines end short and very can be easily compromised by the single occurrence of
long, the rag becomes active and calls attention to itself, two short lines that create a boxy hole. In optimal rags,
distracting the reader from following the content of the the depth is between one-fifth and one-seventh of the
text. That said, a deep rag may be acceptable if it remains paragraphs width.
The optimal rag, above, shows a The rag of this paragraph is very The rag in this column changes
very even, unforced edge with deep for its width. The changes logic from top to bottom, starting
steady alternation of long and in line length make the rag more out with even alternation, but
short lines. The width of the active; the deep spaces between becoming very irregular toward
paragraph is constant from top long lines are distracting. the bottom. Worse, the column
to bottom. gets progressively wider as it gets
deeper, and the shapes in the rag
are angular and pronounced.
15 15
Hyphenated word breaks are a

constant source of frustration
for a designer. Too many hyphens
in a row are undesirable, and a
slight adjustment in text size or
paragraph width may correct the
problem. The two paragraphs
shown here are set in the same
size text, with subtle differences.
The first paragraph shows a very
active rag but no hyphens
a toss-up between desired goals.
The second shows a slightly
wider paragraph and a more
even rag; the only hyphen
appears at the end of the second
line. One hyphen every ten
lines or more is optimal.
The depth of the rag is variable,

and may be explored to find one
that suits the texture of the type
and the width of the column.
A rag range between one-fifth

(top) and one-seventh (bottom)
the width of the paragraph tends
to be optimal for most text.
Word order and word breaks across lines also affect the hyphens is undesirable. If a text is hyphenating excessively
rag. Problems in ragged-right setting commonly arise more than once every 10 lines or sothe problem lies
when series of short words of, at, it, to, we, us, and in the relationship between the texts point size and the
many others are broken to align at the left edge, creating width of the paragraph; one or the other must be adjusted
a vertical river running parallel to the aligned edge; to correct the problem. Although a text that is free of
and when short words appear at the end of a long line hyphens would be best, this state of perfection is rarely
between two shorter lines, appearing to break off and possible; indeed, some designers argue that hyphenating
float. In such cases, the designer must weigh the conse- words here and there helps contribute to the uniformity
quences of rebreaking the lines to prevent these problems of the rag by allowing lines to remain similar in length.
against their effect on the rag as whole. Similarly, the
breaking of words across lines using a hyphen can
also be problematic if left untreated. From an editorial
perspective, more than two successive lines ending in

15 15
Paragraphs in Sequence
A designer has a number of options for separating para- effect useful or appropriate for a particular text, it can
graphs within columns of text. Each option has its own be a bit jarring. In traditional typesetting, the columns of
advantages and drawbacks, all of which are dependent on books were set without space between paragraphs to
the nature of the text, the size of the type, and the width save on paper use (and therefore cost); instead, the begin-
of the columns. One approach is to simply insert a hard ning of a new paragraph was indicated by an indent
returna blank line of the same leadingbetween one where the first line of a new paragraph starts a few
paragraph and the next. In columns set with text showing character widths in from the left alignment. This treatment
a large x-height, or with a smaller x-height and tighter works particularly well in justified setting. The depth of
leading, this treatment may look fine. It may otherwise the indent is subjective, with the caveat that it must be
seem excessive; the return could appear to separate noticeable. An em (set-em) indent is noticeable, but is
the column, disturbing the columns vertical mass. The often not enough of an indent. The indent must be deeper
returns sharp line negative space may visually interfere if the leading is loose; more interline space normalizes
with other elements. Although a designer may find this the perception of the columns width (this is why adding
leading smooths out irregular rags) and a bigger hole
must be cut into the paragraph. Sometimes, a designer
will exaggerate the indent for visual effect. With longer
As a paragraph lengthens to become deeper than it is paragraphs set in relatively wide columns, this treatment
wide, it takes on a vertical stress and becomes a column.

Within the column, paragraphs that follow each other
must somehow be differentiated so that the reader is
aware that one has ended and another one has begun.
Paragraphs running continuously

in a column, without being
differentiated, make it difficult
for readers to separate distinct
thoughts and to maintain their
place in the sequence. Visually,
this treatment also creates
an overwhelming wall of text.
15 15
will break up the wall of text by introducing a rhythm of

of cuts into the columns. Indents are usually not a good idea
if the text is set ragged right. Since the rag is already Hard returns between paragraphs
n- changing the line lengths on the right edge of the column, are effective . . . maybe too effective.
Pronounced negative spaces
the indent on the left side loses some of its visual power,
produced by the full return may
causing the top lines of the columns to appear as though work to separate the columns
nt they are changing alignment. into parts that interfere with the
reading direction.
per
The large-type introduction The paragraphs running

paragraphs in this handbook within columns on this spread
(above) use a proportional detail (right) are separated
return that is only a few points by a proportional return that
greater than the text leading. is roughly one and a half times
At such a large text size, the text leading open enough
the minimal difference in the to mark each paragraph, but not
return appears adequate. so open as a full hard return.
AND Partners | USA Paone Design Associates | USA

15 15
Examples of various indenting

approaches. The em (set-em) used
as an indent measure can be an
effective paragraph separation
in justified setting. An unusually
deep indent (right) creates an
interesting structural element
within the text.
Generous indents add distinc-

tion to paragraphs within the
text columns of this newsletter.
The indents are clearly deeper
than an em and deeper, even,
than the rag range but not
so much as to throw the rag and
the alignment into question.
Interkool | Germany
15 15
Another alternative is the hanging indentthe first paragraphs last line and the baseline of the first sentence
line hangs outside the lines following it. This may be done in the paragraph following could be 18 points. This may
whether there is additional space between paragraphs or be more or less than enough space, or exactly the right
not. Hanging indents very clearly establish the beginnings amount, depending on the designers sensibility.
of paragraphs and may also help a reader count lines
Sometimes, a paragraph begins with a short introductory
as another reference point while scanning text. On the
phrase, usually referred to as a subhead. The designer
other hand, hanging indents require extra space between
should first determine the space between the subhead
columns that appear next to each other in horizontal
and introductory paragraph, if any. The first line of the
configurations. The use of a hanging indent is somewhat
paragraph may follow the same leading, baseline to base-
unconventional and may be distracting.
line, from the subhead as its subsequent lines do. Or, the
Finally, a designer has the option of introducing a specific subhead may have a distinct space following it. If this is
space between paragraphs that is different from both to be the case, the space between the end of a paragraph
hard return and text leading. This option is as appropriate and the subhead of the paragraph following must be
as any of the others already described and requires some clearly different than the space between the subhead and
study on the part of the designer to determine the meas- the text it introduces.
ure of the space. A good place to start is to use a measure
of one and a half times the leading within paragraphs.
With a text leading of 12 points from baseline to baseline,
for instance, the measure between the baseline of one
An introductory title for a paragraph
a subheadmay often be present.
Considering its spacing in relation to
that between paragraphs can help
to clarify the relationships of these
elements to each other, as well as
introduce further visual detailing
and texture onto the page.
The structure of paragraphs and columns and,

more minutely, the detail of letterform construction
and spacing that gives rise to it, are the essential
components of the typographic designers toolkit.
Understanding how these basic detailsthe
micro-levelaffect the composition of text elements
The hanging indent of starting within a format is the first step in developing
lines of paragraphs in this example
creates a beautiful, as well as sensitivity for the design of type. The next step is
informational, detail that influences
the structure of the page. to investigate and understand the macro level.

15 15
T T
T T
T T
T T
T T
T T
Its been said that typography has little to do with typefaces and their style, being more
T T
about what one does with them. In one sense, the visual qualities of a specific typeface can be
ignored while focusing on more interesting things like layout. On the other hand, the very T T
essence of the type form the letters, and their myriad interconnections and relationships with T T
others, with space, with texture, and with rhythm is extremely important. Anything a
designer does with a typeface is fundamentally predicated on those tiny formal interactions . . . T T
but on a larger scale. Typography as a visual discipline exhibits an interesting quality of T T
relating the parts to the whole.
T T
The big picture is made up of parts and is very much characterized by how those parts act. T T
The reverse is also evident: the big picture acts on those individual parts, casting them into new
T T
roles. Its very much an open natural system, like the swirl of a snail shell or a fractal, and is,
therefore, exceedingly organic; despite the mechanized digital veneer of production, the essence T T
of typography is language . . . and theres not much thats more organic than that. T T
T T
T Form
Y P and
OG R A P H Y
T T
T T
T T
T T
Function
T T
T T
T T
T T
T T
T T
Building the Bigger Picture T

T
T
T
T T
T T
T T
T T
T T
T T
p44 Job no:80872 Title : RP-Typography Workbook Client : Pro-Vision Job no:8
Dept : DTP D/O : 08.04.04(Job no:80872c3 D/O : 14.6.04 Co: CM11) Text Black Dept : DT
15 15
h T T T T T T T T T T T T T T T T T T T T T T T T
w
ce T T T T T T T T T T T T T T T T T T T T T T T T T T T
B
Y
ALS
15 15
Space: The Typographic Frontier

Where does all this typography happen? It happens in It is easy to imagine space without other thingssuch
space what designers refer to as typographic space. This as typein it. But type cant be considered without regard
vague term describes a conceptual area where the bound- to space. Type and space interact in a figure/ground relation-
aries of speech, sound, vision, and thought are blurred. ship that is mutually dependent. Type the figure, or
More simply put, typographic space is a blank page or screen positive elementdefines the qualities of the space that
where language has to be transformed into something it breaks; space the grounddefines the qualities of the
visual. This space can be something as banal as a train type that exists within it, focusing the eye and directing it
schedule or as visceral as an animation. The function around the type forms. Both are equally important parts
of the typographic space remains the same: it is a format, of a composition and must be considered simultaneously.
a page, a dimension that the type will exist on, around,
and within. The Nature and Quality of Space
The quality of a space is given meaning by its shape. A space
is defined in practical terms as a formatthe physical
dimensions of a project to be designed. For example, a
The interdependency of type and space is relative. client who orders a brochure must first select among
numerous variations. Selecting a format depends on the
The presence of the same typographic element can become nature of the content and on the kind of presence the
designer wants to establish for it: whether it should be
completely different depending on how it relates to the active, passive, or neutral. The proportions of a format
can go a long way in communicating a general feeling
format. Conversely, the same space can be dramatically to the viewer, and the organization of the type is colored
by these proportions from the beginning.
altered by changing the size and position of the type
within it.
M M
Dept : DTP D/O : 08.04.04(Job no:000000 D/O : 00.00.01 Co: CM0) Text Black Dept : DT
15 15
Typography Fundamentals Form and Function
rd
on-
t
he
word word word
t
s
y.
ce
A square format has a neutral

e quality because of the even stress
in all directions created by its equal
sides. Vertical formats force the
optical thrust upwards, and impart
an active feeling; the proportions
of a vertical format have a visual
relationship with the upright
presence of the human body. As
the format widens, it becomes more
passive and more restful, taking
on the quality of a landscape. The
stress is shifted outward toward
the sides.
Breaking space into zones for

informational components not
only helps clarify the content,
but may also contribute to the
concept of a given piece. At left,
the information is broken up
in relation to the background
image, a surreal flop that affects
the orientation of the text.
stressdesign | USA

15 15
A passive composition of one line

of type, centered within a format,
is activated by shifting the line
off center, either vertically or
horizontally. Each change in the
types position alters the spaces
that are created in relation to typographic work typographic work
each other.
typographic work
Breaking Space
Organizing type within a format is both an additive and divides a format into two spacesone space above the The division of space creates structure. Structure is what
reductive process. Each element that is brought into the type, and one below. If the line is placed in the optical unifies disparate elements in a composition. The structure
space adds texture and complexity, but it also decreases center of the space, it is passive and neutral, as are the in a composition with one line of type is simple, but its a
the amount of space in the format, forcing it into distinct spaces around it. Shifting the line to the left or right structure nonetheless. Several lines of type together create
shapes around the type like a puzzle. These spaces are changes the space: the opening it creates joins the spaces a different kind of structural relationship to the format
integral to achieving flow through the type and providing above and below. Additionally, the type element comes than a single line of type. It is related to the line of type
a sense of order and unity throughout a composition. The into close relation with the edge of the format, creating but visually contrasts with it. This mass of texture further
system of spaces broken by the type is extremely important tension that counteracts the openness of the space it defines the space around it into channels that correspond
in helping the viewer navigate around various elements has left. Moving the line of type off the horizontal center to its height and depth, and between itself and the format
text, callouts, and titles, among others. breaks the space proportionally; each space now has its in all directions. Separating elements within a grouping
own quality and a relationship to the other. Subsequently maintains a sense of the mass; it also introduces a greater
An empty space is undefined except by its shape. As soon
breaking the space with additional elements divides the complexity of structure by further subdividing the space.
as a typographic element is added, the space is changed.
format into additional zones. The more even the propor- Structure may be improvised or planned. Improvising
If the type element is a single letter or word, the space
tions of these zones, the more neutral and passive the structure within a format depends on the content of the
focuses attention upon it; it is a point or shape within the
composition. The more varied the proportions, the more type; if the arrangement is determined only on a visual
space. A sequence of words in a sentence becomes a line:
dynamic. A dynamic quality is considered desirable, because level, it may not communicate clearly: the order of the
a line of thought, but also a visual line. A single line of
it involves the viewer and stimulates the eye. Passive words and the order in which groups of words are read
type has the qualities of a drawn line: it is directional,
compositions, in which the spatial proportions are very are important. The visual structure must evolve out of
lacks volume or mass, has a beginning and an end, and
regular, are monotonous, and give the impression that the verbal structure of the language.
divides the space in which it is placed. A line of type
all the elements are of the same value.
T
P T Y PO
Y
O
Adding space between letterforms An unusual arrangement of type
(above) calls attention to their in this book spread, at right
individual identities and transforms running vertically, but canted at a
them into dots. As they come slight angle creates ambiguity and
closer together, the linear aspect interest, as well as a sense of deep
of the word dominates. illusory space.
Brian Jacobson | USA
15 15
Spatial relationships based on

the messages within the text are the
basis for this posters austere and
simple, yet complex, composition.
The alignments and proportional
areas they define are further
enhanced by changing the spatial
units colors to create optical depth.
Philippe Apeloig | France
t
re
a
te
nd
at
ter
e.
e
Space is neutral until it is divided. casts each unit of space into a
Breaking the space into units unique relationship with the
of even proportion activates the ones around it. The interaction
d
space, but the space is still of these contrasting spaces
relatively passive. Changing the helps to engage the viewer.
size and proportion of the
divisions establishes a sense of
the points of alignment and

15 15
Alignments, Masses, and Voids

The verbal sense helps define what material within it The information listed in this
may be mass or line. A continuous sequence of thoughts brochures table of contents is
set along a diagonal alignment
will likely be clarified if they cluster together; a distinct
that crosses the gutter and
thought may benefit from being separated from the involves the entire spread. Large
others. Both elements are positive forms the figure tinted letterforms add a spatial
within the composition. They are in contrast to each other, transition from the solid type
to the white page. The colored
as well as to the spaces around them. The relationship
banding of the stepped page
of typographic mass to these voids within the format is trim allows for quick reference
the essential relationship to be defined in typographic from content listing to section.
space, as it is in defining the rhythm of letterspacing and Keith Godard | USA
the space within a paragraph. The considerations are
the same, but take place on an expanded scale. Regular
intervals between masses and voids unlike in letter-
spacing, wordspacing, and leading are undesirable,
because regularity implies sameness, and not all the
type elements are the same: they mean different things.
Changing the proportions between masses and voids
helps impart meaning to them, as well as engages the
viewer on a visual level. Elements that are related may
be clustered together. Separations between individual
or clustered elements indicate they are different in their
meaning. On a visual level, the designer also creates
contrast and rhythm within the composition by changing
the proportional relationships between solids and voids.
As type elements divide space in proximity to one another,
their points of alignment become another important
consideration, in addition to the relation of solid and void.
Aligning elements augments the sense of relationship
between them. Further, alignments between elements The Typography Workbook
A Real-World Guide to
help create directional movement through them within Using Type in Graphic Design
in the format. Timothy Samara The Typography Workbook The Typography Workbook
Rockport Publishers
Gloucester, MA A Real-World Guide to A Real-World Guide to
Using Type in Graphic Design Using Type in Graphic Design
Timothy Samara Timothy Samara
Rockport Publishers
Rockport Publishers Gloucester, MA
Gloucester, MA
Creating distinctions between In the first composition, the In the second, visual structure In the third composition, the
separate thoughts accomplishes elements are clustered together is created when elements alignment of particular
two things: first, the opportunity in a passive relationship with are positioned to subdivide the elements establishes a similarity
to clarify the parts of the message the space of the format. format. Differentiating of meaning among them.
is greatly increased; second, the elements in separate parts Separating an element from
the increased activity of the space can clarify the information and the primary alignment
resulting from the separations create a more active visual distinguishes that element.
adds visual interest and helps structure.
engage the viewer.
15 15
Tables contain specific information

for clarification and comparison.
t Well-designed tabular setting allows
generous space for its components
ge without disconnecting them. The
al proportions of the columns and rows,
and how the elements align,
d contribute to the tables clarity.
Jack Design | USA top

e
Ideas on Purpose | USA bottom
.
Breaking Space within Text: Tabular Structure

Space around text elements within the overall format
helps direct the eye through the composition and clarifies
their shape. Space can also be used to separate material
within a text element, such as a table. For example, a
table of financial information provides a viewer with
groups of numbers that may be added up or compared
in terms of specific variables. Each variable to be considered
must operate along a particular axis, and the specific
values related to each variable must be separated spatially
to distinguish them from one another. The tabular
paragraph is a matrix of exploded thoughts separated
into rows and columns. In using space to break information
into a table, consider the number and sizes of elements
that must be tabulated and, therefore, the number of
alignments that must be introduced to accommodate
them. The number of alignments needed in the table
how many times the space must be subdividedaffects
how close the values in the table are to each other and,
n
therefore, how large their point size may be. The length of
the informational components determines the minimum
width for the columns; the complexity of the list determines
how much space is needed vertically between the rows.
Alignments within the table will depend on the nature of
the information. If the table consists of numbers, such
as financial data, the components will need to be aligned
at the right of each column or aligned around a decimal
point so that their numeric values are clear in comparison.
ity

15 15
Typographic Color
The Visual Texture of Language
Similar-sized elements break a formats space across a single is very much keyed to the functioning of the human optical
plane at what is perceived to be the surface. Changing system and how the brain interprets visual stimuli in the
the typographic color of the elementsaltering their scale world of experience. A larger element, for example,
Contrast!
relationships or their visual darkness, or weightseparates appears closer than a smaller element, because of the
The key to good type them from the surface and introduces the illusion of way the eye transmits images of objects that are closer
layouts is contrast. Use one spatial depth. or further away. A lighter element appears to recede into
or two type families for the distance for the same reason. A texture appears to
a unified feeling, but make Typographic color is similar to chromatic colorlike red,
flatten out, and its shape and value are more important
sure theyre very different, blue, or orangebut deals only with changes in lightness
in determining its spatial depth than its components.
and that each has a full and darkness, or value, not hue. It is also different from the
A line appears to come forward regardless of its weight,
qualities of chromatic color in that it describes changes
complement of weights. but a heavier line comes further forward than a narrow
in rhythm and texture. Typographic elements may be small
line. A typographic color change allows a designer to
or large, dark or light, closed or open, linear or volumetric.
highlight structure and invigorate a page.
These are the changing variables of typographic color that
allow the eye to perceive them as occupying different
locations in illusory deep space. The perception of depth
A A A A A A A A
Dramatic scale changes, even
using a single typeface, create
dynamic typographic color.
Leslie Cheung | USA
15 15
A sentence set twice in the same

point size and style but in two
different weights. The bold sentence
appears spatially in front of the
lighter sentence. It is also darker
and appears tighter, having a
al
more aggressive rhythm.
Typographic color is independent of chroma.
Typographic color is independent of chroma.
o
the subtlety of form in small-size lines of type

is exaggerated in larger sizes
and more so in bold weight
but ambiguous when tinted

The large type appears to be
closer to the surface than the line
of smaller type. The scale of the
large letterforms reveals the
quality of the strokes and
emphasizes their linear nature,
while this linear quality domi-
nates the individual character of
letters in the smaller type. The
larger type comes forward when
solid, but its depth relationship
becomes ambiguous when it is
tinted a lighter value.
The designer of this poster

achieves dramatic typographic
color through the interplay of
tightly spaced, condensed forms
and smaller, more open lines
and negative spaces.
Atelier Varga | Switzerland

15 15
Texture and Rhythm in Typographic Color

Changing the typographic color of elements in relation variety of spatial perceptions. Scale changes affecting a with large-scale letterforms or words. The openness or
to one another introduces rhythmic variety into type single weight or style will likewise change the presence tightness of leading between such lines will similarly
compositions. It also gives the designer further options of the various components: as the scale of a lightweight affect the quality of the texture itself. More interline space
for separating information, as well as adding visual face increases, it will appear to become bolder than its calls attention to the individual lines of type; less interline
interest. Combining various weights and sizes within a smaller sized counterparts. These kinds of changes affect space causes the textural gray aspect to dominate, and
single family of type for example light, regular, and not just the boldness and apparent depth of the elements, the overall shape of the text block becomes more apparent
bold weights will yield an overall unity because the but also their linear, or textural, qualities. Smaller type than its internal linear structure.
styles are all structurally related, while introducing a rich running in lines creates texture that contrasts in volume
The rich variety of typographic

color within this poster (right)
relies on a single type family
Universin all its weights and
widths. Textural elements con-
trast bold large-scale forms.
Amanda Raymundo | USA
Otis College of Art + Design,
Los Angeles: Clane Graves, instructor
Elements of changing typographic

color support the conceptual
communication in this poster. Not
only do the forms themselves change
Letters and words are very in weight, but they are also progres-
strong forms. Their simplicity sively tinted lighter to fade out.
allows them to be dramatically Ralph Schraivogel | Switzerland
manipulated without fear of
losing their identities. When a
letter or word takes on pictorial
Lorem Ipsum Firm | Country
Two typefaces combine for an 2000

elegant presentation in this
wine bottle label. The proportions
of the serif used for Paone and
the sans serif used for Grappa are
similar, helping to visually unify
them depsite their differences.
Paone Design Associates | USA
15 15
Mixing Typefaces
Choosing a variety of typefaces to use in a single project Mixing two similar weight oldstyle serifs, for example, will
depends on the functional nature of the content, not just seem an ambiguous decisiontheir qualities may be
ce the visual effect of their combination. Using several type somewhat different, but overall they will seem too similar
e families together increases the textural quality of typo- and the choice to mix them arbitrary. Using two serif
graphic color, but mixing too many different faces may faces that are radically differenta modern serif and a
nt become visually confusing: what do these changes signify chunky slab serif, for instance will make a clear visual
for the viewer? Are any of the items related? As a general statement. The designer can use these differences to
rulewhich may, of course, be broken in the right context differentiate complex information within a layout. By
using two type families within a project is sufficient for assigning certain styles or weights to captions, text,
visual variety. The choice of typefaces to mix must be and headings in a book, for example, the designer gains
decisive. There must be enough stylistic contrast between not only the added visual activity, but helps clarify the
them so that their individual qualities are clearly seen. information for the viewer.
In choosing to mix typefaces,
AGMpk A G M p k
be sure to select counterparts
with enough contrastbut be
aware of their similarities as
well. In this example, the serif
and the sans serif are radically
different in stroke contrast and
detail, but their construction
is similarly geometric.
Two type familiesan oldstyle

serif (Garamond) for text and a
sans serif (Futura Condensed)
for support informationhelp
separate complex information
in this book spread.
The typeface choices become a

kind of system the reader can
use to navigate through content.
Captions are in two weights of
Futura; running text is set in
Garamond, with special callout
text set in the italic. The two
families contrast each other, but
the designers attention to their
scale and weight relationships
unifies them within the layout.
Yoshino Sumiyama | USA
School of Visual Arts, New York:
Timothy Samara, instructor

8
Point, Line, and Plane

The Expanded Typographic Repertoire
The archetypal structure of letterformsconfigurations of as a word is emphasized. Words separated by space are
lines and dotsis transformed by their organization: a also points whose individual shapes are dominant; these
grouping of letters and words in sequence becomes a line, shapes become secondary as the words are sequenced
a grouping of lines of type becomes a plane. Indeed, the into a line. Since these formal qualities exist in letters and
individual letter is itself a dot. A random grouping of letters words themselves, actual drawn lines, dots, and geometric
in space emphasizes their individuality. As they come forms can also, by their nature, be typographic elements.
closer together, their individuality is lost and their unity
No need for the typographer to restrict him or herself

to letters and numbersdots, lines, and abstract shapes
offer a world of additional possibilities.
. . . ..
. . . .. . . .. .
. . . ... ... ..
. .. . . .. . . .. . . .. . .
. ... ... ... ...
. ... ... ... ...
. ... ... ... ... Dots
. ... ... ... ...

The dot defines a location in space and can act as a point
of reference, indicating a beginning or calling attention
. ... ... ... ... to type that appears next to it. Dots can also indicate
. ... ... ... ...

structure, referring to the crossing points of imaginary
lines or of alignments between type elements. The size
Dots of different sizes and
. ... ... ... ... of a dot is essential to defining itself as such. At the
. ... ... ... ...

arrangements can act as points
instant its size increases so that its outer contour becomes
noticeable, it becomes a circular mass (as distinguished
. ... ... ... ...

of reference, divide spaces,
or become shapes in and of from a circle, which is a curving line that joins itself with-
. ... ... ...

themselves, depending on out end). A circular mass can be interpreted visually as
how they are used.
a plane or as a sphere with weight.
. ... ...
. ...
.
Dept : DTP D/O : 08.04.04(Job no:80872.3 D/O : 19.04.06 Co: CM8) Text Black Dept : DT
15 15
T
Combining lines of different
weights creates a sense of spatial
T
depth. The character of lines in
groups changes depending on
Energy and matter
how they interact, whether
are neither destroyed
T
repeating, slanting, crossing, or
nor ever created. breaking; they become a texture
when the space between them is
E
They only reduced. Lines of dots or dashes
appear to impart texture and activity.
be as they
change
e their forms
nd
ric
s.
Angled lines contrast starkly

with typographic material,
which is primarily vertical and
horizontal. Repeating a perpen-
dicular angle in a stepped
Lines Curved lines show dramatic progression relates to the vertical
movement and appear to expand and horizontal motion of type.
There are two kinds of lines in typographic design. The
in space, contrasting with the
first kind is the invisible, or imaginary, line that appears horizontal and vertical motion
to exist between type forms in space. Two elements that of type. A line curved into a spiral
appear in a direct and uninterrupted relationship are creates the impression of moving
connected by an imaginary line, and this line creates a inward and outward simultane-
ously. Wavy lines are soft, organic,
sense of direction and movement between them. The rhythmic, and fluid.
quality and direction of that movement depend entirely
on the size and weight relationship of the two elements;
movement will be perceived as proceeding from the less
dominant element to the more dominant. Alignments
among elements in a composition are another example
of the imaginary line.
The second kind of line is the concrete line, a line that is Shapes
real. The nature of a line is defined by the space around
.
nt Geometric shapes are also an interesting option for the
it. A single line appears to be a positive element on a
typographic designer to employ in compositions. Their
. background, as does a group of lines with ample space

around them. The quality of a line is related to its thick-
abstract, hard-edged qualities can be visually similar to
.
letterforms and, therefore, integrate easily with them.
ness, or weight. The heavier the line becomes, the more
Their ability to integrate with type forms, yet retain their
. static it becomes, eventually transforming into a solid

plane. A line can also be understood as a dot in motion;
identity as images, means they can create visual links
. ..
es between type and pictures or serve as images themselves.
a sequence of dots in decreasing intervals describes a line
An abstract shape can act as a housing for type elements
that is moving in a particular direction. A line is dynamic
.
Abstract shapes relate to letters
h- or provide transitions between foreground and back-
and directional, and because of its formal affinity with in their architectural simplicty.
ground in a layout. They may act as objects, like the
lines of type, it is structural and spatial as well. Lines can
type itself, or fields upon which
help divide information, emphasize portions of it, enclose typographic elements can be
it, connect it, or highlight it. arranged.

15 15
Delhi composition study

Elizabeth O. Hawke | USA
indicators
textures
Dots and lines performing
various functions: as structural
devices; as markers or indicators;
as decorative elements; and
as communicators.
Schultheatertage poster
Bro fur Gestaltung | Germany
15 15
Oslo composition study

Travis Simon | USA
separators
structures
indicators
textures
markers
Artesia mapping study

Oscar Genel | USA
details
Juana Diaz composition study

15 15
Developing Hierarchy
Clarifying the Content
?
One of a designers most important tasks is helping a The answers to these questions are often common sense.
viewer understand information in a way that makes In a poster, for example, the posters subject is most
sense. Whether a business card, a complex table, or poster, important, so it makes sense that the posters title should
information must be given an order that allows the be the first type the viewer sees. In a table of financial
viewer to enter the typographic space and navigate it. information, the viewer needs to understand the context
This order, called the hierarchy of the information, is of figures being presented, so the headers, which describe
based on the level of importance the designer assigns to the meaning of the figures, need to be easily located. In
each part of the text. Importance ranks the parts that the pages of a book, where running text may interact with
should be read first, second, third, and so on; it also refers captions, pull quotes, and other details, the running text
to the distinction of function among the parts: running needs to occupy a consistent area and be visually noted as
text, for example, as measured against other elements different from these other elements. The effect of these
like page folios, titles and subheads, captions, and the like. decisions is simultaneously verbal as well as visual: treating
Determining a hierarchy is the result of reading the text different parts of a text in different ways changes their
and asking some simple questions: color and rhythm in the layout.
Distinctions of Space and Scale

What are the parts of the information to be designed? There are a number of ways a designer can differentiate
the separate text components within a design. One option
is through spatial organization. Grouping related items
What ought to be the main focus of the readers together, or aligning them along an axis, establishes a
sense of regularity to them. By shifting a specific item out
attention? Does the viewer need to see a certain grouping of alignment, attention is called to it, and this difference
of location alerts the viewer to its importance over the
of words before focusing on the main part?
How do the parts that are not the main focus relate to
the part that is?
Hierarchic concerns play a role The initials S and P of the firms The plus sign that joins the space an actual wordspace.
in this logo for an architectural principals are rendered in black, initials together, although in This separation from the other
practice. The regular geometric creating a hierarchy between gray, remains distinct. elements marks this component
rhythm of the letterforms, along them and the word Architekten as less important overall.
The corporate signature AG is
with their close wordspace and because it places importance on Niklaus Troxler | Switzerland
distinguished from the remainder
medium-value gray color, creates the identifying aspect of the
of the type lockup by a different
a uniform line of strokes. firms name, not its function.
15 15
other elements that remain within the grouping. The

greater the number of spatial distinctions created, the
greater the differences between them must be. More
components in a fixed format means that the spaces
around them become more even and, by default, these
elements will tend to have a similar presence. The
e. result is a flattening out of the hierarchy. In concert with
alignment-related spatial differences distributing
ld material at intervals across the surface the designer
may also use scale change to indicate levels of impor-
xt tance. Larger elements appear to advance in space, calling
be attention to them. Smaller elements appear to recede.
In effect, the optically perceived depth of elements helps
ith to clarify their importance in relation to one another
t their apparent nearness or distance signifies their position
as in the hierarchy. Scale change among elements, unlike
alignment distinctions, changes the typographic color of
ng the elements as well, introducing contrast in light and
dark, tension and stasis. A single typeface in one weight,
for example, will appear bolder if set at a larger size.
on
ut
e
This poster sets up a complex The scale relationships among However, the letters of the title
hierarchy among its informational the typographic elements in this are also letters that form part of
components using changes in postcard (above) create a simple, the hierarchys secondary level
weight and typeface style to but unexpected, hierarchic struc- in a single, smaller size so that
group or distinguish them from ture. The individual letters of the their complete thoughts are
each other. The title, for example, title are unified into a strong easily read.
is set in a black-weight serif at spatial form that distinguishes it Faydherbe/DeWringer | Netherlands
the upper left; its weight and from the surrounding type.
rhythmic curved forms bring it
to the top of the hierarchy. At the
next level down, the column of
black type at the right organizes
more specific information into
a recognizable forma column.
Large-scale typographic image
material in the background is
sent to the lowest part of the hier-
archy through the use of color.
Studio di Progettazione Grafica |
Switzerland
r
nt

15 15
The raw text presents itself in in scale for the primary infor-
a passive composition, lacking mationthe title and subject
visual interest and informational matter of the poster. The fourth
clarity. The power of minute study clarifies the hierarchical
changes to create hierarchy is levels and allows the type to
demonstrated in the second interact with the negative space
study: the first line of each in the format. The fifth study
major section has been set in adds optical depth to the
bold. In the third study, a column hierarchic levels by enhancing
structure groups information their spatial separation with
of related importance together chromatic color changes.
that plays off a dramatic change Timothy Samara | New York
color variation
Typographic Color and Hierarchy
Typographic color plays an important role in establishing In a complex compositional framework, the pages of a book
scale change
hierarchy. Changes in weight, texture or value, and rhythm for example, spatial differentiations not only distinguish
also signify differences between elements, in addition the importance of elements but also their function. The
to the differences implied by spatial separation. Those primary text for reading is located in a prominent, central
alignments
elements that appear to advance forward compete for area of the pageit is the focus of the format, the reason
attention, occupying the top level in the hierarchy. Smaller the format exists and exists in a particular shape. The title
or lighter elements, which appear to recede, decrease for a section of text also appears in a specific location.
in relative importance because they become less active. As a result, it is clearly not running text, regardless of size
Contrast in typographic color between elements must or other treatment. At the top or bottom of the page
be treated carefully, especially among complex or disparate spread, the title of the book or the title of the chapter may
elements. One might assume that making everything appear in the same place on every spread. This running
in the space as different as possible would clearly indicate header (or running footer, respectively) is obviously not a
their hierarchy, but the opposite is actually true. If all the title, because it is not in proximity to the beginning of
elements appear very different, they also appear equally the running text. Its distance from these elements signifies
important to each other, and the sense of hierarchy among its function as an element of secondary importance.
them is destroyed.
At first appearance, all text looks equally important in raw

form. If placed on a page as is, the words form a uniform
field of texture. By manipulating the spaces around and
between text, the designer creates levels of importance.
The uniformity that is usually desirable to keep the reader
moving is thereby purposely broken, creating a fixation
point. The fixation point is interpreted as deserving attention
and is, therefore, more important than the other elements.
15 15
weight change
alignments
The spatial separation of elements The proportions of the pages Another example of the book other elements acts in concert
in the layout of a book spread focus attention inward on the page spread, although this with their spatial distinction to
helps define their functions and text. In this, all the typographic time, the typographic color of exaggerate the hierarchy. The
relative importance. elements are the same size and the elements is also a factor subdued value of the running
weight, but clearly the elements in establishing their hierarchy. header has made it even more
outside the text area are less The chapter title becomes inconspicuous.
important than the text itself. more important when set in
a bold weight. The color of the

15 15
Hierarchies within Text Elements

All the typographic elements within a given space exist in sentences describing the image. A caption for a piece of overall, he or she may opt to distinguish this specific
a hierarchical relationship with the others, ranging from art may consist of a title; an indication of the medium information through a change in weight or, perhaps, by
most important to least important. The need to establish used; physical dimensions; duration of film or video work; enclosing them in a block of tone.
hierarchy within text elements themselves may also be the identity of the creator; and the date of creation.
evident. Captions, tables, and lists are examples of complex The components of such a caption must be distinguished Hierarchy in Lists
texts that may benefit from internal hierarchic distinctions. for readability. The viewer will want to locate specific A list is a complex text form that may categorize listed
components of the information repeatedly; a designer items or include text that qualifies specific items. There
Complex Captions may choose to separate components with punctuation may also be some relationship between items in different
A caption is a short text that describes an image appearing or visually contrasting indicators. categories. Changes in weight, size, and color will help
on a page with the primary text. A caption is usually of to establish such a lists internal hierarchy. The designer
secondary or tertiary importance within a page hierarchy. Tabular Hierarchies must pay careful attention to the leading between the
The content of the caption, however, may need its own In a table, the separation between columns and rows of various parts of the list so that all of its components are
internal hierarchy. It may, for example, include a reference information is an important consideration. By establishing easily separated by the reader.
number or letter that associates it with the image it a hierarchy among elements within a table, a designer
describes. This is often true if several captions are located can help clarify the individual variables, the values being Hierarchic Treatments in List-Based Prose Text
in one area while the images they describe appear else- tabulated, and the communicative goal of the tabular Text that is neither running, a caption, a list, nor a table,
where. Each image and its caption may be numbered or information as well. Some values in a table of financial is an odd phenomenon. It is not a list per se, but it may
indicated by a letter or other markeropposite,above, data, for instance, may be a focusperhaps a companys list distinct thoughts in a strange middle ground that is
and at right, for example. The body of the caption may profit for the most recent year in a table that compares similar to running prose. The most common example of
include distinct informational components independent profit by year. These numbers are related to the other this kind of text includes information related to an event,
of its description: for example, the date a photograph numbers in the table but are more important because like location, time, and event speakers. Depending on the
was taken, or the identity of a photographer. The caption they represent the current years profit. In addition texts editorial style, it may be more or less listlike, but
may even be a collection of components, rather than to the hierarchy the designer establishes for the table each portion can be treated to enhance its accessibility.
Anticipated Memory MEDIUM Oil on paper with wire and inclusions,

objects, scrap metal, and wood SCALE 175cm X 72cm X 9cm DATE NovemberDecember, 2004
COLLECTION The Ryan Estate | The sensuous interaction of the painted surfaces,
The specific values in this
with the tactile quality imparted by the paper and other materials, speaks table of financial data are
distinguished through
to the associations we often make between remembered moments and their changes in typographic color.
physical experiencesespecially those yet to occur.
Hierarchy within a complex are distinguished by a change

2004 2003 2002
caption. A grouping of informa- in weight and case. The title of
tional components is separated the work being captioned is set
from a descriptive sentence in italic, and larger than the text New York 1054.97 997.44 9765.85
the same caption through a describing the work that follows
change in width and weight. the specification details.
Within these informational
components, the indicators
Caracas 705.20 584.36 512.52
Los Angeles 1127.35 995.82 987.22
15 15
A page spread from a brochure

containing a list shows a clear
overall hierarchy among elements
in the spread. Within the list itself,
attention to hierarchical detail
clarifies categories and qualifying
information related to the items
in the lists.
C. Harvey Graphic Design | USA
nt
e,
t,
Two very different versions of

Typography NowAn Exposition Typography Now the same complex paragraph
showcase the role of typographic
Presented by AIGA New York designers as a managers of
An Exposition presented by AIGA N EW YO R K
information. The order of infor-
23 September, 2004 164 Fifth Avenue mational components, how they
Opening Reception 6:00 7:00pm Room 3A

23 September, 2004 are separated or grouped, and
how typographic color is used to
164 Fifth Avenue, Room 3A
clarify them, are important parts
Curated by Ellen Lupton, author of Mixed Messages
of typographic design.
Princeton Architectural Press, 2001 6:00 7:00pm
Opening Reception
Signed copies available at the reception for $45.00
Curated by Ellen Lupton, author of
Mixed Messages
Princeton Architectural Press, 2001
Signed copies available at the

reception for $45.00

15 15
The Typographic Grid

Creating Architectural Space
All design work involves problem solving on both visual communication and production problems that needed
and organizational levels. Pictures, fields of text, headlines, to be solved. A corporate literature program, for example,
tabular dataall these pieces must come together to is a late twentieth-century problem with complex require-
communicate a coherent message. A grid is simply one ments. Among other things, a grid is suited to helping
approach to achieving this goal. Grids can be loose and solve communication problems of great complexity.
organic, or they can be rigorous and mechanical. To
Using a grid permits a designer to lay out enormous
some designers, the grid represents an inherent part of
amounts of information, such as in a book or a series of
the craft of designing, the same way joinery in furniture
catalogs, in substantially less time because many of the
making is a part of that particular craft. The history of the
design considerations have been addressed in building
grid has been part of an evolution in how graphic designers
the grids structure. The grid also allows many individuals
think about designing, as well as a response to specific
to collaborate on the same project or on series of related
projects over time, without compromising established
visual qualities from one project to the next.
The benefits of working with a grid are simple: clarity, Building an effective grid for a given project means
thoughtfully assessing that projects specific content in
efficiency, economy, and continuity. Before anything else, terms of the visual and semantic qualities of typographic
space. A grid consists of a distinct set of alignment-
a grid introduces systematic order to a layout. A grid based relationships that serves as a guide for distributing
elements across a format. Every grid contains the same
helps distinguish specific types of information and eases basic parts, no matter how complex the grid becomes.
These parts can be combined as needed, or omitted from
a users navigation through them. the overall structure at the designers discretion.
Breaking information
text, pictures, illustrations,
and call-outs across a
column grid allowed the
designer to quickly lay
out many similar pages.
At the same time, the
grid structure provided
flexibility for pictures of
different sizes and options
for placing illustrations
and support information.
AdamsMorioka | USA
15 15
Grid Components The Parts of a Page
Margins are the negative spaces
The Anatomy of a Grid between the format edge and the

content, which surround and
define the live area where type
Working with a grid depends on two phases of develop- and images will be arranged.
The proportions of the margins
, ment. In the first phase, the designer attempts to assess
bear some consideration, as they
e- the informational characteristics and the production help establish the overall tension
requirements of the content. This phase is extremely within the composition. Margins
important; the grid is a closed system once developed, can be used to focus attention,
and in building it the designer must account for the serve as a resting place for the
eye, or act as an area for subordi-
contents idiosyncrasies, such as multiple kinds of infor- nate information.
mation, and the nature and number of images. Additionally,
the designer must anticipate potential problems that
might occur while laying out the content within the grid, Flowlines are alignments that
ls
such as unusually long headlines, cropping of images, break the space into horizontal
d
or dead spots left if the content in one section runs out. bands. Flowlines help guide the
The second phase consists of laying out the material eye across the format and can
be used to impose additional
according to the guidelines established by the grid. It is
stopping and starting points for
important to understand that the grid, although a precise text or images.
guide, should never subordinate the elements within it.
c Its job is to provide overall unity without snuffing out the
vitality of the composition. A well-planned grid creates
g endless opportunities for exploration, and a designer
should not be afraid to test its limits. Every design problem
is different and requires a grid structure that addresses
its particular elements. There are several basic kinds of Spatial zones are groups of
m
modules that form distinct
grid, and as a starting point, each is suited to solving certain fields. Each field can be assigned
kinds of problems. a specific role for displaying
information; for example, one
horizontal field might be
reserved for images, and the
field below it might be reserved
for a series of text columns.
Columns are vertical alignments Modules are individual units Markers are placement indicators
of type that create horizontal of space separated by regular for subordinate or consistently
divisions between the margins. intervals that, when repeated appearing text, such as running
There can be any number of across the page format, create heads, section titles, folios, or any
columns; sometimes they are columns and rows. other element that occupies only
all the same width, and someone location in any layout.
times they are different widths,
corresponding to specific kinds
of information.

15 15
The Manuscript Grid

The block, or manuscript, grid is structurally the simplest A standard manuscript structure
for a book. Technically, this
kind of grid. As the name implies, its base structure is a
structure is not really a grid in
rectangular text area that takes up most of the page. Its the full sense, because it lacks
job is to accommodate extensive continuous text, such as multiple intervals for alignments.
a book or long essay, and it developed from the tradition But it is an orthogonal structure
of written manuscript that eventually led to book printing. whose alignments and propor-
tions are considered in terms of
It has a primary structure the dimensions and location a system. The structure of a
of the text block and margins as well as a secondary manuscript grid is defined by
structure the locations and size relationships of the run- the arrangement of the primary
ning header or footer, chapter title, and page numbers, text blocks on the page.
along with an area for footnotes, if appropriate. Flowlines define major vertical
increments from the top of the
Even within such a simple structure, care must be taken pages. In this layout, the text
so the continuous type texture can be read comfortably blocks are arranged symmetri-
page after page. Creating visual interest, comfort, and callytheir placement mirrors
each others across the gutter.
stimulation is important to continuously engage the reader
during long reading sessions. Adjusting the proportions
of the margins is one way of introducing visual interest.
Classical grids mirror the text blocks left and right around
a wider gutter margin. Some designers use a mathematical
ratio to determine a harmonic balance between the
margins and the weight of the text block. Generally, wider
margins help focus the eye and create a sense of calm or
stability. Narrow lateral margins increase tension because
the live matter is closer to the format edge. Although The text blocks in a manuscript
grid may also be arranged
many manuscript grids use margins that are symmetrical
asymmetrically, essentially
in width, it is just as acceptable to create an asymmetrical repeating the structure of the
structure, wherein the margin intervals are different. An left page on the right page.
asymmetrical structure introduces more white space
for the eye to use as an area of rest; it may also provide a
place for notes, spot illustrations, or other editorial features
that do not occur regularly or warrant the articulation of
a true column.
The size of the text type in the blockas well as the space
between lines, words, and treatments of subordinate
material is of incredible importance. Remember that tiny
shifts in typographic color, emphasis, or alignment create
enormous differences in how they are perceived in the
overall hierarchy of the page; in this case, less is usually
more effective.
15 15
ure The straightforward manuscript The manuscript grid in this

structure of this book (left) book (below) fills the page to
n conveys an appropriate sense of narrow margins just within
historical context; the open the format edge. In some
nts. leading and mix of typefaces spreads, text extends across
ure creates a more modern texture. both text blocks, violating the
- Eggers+Diaper | Germany gutter of the book.
of Interkool | Germany
ry
l
e
-
s

15 15
Column Grid
Information that is discontinuous benefits from being adjust the column-to-margin ratio as they see fit. In a
organized into an arrangement of vertical columns. column grid, there is also a subordinate structure. These
Because the columns can be dependent on each other for are the flowlines: vertical intervals that allow the designer
running text, independent for small blocks of text, or to accommodate unusual breaks in text or image on the
crossed over to make wider columns, the column grid is page and create horizontal bands across the format.
very flexible. For example, some columns may be reserved The hangline is one kind of flowline: it defines the vertical
for running text and large images, while captions may distance from the top of the format at which column text
be placed in an adjacent column. This arrangement clearly will always start. A flowline near the top of the page may
separates the captions from the primary material but establish a position for running headers, the pagination,
maintains them in a direct relationship. or section dividers. Additional flowlines may designate
areas for images only or for different kinds of concurrent
The width of the columns depends, as noted, on the size
running texttimelines, a subarticles, or a pull quotes.
of the running text type. If the column is too narrow,
excessive hyphenation is likely, and a uniform rag will be When several kinds of information in juxtaposition are
difficult to achieve. At the other extreme, a column that radically different from each other, one option is to design
is too wide will make it difficult for the reader to find the a distinct column grid for each kind instead of attempting
beginnings of sequential lines. By studying the effects to build a single overall column grid. The nature of the
of changing the type size, leading, and spacing, the information to be displayed might require one component
Commonly used column grids:
designer will be able to find a comfortable column width. grid of two columns and a second grid of three columns,
any number of columns may
Traditionally, the gutter between columns is given a both with the same margins. A compound column grid be used, depending on the
measure, X, and the margins are usually assigned a width can be made up of two, three, four, or more distinct com- format size and the complexity
of twice the gutter measure, or 2X. Margins wider than ponent grids, each devoted to content of a specific type. of the content. Flowlines define
horizontal alignments in
the column gutters focus the eye inward, easing tension
increments from the top of the
between the column edge and the edge of the format. page. Within a column grid,
This is simply a guide, however, and designers are free to a designer has a great deal of
flexibility for arranging type
and image material.
15 15
The inventive use of a primary

three-column grid with
alternating narrow and wide
columns, when needed, creates
a rhythmic movement and
unexpected variation from
spread to spread. Images are
allowed to invade columns
and bleed the format, while
a thoughtfully considered
hierarchy of weights and sizes
contributes to a unified whole.
Switzerland
y
e
Using a compound grid builds

a certain rhythm into a publication.
As the grid changes to accommodate
different information, the rhythm
of each grids occurrence becomes
an integral part of the pacing and
style of the work.
Use Wisely!
Column grids work best for
editorial projects or other
series-based material where
the content may change
often. Be careful how many
columns you use if there
are too many, the layout
will become confusing.

15 15
Modular Grid
Extremely complex projects require even more precise A relatively simple modular grid,
defined by three units across
control, and in this situation, a modular grid may be the
and five units down. The greater
most useful choice. A modular grid is essentially a column the number of modules, the more
grid with a large number of horizontal flowlines that precise the layout may be, but
subdivide the columns into rows, creating a matrix of cells too many increments becomes
called modules. Each module defines a small chunk of redundant. Variations on the
number and stress of the module
informational space. Grouped together, these modules achieve different kinds of pres-
define areas called spatial zones to which specific roles ence for the typographic and
may be assigned. The degree of control within the grid image content.
depends on the size of the modules. Smaller modules
provide more flexibility and greater precision, but too
many subdivisions can become confusing or redundant.
How does one determine the modules proportions?

The module could be the width and depth of one average
paragraph of the primary text at a given size. Modules
can be vertical or horizontal in proportion, and this decision
can be related to the kinds of images being organized
or to the desired stress the designer feels is appropriate.
The margin proportions must be considered simultane-
ously in relation to the modules and the gutters that
separate them. Modular grids are often used to coordinate
extensive publication systems. If the designer has the The enormous potential for
opportunity to consider all the materials that are to be arranging images in a modular
grid is seen here. Combining
produced within a system, the formats can become an
modules into zones for images
outgrowth of the module or vice versa. By regulating the (gray areas) ensures variety as
proportions of the formats and the module in relation well as a unified relationship
to each other, the designer may simultaneously be able with text.
to harmonize the formats and ensure they are produced
most economically.
A modular grid also lends itself to the design of tabular

information. The rigorous repetition of the module helps
to standardize tables or forms and integrate them with
the text and image material. Aside from its practical uses,
the modular grid accords a conceptual aesthetic. Between
the 1950s and 1980s, the modular grid became associated
with ideal social or political order. These ideals have their
roots in the rationalist thinking of the Bauhaus and Swiss
International Style, which celebrates objectivity, order, and
clarity. Designers who embrace these ideals sometimes
use modular grids to convey this. Even simple projects or
single formats can be structured with a rigid modular
grid, adding this additional meaning.
15 15
rid, Complex identity programs

may benefit from the use of a
ter strong grid system. The use
ore of a single typeface and weight,
along with a precisely articulated
s modular grid, clearly identifies
communications for the client
ule and allows a wide range of
- disparate materials to be inte-
grated in a unified way.
Keller Maurer Design | Germany
ar
s
s
The modularity of this website Varying the arrangement of text

(above) keeps navigation clear elements on a grid introduces
while providing flexibility for variety and interest. Here (right,
different content. Two columns above right), text is allowed to
at left contain A- and B-level fill one or several columns in this
navigation. Their depth, together 4 x 6 modular grid as needed.
with the depth of the photographs, Cahan + Associates | USA
gives evidence of the module.
Piscatello Design Centre | USA

Dept : DTP D/O : 08.04.04(Job no:80872.C1 D/O : 13.05.04 Co: CM15) Text Black
15 15
Hierarchical Grids
Sometimes, the needs of a project require an odd grid A hierarchical, or proportionate
grid, creates a system of align-
that does not fit into any category. These grids conform
ments and zones for text and
to the needs of the information they organize, but they images that can be varied page
are based more on an intuitive placement of alignments by page. The proportions of the
customized to the proportions of the elements, rather columns are related very specifi-
than on regular repeated intervals. Column widths, as cally to the kind of information
they will carry.
well as the intervals between them, tend to vary.
Developing a hierarchical grid begins by studying the vari-

ous elements optical interaction and then determining
a rationalized structure that will coordinate them. Careful
attention to the nuances of weight change, size change,
and position on the page can yield an armature that is
repeatable over multiple pages. Sometimes, a hierarchical
grid unifies disparate elements or creates a superstructure
that opposes organic elements in a single-instance format
like a poster. A hierarchical grid can also be used to unify
sides of packages or to create new visual arrangements
if they are displayed in groups. Web pages are examples
of hierarchical grids. The dynamic content that drives
most websites, along with the continued option of resizing
the browser window, requires a flexibility of width and
depth that precludes a strict modular approach but still
A Web page is a common
requires a standardization, or templating, of alignments
example of a hierarchical grid.
and display areas. The proportions between the
alignments change, but they
This kind of grid, whether used to build books, posters, are related to each other, and
or Web pages, is an almost organic approach to the way the orthogonal quality of the
information and elements are ordered that still holds arrangement is very clear.
all the parts together architecturally in typographic space.
Hierarchical grids lend an appearance of not being grid-
structured, although the eye understands the spatial
distinctions or hierarchical treatments within the layout
to have a specific kind of unity.
15 15
te The hierarchical grid for this the informational intensity

- site organizes less important of the content areas in relation
content toward the outer edges to one another the hotter or
e of the page; more important more intense the color, the more
e content, such as branding and important the information
fi- product promotions, occupy within that area.
on the central column area. The Korn Design | USA
schematic below represents
Varying column widths in this

page detail from a newsletter
accommodate primary text
information (left column) and
support information or images
(right column). Narrow rules help
define major hanglines and
alignments within the page.
stressdesign | USA

15 15
?
Breaking the Grid

Alternative Organizational Approaches
Grid structure in typography and design has become
part of the status quo of designing, but as recent history
has shown, there are numerous other ways to organize
information and images. The decision whether to use a
grid always comes down to the nature of the content in
Is a grid the only way to organize information? a given project.
When is it OK not to use a grid? Sometimes, the content has its own internal structure,
which a grid will not necessarily clarify. Sometimes, the
content needs to ignore structure altogether to create
How many ways are there to organize type in a format? specific kinds of emotional reactions in the intended audi-
ence. Sometimes, a designer simply expects the audience
What are they? How do they work? to have a more complex intellectual involvement with
the piece. The publics ability to apprehend and digest
What happens to readability when type is organized information has become more sophisticated over time as
well. One has only to look at television news broadcasting,
in an organic way? where several kinds of presentation oral delivery, video,
still images and icons, and moving typography occupy
the same space, to understand that people have become
accustomed to more complex experiences. In an effort to
create a meaningful impression that competes within this
visual environment, designers have pursued various new
ways of organizing visual experience.
The letterforms and words in

this poster have been masterfully
fitted together in a painterly
texture that seems composed of
torn and pasted chunks of paper.
Simply alternating the color of
the letters in sequence allows
the reading of the poster: from
disorder, to order.
Niklaus Troxler | Switzerland
15 15
Evidence of a column grid,

although greatly deconstructed
in this layout, is visible in the
remnants of a regular rhythm of
columnlike intervals. Reversals
of alignment, half-columns with
small-scale paragraphs shifted
into leftover spaces, and a sense
of fracture are all characteristic
of grid deconstruction.
y Einar Gylfason | Iceland
A basic modular grid (left) can

be deconstructed in a number
of ways, including pushing the
modules around (middle) or
stretching the modules (right).
The more complex the decon-
struction, the more ambiguous
di- the spatial relationships of
the typography that adheres
e
to the new structure will be.
s
g,
o,
e
o
his
w
Grid Deconstruction
As the word implies, the purpose of deconstructing is to normally mark a juncture in the grid is moved to another orientations could be used to explore a more dynamic
deform a rationally structured space so that the elements place. The shifted information may wind up behind or architectural space by creating different axes and new
within that space are forced into new relationships. There on top of some other information if a change in size or spatial zones that interlock. Similarly, overlapping grids
is not one set of rules that can be applied to the process density accompanies the shift in placement. This causes with modules of different proportions, or that run at
of deconstructing. But if the goal is to find new spatial or an optical confusion that can be perceived as a surreal different angles in relation to each other, can introduce
visual relationships by breaking down a structure, its kind of space where foreground and background swap a kind of order to the spatial and directional ambiguity
helpful to at least begin thinking about that process in a places. Shifting grid modules or columns can create that layering creates, especially if elements are oriented
methodical way. An initial possibility is to think about overlaps and a perception of layers within the composi- on both layers simultaneously.
splitting apart a conventional grid. The options here are tional space. These overlapping columns create a sense
varied. First, a designer might investigate cutting apart of transparency where the viewer perceives the columns
major zones and shifting them around. Its important to of text, or other elements, to be floating in front of each
watch what happens when information that would other. A conventional grid structure repeated in different

15 15
Linguistic Deconstruction
Verbal or conceptual cues within the content can also be
used to break structure. The natural rhythm of spoken
language, for example, is often used as a guide for changing
weight, size, color, or alignment among lines of type; louder
or faster words may be set in larger or bolder type or in
italics, corresponding to stresses and lulls in actual speech.
Giving a voice to visual language can help alter the
structure of a text by pushing words out of paragraphs or
forcing modules or columns into relationships where the
natural logic of the writing creates the order. Breaking
phrases and words apart in a running text calls attention
to the individual parts of speech. As the space between
them increases, the text takes on a matrixlike appearance
and the presumed reading order may be changed.
Although generally this would interfere with reading, in
some cases the resulting ambiguity may be appropriate
to the text, yielding associations between words or
images that can be used to augment its literal meaning.
The elements of syntax

punctuation and line elements
are used to create texture and
tension in the composition.
The question and exclamation
marks suggest this kind of
speech and affect the calmness
of the open spaces.
Qwer Design | Germany
Linguistic deconstruction uses alignments are formed. Exploring

the syntax of language as a the architecture of the words
basis for dismantling the regular appropriately reflects the content
order of the typography. Above, of the poster.
syllables and initial letters split U9 Visuelle Allianz | Germany
from their words; careful atten-
tion to the spacing allows an
intelligible reading while new
15 15
Spontaneous Optical Composition

Far from being random, this compositional method can In this poster (left), the seemingly
be described as purposeful intuitive placement of material random arrangement of flies
and letterforms integrates
based on its formal aspects and making connections for
type and image. The composition
the viewer based solely on those relationships. Designers is so random, its possible the
may use this method as a step in the process of building designer used chance operation
a grid, but using this as an organizational idea is just as a purposely arbitrary method
of composing, perhaps scattering
valid. The designer approaches the material much like a
to help find an unstructured
painter does, making quick decisions as the material is layout that doesnt feel forced.
combined and the relationships first seen. As the optical Careful attention is paid to type
qualities of the elements begin to interact, the designer placement for readability.
can determine how those initial decisions affect the com- Uwe Loesch | Germany
munication and make adjustments to enhance or negate

the qualities in whatever way is most appropriate. One
way of exaggerating the spontaneity of a composition is
The designer finds a balance
to perform a chance operation. The use of chance as an between intuitive composition
organizing principle seems counterintuitive. The unpre- and a rigid structure in this
dictable results, however, can often aid in communication poster (below). A symmetrical
dual-column structure is hinted
from a conceptual standpoint by bringing out juxtapositions
at in the alignment of the type
of material that might otherwise have escaped notice. below the gyroscope with the
gyros axis; but the type shifts
around and through the
machine, never really aligning
with anything. The type elements
are placed to create tension and
counterpoint to the arcing lines
of the gyroscope, giving a decep-
tively unstudied appearance.
Intuitive layout approaches result

ing in aggressive, unforced solutions
with a painterly or collagelike
ent presence. The elements exist in
direct, unstudied relation to each
other, imparting a kind of honest
freshness, and the connections
between informational elements
are organic and nonspecific.
The typography in this study for
what could become a CD sleeve
is amorphous and translucent,
reacting to the expressive forms
that surround it.
Creuna Design | Norway

15 15
A primary typeface is used for

major branding in this identity.
A secondary sans serif face adds
Typographic Systems
visual suppport for promotional
items, such as the moving
annoucnement, and a system The vast majority of typographic design occurs in series- versus informational disparities, the potential for undecided
of rule elements provides detail. based projects. Most often, the visual logic of a typographic components, and the economic factors of production
idea must be extended from one format into another: are all initial considerations. A typographic system shares
books, brochures, newspapers, reports, websites, packaging, many of the benefits provided by a grid, although a typo-
animation sequences, film titles, exhibition spaces, print graphic system need not necessarily make use of a grid.
advertising campaigns, television commercialsso many A system relies on establishing type styles, colors, and
projects contain multiple parts or happen over time. supporting elements that will mark its components as
Series-based typographic applications force the designer speaking in a single voice. The most obvious example of
to consider variables beyond the basics of composition. such a system is that of a corporate identity. But books,
The number of items in the system, differing format sizes newsletters, and websites are also typographic systems.
or media, informational similarities among components
Typographic Systems
Books
Each book is a single object, but is
made up of a sequence of formats;
each spread must be unified typo-
graphically yet change so the
experience is constantly refreshed.
Publications
Newsletters or other publications
are serial. Each issue is a single
object, but the visual logic of the
publication must be consistently
recognizable to its readership.
Websites
Web pages are similar to books,
with the caveat that their flow
is nonlinear, and they are likely
to be updated with different
content over time.
Motion Graphics
Film titles and TV commercials
with a typographic emphasis are
peculiar systems in themselves;
their format remains fixed as the
content changes over time.
15 15
The first step in the process of conceptualizing a system is Color and the typographic mast-
to evaluate the entire group of components to determine head define the system for this
newsletter.
whether there will be subgroups within the system. For
Korn Design | USA
example, a series of brochures may be formatted in a similar
ed way, but each edition may carry specific information. If any
of the components already exist (but will be redesigned to
es work with the new system), they are an invaluable source
The answers to these questions will have a profound effect
o- for developing the criteria that will define the system;
on the typography. If the materials, for example, arrive
. some variables can already be accounted for by evaluating
together at once, that implies that each element relies on
these examples. Important questions that must be posed
the others to complete an overall story. This might mean
at this stage include:
that at least two typographic tags must appear on all the
pieces: one unchanging element that establishes the
overall concept; and a second element that distinguishes
Who uses these materials? Which materials do they use it from the others. Or perhaps the elements will be
displayed within a stacked holder, so that only their top
most often, and which do they use together? Is there a thirds are visible. If time-based applications are part of
the mix, the motion or interactivity in these media must
sequence to how these materials get used: does the audience be consideredhow their own logic is referenced in
static media and vice versa. Consider what additional
receive one first, or all at once? materials may need to be createdand by whomas the
system evolves or grows. Accounting for contingencies
such as undecided formats or production by nondesigners
is an important function of the system that must be
s addressed up front.
s;
After the designer has developed a list of limitations, the
o-
Promotional cards in a series actual design process can begin. As in other typographic
use alphabetical sequences as a designing, the search will be for a visual logic that will
d. context for the initial letter of
convey the meaning and emotion of the content, yet work
the given event related to each
card. Within the cards, a system
within the limitations so that no one component feels
of typographic structures and out of place or becomes problematic on a functional or
typeface selection unifies them production level. If the designer reaches this goal, the
from printing to printing. result is an organic system of parts that reaches the audi-
Bro Schels | Germany
ence in a consistently recognizable way and allows for
variation and flexibility in design as the system expands.

15 15
T T
T T
T T
T T
T T
T T
Words that are given visual form become images as well as continue to carry verbal
T T
meaning. This dual nature of typography is a powerful force for communication.
Within a single letterform, word, or phrase exists the potential to simultaneously convey T T
a clear verbal message along with symbolic or emotional messages that mutually T T
enrich each other. In this exploration of typography, the discussion of how type
works focuses on the integral mechanics of the letters themselves. Building on that T T
fundamental understanding of types functional aspects, the discussion turns to T T
transcending mechanics to build communications of great power transforming words
into images and integrating them with the overall visual experience.
T T
T T
T T
T T
T T
T T
T Expressing
Y P O GtheRUnspoken
AP HY
T T
T T
T T
T T
T T
T T
T T
T T
T T
T T
Image and Emotion in Typography T

T
T
T
T T
T T
T T
T T
T T
T T
15 15
C
Y
ALS
15 15
Integrating Type and Image

Getting type to interact with other elements in a compo- The results of poorly integrated type and image fall into
sition especially imagery poses a serious problem for two categories. In the first category, the typography is
many designers. The difficulty of resolving this problem separated from the image areas, while the second category
stems from typographys inescapable functionality. Yet, is typography that has been reduced to mere shape and
similar to elements of a painting or sculpture interacting texture and devoid of its function. Between these two
to create a coherent whole linear elements in opposition extremes lies a magical intersection of reading and seeing,
to masses of dark and light, curves reacting to geometric and the typographer who is sensitive to the word as
angles the elements of typography must form unifying image and as idea is the one who finds this intersection.
visual relationships with nontypographic material around
Bringing words and pictures together means finding a
it. The content of the communication both pictures and
visual harmony between them that best augments the
texthelps the designer weave a unified expression in
reading of the text, while also adding conceptual dimension
which the typography and the images are equal players.
to the image. This connection can be textural (as in seeing
an element within a photograph that a word or sentence
can mimic in rhythm) or structural (as in using vertical
rectangles of text columns arranged against horizontal
rectangles of photographs).
Sometimes, the typography itself is the primary image,

meaning there are no photographs or illustrations accom-
panying it. In these instances, the formal interaction of
the primary type/image and the secondary information
is also important.
Type and image are cleverly inte-

grated in this brochure cover for
Anni Kuan, a New Yorkbased
fashion designer. The primary
type has illustrative qualities
that relate to the subjectthey
are drawn of linear elements
that remind one of threads
and they appear to have been
heated by an iron. The letterforms
darken and bleed as they come
into contact with the image,
creating density and texture
whose overall shape corresponds
to the image. Informational
type has been arranged in four
shallow columns that restate Think About It!
the symmetry of the image, Type works best with
but vary in depth. Threadlike
images when the two kinds
rules further carry the primary
typographic concept of the of materials are considered
main image area. equally important. Always
Sagmeister, Inc. | USA work with type and images
together when starting
a project.
15 15
Typography Fundamentals Expressing the Unspoken
ry
ng,
e
on
g
e
In this poster for a lecture, the overall weight. The poster title visually contrasting the move-
m- primary image of the chaise acts corresponds to this heavy line as ment of the chaise. Supporting
as a conceptual and visual cue a lighter line. Secondary type type at the upper right reverses
for the arrangement of the type. is arranged in a rotated column the alignment but relates in
The image, reduced to its that appears to be resting on logic to the type on the chaise.
essential character, is a long the chaiseconceptually related Pentagram (Michael Bierut) | USA
horizontal line that is heavy in to psychoanalysis, as well as
The elements in this cover (above)

for a restaurant menu demonstrate
a sensitive allocation of space,
weight, and color. The restaurants
name in English appears at the
lower right, quiet and stately in
a light sans serif, set all uppercase.
The muted gray flower creates a
marker for the type. The white
type and the organic form of the
flower correspond to the fluid
cascade of white flowers in the
upper right of the background.
The interior of the menu is a

study in contrasts. The organic
quality of the background images
is contrasted by the repetition
of vertical columns; the geometry
of their alignment helps set the
type apart from the background,
but interacts with the up-and-
down movement of the imagery.
Sean Ryan | USA

15 15
Visual Relationships between Words and Pictures

Interaction between words and pictures happens as a
result of their similar abstract, pictorial qualities. Images
are composed of lights and darks, linear motion and
volume, contours, and open or closed spaces, arranged in
a particular order. Type shares these same attributes.
It is composed of lights and darks, linear and volumetric
forms, contours and rhythms of open and closed spaces,
also arranged in a particular order. The task is to find
where the specific attributes of both come together.
Laying type across an image is a quick way of finding visual
relationships. Their immediate juxtaposition will reveal
similarities in the shape or size of elements in each. The
rag of a short paragraph may have a similar shape as a
background element in a photograph. An image of a land-
scape with trees has a horizon line that may correspond
to a horizontal line of type, and the rhythm and location
of trees on the horizon may share some qualities with
the types ascenders. At the opposite end of the spectrum,
the image and the typographic forms may be completely
unrelated in opposition to each other. Opposition is a
form of contrast that can be equally viable for integrating
the two materials. A textural and moody image with great
variation in tone, but no linear qualities, may work well
with typography that is exceptionally linear. The contrast in
presentation helps enhance the distinct qualities of each.
A schematic diagram, left, the spread. Note that the typog-

shows the tonal composition of raphy doesnt simply mimic the
the photograph in the page composition of the image but
spread above. The angles and expands on it by introducing
proportions created by the tonal additional divisions and tonalities
areas give rise to a network of that relate to those found within
alignments that the designer the image.
has used as a guide in arranging Gunter Bose | Switzerland
the text on the right page of
15 15
Placing the type directly onto

the image permits a quick
comparison of the shapes within
both elements. This poster
treats the type so that it repeats
both the scale changes of
forms in the photograph and
the directional movements
between the forms.
Bohatsch Visual Communication |
Austria

15 15
AR
AR
The type within the image
becomes a part of the image
(top). The same type, placed
adjacent to the image (middle),
AR
retains its identity as a separate
element, but its shape may be
related to shapes within the
image. By crossing the image,
the type occupies an ambiguous
space (bottom). It appears to
flatten out against the page
surrounding the image, but
appears to float over the image
as it crosses it.
15 15
The geometric
Consider the location of the type relative to the image alignment in a
and the attributes of the images outer shape in relation block of text
to the format. An image cropped into a rectangle presents
three options: the type may be enclosed within the image; will naturally
the type may be outside or adjacent to the image; or the
type may cross the image and connect the space around counter the
it to its interior. Type that is placed within the field of a organic, irregular
rectangular image becomes part of it. Type adjacent to
the same image remains a separate entity. Its relationship
The relationship forms within a
to the image is dependent on its positioning and any
correspondence between its compositional elements and between the image silhouetted image
those in the image. The type may align with the top edge if the image
of the image rectangle, or it may rest elsewhere, perhaps shape and the
in line with a division between light and dark inside precedes the
the rectangle. Type that crosses over an image and into
the format space becomes both part of the image in
rag becomes alignment in
the rectangle and part of the elements on the page. Its position
location in space becomes ambiguous. dominant if the
rag enters
into the images
contour.
Silhouetted imageswhose contours are free from

enclosure in a rectangle share a visual relationship
with the rag of paragraphs or columns, but also
share an opposing relationship with their alignments.
Type adjacent to a silhouetted image offers more or
less contrast or similarity depending on its location
relative to the image. If the rag leads into the image
contours, the two elements flow together, and the type
), may seem to share the spatial context of the image.
te
The arrangement of the word
Bringing the vertical alignment of a column into
VOTE follows the diagonal proximity with an images irregular contour produces
axis of the water ripples and the opposite effect: the type advances in space and
us shows the effect of them on its disconnects itself from the spatial context of the image,
strokes. Its location also draws
appearing to float in front of it. The strong contrast
the darker blue of the lower
right area upward into the between the aligned edge of the type and the contour
e lighter portion of the format. of the image may then be countered by the irregular
Doyle Partners | USA contour of the columns rag.

15 15
The texture and arrangement of

the word April in the poster (right)
transforms the typography into
an image of rain.
Leonardo Sonnoli | Italy
Formal Congruence
Similarities between type elements and pictorial elements
make a strong connection between the two. Every image
portrays clear relationships between figure and ground,
light and dark, and has movement within it. Objects
depicted in photographs have a scale relationship with
each other and proportional relationships with the edge
of the image. When typographic configurations display
similar attributes to an adjacent image, or expand on
those attributes, the type and the image are said to be
formally congruent. There are an unlimited number of
ways for type to become congruent with an image. The
The typographic elements
on the CD respond to the linear
selection of a particular face for the type may relate to
weights and diagonal tonal or textural qualities in the image. A bold-weight
orientation of the graphic face, for example, may have a similar visual texture to the
images and rules. shadows cast by small stones in a beach scene. Or, two
paragraphs, one above the other, could be set in different
15 15
The type in this series of studies

is related to the image alternately
by position, by repetition of
linear movement, by alternation
of weights, and by the angle of
its alignment.
strength of glass and steel

rhythmic linear progression
rigor, repetition and reflection
the summary of planning
strength of glass and steel strength of glass and steel
mathematical poetry
mathematical poetry mathematical poetry
nts weights to mimic the lightness of the sky and the darkness natural architecture, it may still react to the compositional
e of the ocean. These paragraphs may evolve the logic of architecture within the image. For example, a rectangular
the beach scene as well, not just imitating it but adding photograph of a building that has been shot with extreme
another conceptual relationship: if the two paragraphs perspective offers opportunities for typographic composition
a light one above and a heavier one below are set within and outside of its picture box. The linear rhythm of
e staggered, with dramatically uneven rags, they may suggest windows, advancing into space, may be repeated by lines
the ebb and flow of the ocean and the motion of wind. of type that are separated by more and more space, con-
These ideas do not visually exist in the image, but their tinuing the perspective outside the picture box. The space
truth is brought out through the treatment of the between a regular column of type and the image may
typography. Instances in which type extrapolates the formal correspond to progressively increasing intervals elements
qualities in an image create powerful emotional and in the photograph, and the sense of space established in
intellectual responses in the viewer. Type that is adjacent the picture will intrude into the format that surrounds it.
to an image can also be formally congruent in terms of The type connects optically to this space, and so all three
he its position relative to the image. In this kind of formal elements image, format, and type appear to share the
congruence, the image exerts an influence on the compo- same physical space.
nt sition of the page as a whole. Even if the type retains its

15 15
The grid used to structure this

Integrating Images with a Grid layout defines the possible
Using a grid structure to organize pictures and text proportions of images; pictures
may occupy the space created
produces the opposite effect of altering the typography;
by one, two, three, or four grid
it alters the images so that they become formally modules across and up to six
congruent with the type. The horizontal and vertical axes modules deep. A smaller image
of type are an intrinsic, formal attribute of typography. relates visually to the structure
and to the type itself. As the
By organizing images into a grid that repeats these
image becomes bigger, its inter-
attributes, their internal visual qualities are subordinated nal visual qualities come to
to the structural expression of the page. As the modules dominate, creating contrast
permit the images to increase in size, the images internal between itself and the type.
logic becomes more pronounced, and the structural quality
of the type begins to contrast the image. This fluctuation
between formal congruence and opposition is another
attribute of composition imparted by the grid.
15 15
!
Formal Opposition
Alternatively, relating typographic elements to images same way that a hierarchy is destroyed if all the elements
by contrasting their visual characteristics is also a viable are completely different, so too is the strength of the
way of integrating them. Although seemingly counterin- contrast in opposing forms weakened if all their character-
tuitive, creating formal opposition between the two istics are different. In the example of the M and the O,
kinds of material can actually help clarify their individual a designer might choose to keep the two characters the
characteristics. Contrast is one of the most powerful same size and weight. To enhance the opposition of their
qualities that a designer can use to integrate material geometryangle against curvea very circular O may be
by their very difference, two opposing visual elements selected to oppose a condensed italic M. The shift in the
become more clearly identified and understood. Within Ms posture and width augments its angular quality; the
a letterform combination of an M and an O, for instance, rounder O more powerfully opposes the angled M.
the fact of the Ms angularity is reinforced by the curved
strokes of the O. The movement within each form is
made more pronounced, and the two elements fight for
visual dominance. The caveat is that some congruence
between the elements must also exist so that the opposing Contrasting the visual qualities of different type elements
characteristics are clearly brought into focus. In the
is just as valid a way of integrating them as making them
similar. When the qualities of two type elements, or type
and an image, are formally opposed, they each become
more recognizable and distinct.
A study of the two letterforms,

O and M, interacting, reveals
both congruence and opposition.
Their inherent differences are
made more pronounced by
changing the posture, weights,
and positions of the letters.

15 15
The same abstract pictorial qualities of image and type The number of options for relating
are the source for creating opposition, as they are for type to image are virtually
endless. In these two studies, the
creating congruence. A soft-focus photograph with muted selection of typeface and weight
detail and light tonal values overall may suggest a create formal opposition between
bold-weight sans serif typeface; another option may be the type and the image.
a regular-weight modern serif face with a great deal of
contrast in the strokesthe opposite of the photographs
lack of contrast. Yet another option may be a light-weight
text with very active details, so that the passive, neutral
character of the image is counteracted by the stylized
quality of the typeface. In all three cases, some quality
of the type is congruent with the image, but its primary
quality is formally opposed to it.
Total clarity of relationship

created by the complete
difference in color, arrangement,
and visual thrust between the
corn cob image and the type
is demonstrated in this spread.
Felix Estrada | USA
15 15
The two spreads from this annual

report show two grids opposing
each other. The type is structured
on a grid of narrow columns with
a more vertical emphasis; the
images are aligned on a second
grid with more horizontal
emphasis. Where the two layers
of information interact, a great
deal of tension is created, but the
layout is very clear because of
the decisive spatial distinction
between the two layers.
First Rabbit GmbH | Germany
Opposition can be created between elements through

spatial or structural means. If all the typography is
aligned on a grid and set justified, its geometric quality
may be clearly opposed by organically shaped images.
Opposition could also be created by positioning rectangular
photos randomly or on a second grid that interferes
with the type grid. Although a grid most often is used to
create a system of proportional options for text that is
spatially congruent with the structure, it can also be used
to impose structure in a mannered way to create unex-
pected interactions between text and image. The opposition
between type and images creates an indisputable sense
of order because they are dramatically different. Spatial
or grid-based opposition offers a directness and immediacy
that is augmented by the opposing structural logic.
Seen another way, the aggressive presentation of elements
in opposition can be jarring, but this may have value.
Optical disturbance is as valid a communication as is
optical harmony; it may be entirely appropriate to make
the viewer uncomfortable, nervous, or tense.

15 15
Type as Image
Transforming Words into Pictures
Letters and words are very strong forms. Their simplicity a viewers capacity to recall images explains why corporate
allows them to be dramatically manipulated without fear identity exists in the way that it does. The business com-
of losing their identities. When a letter or word takes on munity learned that identification and memory were key
pictorial qualities beyond those that define their form, to building market share and brand loyalty, and the surest
they become images in their own right, and the potential way of triggering memory in consumers was to identify
for impact is enormous. Words that are also pictures fuse their businesses with strong word images: the logo and its
several kinds of understanding together. As their meaning variants, the wordmark and letter symbol.
is assimilated through each perceptual filtervisual,
the word
Like so many aspects of strong typographic design, making
emotional, intellectualthey assume the iconic stature of
type into an image means defining a simple relationship
a symbol. Understanding on each level is immediate, and
between the intrinsic form of the letters and some other
visual idea. It is easy to get lost in the endless possibilities
of type manipulation and obscure the visual message or
dilute it. A viewer is likely to perceive and easily remember
Making type into a picture creates enormous opportunity one strong message over five weaker onescomplexity
is desirable, whereas complication is not.
for the designer. When typography becomes something
and the image

more than just what it says, its communicative power is
dramatically increased.
How can type become an image?
are one By pictorializing the numerals

of the year in this poster, the
designer not only creates an
image but communicates the
theme of the lecture being
promoted in a clear, direct,
and humorous way.
Pentagram (Michael Gericke) | USA
15 15
te
-
y
st
its
ng
r
es
r
ber
The type in these two theater In the Godot poster (right), the
posters from a series acts in title is transformed into an envi-
different ways as images. In the ronment that acts as a context
Katharina Knie poster (left), for the small figures at the top.
the type becomes graphic objects Gnter Rambow | Germany
that interact with the other
images in the same space.

15 15
Type may be transformed into an image using a variety

of approaches. Each provides a different avenue of
exploration and several may be appropriate both to the
desired communication and to the formal aspects of
the type itself.
Pictorialization
When type becomes a representation of a real-world
object, it has been pictorialized. It may interact with other
real-world elements, such as figures or environments,
as though the type and the figures, for example, may be
existing in the same space; the figures interact with
the type element as though it is the thing it represents.
Alternately, the type may exist independently of other
images but begin to look like a real-world object. For
example, the forms are drawn to appear to be made
out of a recognizable material or form part of a recogniz-
able object. Or, the type forms may affect elements or
Fitrttir newsletter page the space around them in a naturalistic way, such as by
Einar Gylfason | Iceland far right casting shadows or rippling water in an adjacent image.
Bateaux Sur LEau, Rivires et
Canaux poster
Philippe Apeloig | France right
15 15
Pictorial Inclusion
Illustrative elements brought into the type forms so that
they interact with its strokes or counterforms are said to
be included. The type retains its essential form, but the
pictorial matter is integrated by reversing out of the type
or by replacing the counterforms within or between the
letters. Pictorial inclusion is an effective strategy when the
designer wants to achieve scale impact within a limited
format; since the inclusions occur within the type, it can
fill as much of the format as possible without sacrificing
space for pictures. Further, the pictorial inclusion fuses
with the type and transforms it into image, despite the
fact that it is not an actual part of the type forms.
Form Alteration
Changing the structural characteristics of type elements
r is a strategy for aiding in comprehension and recall.
Altering the form of an adjective a word that describes
somethingso that the alteration performs the quality
of the description is one example. Form alteration can
be illustrative or not the word heat could be illustrated
by drawing the letters as though theyre literally on fire;
or the forms could be altered so that the letters appear
to be melting. Altering type elements may have a syntactic
- component as well. If the word growth is set so that
the letter O is larger than the other words, it involves the
words vowel, exploiting the syntactic quality of the
vowels sound by exaggerating its visual presence as it
relates to the words meaning.
B & G Sawin logotype

What!Design | USA top
STIM logotype
Living Stereo CD packaging
Timothy Samara | USA middle
344 Design, LLC | USA above left
Taipei wordmark
Asahi Television identity
Wongi Ryu | USA bottom
Taku Satoh Design Office | Japan below left

15 15
Form Substitution
Replacing a type form with a recognizable object or another
symbol is referred to as a substitution. Substituting one
form for another is a kind of pictorial inclusion, but because
the image is substituted for a letter, a very different visual
relationship has been achieved. Many real-world objects
resemble letterforms. Circular objects are often substituted
GLUT performance poster for a letter O, or a tree substituted for a letter Y. Careful
Atelier Bundi | Switzerland right
attention must be given to legibility. The closer the resem-
Fort Tryon Park logotype blance of the image to the letter it has substituted, the
STIM Visual Communication | USA below
more legible it will be.
F O R T T R O N PA R K
Form Combination Syntactic Deconstruction

One kind of form alteration mixes several strategies Changing the visual relationships between the parts of
together, and is itself called a combination. When a letter a word or phrase is a deconstructionand the fact that
or word is combined with another formrepresentational it is related to the nature of meaning makes it syntactic.
or abstractso that the two images exist as one, it is The cadence of the spoken word can be used as a clue
referred to as a form combination. This strategy combines for deconstructing it. Another catalyst for deconstruction
the ideas of substitution, alteration, and pictorialization. can be found in a words syllables. Changing the scale,
The clearest example is that of a logo or wordmark in weight, or spacing of the root word, the prefix, the suffix,
which one of the letters is clearly itself and something else or the individual letters to impart meaning are all ways
at the same time. If the image combined with the letter- of deconstructing the word. Changing the spacing of a
form is that of a recognizable object, the alteration takes word like staccatoa musical term meaning a stilted
on the quality of a substitution. If the letterform is combined separation between notesso that the letters become
with abstract shapes the combination becomes more of a rhythm of dots is a clear example.
a form alteration.
Crosswalks identity

Timothy Samara | USA left, middle
Becoming American identity

Lynn Fylak | USA near right
15 15
Objectification
Creating type elements out of actual objects reverses
the logic of pictorializationrather than transforming the
type into an image that refers to the real world, naturally
URANIUM
occuring materials are used to make letterforms. Because
words treated this way have the credibility of hard objects,
they take on a solidity and symbolic power that is hard
to match. The choice of material with which to make the
type forms is profoundly significant; the same word
formed in glass and then in dung will take on dramatically
different meaning. Added to the symbolic potential is
l etat O
the opportunity to incorporate unusual photographic
images that are all the more striking.
sauvage
. .............
I M P R I M AT E U R S
Ornamentation
Lastly, typographic elements may be transformed into
images by adding ornamentation: borders, outlines, dots,
. dingbats, lines, geometric shapes, to name a few. The
ornament may be structurally related to the typography,
n or it may be purely decorative. The scale and nature of
the ornamentation will have an impact on the type. If the
x, ornaments have some kind of symbolic or representational
quality, they may take on the aspect of an inclusion and
therefore be more strongly connected to the meaning
of the word. If the ornament occurs between word parts,
it may have syntactic qualities. The style of the ornament
may affect the viewers sense of the historical context
of the type; for example, a flourish or antique dingbat from
a particular period. Ornamentation that is representational
may also take on the aspect of a form alteration or a
pictorialization; a double outline of three weights around
the word Uranium logotype (top) is an example of orna-
Uranium wordmark mentation becoming pictorial.
e STIM Visual Communication | USA top, right
Ltat Sauvage identity

STIM Visual Communication | USA middle, right
Truth photo illustration

Doyle Partners | USA above

15 15
Color in Typographic Expression

Typographic color in a composition refers to the textural
qualities, as well as the relative darkness or lightness, of
the type elements. But chromatic colorthe perceptual
difference among colors like red, blue, or orangecan also
play a dramatic role in typography. A composition in
black and white, for example, may exhibit very dynamic
typographic colorcontrast in scale, gray value, and
spacingeven though the type appears only in black.
The same composition may be enhanced by coloring these
elements or background to add dimension, expression,
and informational clarity.
The intrinsic attributes of color

are hue, saturation, value, and
temperature. Each attribute
affects the same color in different
ways. Darkening the color
tends to decrease its intensity,
as does making it lighter.
co
Changing the colors temperature
affects its relative hueas it
Hue Saturation Value Temperature gets cooler, it becomes more of
The identity of a color Brightness or dullness; intensity Darkness or lightness of a color Warmth or coolness of a color a burgundy; as it gets warmer,
it appears yellow-orange.
Yellow Less saturated Deeper value Cooler (shift toward blue)
Red Used for comparison > Red Red Red
Blue More saturated Lighter value Warmer (shift toward yellow)
Understanding how colors work optically is an important

step in understanding how they will affect typography.
15 15
The contextual relationship of

color is evident in this study
of a violet interacting with other
colors. Value, temperature, hue,
and saturationas well as the
amount of each color interacting
all contribute to how the colors
appear when they come in contact.
Il faut voire combien dune couleur existe dans les mots.
e
les mots
The color in the line of small type
appears darker (and less colorful)
than that in the line of larger type,
even though the color of the
type is the same in both examples.
Neither appears as colorful, nor
as light, as the field of the same
color shown at right.
r
d
ent Formal Aspects of Color

A single color is defined by four essential qualities: hue, when brought into context with another color. A blue may
color!
saturation, value, and temperature. Hue refers to the appear dark against a white field but may appear light
ure
essential identity of a color red, violet, orange, yellow. against a black field. The same red may appear warm next
f The colors saturation describes its intensity. A saturated to a violet but cool next to a yellow or orange. A pale violet
color is very intense or vibrant. Colors that are dull are may appear intense against a warm gray background or
said to be desaturated. A colors value is the aspect most desaturated against a cool gray background; it may appear
closely related to typographic color its darkness or light- neutral (completely desaturated) if placed against a
ness. Yellow is perceived as being light; violet, as dark. vibrant orange background.
The temperature of a color is a subjective quality that is
Colors that are similar in value enhance each others inten-
related to experiences. A warm color, like red or orange,
sity, but their optical separation becomes less distinct.
reminds us of heat; a cool color, like green or blue, reminds
Two colors of a similar value that are complementary
us of cold objects, like plants or water.
opposites on a color wheel create a severe optical buzz
The perception of these color characteristics is relative, when brought together; their similar values decrease
t changing as different colors come in contact. The perception their optical distinction, but their opposing hues mutually
of hue is the most absolute: a color is either seen as blue increase their intensity to the extreme.
or green. However, if two similar blues are placed next to
each other, one will be perceived as having more red in
it, and the other will be perceived as having more green
in it. This perceptual change can only happen when two
colors are close enough to be compared. A colors value,
temperature, and saturation will also appear to change

15 15
Color and Space

Color exhibits a number of spatial properties. Cool colors
appear to recede while warm colors appear to advance. Of
the primary colors, blue appears to recede and yellow to
advance, but red appears to sit statically at a middle
depth within space. A color will appear darker the less
there is of it. A large rectangle and a narrow line of the
same color will appear to have different values if set
against a white backgroundthe color in the rectangle
will appear lighter than it does in the line, because the
line is surrounded by much brighter white space.
Chromatic color can have extraordinary impact on the

typographic color of the elements to which it is applied.
The relative value of colors is an aspect that demands
great care in regard to how it affects legibility, especially
in instances where a colored background interacts
with colored type. As their values approach each other,
the contrast between type and background diminishes,
and the type becomes less legible. The effect of color on
hierarchy within a composition is pronounced, especially
in terms of value, as this aspect of color corresponds
directly to typographic color.
M M M
M M M Value, hue, and saturation play

definitive roles in the typography
of this catalog cover. A similarity
into the background. Dramatic
value changes in the artists
names at upper right puts them
in intensity and valuebut not at the top of the hierarchy.
in huebrings the background The white type is more different
As the relative values,
and the title, Painted Faces, into in value from the background
temperatures, and saturation
a close spatial relationship; the than is the black, and so it comes
M M M
of type and background
colors are nearly complementary forward in space.
change, so do their apparent
and appear to buzz, but their Paone Design Associates | USA
spatial relationshipsalong
closeness in value sends the type
with legibility.
15 15
Hierarchic Distinction through Color

Applying color to a typographic composition will have an depending on their color relationship. If the colors of
immediate effect on hierarchy. The intrinsic value relation- type and background are related, the two elements will
ships of typographic color may be exaggerated through occupy a similar spatial depth. If they are complementary
the application of chromatic color, and therefore clarified. in nature, the two will occupy very different spatial
Color distinctions can greatly enhance the perception of depths. It is important to maintain considerable contrast
spatial depth and force greater separation between the between the type color and the background color so that
hierarchic levels. For example, if the information at the top the type remains visible. Color may also be used to link
of a hierarchy is set in a deep, vibrant orange-red, while related informational components within the hierarchy
the secondary information is set in a cool gray, the two of the composition. In an event poster, for example, all
levels of the hierarchy will be visually separated to a much the information related to the time and place of the event
greater degree. Although the values of the colors are may be assigned a particular color, which may relate to
similar, the saturated orange type will advance in space, the color assigned to the title of the event. The color
and the cool gray type will recede. The application of color relationship of the two informational components creates
to the ground within a composition can further enhance a meaningful link for the viewer and serves to clarify
the hierarchy. Type in one color, set on a field of another the information.
color, will join closely with it or separate aggressively,
An overall color establishes a

hierarchical base against which
color changes help distinguish
the importance and relationship
between typographic elements.
In areas where the color change
from the background pink
becomes more extreme, the
information they carry becomes
more important.
By arranging the contents listing therefore, more noticeable

in this page spread on a gray higher in the hierarchy. Color
background, the designer saturation can enhance the
decreases the contrast between dominance of the word Innhold
background and text. At the (Contents): its scale helps, Keep It Simple
same time, reversing the list but the vivid red against the Fewer colors with rich
headings out white from the neutral background really
gray background increases their distinguishes its importance.
relationships between them
contrast. The headings are, Creuna Design | Norway will help clarify hierarchy,
as well as introduce an
overall visual harmony.

15 15
Psychology of Color
With color comes a variety of psychological messages that with purity or cleanliness. Because of the history of Western
can be used to influence the verbal meaning of typography. civilization, violet conveys authority and luxury to members
This emotional component of color is deeply connected of that culture. Most cultures respond to blue with an
to human experience at an instinctual level, as well as association of water or life. Blue is also often perceived
being influenced by the socialization process. Many of as deeply spiritual or contemplative, perhaps because
the psychological properties of color are dependent on the of this particular association. Clearly, selecting a color for
readers culture. Many cultures equate red with feelings specific words in a composition can add meaning by Color conveys a strong mood,
whether specifically applied to
of hunger, anger, or energy because red is closely associated linking its associations to the verbal message. A headline
typographic elements or the
with meat, blood, and violence. Vegetarians, by contrast, or title set in one color may take on additional, or com- overall composition, as in this
may associate the color green with hunger. In Western pletely different, meaning when set in another. Comparing event invitation. The controlled
cultures, which are predominantly Christian, black is asso- color options for type simultaneously helps determine palette of neutral colors with
ciated with death and mourning, but Hindus associate which color is most appropriate for the communication. similar values supports the
serene, elegant communication
death with the color white. Christians associate white already transmitted by the
selection of classical serif and
sans serif forms.
Poulin+Morris | USA
Dept : DTP D/O : 08.04.04(Job no:80872.C1 D/O : 13.05.04 Co: CM15) Text Black Dept : D
15 15
ed
For Westerners, the use of red

and green together immediately
marks this card as pertaining to
the winter holidays.
Ruedi Regg | Switzerland
The word stop is transformed by color,

sometimes supported in meaning and
sometimes opposed. Curiously, the idea
of stopping is very clearly conveyed
by the version set in a very loud,
vibrant color.

15 15
Color Coding in Systems

Within a complex system, such as a corporate identity For a company that produces software and manufactures an overall grouping, but care must be taken to ensure
or a series of brochures, color can help distinguish different equipment, for example, color may be used to brand that the viewer is able to perceive the differences between
kinds of information. In addition, color coding may be the components of the overall system as related to the the colors. Pushing the colors farther apart in relation
able to expand the color vocabulary within a brand, creating company, but a secondary palette may distinguish software to each other may help the deep blue may be skewed
a rich and evolutionary experience that helps clarify the brochures from equipment brochures. Within each of toward the violet while yellow is added to the green,
brand in the minds of its audience, while creating flexibility those categories, additional color coding may help distin- for example.
for the designer. If a companys identity relies on a specific guish brochures that are overviews from those that are
deep blue, a secondary palette of lighter blues, a violet, more specific or technical. To be effective, color coding
and a green-blue might be used to expand the systems must be relatively simple and must be easily identifiable.
color vocabulary and for coding the companys literature. Conversely, using more colors for coding creates confusion,
A secondary palette may include very different colors as the viewer is forced to try to remember which color
in this hypothetical example, perhaps a vibrant golden relates to which information. Color coding within a related
orange or a deep fuchsia as accents that can be used to set of huesa deep blue, an aqua blue, and a green
add contrast or distinguish certain types of information. can help distinguish subcategories of information within
A consistent typographic treat-

ment works with a changing
palette of complementary colors
to create an overall color system
for the packaging. Although not
typographic color-coding per se,
the link created between the spe-
cific typographic forms and the
sophisticated combinations of
colors chosen for each product
takes on systematic qualities.
15 15
en The powerful mnemonic effect of color makes it

ideal for clarifying verbal information within complex
systems, such as extensive product literature.
Within this manufacturers within the Instruments sub-

overall branding color palette system as the collateral becomes
of fuschia and orange, a more technical. By limiting the
secondary palette distinguishes palette and keeping the code
product offeringsa neutral colors as distinct as possible,
brown for Instruments, and a the designer ensures the differ-
smoky blue for Informatics.
The amount of color applied to
ence between product groups
is never confused.
Instruments Informatics
type and elements decreases STIM Visual Communication | USA Spectrometers Scanning Software
Scanners Workflow Management Tools
Analytical Hardware Systems
Ar Ar
Ar
ARGON ARGON
Application Note Technical Note
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15 15
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T T
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TYPOGRAPH Y
T T
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I N PRACTIC E
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15 15
T T T T T T T T T T T T T T T T T T T T T T T T T T T T
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15 15
Historically, the province of letterform design was restricted to a scarce few typographers with
a scholarly background. With the development of computers and graphical user interfaces,
typeface design has been democratized, and in recent years the number of new faces available
has proliferated. The ease with which designers can build their own alphabets is unparalleled.
Interestingly, the result has been two sided. On one hand, the ability to investigate type design
so easily has encouraged some designers to pursue training in traditional methods; on the
other, it has encouraged experimentation with radically altered and inventive letterform designs
that speak to the complicated visual tastes of the age. Typeface designs of this kind, while
not necessarily adhering to accepted notions of good form or legibility, nevertheless help evolve
the visual language of the culture. Regardless of training or intent, designing typefaces
requires an acute sensitivity to formal detailsthe letters in a character set must visually feel
related through their internal logic.
T Typeface
Y P O Design
GRAPH Y
IN PRACTIC E
15 15
Creuna Design, located in Norway, is headed by Stein vre and Frode Slotnes, who
regularly create custom typefaces for their personal, as well as professional, use.
Their roster of clients in the publishing and entertainment industries benefits from
their combined devotion to creating new type forms, often as part of a branding
programthe custom nature of a projects typeface becomes an important aspect in
differentiating their clients brands. Here, Stein and Frode discuss their approaches
to designing typefaces.
th What interests you about designing typefaces, and what Talk a little bit about a couple of favorite typefaces Do you draw your letters by hand first and then digitize,
training did you have for drawing letterforms? that youve designed. How did you approach designing or do you work directly on the computer?
them? What did you think about?
le Stein vre: Ive had no courses. Designing letterforms Stein: I do rough idea sketches by handto get the right
. is really a pure expression of certain individual styles. Stein: One of my favorites is Jersey Girl Electroclash. I had feelthen the rest of the process is done on a computer.
When using my own letterforms in a design, I just feel a basic idea for a font that somehow should express my
gn the whole design becomes more personal. Its more free, interest in the edge and simplicity of the musical style
Frode: Usually, I draw them directly on the computer,
but Ive made some hand drawn fonts and rough stencil
like a painting, as opposed to placing templates in a electroclashboth glamorous and militant. Instead of
or typewriter fonts where I trace, print, and scan to get
gns certain order on a page. Ive been interested in type making a font from scratch I transformed the free font
the right feeling.
and the effect of typestyles since I was a child. An early T-Series by Territory to fit my idea . . . the challenge was
key inspiration for me was the record sleeve for the Dire to make it as different from T-Series as possible. What are your favorite typefaces and why?
olve Straits album Making Movies. I believe this single piece Stein: I like Berthold Akzidenz Grotesk for its neutrality.
Frode: Im partial to GCE. I surfed the Net for propaganda
of work really got me interested in typography. Its my default text typeface. I use it in the same way
posters from the 1930s and 40s, and found a site with
el Frode Slotnes: I have no formal training in type design. posters from the Spanish Civil War. GCE is an abbreviation
many people use Helvetica. To me, Helvetica is a typeface
with certain flaws that Im fond of. The individual letters
When I went to primary school, I was interested in drawing, for Guerra Civil Espaola. One of the posters had a nice
dont necessarily have to be perfect; flaws can create a
and made decorative fontsheadings for school papers letter g, which inspired the fontbut I modernized it with
different kind of text picture. Telenor, by Magnus Renking,
and cassette covers and things like that. In the late 1980s, sharp corners instead of the round curves of the original.
is one of my favorite typefaces from this century! Its an
I liked the punk typography of fanzines; I used photocopiers, Another is Cleanfax. I started working on this font in 1994,
extremely good text face its really now. Unfortunately,
rubdown letters, and old typewriters, and I made potato based on the clean pixellike font in fax headings (where
this is the corporate typeface for Norwegian telephone
Y
and rubber stamps. My interest in type grew when I started the receiving information is printed automatically).
company, Telenor, which means its proprietary. Id love to
designing on a Macintosh. My sources of inspiration
set a brochure for Telenor because it would mean being
became Emigre magazine, T-26, P. Scott Makela, Barry
able to use the font.
Deck, and Suzanna Licko.
Jersey Girl Electroclash
Cleanfax Rounded
GCE

15 15
B-Dot
The strokes of the B-Dot letterforms are drawn from

dots but do not use a grid as the basis for their arrange-
ment. The strokes appear created by a dot-matrix printer;
the dots are evenly spaced apart from each other, but
they are positioned where needed to create smooth
curves and more regular, traditionally derived proportions
for the forms. The full character set was created in the
light weight first, to establish the relationships of the dots
in the letters; additional weights simply enlarge the
dots, which remain in the same orientation to each other,
increasing the density of the letters until the dots begin
to overlap.
Andr Baldinger Conception Visuelle | Zrich, Switzerland
Green Rounded Mono
This particular dot-based font family is constructed on a

grid and uses a double-line configuration to add mass
to the strokes for additional character sets. The rounded
versions in the family are softer, but the squared version
is more legible, owing to the pronounced angular
junctions in the forms. A comparison of the B-Dot font
shows how enforcing the grid as a structural conceit
creates a font that is much more stylized; the B-Dot font
is more naturalistic.
Design Machine Alexander Gelman |

New York City (NY), USA
15 15
Typography in Practice Typeface Design
Cube / Six-Shooter / Parallelogram
Three graphic typefaces created for various applications

by an Australian design studio explore the possibilities of
geometric construction of letters. Each alphabet has
its own internal formal logiclinear, point based, or planar
and defines the structures of its letters on a grid. In
the case of Cube and Parallelogram, the grid is three-
dimensional, although the next result of the articulation
of the grid structure in Cube is strictly linear. Six-shooter
is a dot-based typeface (see B-Dot and Green Rounded
Mono, opposite) that defines points on a grid; the grid in
this typeface, uncharacteristically, is a 45/90 grid.
Gollings+Pidgeon | St. Kilda, Australia

15 15
Newut
Newut is a new sans serif fonta groteskin which the

uppercase and lowercase letters have been designed
to be the same height. Based on the idea of a universal
font explored by Herbert Bayer at the Bauhaus during
the 1920s, it is an idea that goes even further back in
history for its sourcethe uncial forms that developed in
the third and fourth centuries after the fall of the Roman
Empire. Uncials are a debased form of capitals, developed
accidentally over time by scribes copying the capitals
more and more casually. At a certain point, the uncial
forms split into two typesmajuscules and miniscules
the basis for our uppercase and lowercase letters.
Each uppercase letter in Newut has a corresponding
lowercase letter, as in any roman typeface, but here, both
are the same size and weight; the uppercase letters are
at the x-height. The ascenders and descenders of the
lowercase still extend above and below the body of the
type. In text setting, the interchange of uppercase and
lowercase is barely noticeable, and the lines of type hold
their linearity very aggressively. The alternate characters
give a designer several options for setting text; he or she
can mix the characters at will without creating an optical
disturbance. The family includes three weights and an
extended character set.
Andr Baldinger Conception Visuelle | Zrich, Switzerland
15 15
The promotional poster

introducing Newut shows
the regularity of the text
setting despite mixing upper-
and lowercase characters.
The linearity of the lines is
also pronounced.
Combining upper- and lowercase Variations in punctuation and

characters provides a number of special characters add to a
options that alter the character, designers options for setting;
but neither flow nor legibility, of note the different ampersands
the setting. included in the character set.

15 15
PYO Proprietary Typeface
This typeface for a youth orchestra uses strong forms

that derive their shapes from geometric base components:
a horizontal line, a circle, a diagonal line, and a vertical
line. The strokes are mathematically the same thickness,
not compensated for optically. The circular shoulders
of the R and P are literally half circles. The A is an isosceles
triangle, as is the V, and both share the same angles
unlike the same forms in any other alphabet. The cross
strokes along the midline have been removed from
relevant lettersthe H, F, A, Eand replaced with a dot,
optically the same weight as the strokes but mathematically
centered on the vertical height of the bodyagain, not
optically compensated. Unlike the proportions of the
Lever Sans alphabet (opposite), these are not based on the
square of the M, which is composed of two triangles.
The proportions are, instead, more naturalistic, aiming
for an intuitively even pacing of strokes and an optically
related width among the letters. The forms are open
and very musical; in setting, the alphabet evokes musical
notation. Oddly, despite the lack of compensation for
optical aberrations like midpoint drop, the alphabet
appears formally harmonious.
Paone Design Associates Gregory Paone |

Philadelphia (PA), USA
Jersey Girl
This sans serif typeface is reminiscent of the kind of

industrially templated type that might be punched
into license-plates or stamped onto machine parts for
identification. It is an all uppercase font of a slightly
bolder weight than a true regular is. Its curved and angled
junctures have been replaced by segments, although
these are not based on a hexagonal system of proportions.
The counters in the O, Q, A, and U are squared, rather
than following the exterior contour of the strokes.
A second version of the typeface incorporates negative
lines through some of the strokes, enhancing the
machined stencillike quality of the alphabet.
Creuna Design Stein vre | Oslo, Norway
15 15
Lever Sans
The Lever House is an icon of modern architecture located

in New York Citys midtown business district, on Park
Avenue just north of Grand Central Station. Designed in
1950 by Gordon Bunshaft for Skidmore Owings Merrill,
its pioneering structure is the first glass and steel curtain
wall built in the United States.
For an identity and signage representing the building,
Pentagram and the Hoefler Type Foundry created a custom
alphabet based on Modernist sans serif models popular
around the time of the buildings design and the buildings
original signage. The proportions owe a lot to Paul Renners
Futura of the 1930s, using Roman geometric proportions;
the O is a circle, the M based on a square, the E a half-
square. Elegantly curved stem detailsthe leg of the R
and the tail of the Qand slightly uneven top-to-bottom
counters in characters like the E, H, and K bring a lightness
and cool austerity to the strokes. The G is particularly
beautiful, an almost full circle sliced into by a crossbar
without the potentially disturbing upcut into the vertical
off the lower part of the bowl. The thinness of the strokes
is dangerously light, but the archetypal construction
of the forms seems to give the strokes an unnatural
tensile strength.
Pentagram Michael Bierut | New York City (NY), USA

Hoefler Type Foundry Jonathan Hoefler |
Photo: Peter Mauss / Esto

15 15
Willke Farr & Gallagher Logotype
Logotypes evolve in subtle ways. They get adjusted,

retypeset,fixed by well-meaning but unskilled employees.
This is true of many logotypes created in the earlier part
of the twentieth century that are still in use and especially
of those related to the older, more conservative professions
such as law, where revision is always based on precedent
even if its poorly drawn. Evaluating the details of letter-
form construction in a logotype with the aim of cleaning
it up is no small task. Aside from the act of analyzing
the minutiae of the existing forms, the designer must also
bring a skillful knowledge of letterform drawing and
sensitivity to bear in adjusting the forms even drawing
new onesso that the result is not another bastardization.
In this redrawing of a law firms logotype, the attention
to detail and sensitivity is evident. The existing lockup
was fraught with formal inconsistencies that most
designers would overlook, let alone a corporate executive.
Careful study and a masterful reworking of the logotype
resulted in the firm retaining its brand equity and a
newly refurbished mark of integrity. A thoughtful presen-
tation guides the client through the analytical process,
presents options for evolution, and compares the final
mark to its antecedent. The designer has succeeded in
achieving a timeless visual structure that joins past to
present and future.
AND Partners David Schimmel | New York City (NY), USA
This client presentation details

the analysis of the original
logotype, describing the formal
inconsistencies in a language
that is understandable to
nondesigners and supporting
the finds with diagrams.
15 15
The differences between the

original and revised logotypes
appear minute, but the final
mark reveals a state of overall
grace the original lacks.
The final, refurbished mark in gently condensed serif letters and the initial caps are just
its corporate color. Corrections are marked by a great deal of taller than the capline of the
to the spacing between letters, contrast in the strokes and fully remaining letters, weighted the
unbalanced forms, and incon- filleted brackets that elegantly same, and spaced evenly.
sistently drawn terminals in taper outward to the serifs. The Overall, the spacing is tighter
several of the letters have yielded emphasis in the bowls of the than normal, adding a distinctly
a well-crafted mark that will round forms are slightly higher vigorous rhythm to the line.
continue to build the clients than conventional, giving the
brand for years to come. The letters a distinct lift and energy,

15 15
Designing books and jackets is a very intense process. The typographic interiors of books,
by their nature, must be carefully considered to enhance their content and to make
the reading process comfortable and accessible. The nuances between text sizes, weights,
and their distribution require a sensitivity to detail and pacing that more immediate
typographic communications do not. Book jackets, on the other hand, often require the
opposite kind of presentation one that is almost posterlike so that theyll attract
readers in a crowded sales environment and communicate the books content in a visceral
way. Balancing these two typographic extremes simultaneously draws on a designers
skill with the subtleties of textual typographic color and contrast, as well as his or her
conceptual approaches to investing typography with imagelike power.
T Book
Y PDesign
OGRAPH Y
IN PRACTIC E
Texts and Covers
15 15
Fons Hickmann is a highly respected German designer based in Berlin. His work, which
is heavily typographic, includes branding, posters, publishing work, and book design.
Hickmann has lectured at numerous institutions and regularly contributes to industry
publications. Here, he discusses his approach to typography and book design.
Describe your personal approach to designing with is also a riddle, and the cover alone can't reveal the What is your favorite typeface and why?
type what characterizes your typographic sensibility contentsthey are revealed by opening it, leafing through When I was nine, I was in love with Tippi Hedren (star of
from that of other designers? I got involved with it page by page and reading. I don't want to spoil the Alfred Hitcocks thriller, The Birds). At twelve, it was with
typography because I fell into a bowl of alphabet soup secret of a book on the front cover. But I do want to provide Nastassja Kinski (Tatort), at fifteen with Catherine Deneuve
as a child. But I find other disciplines, like photography, an interpretation of the contents. A poster can contain (Belle de Jour), at seventeen with Julie Christie ( Fahrenheit
philosophy, film, and music just as important. Im passionate different layers of information too, but I'm more fascinated 451), at nineteen with Beatrice Dalle (Betty Blue), at
about design, but Id love to have been an astronaut or by posters that convey a clear message and communicate twenty-two with Monika Vitti (The Eclipse), at twenty-seven
professional soccer player. Perhaps the most important that message with power. with Isabella Rossellini ( Blue Velvet ), at thirty-one with
thing is to simply love your own work. What you actually Uma Thurman ( Pulp Fiction ) and at thirty-six with Nicole
do isn't that important. From where do you draw inspiration for your design Kidman ( Dogville). The same is true of typefaces, except
work, in particular, your typographic work? I find that I can never remember their names.
What is your feeling about rules in typographic design? inspiration in calmness, in the void, in a state of complete
Are there any rules you feel should never be broken? nonstimulation, in the shelter of the soul. But I also
The only rule is: there are no rules! And that rule can also find inspiration in loudness, in the flood of information,
be broken. in music and film, in the city. These contradictions are
perhaps what define my work. I dont have a particular
Do your concerns about type change when youre style; in fact, I reject style. I tend to swing from one
designing a book cover as opposed to a poster or extreme to the other. Theres a table tennis table in our
a brochure? The medium dictates the design. The viewing Berlin studio. Whenever were totally exasperated by
range for a book is not the same as for a poster. And books some project or were looking for an idea, we play table
Y
are three dimensionalthats a fundamental difference tennis excessively. Sometimes, there are ten people all
between books and posters. Books even have a fourth playing round the table simultaneously. It's great for
dimension if you count their overlapping pages. A book getting rid of aggression and clearing the head. Then the
ideas just come on their own.

15 15
The Influence Machine
This book about the image-projection work of Tony Oursler

is simply laid out, focusing primarily on images of the
artists works that are accompanied by single-line captions.
The interesting typography occurs in the essay section,
where a dot-matrix face is used in a large size for the
essay text, extending across the gutter and overlaying
images in the background; and in a historical section that
follows the development of image projection technology,
where simultaneous events are distributed among con-
gruent timelines color-coded by subject. The dot-matrix
typeface calls to mind the technological nature of the
artists work, while the ethereal background images refer
to ghosts and dreams, which figure prominently in the
context of the work itself. The typography in the historical
section is set in a neutral sans serif face in a grid of
variable column widths determined by the length of the
information being presented in a particular entry.
Eggers+Diaper Mark Diaper | Berlin, Germany
15 15
Typography in Practice Book Design
The Druid King Book Cover
Remarkably well-drawn letterforms constructed from twigs

form the title and author typography of this book. The
designer has brought great sensitivity to bear in building
the letterforms, paying careful attention to the widths
of the twigs so that the rhythm of their weights and irregu-
larities fluidly interconnect the forms and remain essentially
true to the archetypal drawing of letters. Smaller sprouts
from the primary twig strokes become serifs or swashes
notice the E on the word Theand an acorn becomes a
terminal detail in the R of Druid. Independent twigs are
used as rules to fill out spaces in between lines of type.
The twigs are photographed lit from the side to enhance
the dimensions against the dark black cover.
Doyle Partners Stephen Doyle | New York City (NY), USA
Kingyo Book Cover
This vibrantly colored book cover features the illustrative

work of Tanaami Keiichi, a Japanese artist, the subject of
the book. The linear and decorative quality of the illustration,
along with bold coloration, contains similarities both to
comic book drawing and Japanese woodblock prints. The
forms are echoed by the English typography, which is set
in heavily outlined uppercase letters to help separate it
from the activity of the art in the background. The Japanese
title appears vertically at the right edge of the book, set
into the artwork in white characters that, although bright,
seem to integrate formally with the artwork and
so become visually secondary to the English titles. For a
native Japanese speaker, the reverse is likely to occur
the English integrates into the artwork while the Japanese
title separates out into the foreground.
Graph Co., Ltd. Issay Kitagawa | Tokyo, Japan

15 15
Yoshio Hayakawa Catalog Jacket
Japanese typography has an inherent abstract simplicity

resulting from complete ideas or words being expressed
in a single form, unlike Western writing, where sequences
of letters must work to convey a single idea. The visual
power of this simplicity is dramatically conveyed in this
catalog cover for an exhibition. The single characters,
printed on different surfaces, interact by overlapping one
another. The individual characters essentially fill the
format from edge to edge. They are complex enough,
however, in their drawing to have enough detail to sustain
interest in the composition; even if the overlap were not
part of the finished image, the character by itself on the
cover would be sufficiently strong to hold the viewers
attention. The translucent vellum wrap with the second
imprint interacts with the print on the cover board itself,
creating another dimension to the surface of the book.
Shinnoske, Inc. Shinnoske Sugisaki | Tokyo, Japan
Make It Bigger Book Cover
For the cover of her monograph, Paula Scher uses dramati-

cally large type extending outside the formatin fact,
wrapping around the book literally, being silk-screened
across the edge of the book block itself.
The title, Make It Bigger, is a reference to insensitive client
suggestions about type that Ms. Scher, as have most
designers, had to endure at one point early in her career.
In her particular irreverent style, she has made the type
so big that it will not fit on the cover. The impact of the
enormous type is augmented by the selection of bold
sans serif italic, set in uppercase; the diagonal motion
provided by the italic slant adds compositional interest.
The counterforms of the letters become giant abstract
shapes boldly covering the format, but are still recognizable
as letters. The full title and author name are repeated
at a much smaller size in one line, distinguished from each
other through a color change.
Pentagram Paula Scher, Partner | New York City (NY), USA
15 15
Delugan Meissl: 2
This book about an architectural firm is composed of

two independently bound, yet interactive, sections. A reader
may flip through both sets of pages simultaneously, in
random or sequential order. The juxtapositions of text and
image elements, therefore, change, along with the overall
layout of the double-spread configuration, as the pages
are turned independently (small photos, below).
An overall text structure of one wide column, set with
asymmetrical margins left and right, may be divided into
two columns when necessary. The wide left margin is used
as a place for small inset photographs. The typographic
styling is spare and elegant, with one geometric sans serif
family used throughout the book. The scale of the type
is generally small, allowing the sense of scale of the
architecture being portrayed to dominate. Simple coding
systems for the folios and project navigation lend a clear,
systematic sensibility to the information. An alternate
coding system connects materials between the two sepa-
rate book sequences, referring the reader to other page
spreads to investigate related information.
Bohatsch Visual Communication Walter Bohatsch,

Wolfgang Homola | Vienna, Austria
ati-
nt
Two languages, German and The detailing of the folios and weight. The reference code at the
ble cross-book reference is minimal top of the page runs vertically,
English, run simultaneously in
the same typeface, distinguished but effective (above). The folio distinguishing itself from all the
ch only by weight (top). Whether lists the book (1 of 2); the project other type on the page, and is
running across the full single and its location in German in marked with a numeral reversing
column or divided into two bold; and repeats the project and out of a black dot.
columns, the text in one language location in English in the regular
A mimics the structure of the other.

15 15
The Bridesmaid Guide
This amusing book is full of tips and suggestions for women

who will serve as a bridesmaid in a wedding party. In an
age where such information is generally thought of as old-
fashioned and silly, the visual presentation of this book
plays with these ideas in a tongue-in-cheek way, bringing
the subject up to date and giving it some fun.
The typography interacts throughout the book with illus-
trations that, in their style and coloration, hark back to 1950s
homemaking magazines. The primary typeface for headings,
callouts, and introductory text follows suit, an updated
version of those magazines display faces; the contrast of
the strokes within the type is formally congruent to the
quality of the strokes in the illustrations, helping to integrate
the two kinds of elements. A second typeface, more neutral
than the primary but still somewhat detailed for a sans
serif, is used for running text, its bold weight for subtitles.
Aside from these stylistic plays, the typography is informa-
tionally very clear and accessible. A two-column grid structure
allows for continuous text and caption- or diagram-oriented
texts to run together. Each level of information in the
hierarchy has its own recognizable treatment that helps the
reader navigate the content. Informational cues, like a
bar of color for certain kinds of headings, alerts the reader
to particularly important points. Paragraphs and notations
in blue type that contrasts the brown running text are
understood as introductory paragraphs.
Red Canoe Deb Koch, Caroline Kavanagh (design);

Neryl Walker (illustration); Vivien Sung/Chronicle Books
(creative direction) | Deer Lodge (TN ), USA
15 15
For all its stylistic whimsy, the

typographic detailing is thought-
fully considered. In the table of
contents, for instance, the page
numbers precede the chapter
listings so that they are more
easily connected to the listing,
and their bold weight makes
them easy to find on the page.
Clear changes in typographic

color, along with informational
cues, help the reader locate
information. Tip headers, call-
outs, freeform list arrangements
and support text all are treated
consistently in their own styles
that code this information in a
recognizable way.
The tip at left is set in the bold

weight of the sans serif text face.
Narrow rules running alongside
bulleted information separate it
from running text, and the bul-
lets draw attention to the entry
point of each item.

15 15
10 x 10: 10 Critics, 100 Architects Book Cover
A minimalist typographic approach to the title of this

book on architecture results in a visually arresting texture.
The primary title, 10 x 10, appears centered in the format
of the cover, in a mechanically drawn sans serif face
that is bold and stark in appearance. The first 10 of the
title relates to the 10 critics whose writing is the content
of the book. The second 10, set in orange, completes a
mathematical equation that results in the number 100,
the number of architects whose work is also part of the
books contents. The names of all the contributors appear
on the cover but are printed on two different layers of
a thick casing so that they appear to float on two levels in
front of and behind the large numbers of the title.
The subtitle, 10 critics, 100 Architects, is split in two, the
first located in the upper-left corner, and the second in
the lower-right corner.
Phaidon Press Julia Hasting | New York City (NY), USA and
London, United Kingdom
Three Book Covers
These three book jackets present titles in bold typographic

treatments that integrate directly with their imagery.
In all three covers, the typography of the titles joins the
surface plane of the book and the imagery, whether photo-
graphic or illustrative, so that both elements are perceived
simultaneously as a unit. The scale of the type in all three
is large, relative to the format of the cover, and is literally
connected to the imagery in each instance.
From left: Shane Keaney, Gary Fogelson, Houman Pourmand

Pratt Institute: Scott Santoro, instructor |
15 15
The basic text structure is

relatively classical and shows
evenly proportioned margins.
The exterior margin is used to
indicate informational high-
lights. Within the basic structure,
a deep indent provides added
distinction to appropriate texts.
Both serif and sans serif versions

of the Scala typeface are used to
distinguish sections. Texturally,
the two versions of the face are
similar, but different enough to
cue the reader that the informa-
tional context has changed.
Mhlrad, Schulbank und Carrire

Larger-scale bold titling adds
depth and contrast to the
A historical documentary, this book has a layout that quiet formality of the page
is restrained, informationally direct, and unembellished. structure in section openers.
The manuscript structure one column for the body, Occasional images, quietly
integrated into the layout, help
set mirrored in the spread with wide outer margins
break the continuity of the page
is stately and well proportioned. It is divided into two structure without becoming
narrow columns for footnote listings and captions. exaggerated visual elements
The manuscripts classical structure is countered through at odds with the documentary
nature of the book.
the use of Scala in the serif and sans serif forms to
differentiate particular sections of the book. The two
forms are very similar in structure but offer a slight
textural change that is subtle, yet noticeable. Indentation
and paragraph breaks are well considered, proportionally
related to the column width. The type size-to-column
width ratio has been carefully explored, resulting in a
justified setting that shows neither excessive hyphenation
nor pronounced rivers.
Bro fur Gestaltung Christoph Burkardt, Albrecht Hotz |

Offenbach, Germany

15 15
Schiffbau
This book documents the transition of an industrial building

in Zrich, Switzerland, into a theater and the impact of
this transition on local cultural life. A two-column structure,
asymmetrically arranged with a left-side emphasis on the
pages, carries running text, while the right-hand margin
is used for captioning and inset images. The structure is
developed from an architectural plan of the city and the
neighborhood of the theater, the intervals of which are
used to determine the proportions of the grid that governs
the layouts. Images and texts in different sections that
refer to each other are joined by a system of typographic
notation, allowing the reader to navigate in a nonlinear
way through the material if they so choose. The running
text is set in a modern serif with sharp terminals and crisp
curves, while captions and notations appear in a sans serif
or bitmap face, respectively. Each column is devoted to
displaying the text in one language English or German
running side by side. Thin rules printed in fuchsia add
depth and texture to the pages. At the right edge of the
spreads, the sections are denoted by tabs that are differ-
entiated by individual icons.
Atelier Varga Mihaly Varga, Yves Gerteis, Timea Zeley |

Zrich, Switzerland
Headings and subheadings use

the bold and black weights of
the text serif face. Fuchsia rules
throughout the book appear
both as functional devices or
as decorative elements that add
texture and interest.
15 15
The essential page structure

consists of two columns of
running text set asymmetrically
with a right margin for notation
and inset pictures. Large images
generally appear on the left
side of a spread, with a simple
caption system set below in two
languages. The icon notation
at the far right differentiates the
sections of the book.
The inset images denote that

the text on this page is keyed to
those images in another section;
setting these small images in
a band of clear space, marked by
fuchsia rules that appears to
cut through the primary text
structure, draws attention to
them and creates a flexible, but
consistent, way of introducing
varying numbers of inset images
without having to disturb the
basic structure of the columns.
The inset notation in fuchsia

connects this image for the
reader to specific text or other
images in another section; the
notation allows the reader to
navigate back and forth between
related information.

15 15
Warhol: Paintings and Sculpture 19611963

The Warhol Catalogue Raisonn; Volume 1
This massive volume of cataloged works by Andy Warhol

marries complex informational typography with the
stylistic and conceptual properties of Pop Art. The book is
structured on a four-column grid. Sections and columns
are divided by bold dashed lines that cut across the format,
turning the columns of text and the images into coupons.
The text is set all uppercase in a condensed gothic sans
serif in a nod to the deadpan personality of Warhol himself.
Contrasts in size and weight, and the insertion of bold,
linear elements into the text to separate informational
components or to mark the folios, mitigates the monoto-
nous texture of the text type.
Phaidon Press Julia Hasting | New York City (NY), USA

and London, United Kingdom
In the table of contents, each

section is encapsulated within a
black rectangle that is subdivided
into several parts. The section
title and cataloging information
occupy the right three columns
of the rectangular space; individual
works in the section are listed
in the left-most column, along
with the page numbers on which
they appear.
15 15
The catalog pages display the each separated by a strong for- information. Images related to
intricate typographic treatment ward slash. The column on the the works, such as the publicity
of the text and captions describing right page is the beginning of a stills of Marilyn Monroe that
the various works. In this spread, new entry for the next cataloged Warhol used as source material,
the column of text at the left lists work; the title is set in a larger are integrated into the column
the publication of specific images size, and the paragraph is divided structure, bound by black rectan-
in various periodicals; the entries by bold vertical marks that gles that contain captions.
are set in upper- and lowercase, separate distinct sequences of
The typography and production Appendixes are divided by the its full description; a graphic
of the slipcase and cover are bold dashed coupon-clipping arrow icon joins the abbrevia-
reminiscent of Warhols Brillo lines that visually brand the tion, in red, to its relevant infor-
and Campbells Soup sculptures entire book. The Abbreviations mation in the next column.
of the early 1960s. The clean, section uses a color distinction to
bold sans serif typography and set apart the abbreviation from
the vivid red printing contrast
with the rough cardboard sur-
face of the covers and case.

15 15
Working with a substantial amount of text (although not as substantial as a book), along
with images and other kinds of graphic elements, requires a high degree of control.
Unlike in a book where the structure is often easily recognized and the information moves
with a consistent cadence throughout the typography in a brochure or annual report
is usually driven by concept and image, and may be much more complex, involving
captions, pull quotes, imagelike text treatments, graphs, and complex lists. The short form
application, whose function is to provide emotional or intellectual impact at a rapid
pace, enforces the need for typographic directness. The commercial aspect of making an
impression on a targeted buyer means the typographic language must be resolved to
the point that its visual qualities do not impair the viewers sense of the clients credibility.
The designer also must make the information accessible and user friendly.
T Collateral
Y P O GTexts
RAPH Y
IN PRACTIC E
Brochures and Annual Reports
15 15
Faydherbe/DeVringer is a design studio in The Hague, Netherlands, whose principals

Ben Faydherbe and Wout deVringer have a long-established reputation for typographic
playfulness and experimentation in the service of both cultural and corporate clients.
Here, they discuss their approach to designing with type in short text applications.
How would you characterize your approach to How do you relate type to images? Is it just a visual What do you think about following rules in typography?
typography? Whats different about it? Our approach relationship or also conceptual? We always try Thats something designers should figure out for them-
is always to make our typography look challenging. But for both. If its just a visual relationship, the design gets selves. Our experience is that if youre working for a long
at the same time, we want it to be clear. In contrast with boring and shallow very quickly. We try to use type time, you find certain things that work and other things
many of our colleagues, we are more inspired by designers in combination with images in a way that one makes that dont. Trial and error is part of design. If you try some-
of the past. The experimental way that designers like the other stronger. One cant be without the other. thing that doesnt work you just keep it in mind for another
Ladislav Sutnar, Lester Beall, Herbert Bayer, Paul Rand, The combination of the two produces another, stronger project. We have our own set of rules that seem to work
Max Bill, Paul Lohse, and many others used to work in a meaning and message. for us.
still fairly unknown profession is a big inspiration to us.
Describe your thinking in the SVB Annual Report. What are your favorite typefaces and why? We like
What concerns you most when designing an annual We tried to create an interesting typographic language simple,neutral, and elegant typefacesAkzidenz Grotesk,
report or an in-depth brochure? How is this different on a piece that might ordinarily be boring. Other goals Helvetica, Futura, News Gothic, Trade Gothic (mostly sans
from using type in a book or a poster? Our primary were to use a typeface that not everybody was using but, serif fonts). We dont like to use very outspoken typefaces.
concern is that the hierarchy of the text is always clear. at the same time, was not too trendy. We thought this It is very difficult to make the design your own if you do.
That sounds easy enough, but it is harder than you typeface choice in combination with another type family They are just not neutral enough.
might think, especially because you have to be very precise would have enough possibilities to cover all the different
and systematic. Once you give a certain importance to a typographic needs of the information. Id like to mention
text it should be consistent throughout the whole annual Bob Van Dijk, with whom we collaborated on this project.
report. You are essentially explaining the economic situation
of a business. You dont have the same restrictions when What inspires you in terms of typography? We are
Y
you are designing a poster. The information is interpreted both inspired by modern art and architecture. We actively
by the viewer on a more intuitive level. The type should collect old design books by designers that we mentioned
attract your attention in a split second and, therefore, you earlier. We arent really interested in things happening
work with text more decoratively or expressively. on the street.

15 15
4MBO Annual Report 2002
The imagery and information in this annual report is

all typographic. In the first section, the imagery consists
of large-scale financial diagrams and charts whose
geometric presentation is made into an image by its
scale. Charts showing financial relationships are created
out of dots, squares, and grids, integrating formally with
their simple informational typography. The type is set in
two similar sans serif facesa condensed gothic and a
rounded version that is somewhat more extended.
Numerical figures are sometimes set in a classic serif,
providing a change in texture for interest.
Strichpunkt | Stuttgart, Germany
In this left-hand page detail, information described in the The stark geometric simplicity in a primarily visual way. In the spread immediately
the color break between the top text. It also defines and area for of financial charts is transformed In the spread at top, for example, above, the different sizes of the
portion and the bottom housing support text, in addition into abstract images. The the fields of black and white red dots in the chart correspond
portion of the page is a visual to creating a visual image. typography is informational and abstractly communicate the to increasing stock prices.
representation of the percentage secondary to the chart images, numeric relationship of 6% in
which communicate information support of the enormous figure.
15 15
Typography in Practice Collateral Texts
Hope Community Annual Report 2003

The horizontal band carrying
In this elegantly proportioned annual report for a nonprofit images and timeline infor-
organization, a narrow three-column grid carries the text mation creates a syncopated
information, a narrow horizontal band carries photographs continuity across the spreads,
in contrast to the regularity
and color across the spreads, and acts as a timeline of
of the text columns. Entries
important milestones in the organizations history. As the in the timeline are keyed to a
text moves from column to column at a regular pace, the particular year, distinguished
images and color blocks in the band move in a syncopated by a change to the bold
weight in a contrasting color.
rhythm. The type itself is a sans serif face that shares a
number of the structural characteristics of serif typefaces,
especially in the lowercase letters. The running text is
set at a size that makes it easily read by people of various
ages; the captions in the timeline are set slightly smaller,
which is appropriate for small amounts of text. Section
identifiers are set in the same face at the same weight,
but much larger and tinted back in order to run across
the spread immediately under the image-band. This light
color causes a recession to another spatial plane somewhere
behind the level of the image band and the columns of
type. In the financial section, tabular data is integrated
into the column structure in a clear and accessible layout.
C. Harvey Graphic Design | New York City (NY), USA
Typography on the reports

cover is minimalsimply
the organizations name and
the report title (far left).
Subtle rules in the financial

tables help separate rows for
easy comparison of figures
between columns (near left).

15 15
Penn Design Recruiting Brochure
This admissions recruiting brochure for a design and fine

arts program uses a two-sided binding to separate its
message-oriented information about the schools philo-
sophy and programs from the more complex, informational
presentation of course listings, faculty, and resource infor-
mation. The messaging section, titled Transform, describes
the design program in terms of opposing concepts for
example, theory and practice. This section is produced in
full color, with vertical bands of color surprinting the
photographs. The vertical bands are translucent and vary
in width, creating a rhythmic movement across the spreads
that unifies the opposing concepts. The vertical bands
also carry text information. The course catalog section,
bound on the reverse of the brochure, is titled Inform,
and is produced in gray and black. Straightforward typogra-
phy is structured on a three-column modular grid that
allows course listings, examples of student work, and other
information to be integrated together in a clear and
accessible way. The concept of duality presented in the
messaging section is supported by the reverse binding of
the booklet itself; flipping it over gives the reader access
to the alternate sequence of information.
Ideas on Purpose John Connolly, Darren Namaye,

Michelle Marks | New York City (NY), USA
The covers for the two sections

of the brochure are actually
joined together as one accordion-
folded cover.
15 15
The contents spread for the A spread from the Inform

Transform section (top) sets up section (bottom) shows a clear
the vertical color band structure presentation of information.
that will interact with photo- The course listings appear in a
graphs in subsequent spreads. rectangular tabular format,
The deep blue band that surprints set in black against the neutral
the photograph allows the gray of the pages. Typography,
type for the contents listing to reversed out white, and the items
reverse out white. in listings, are separated by
thin horizontal rules for clarity.
This spread showcases the com- rules, crossing the vertical bands
plex typographic and image of color that are moving rhyth-
relationships of the Transform mically over the photographs.
messaging section. Opposing Arrow details help guide the eye
conceptstradition and evolu- from paragraph to paragraph.
tionappear opposite each Across the bottom of the spread,
other, illustrated by a full-bleed testimonials from faculty, stu-
photograph in the background. dents, and professionals attest
The major conceptual words are to the strength of the program
set all uppercase in a neutral and its philosophy. These quotes
sans serif typeface, running ver- are set in upper- and lowercase
tically up the center axis of each to convey a more personal tone
page. Across the top of the than the statements at the top;
spread, supporting messages they run vertically in relation to
run horizontally in paragraphs the conceptual words and the
that are marked by narrow vertical color bands.

15 15
Rainforest Foundation Annual Report 2003
The typography of this annual report uses an an asym- the shifting proportions of the columns, causes them to
metrical column grid with wide intervals between the advance into the foreground. Background images and
columns to promote a perception of spatial depth and linear rules, interacting with the columns, occupy a third
organic flow. Each column of type represents a single, spatial depth.
coherent sequence of thoughts. The columns fluctuate
Two type families a relatively stylized sans serif and a
in width as they travel across the page spreads, and the
crisp, modern serifintroduce additional texture. Each is
intervals between the columns also appear to change.
assigned to one of the reports conceptsHope or
The type within the columns is oriented vertically around
Victory, and their interplay contributes to the spatial
a horizontal mean line, creating a horizon. In most spreads,
ambiguity of the pages. Vertical rules of varying weights
the text either falls below or sits above this meanline, and
are used to separate and mark individual paragraphs.
the orientation with respect to the meanline alternates
from spread to spread. Horizontal blocks of color contain
callout information. Their flat solidity, in contrast to Worksight Scott W. Santoro | New York City (NY), USA
Alternating the placement of

the running text relative to the
horizon line creates a simple
unifying rhythm. The column
structure is contrasted by the
flat-color blocks that contain
callouts and by the textural
movement within photographs.
The photographs share an
ambiguous spatial relationship
with the typography, sometimes
bleeding behind the text or
being cropped unexpectedly.
In this detail of the contents page,

ambiguous spatial depth and
informational clarity coexist. The
page numbers appear to float on
a plane in the foreground but a
thick horizontal rule, interrupted
by the space around the column
of numbers, flattens out the space
and calls out a specific heading.
The arrangement of the numbers

to the left of the contents, rather
than afterwards, allows connection
to the individual subjects to be
seen clearly.
15 15
KingGee Clothing Brochure
The clothing catalog and supporting posters for KingGee

workwear use an advertorial treatment for branding and
an equally straightforward column structure for display-
ing the products within the catalog itself. The catalog/
brochure cover begins with an editorial headline describing
an experience by a worker wearing the companys clothing.
The type spans the format horizontally the individual
lines set justified with the type, changing size to fit distinct
phrases easily on each line. The type reverses white over
a full-bleed image. Promotional posters for the brand use
the same structure.
Within the catalog, a four-column grid gives the designer
flexibility for displaying articles of clothing, lifestyle shots,
and product information. A single column displays one
article of clothing, followed below by its name, features,
product number, and informational icons that rank the
articles protective qualities against exposure or damage.
The information is set flush left, with bullets hanging left
e
of the alignment between columns to call out each line
of information. The product number is set in a light neutral
color that drops it to a secondary level in the text hierarchy.
Size information and other specifics are called out in bold
weight. At the top of the spread, the product line is set
s.
all uppercase in the same sans serif gothic used for all the
ip type but in the same light neutral color as the product
es numbers; it is noticeable as a header but light enough not
to interfere with the composition of the page. The product
line is repeated running vertically at the right edge of the
spread, reversed out of a dark band that bleeds the right
edge of the format.
Cato Purnell Partners | Richmond, Australia
age,
The
on A complex grouping of silhouetted
a images, rectangular images,
ted product information, icons, and
mn supporting headers is organized
pace on a simple four-column grid.
g. The lifestyle images occupy a
ers distinct area in the upper portion
r of the page, while the clothing
ction articles and their information
e occupy the center and lower third
of the format. Clear distinctions
between informational components
are achieved through restrained
use of bold weight and color shifts.

15 15
SpecLogix Paper and Printing Handbook

The section dividers use the
An extensive overview of the interaction of paper and primary text face at a larger size
printing techniques, this large ring-bound handbook to introduce new subjects. The
integrates photography, varied paper samples, diagrams, introductory text is set in black
against a color, with the section
tip-ins, and clean informational typography as a resource
title knocking out to white at
for graphic designers. Each section explores one aspect the paragraph entry.
of paper and printing color, formation, and so on
denoted by a tab that sticks out from the main block of
the pages. Section introduction pages are set in friendly,
large-scale sans serif type with a bit of character
Gill Sansagainst vibrant fields of color that code the
sections. Subsequent pages use a three-column grid in
which the type is set in black; callout information is
set in the given sections particular color. The text type
is a comfortable size for extended reading, with ample
leading and a reasonable column width. Captions and
diagrammatic type are set a point size or two smaller.
Special attention is paid to the typesetting of complex
lists of paper specification information and diagrams;
internal hierarchies are defined through tabbing and
weight changes.
AND Partners David Schimmel | New York City (NY), USA
Foldout pages demonstrate

printing quality through
beautifully detailed color
photographs, accompanied by
text that describes various
concerns that must be addressed
in selecting appropriate paper
stock for a given job.
15 15
CBG Annual Report 2002 Running text paragraphs are

set in black against the colored
background where needed, to
This unconventional approach to designing an annual bring important text forward.
report highlights the energy and work process of the
company by creating fields of typographic texture from
diagrams, handwritten notation, meeting notes, emails,
and documents that interact with each other and the
running text. The various elements often overlay full-
bleed photographs, and are distinguished from each other
by their color. The sense of the companys corporate
culture conveyed is one of innovation and experimentation.
The varying degree of legibility of the information, which
can be scrutinized if needed or enjoyed as an overall
visual expression, speaks to the unconventional nature of
the company and its personality in a very different way
than the straightforward messaging of American corporate
reports. The financial data in the back of the report is,
of course, presented in a more accessible manner.
Faydherbe/DeVringer | The Hague, Netherlands
The typographic texture of

the reports interior appears
embossed in the plain white
cover; the company logotype
and the year of the report
are set apart from the overall
texture in white and black
rectangles, respectively.
The working spirit and energy office environments. A dynamic

of the company culture is overlap of linear elements and
expressed in the kinetic, over- typography in different colors
lapping typographic elements involves the reader in the excite-
tabular list documents, notes ment of the companys process.
from meetings, organizational
diagramsand photographs of

15 15
Plasma Annual Report 2001
The layout of this annual report for a biotech company

relies on two major compositional devices that divide
the content into distinct sections. The contents and intro-
ductory spreads are characterized by a horizontal division.
A colored band separates the upper part of the format,
where titling and diagrams appear, from the lower, where
running text is located. In the conceptual section that
describes the companys activities, the axis is vertical,
defined by a full-bleed image on the left page that divides
the spread in half. The two pages in these spreads are
joined by narrow rules that echo the horizontal division of
the first section. The overall text structure is a two-column
grid; the columns are set into wide asymmetrical margins
that mirror each other from left to right page. A crisp
serif face and a neutral sans serif are used in combination
throughout. The serif appears in headlines, large-scale
justified paragraphs that support the full-bleed images,
and in the running feet and folios. The sans serif is gener-
ally used for the primary paragraph text, also set justified,
as informational section markers at the top of the pages
and in charts and tables. The serif face interacts with the
primary text columns in the form of callouts that cross
from the margins into the width of the running text
columns. This violation of the primary column structure
is also evident in the table of contents, where the section
listings seem to float in a more horizontal orientation,
breaking across columns.
First Rabbit GmbH | Kln, Germany
The narrow rule separating

the image area at top from the
content listings below sets up
the first primary structure in
the report, the horizontal band.
The section page numbers are
set in a slightly larger scale than
the informational listing for
each section, but they are
displayed in red so they recede
in space and allow the listings,
knocking out in the sans serif,
to come forward.
The horizontal band of color

defines an area for diagrams
and charts, while running text
appears below.
15 15
The conceptual section of the

report is structurally defined by
a full-bleed image on the left
page that is joined to the text on
the right by various linear ele-
ments, colored bands, and pat-
terns that cross the gutter. Each
typographic element on the
spread is given individual treat-
ment to clarify its position in the
hierarchy. Scale changes, alterna-
tion between serif and sans serif
faces, and changes in color and
density provide contrast between
the informational components
and a rich textural quality to the
typography. The spread at lower
right gives evidence of a four-
column modular grid holding
everything together.
The covers centered title (shown

below) is offset by the dramatic
asymmetrical bubble image.

15 15
The nonlinear nature of interactive media poses a distinct set of problems for typographic
designers. First, all the content in a website need not be shown all at once, and directing
users to information through typographic links becomes of greatest importance. The treatment
of these links their size, location, style, and color requires extra consideration to easily
distinguish them from primary content. Complicating matters is the need to let the user know
where in the site they are once they have left one area to visit another. Again, intelligent
placement and styling of typographic links will help establish a visual record of the users path
from location to location. Third, the flexibility requirement of a site for continuously
updated content means the designer must consider the structure of the page screens to
accommodate information that will be changing on a regular basis. Added to this the variability
of the browser window and, therefore, the actual shape of the format along with coarse
screen resolution and the impact of inserted graphics on loading times, and it becomes clear
how involved the typographic complications may become.
T Website
Y P ODesign
GRAPH Y
IN PRACTIC E
15 15
Denise Korn is principal of Korn Design in Boston, Massachusetts. Her multidisciplinary

firm undertakes commissions in identity, advertising, and communications, as well as
website design, for a broad range of corporate and cultural clients in the entertainment,
retail, and hospitality industries. The firms work is heavily typographic and infuses solid
information design with humor and distinction.
Describe your approach to typography in general. Talk about the typography in the cashmere.com site, How do you feel about rules in typography? I don't
Typography is an integral part of our work, and we are from a conceptual as well as functional standpoint. believe in rules when it comes to design. If the designer's
pretty obsessed with getting it right. We like to infuse When we developed the cashmere.com logo we wanted to intuition translates with grace, the end result should
t each typographic approach with a strong conceptual give reference to the style of a classic luxury brand while work. Personally, however, I have an issue when it comes
underpinning and execute it as simply and cleanly as pos- creating an entirely new identity. The logo itself gets to combining capitals and small capitals. I have yet to
sible. We trim off all the fat. playful with the interlocking Cs and the floating dot see this work well. The beauty of illuminated letters and
(referring to dot com). We wanted to keep the site as introductory drop caps seems to have been lost with
What is important to you (typographically) when you welcoming as possible. Our typeface choice for the logo- computer-generated solutions.
design a website? Type and the Web were not cut from type, set in FLING, is both elegant and friendly. The logotype
the same cloth. We try to get the typographic content was designed to work with both solid and photographic What are your favorite typefaces and why? Ive never
to be clear and to focus on the hierarchy of information. backdrops. The photographic backgrounds change seasonally really thought about it . . . I suppose I gravitate toward
Screen limitations are the baseline consideration when on the home page while the section header solid colors two categories: bold and organic. My personal favorites,
y creating type on the Web. We keep the critical top-level remain constant. Short introductions were written for the however, are irrelevant: each project demands what is
information as edited as possible and embed graphic home page as well as for each section opener page. These appropriate. My palette generally draws from the classics:
pieces to keep the resolution of the letterforms intact. are built as graphic pieces and embedded. Univers Condensed, Letter Gothic, Bodoni, Mrs. Eaves.
These graphic pieces of typography hold together the I adore the Emigre collection. I generally dive into whatever
various support levels of text that work best in HTML. How did you make decisions to use graphic type versus best reflects the problem at hand, whatever feels right.
Equally important are a carefully constructed site system text in various places in the site? We wanted
architecture, informational hierarchy, and effective use to make the site as clean as possible throughout, while
at the same time easily editable by our client. This deter-
Y
of visual clues for clear wayfinding. The typography must
hold its own as one of the critical means of communicating mined what areas needed to be HTML and the components
content efficiently. It is best if the visitor to our sites is that were small enough and never would change to be
unaware of the navigation. designed as embedded graphic pieces.

15 15
www.rocholl-projects.de
A straightforward hierarchical structure characterizes

this website for a design firm. The page is divided into a
narrow column at the left, for high-level navigation, and
a wider column at the right for changing content. The
display typography is set in a neutral sans serif, colored
a vivid fuchsia. A set of characters at the left, in the navi-
gational column, is interactive; clicking on a number calls
up specific content in the wide column. The column is
defined by a geometric shape, and within, a strong
hierarchy among informational components is achieved
alternately with a simple quadrant grid, or by a set of
proportional spaces. In the portfolio section, for example,
a white rectangular area distinguishes the text from the
image area and navigational buttons. Type within this
area follows its own internal hierarchy the project title
is set uppercase and slightly spaced to improve character
recognition; the text is slightly smaller. The hierarchy
changes in promotional areas; images occupy the upper
spatial unit and text is set below in the display type but
in lowercase. The site is compact, clean, and allows its
typography to be almost strictly functional. A cool, neutral
palette combined with saturated display type keeps the
site fresh despite its rigidly simple structure.
Rocholl Projects/KearneyRocholl Frank Rocholl,

Heiko Gimbel | Frankfurt, Germany
A promotional page offers a frame. A sober gothic sans serif, contrasts established in the sites
large image of current project set upper- and lowercase carries primary navigational area at the
work and a direct entry to the a general introductory message left side of the browser format.
portfolio section through the hor- in the sites pink branding color,
izontal band of navigational but- while bitmapped subheads and
tons toward the bottom of the dot grids continue the textural
15 15
Typography in Practice Website Design
The homepage is a spare, elegant they have the quality of letter-

composition of contrasts. Each forms but do not seem to be
elements weight, color, and posi- letters. The company name,
tion seem carefully considered, repeated as a texture, helps calm
which creates an interesting the effect of its shocking pink
tension between calmness and color. This texture is repeated as
coldness. The mysterious, hard- a grid of dots surrounding the
edged geometric forms are large navigational type toward
softened by transparency, and the left edge of the page format.
Clear, simple contrasts between The horizontal structure of the

text styles and colors are enlivened portfolio section (below) contrasts
by textural graphic elements. with the quadrant structure of
The image and type occupy clear the news section (below right);
zones, and this structure distin- each is well suited to its contents
guishes this particular area from and uses a different typographic
others within the site. Each navi- link style that is also appropriate
gable area has its own structure. to its respective information.

15 15
www.aajdesign.com
The structure of this clear, elegant website for a design

consulting firm showcases the studios sensible, yet
expressive, approach to information display. The site loads
with a short animation of the firms positioning state-
mentConnect with Clarityset in a light-weight sans
serif. The syntactic juncture between the two words
connect and clarity becomes a dividing line that expands
into a two-square configuration of colored fields, each
containing specific information. The left square contains
the firms logotype and an informational marker that
acts as a title for the content that appears in the right-
hand square. The site navigation rests below the left-hand
square, and a simple rollover expands the A-levels to
reveal subpage links for appropriate sectionsfor exam-
ple, the portfolio pages. Content on the right side scrolls
inside the lightly tinted square. Informational type, in
the form of captions and rollover tool tips, helps guide
the user through portfolio and other content. A single
weight and size of system text interacts quietly with
navigational buttons.
Allemann, Almquist+Jones Hans-U. Allemann and

Jan C. Almquist (art direction, design), Sal Nistico (design) |
Philadelphia (PA), USA
An opening animation (top right) In the portfolio section (bottom),

presents the studios positioning project images load upon click-
statement. The conjunction ing animated buttons in the
with connects the two concep- left field. The portfolio subsec-
tual wordsconnect and clarity tionprint, identity, or Web
before being replaced by a thin designis indicated by an infor-
vertical rule that expands to form mational marker at the upper
the sites structure, two square right of the left-hand field, point-
fields that carry distinct infor- ing directly to the content field
mation (middle right). at the right. Internal navigation
and text-based tool tips help the
user sort through projects.
15 15
www.bernhardtdesign.com
Aside from a large product
Product lines, finishes, specifications, and showroom image, the homepage contains
information are cleverly combined in this simple, clean only the clients branding
website for a furniture manufacturer. Structured on a an uppercase modern serif,
loosely spacedand a red bar
7 x 7 modular grid, the site uses this structure to maximum
containing the A-level naviga-
effect, organizing wildly varied information and images tion categories. The vertical
in a unified and easily navigable layout. The typography red rule separating the client
in the site is kept spare and informational to let the products name from the word design
take center stage, as well as to make the navigation as aligns these elements to the
grid and defines the location
clear and accessible as possible. The navigation is accessed
and measure of the columns.
in drop-down menus that extend from the red navigation
bar at the top of the screen. A highlight of the text indi-
cates the active nature of the link on rollover; the types
change of color on rollover indicates a change of hierar-
chical importance, from listed item to selected item. Each
page presents its respective information in a clear hierarchy,
using only one typefacethe system sans serifin two
weights (and mostly one size) to distinguish informational
components. When appropriatesection markers, for
examplea graphic with type is used, rather than system
text, for greater quality. In these cases, a sans serif with
similar formal qualities to that of the brands serif face is
used. Bold type is used for section or paragraph heads,
and for product names. Each kind of informational com-
ponent has a home position on the grid to help the user
locate it quickly. The section marker, for example, is always
flush left in the left-most column, at the hangline that
governs the text throughout the site. Images conform to
the underlying grid, and occupy one, two, three, or more
modules as needed.
Piscatello Design Centre Rocco Piscatello |

The flexible, modular grid of the descriptive paragraph

organizes information in differ- for at-a-glance accessibility.
ent ways. The contact page Within the specs, bold weight
shows the grid used to create a is used to highlight important
two-column structure, with information.
overall regions listed in the left
The site also includes biogra-
column, and individual contact
phies about the companys
information for locations
furniture and textile designers.
within a specific region in the
The wide left margin helps
right column. The drop-down
distinguish this section from
navigation above takes up a
the others; the section marker
minimum of space. Product
at the left occupies the
names are set in a larger size
same home position to aid
in red. The products specs
the reader.
follow the name, pulled out

15 15
www.jonkrause.com
This promotional site for an illustrator uses detailed typo- has the option of accessing a personal account of the con-
graphic navigation systems to organize and display the ceptual and work process from the illustrator by clicking
artists work. Against a photographic backdrop of a warm, one of the mood icons to the right of the project image.
textured watercolor paper, simple slab serif type reverses This text appears in a more prominent location, size, and
out to white for clarity. The pages are divided into areas weight than the title and publication information directly
for project images, along with a title and publication under the project, allowing it to occupy a greater level of
venue; an area to the right for support information or importance in the hierarchy. In the Awards section, each
navigation through multipart projects; and global naviga- years awards are cataloged in a series of book pages with
tion buttons at the far right of the screen. The main dis- pullout tabs that the viewer can use to select a given
play area also houses biographical information, a catalog award received in a given year by the illustrator.
of the illustrators awards, and other content. Portfolio
pages display a selected project in conjunction with sup- Red Canoe Deb Koch, Caroline Kavanagh (design); Deb
port information and secondary navigation. The viewer Koch, Benjamin Kaubisch (developers) | Deer Lodge (TN), USA
15 15
www.roemerapotheke.ch
Artwork and text remain distinct
Clean, white pages with simple, yet visually strong, from the navigational device.
navigation create an easily navigable experience through An HTML form drop-down
this site for an art gallery converted from a pharmacy. menu above the work lets the
user navigate among different
The history of the facility is acknowledged in the orange
exhibitions, while a text link
cross configuration of the navigational device, which below the work connects to
remains in a fixed position as the user scrolls through information about the artist.
the sites content. Large-scale titling typography, in a bold-
weight sans serif, calls out exhibition information; the
remainder of the sites typography is sans serif system
text. Linear graphic elements, along with the geometric
cross, convey a feeling of pharmaceutical packaging.
Atelier Varga Mihaly Varga, Yves Gerteis | Zrich,

Switzerland
The homepage is regularly

updated with bold exhibition
announcements. The art for
the typography scrolls behind
the navigational device via
dHTML to reveal current gallery
exhibitions.

15 15
www.fpaa.org
The homepage partially defines
This website for the Fairmount Park Art Association, a the primary page structure; the
nonprofit group dedicated to public art awareness and central content zone is clearly
urban planning in Philadelphia, is structured using a distinguished from background
and navigation by conspicuously
clearly proportioned hierarchic grid. A primary central
being loaded into a white frame,
content zone is flanked on the left by by a narrow column with the tiered navigation to the
containing a tiered system of navigational buttons; a left. Unlike the subpages, the
second narrow column area provides space for supporting homepage does not display the
imagery and captions. The navigational buttons are color support column to the right of
the central zone, but it does
coded into two major sectionslinks to information about
include a gray frame below the
the organization are a warm neutral gray, while links to introduction containing infor-
information about public art are colored a pale bluish mation that may be updated by
gray. The color distinction is subtle, but decisive. Navigation the organization. Flyout menus
may be accessed from the second
through the second tier of buttons is accessed through
tier of color-coded navigation
flyout menus that provide links to more complex areas buttons.
in the site.
Within subpages, the central content zone and the support
column at right may be spanned by images, but running
text is constrained to the central zone. Captions for image
groupings appear in the support column. The organizations
branding typography, in a crisp serif face that is both
classical and modern, is supported within a maroon tab
by a secondary line of type, set all uppercase in a sans
serif face. Directly below the tab, a horizontal green ban-
ner holds the section header for a given pageAbout Us,
Public Art, and so on. The remaining typography is sans
serif system text, used in both regular and bold weights,
predominantly in one size. The text size for captions is
somewhat smaller, and links within text or captions are
underlined in the maroon branding color.
The site offers an interactive map of the local area that
allows the user to locate and view specific works of public
art, zoom into the maps areas, and call up historical and
cultural information about selected works. The map is
delicately drawn and subtly colored so that the features it
portrays do not compete with red dot locators of specific
artworks. On rolling over, the name of the work appears
over the cursor. Upon clicking the dot, an image and infor-
mation about the selected workloads into a column to
the right of the map, mirroring the logic and structure of
the primary portion of the site. Clear hierarchic distinctions
and a simple structural system act in tandem with intuitive
navigational devices like rollovers to help guide the user
easily through a complex set of content.
Allemann, Almquist+Jones Jan C. Almquist (art direction),

Sal Nistico (design) | Philadelphia (PA), USA
15 15
es
e
nd
usly
me,
the
e
-
by
us
nd
The interactive map (above)

displays a view of the local area
and uses red dots to pinpoint
locations of public artworks.
Controls to the left and below
the map allow the user to zoom
in closer so street and landmark
details become apparent. The
map also provides list-based
search options on the page.
Selecting a work calls up the

name, an image, and supporting
informationfirst the name of
the work, in bold; then the name
of the artist and his or her birth
and death dates; followed by a
brief description of the work.
Three subpages show the flexibility

of the hierarchic grid in displaying
text and image content (above).
Different configurations of text A full description button at

and image are possible, but the the bottom of the frame spawns
support column at the right always a pop-up window (left) that
carries captions or supporting contains in-depth information
links. The depth of this column about the work.
can easily list captions for
several images.

15 15
www.dixonphotography.com
The portfolio pages (opposite, ground color to set it back.
Minimal navigation elements and typography distinguish top and left) are color-coded and Clicking on the circles brings
this portfolio website for a photographer from the vast the navigational typography up another image in the same
majority of such sites. Opening in a narrow, horizontal within a specific body of work is body of work, whether portraits,
displayed as a series of small still life, or location images.
window of elegant proportions, the site first presents
circles extended outward from A caption next to the image is
the user with contact information and two discreet dots the primary button that links to set in upper- and lowercase,
that can only be some kind of button, despite a lack of a given area, with an uppercase in two lines of the sans serif.
information. On rollover, each dot brightens to white and header in a tint of the back-
displays an indicator of the content to which it will link:
the portfolio or information. Clicking the portfolio button
brings the user to another minimal gray screen containing
a text introduction to the photographers work. The button
remains bright and the text indicator visible. Three addi-
tional dots, now clearly buttons, appear in the lower part
of the frame. Each brings the user to a different body of
workportraiture, still life, or location photographyand
the screen comes alive with an overall color that codes
each particular area. The photographers work is show-
cased in a frame at the far left of the screen. The decision
to minimize typography is both a formal one and a
functional one. Working with an economy of means is a
typographic treatment, allowing the images to be
presented without interference and indicates something
about the photographer and his aesthetic vision by its
direct and un-fussy qualities.
Paone Design Associates | Philadelphia (NY), USA
Entry to the site is a quiet

introduction leading the user
intuitively from opening contact
information to the informational
areas through the subtle use
of buttons that change in
luminosity to indicate their
active nature as links. Minimal
typography, set in uppercase
in a sans serif face, creates no
distraction for the user.
15 15
ts,
Information pages, with details of color in the portfolio section.

about the photographers client Type in three columns is reversed
list and services provided (right), to white against a darker back-
reflect the same minimal navi- ground so that the navigation
gation; the screen color returns buttons become secondary.
to gray to maintain the impact

15 15
The design of transitory materials such as announcements, calendars, or invitations

forms a relatively small portion of the typographic world. Most type appears in
serial applications, such as books or brochures, and because it does, it has its own visual
and informational requirements. Designing ephemera presents a designer with
the chance to experiment, to push some boundaries, and to deal with a great deal less
content than he or she would with an involved text application. The piece, by its nature,
need not solve longevity problems, as in a corporate branding system; it will only be
around for a short while. It can afford to be edgy or experimental, because most often its
communication goal is less lofty. Effective typographic design in ephemeral media
depends to a great degree on immediate visual impact, clear hierarchy, and simplicity.
T Ephemera
YPOG RAPH Y
I N P RACTI C E
Announcements, Promotions,
and Advertising
15 15
David Pidgeon is an Australian designer based in St. Kilda, where he is a principal of

Gollings+Pidgeon, a multidisciplinary firm. Along with complex projects such as
corporate identities and packaging, Gollings+Pidgeon also investigates smaller custom
projects that include ephemera such as invitations, announcements, and calendars.
Here, he discusses his direct, yet conceptual, approach to typographic ephemera.
What concerns you most when youre working with Talk a little bit about the conceptual process for the How do you feel about rules in typographic design?
typography? The communication of an idea . . . thats it, Order of Service cards. How did you come to the Are there any that should never be broken?
really. The typography is a vehicle for the concept. solution, in terms of its typography? Getting married is Typographic rules are only a safety net. All rules can be
usually a very formal affair. However, brides are notoriously broken if they enhance the overall idea.
When designing something ephemeral an invitation late, so I thought I would give the guests something to
or other one-offhow does your approach to the do while they waited. The setting of the type pays homage What are your favorite typefaces and why? How do you
typography differ from that of designing for a book to the occasion while the game adds a little personality choose a particular typeface for a given project?
or an annual report? It differs only in relation to the of the couple. The puzzle solution reads: Here comes the A typeface represents the personality of the job or client
complexity and structure of the content. One-offs tend bride all dressed in white. and is selected accordingly. The following are a few of my
not to be as complicated as other kinds of material, but favorite typefaces and what I especially like about them:
you still have to pay attention to the same kinds of prob- Georgia (old style figures); Champion (the heavyweight
lems: does the type read, is it too big or small, and so on. ampersand); Bembo (lowercase e), Bauer Bodoni (lower-
case g and numerals); Hoefler Text and Univers (for their
versatile families); Akzidenz Grotesk (light number 2 and
7), OCR A (form follows function); Melior (proportions)
and hand lettering (personal expression).

15 15
Swiss Postal System Stamps and Poster
The typography in this work for the Swiss Postal System

is characterized alternately by a sense of restraint and
dynamic compositional integration with the pictorial
elements of each piece. Throughout, the designers have
limited themselves to one typefacea neutral sans serif,
sometimes appearing only in capitals. This neutrality
keeps the type simple, in contrast to the surrounding dra-
matic imagery and positioning within the compositions.
Alignment and orientation correspond to the horizontal,
vertical, and diagonal elements of the images. A sensitivi-
ty to scale relationships among the typographic material
helps create strong, simple hierarchies and augments the
sense of depth; the type does not appear to be laid on top
of the images, but is actively a part of them, appearing at
different levels within the image/type composite depend-
ing on color, orientation, opposition to solids, and trans-
parency. Within the two stamps shown from the series, a
vertical bar containing the word Helvetia (Switzerland)
occupies a consistent position at the upper-right corner.
This band quietly asserts the national origin of the stamps. The horizontally oriented
column, reading left to right,
However, the vertical orientation of the type, which natu- repeats the logic of the mountain
rally slows recognition, keeps the marker at a secondary image below. The hard line of
the alignment corresponds to
level in the typographic hierarchy. The dominant type the bottom edge of the format,
the subject matter of the individual stampschanges while the rag restates the jagged
alignment, size, and color depending on the requirements forms of the mountain range.
of the images with which they have been combined. The alignment edge creates a
proportional division that allows
In the promotional poster for a philately exhibition, the
the space within the photo to
same contrast of restraint and dynamism is evident. One interact with the space above.
sans serif face, in a single weight, plays a quiet, informa-
tional role, but its unconventional positioning in the
format creates interest and calls out a visual relationship
to the mountains below.
Studio di Progettazione Grafica Sabina Oberholtzer,

Renato Tagli | Cevio, Switzerland
The type in these three postage

stamps responds to the visual
stresses of lights and darks, as well
as to specific elements, in their
respective images.
15 15
Typography in Practice Ephemera
Royally Fucked Performance Series Cards

The central axis of the first
The typography in these provocative cards mixes a raw, card, featuring the event
dirty quality with pristine serif typesetting, in varied identity, alludes to formal
alignments, and strong graphic elements. The subject of invitations. The clean edge
of the black rectangular
the three-part event is sex; its sleazy and sensual nature
background is compromised
is presented by the degraded forms of the logotype and by the cutout strip of type
images and by the sensitive placement of paragraphs and the vertically oriented
in space. The event logotype is a mixture of distressed pink type at the lower edge.
type forms. An elegant script, its outline slightly altered
and its counters filled in, displays a decrepit formality that
contrasts the cut-out, individually spaced letters of the
second word. Their disorganized arrangement is derived
from flyers for underground sex clubs, conveying an
irreverent quality often associated with punk zines and
concert posters from the late 1970s and early 1980s.
The serif face used for the event information is also slightly
alteredsomewhat condensed from its regular width
and drawn to look a little uneven. Bold color and high-
contrast images oppose the delicate quality of the ype.
Contradictory attitudes about sex are communicated
through contrasts between classical and degraded forms. Again, a clean, rectangular
background is violated by the
ain irregular horizontal motion of
Stoltze Design Clifford Stoltze, Violet Shuraka |
the type. The series of alignments,
Boston (MA), USA almost tabular in effect, con-
, tributes to this movement.
ed The reversed line of type, in
white, is given prominence in
the hierarchy through brightness
ows against the similar values of
black and fuchsia, and by
the graphic icon that marks it
from the left.
A decisive arrangement of positive

and negative forms creates a
spatially dynamic composition
from a few elements. The vertical
movement of the face image is
joined by the lateral motion of the
logotype, which occupies a plane
in front of the face. The informa-
tional type to the lower left
continues the lateral movement
of linear elements through the
relationship of the outdented
e
subhead to the text, while the left
alignment creates a second vertical
well
motion corresponding to the
r
image, but on a smaller scale.

15 15
Annual Calendar Promotion
The designers of this annual promotional calendar

have defined a visual language that depicts the passage
of time as a rhythmic interplay of linear motion. The
composition interprets a full years calendar through
the depiction of days in linear sequence. The horizontal
motion is halted and resumed as the days of the week
and weeks within months are separated and grouped.
The composition is devoid of other elements except for
the names of the months and demarcation of holidays.
The horizontal motion is chaotic, as changes in the sizes
and colors of the numerals create varying degrees of
emphasis to alter the spatial relationships between the
lines of numbers. The lines move in slight diagonal
opposition to each other, adding to the frenetic quality
of the composition.
Bro fur Gestaltung Christoph Burkardt, Albrecht Hotz |

Offenbach, Germany
A gestural quality to the

typographic movement,
created by the gently opposing
diagonal thrust of the indi-
vidual lines of numbers,
distinguishes this calendar.
In addition, size and color
changes among the numerals
cause them to be perceived
at varying spatial depths in
the format.
15 15
RAM New Years Card
This ethereally delicate New Years card derives its structure

from die-cut, perforated numerals. When punched out
from the flat card, the numbers can be arranged into a
beautifully architectural configuration. The variation of
the numbers forms, including a black condensed sans
serif form and a scrolling serif one, add interest, as does
the interplay of positive and negative areas of the
cutouts and voids in the card.
Restaurant Branding Ephemera
Typographic and abstract imagery with typographic

characteristics adorn numerous items of branded
ephemera for a restaurant in Tokyo. The typography is
minimal, interacting with drawn and brushed iconlike
images. A single lockup of typographic elements,
which shows an internal hierarchy, moves to accommodate
the abstract images and integrate with those images
into the space of the formats. The various formats
contain dramatic negative space as a frame for type and
image elements, providing rest and counterpoint to
the positive forms, whether typographic or otherwise.
Graph Co., Ltd. Issay Kitagawa | Tokyo, Japan

15 15
Be Heard Self-Promotional Booklet
This design firms promotional booklet targets educational

institutions as potential clients. The booklet visually and
verbally delivers messages supporting the firms conscien- The dramatic cover of the
tious approach to designing recruiting literature that is promotional booklet pits a
meaningful, appropriate, and that will resonate with their comfortable and confident sans
clients prospective students. A series of statements and serif against a storm of distress-
ing issues set in a classic serif.
questions, each centered simply on the left page of a
The clustering and overlap
spread, gives way to a cluster of musings, answers, and of the serif forms create tension
solutions on the right, delivered in a comfortable mixture and confusion; the detailed
of typographic treatments, which are formally integrated. quality of the serif enhances
this busyness, as well as casts
Scale and orientation changes in two primary type families,
the distressing preconceptions
a serif and a sans serif (along with their respective italics, that the firm will dispel as con-
bold weights, and small caps) create a controlled variety ventional, everyday thinking
of experience among elements. the traditional approaches will
no longer meet expectation.
Robert Rytter & Associates | Butler (MD), USA
The basic compositional structure:

a simple statement on the left
that is supported, pondered, and
resolved in favor of the design
firm on the right. The simple, one-
face presentation on the left is
contrasted by the multitypeface,
textural, process-oriented typog-
raphy on the right.
15 15
Promotional Cards The Lionel Hampton Center

at the University of Idaho
The typography for these promotional cards is reminiscent

of 1950s and 60s Blue Note jazz albumsa nod to the
musics history and an opportunity to resonate with jazz
aficionados familiar with the design language of those
albums. Updated with overlapping fields of vibrant,
unconventional color combinations and photomontage,
the typographic presentation relies on a mixture of
unadorned, condensed sans serifs and chunky, slab serifed
typefaces, popular choices for record album designers in
the mid-twentieth century. The gently rhythmic composi-
tions are unified by both color fields; placing the two
cards together joins both into one long composition.
ure:
Jack Design Jenny Chan | Hamden (CT), USA
nd
one-
s
ce,
og-
New Years Card 2003 Museum of Modern Art
The strength of this starkly designed New Years card is

not so much a result of the typographya stenciled cut-
out sans serif reminiscent of shipping cratesbut the
formal qualities of the paper stock. The typography is a
vehicle for showing off the contrasting tactile qualities
of the card: a glossy metallic silver surface with a highly
reflective polish, cut open to reveal a blank, near-fluorescent
matte yellow surface. The conceptual underpinning of
the year acting as a window to show change is simple,
yet the execution and attention to the surface interaction
creates a visually arresting message.
Design Machine Alexander Gelman | New York City (NY), USA

15 15
Door to Door Club Promotional Card
This promotional card for a club event is a study in lateral

rhythm. The change in scale between the letterforms in
successive lines creates differing alternations of positive
and negative strokes line by line. The pace and density of
the alternating rhythm is compounded by the rectangular
blocks that contain the letterforms and the negative
white lines between them.
Around the line Sommernachtsfest, the color of the blocks
is a more vibrant pinkish red than that which surrounds
them. The blocked-out letters are somewhat reminiscent
of lead typesetting slugs; in the context of this event, they
also take on a kind of binary or digital quality, appropriate
to the digital nature of the music being performed.
Martin Woodtli | Zrich, Switzerland
Gala Invitation Enterprise Foundation
This invitation, for a nonprofit organization devoted to

urban renewal, uses a bright palette, expansive negative
space, and a whimsical pictorialization of typographic
elements to convey a sense of optimism and progress.
The cover depicts a skyline of familiar New York buildings
and other objectsa flower, a hammer, a building level,
and a drill bitgiven architectural scale. The title of the
eventBuilding a More Vibrant New Yorkis set in a bold
sans serif face using a rich, warm red, supported by an
explanatory line in the same face, regular weight, in blue.
The word building, in an elegant serif, appears among
the skyline elements, the center of the flower cleverly
substituting the is tittle. Upon opening the accordion-
fold card, the remainder of the event title continues in
the large-scale serif, tinted to a pale blue and activating
the enormous negative space around the discreet infor-
mational clusters dispersed across the format. The date
of the event is set larger than the information around;
calling it to the top of the information hierarchy, setting
it in a medium warm yellow makes it appear less aggres-
sive in all the white space. Color and weight change help
distinguish different levels of information in the narrow
column at the far right of the format.
C. Harvey Graphic Design | New York City (NY), USA
15 15
Advertising Campaign Seagate, Inc.
In this campaign of double-page spreads for a software

and networking solutions company, type does double
dutyboth as the text of the ad, and as the illustrative
component. Refreshingly devoid of photographic images,
the typographic illustrations convey as much (if not more)
information because the symbolic nature of letters and
type symbols inherently carries conceptual messages.
Each ad focuses on an aspect of storage networking
technology, the entire verbal message contained in a
discreet paragraph of justified sans serif text with minimal
treatmenta size and weight change in the ad headline
and a color shift (black to knockout) in the tagline. Around
this uncomplicated paragraph, however, the typographic
illustrations roar across the spreads. The multitude of
forms clustering in the dramatic compositions, along with
their scale, repetitions, and interaction with the negative
space of the spread, convey the sense of vast amounts of
data that desperately need management. For all the space
of the double-page spread, the paragraph occupies very
little, but the directional thrust of the illustrations forces
the viewers attention from anywhere in the layout right
toward the paragraph.
Templin Brink Design | San Francisco (CA), USA

e
gs
old
e.
g
s- Choosing type to create images data. Again, the distribution of
adds an extra dimension to the weight and the thrust of the
p illustration. The words or letters curves in this image focus the
chosen to construct the shapes eye on the paragraph of head-
in the image inherently convey line and body copy. A slim black
information. In this case, the 1s band at the bottom of the ads
and 0s are a quick read as binary holds the branding.

15 15
The poster is arguably the single most dramatic typographic application in design
its large scale and street-level visual power have fascinated designers for more than
a century. Not surprisingly, typography often dominates the design of posters.
Perhaps it is the opportunity to use large scale type, or to combine it with images
in such a direct, visceral presentation that draws designers to the medium over
and over again. In addition to the top-level impact a poster requires to be effective
at a distance, it offers the potential for nuance with secondary-level text setting,
allowing the designer to involve the viewer on a more personal level once captured
by its dynamic first statement.
T Posters
YPOG RAPH Y
I N P RACTI C E
15 15
Leonardo Sonnoli is an Italian graphic designer known for his stunning poster work,
which forms the majority of his portfolio. As principal of CODEsign in Rimini, Italy, whose
clients include an international range of cultural, educational, and corporate organiza-
tions, he has created an impressive body of poster-based communications. Sonnoli is a
member of AGI ( Alliance Graphique Internationale ).
What characterizes your typographic sensibility from Compare the typography in two of your posters from a What are your favorite typefaces and why? I have
that of other designers? From a stylistic viewpoint, my conceptual, as well as visual, perspective. The two three favorites. First, I like Fuller Bentons Franklin Gothic,
approach is influenced by twentieth-century European posters are very different conceptually. The Italian word because to me it perfectly embodies [Modernist architect]
avant-garde art, concrete poetry, futurism, conceptual art. for poster is manifesto: the Palindrome poster is both a Mies van der Rohes motto Less is more. Second on my
My work shows a certain consistency in color (black, poster and literally a manifesto. I present a palindrome list is Matthew Carters typeface Walker, because it was
white, red, orange, silver) in the use of existing typefaces alphabet (where each letter may be read in two directions) one of the first well-drawn digital typefaces. And third,
(modern sans serifs like Franklin Gothic, Akzidenz Grotesk, that I designed as an investigation into the connection I like Letterrors typeface Beowolf. Ive never used it, but
Trade Gothic) and in designing my own lettering with very between typography and rhetorical form of language. its an interesting exploration into the relationship
geometric, linear structure a kind of reference to The IUAV poster announces the opening ceremony of the between bits and type the computer redraws the out-
de Stijl [the Dutch design movement of the 1900s that academic year at the University of Architecture in Venice. lines of each letter every time it is set.
included practitioners such as Theo van Doesburg The two As stand for Anno Accademico (academic year).
and Piet Mondrian]. The structure of the two posters is similar: a big letter is Whose typographic design has influenced you most?
the main focus, and the information is presented system- Im continuously influenced by contemporary designers.
What kinds of typographic considerations are important atically below. The Palindrome poster plays with the But I love history. Im partial to the designer Dudovich,
to you when you are designing a poster? A poster spatial relationship of the photography and type to create who was born in my hometown, Trieste, and others from
has two reading levels. The first level intrigues the viewer, an ambiguous space. In the IUAV poster, a similar spatial elsewhere in Italy (like Grignani and Fronzoni). Culturally,
fascinates them; its the level where the typography is disconnect is achieved with geometric and plain surfaces. I feel European, so I feel a connection to designers like
the core of the visual communication especially if the The typeface for the text in the Palindrome poster is Piet Zwart [Dutch designer, active in the early twentieth
primary element is a single letter. The second level is infor- Akzidenz Grotesk (to contrast the stylized headline type, century]. And finally, I have to mention my friend
I needed a neutral typeface without distinct qualities). Wolfgang Weingart [Swiss, b. 1941]. For me, he is the
Y
mational and supports the first level with explanatory text.
In the IUAV poster, I used a very architectonic typeface: greatest example of someone devoted to discovering
DIN Mittelschrift. the hidden essence of typography.

15 15
Willisau Jazz Festival

In the first poster (left), the bitmaps. The pixel jaggies asso- In the second poster (middle), The type in the third poster
Every year, Niklaus Troxler creates a series of posters for designer explores the relation- ciated with low-resolution type- abstracted black-and-white (right) slides within the format,
the jazz festival in Willisau, Switzerland, which he also ship between system and setting and images play an piano keys set up a rhythmic as though inked and dragged
coordinates. Overall, the posters are a study in the improv- improvisation. Splotches of what interesting game with the alternation of dark and light for across the page. The distribution
isational nature of image making and as such are appro- appears to be yellow and green assumed intuitive quality of the this poster. The type follows of dark typographic matter is
paint are spattered evenly across splotches. The splotches are the up-and-down motion of the decisively composed, and the
priate to their subject; additionally, the striking playfulness
the format, partially obscuring carefully placed to maintain the keys, sometimes being partially negative space that interacts
and energy of the compositions are clearly eye-catching. the type, which is set flush left, legibility of the forms, keeping obscured, sometimes moving with it from the top and outer
Within each poster, despite this fast-and-loose approach, with even interline spacing and critical strokes uncovered so into the foreground. The designer edges is carefully considered.
the typography is always clear and center stage. The one size in a very restrained way they are easily recognized. has selected a condensed sans The form repetition that results
off the left edge of the format. serif of a weight similar to the from the stamping effect creates
designers control of the letters formal qualities, spacing,
Closer inspection reveals that all black keys (and counters similar movement and depth.
and interaction with other elements allows this seamless the elements, including the paint in width to the white keys) to
mix of energy and information. Each poster investigates a splotches, are digitally drawn correspond to those elements,
single visual concept: this logic of distilling one formal both visually and conceptually.
performance unifies the individuals into a body of related
work, despite the use of different typefaces or hand-drawn
letterforms, colors, or abstract elements.
Niklaus Troxler | Willisau, Switzerland
15 15
Typography in Practice Posters
Cosmology of Kyoto Video Ex
A delicate network of lines and neutral color creates a The limit of legibility is stretched in this poster for a video
complex textural backdrop for the title and secondary art exhibition. The typography is joined to the background
information in this poster for an exhibition. The typogra- of test-pattern lines, alternately separating from it and
phy is relatively straightforward, set in a classic serif that being partially lost among the colored linear elements.
echoes the elegant precision for the background imagery. The lines are divided into three overlapping bands, creating
The title components are set justified, in two sizes. The additional levels of spatial interaction. Ghosted diagrams
secondary information runs along the bottom of the of video equipment and textural type elements further
poster, also justified, calling attention to the linear quality contribute to the overall pattern of the presentation. The
of the type to visually correspond with the lines in the exhibition dates and supporting text appear in a bitmap
background. typeface, reversing out white from the background and
set against a black bar to aid legibility.
Shinnoske, Inc. Shinnoske Sugisaki | Tokyo, Japan
Martin Woodtli | Zrich, Switzerland
t,
on
ts
tes

Dept : DTP D/O : 08.04.04(Job no:80872.C1 D/O : 13.05.04 Co: CM15) Text Black
15 15
Season Performances Thtre du Chtelet The Arabella poster (left) is thick stroke. Within the column, The title of Le Dmon (right)
composed around an enormous a color change distinguishes is presented in an illustrative
serif A, rotated against the right informational indicators treatment in the background of
These posters are part of an ongoing series created for
edge of the format. Across the musical direction, costumes, and this poster, interacting with the
a musical theater company, and they demonstrate the field of color and the black letter so on from the people to Chtelet brand mark and the
design flexibility that is possible in a branding system. itself, a pattern of wavy lines whom they refer. The Chtelet informational type. The forms of
The consistent use of a single sans serif type family undulate from side to side. The branding rectangle at upper left the letters in Dmon are altered
performance title, composer, and is a standard feature within the to communicate the idea of the
and a standard treatment for the clients name forms
all the secondary information posters, and here its linear Devil or Hellthe counters are
the basic visual unifier of the system. In contrast to this flow along similar wavy base- motion integrates with that of stretched and the stroke weights
consistency, the poster content changes stylistically and lines, with the list of performers the vertical thick stroke of the A. are skewed, horns have been
organizationally to reflect the subject of the individual set flush left to provide a recog- added to the initial D, and the
performances they promote. Additional typefaces, nizable structure that restates tops of the letters have been
the vertical edge of the giant As pulled and de-formed to evoke
illustration, and spontaneous compositional strategies flames and canyons. The second-
are all permitted. ary type is aligned flush left
along a diagonal following the
Rudi Meyer | Lausanne, Switzerland accent mark over the E.
15 15
Biblioteca Multimediale
Two primary forms dominate this poster marking the

inauguration of a universitys multimedia facilitiesthe
title block at the upper left, a square grid of dots; and
an arrangement of colored planes. The dots and planes
are the basic visual logic that governs the typography
and represents the ideas of multimedia and library. The
dots are binary code; the colored planes are alternately
computer screens and book pages. The type follows this
logic and sets up the same contrast in presentation
established by the two primary visual forms. The grid of
dots, which forms a flat plane, defines the title of the
poster by changing the weight of specific dots to make
letters. The secondary type below appears over the colored
planes, set all uppercase on a gridand by spacing
them out, they begin to take on the quality of dots.
Alternating and reconfirming the visual logic between
the type components and the images contributes to the
visual and conceptual unity of the poster.
CODEsign Leonardo Sonnoli, Pierpaolo Vetta | Rimini, Italy
The dot-plane logic is restated

in the secondary information;
of looking carefully at the lines
he of type, it becomes apparent that
letters between each line are
s of aligningthe type is set on a
ed grid, and the space between the
e letters horizontally compromises
e the line, enhancing the
hts appearance of the individual
letters as dots.
e
nd-

15 15
Hommage Gabriel Faur
In this poster for an exhibition celebrating the French

composer Gabriel Faur, an intricate network of diagonal
lines joins the background image, a portrait of the subject,
to the type of the exhibition title. Narrowly spaced gray
lines of one value cross from upper left to lower right,
effectively tinting the image and sending it backward into
space. A musical rhythm of lines in white and black streak
from the title upward to the right, creating a cross-hatch
effect that is reminiscent of engravings contemporary
to the composer. The alternating black and white letters
in the title set the word in motion, creating the appearance
of multiple spatial levels, and define the logic for the
white and black lineswhite lines proceed from white
letters, black lines from black letters. The flush-right align-
ment of the title components creates a geometric border
that accentuates the movement of the lines and relates
to the format edge.
Along the left of the poster, the exhibition information is
divided into three components: the museums address;
the dates of the exhibition; and at the top, information
about the exhibition sponsors. The date component set
in larger type achieves the same optical width as the other
two and simplifies the vertical movement of the support
text. The museums logo appears in a grid formation
toward the bottom left of the format.
Studio Apeloig Philippe Apeloig | Paris, France
The linear texture, interacting

with the photograph and the
title type, joins the two elements
and alludes to the rhythm and
expressive qualities of music. As
the lines gather in density, they
begin to obscure the type, but
not enough to impair the recog-
nition of the letters.
The title, set in a sharp, classic

serif, all uppercase, relates stylis-
tically to the period of the com-
posers life. The informational
type is set in a modern sans serif,
relating to the present frame of
the exhibition, contrasting stylis-
tically to distinguish it and to
help improve legibility against
the background texture.
15 15
Vrsalongen Liljevalchs Alex Katz + Robert Starr Lecture Poster 50 Years: Rock n Roll Realschule
A simple composition, enlivened by ornate detail and Enormous quotation marks form the primary visual elements In a vibrant homage to the psychedelic rock posters of
color, calls to mind the European horticultural prints of the of this typographic poster for a lecture, alluding to the the 1960s, the designer has created an updated rock sensi-
eighteenth and nineteenth centuries that were prevalent subject in the title, A Conversation. The title and secondary bility through color and type treatment to commemorate
in England, France, Sweden, and the Netherlands. The floral informational type for the event are set upper- and lower- the schools fiftieth anniversary. The primary image is a
blackletter V occupies a central position. The naturally case in the same sans serif face throughout. Color plays an gigantic 50 set in a serif face that is stylistically related to
organic, plantlike forms of its drawing integrate seamlessly important role in establishing hierarchy and spatial depth the period, augmented by concentric repetitions of the num-
with actual leaf drawings composed in a profuse pattern among the elements. Against the green background, the bers outlines in alternating hues of yellow and orange. The
around the letterform. The V becomes part of the foliage, title and most important secondary information are reversed title and support information are set justified in a sans
but its heavy strokes allow it to separate and be perceived to white, moving forward in space and occupying the domi- serif typeface, knocking out of extruded drop-shadows in
without confusion. The exhibition title and supporting nant hierarchic level, above even the bold black quotation a rich fuchsia. Alternating the direction of these shadows,
information are set in two lines of sans serif type, upper- marks at the left, which act as a focal point for entry into the designer creates a frenetic back-and-forth rhythm
and lowercase, in two sizes that justify the lines with the information. The remaining type, in black, is closer that enhances the rock n roll attitude of the poster.
the illustration. in value to the background color, and so appears to recede.
The large-scale quotation marks in the upper right appear Fons Hickmann m23 Barbara Baettig, Fons Hickmann |
Fellow Designers | Stockholm, Sweden translucent, overlapping each other in differing values, cre- Berlin, Germany
ating yet another spatial level. At the upper left, the vertical
type joins the upper part of the format to the lower, creating
an angular, stepped movement across the format to the
paragraph at lower right and repeating the angular geometry
of the stylized block quotations.
Paone Design Associates | Philadelphia (PA), USA

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Krpersprache (Body Language) / Enjoy carefully controlled; the English text is still legible because accompanies it. The verbal/visual message is clearly a
its lines do not interfere with those of the German in the powerful tool, and Loesch uses it to comment on the com-
These two posters are characterized by designer Uwe foreground. A single line of information in yellow at the munication industry and his place within it. The secondary
Loeschs fascination with wordplay and symbolic represen- right edge of the poster defines a horizon related to the type exists in a subtle color relationship with the overall
tation. Each poster focuses on a syntactic and pictorial perspective of the type planes. red background. A slight change in value and a shift in
relationship to convey intellectual meaning. temperature toward the blue range of the spectrum allow
The red poster is for an exhibition of posters by the designer
the type to be seen but does not interfere with the primary
The type in the black poster Body Language creates a sub- in Tehran. The Arabic script titling, in the context of the
image of the Arabic script. It is set in the same bold sans
tle intellectual game: the same information appears both red background, is a visual pun on the branding of a ubiq-
serif as Enjoy, and at the same size; its color causes it to
in German and in English. Each body of text occupies a uitous cola. Lifted from one of the brands advertising
recede into space. Its similar value to the background cre-
plane rotated on its axis into perspective; the two planes campaigns, the flowing white script is similar to the
ates some optical buzzing that helps its legibility, and its
cross each other in the center of the posterseparated by brands iconic logotype. Taking these kinds of commercial
linear arrangement both complements and opposes the
value. The game takes place in the fact that each body of metaphors out of their regular context is a hallmark of
linear forms of the script.
text is set in a different language. The information is Loeschs work. It speaks to the omnipresence of advertising,
repeated in both paragraphs, and the interline spacing is celebrating the sense of international community that Uwe Loesch | Dsseldorf-Ekrath, Germany
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National Portfolio Day

Syracuse University School of Art
Three distinct zones divide the format of this horizontal

poster. The top and bottom are reserved primarily for
image, a montage of students and photographic elements
that bleed into each other through the middle zone,
where the typography is located. The large-scale title, set
in a geometric sans serif, runs forward and upside down,
playing off the image reversal in the background and the
idea of photography. The information is constrained to a
column structure hanging from a flowline. Bold subheads
call attention to specific content in the columns of infor-
mational text. To the lower left, the date and sponsor of
the event appear in a contrasting OCR typeface, set in
three staggered lines that relate to the back-and-forth
motion in the images, and join the middle type zone to
the lower zone.
stressdesign Marc Stress | Syracuse (NY), USA
WW Typo Lecture, Carnegie Mellon University
This poster for a book lecture by typographic visionary

Wolfgang Weingart uses a bold-weight sans serif gothic
at dramatic scale to create a dynamic space. The hierarchy
is unquestionable: WW and Wolfgang Weingart, by virtue
of the scale of the two Ws, are joined into a unit that
dominates the format. A column of descriptive words, set
flush left, connects top and bottom spaces, traversing the
horizontal structure of the title. A third paragraph, also
m- flush-left, contains information about the lecture. In the
ary background, enormous yellow letters spelling typo both
join to the WW lockup but remain at the lower level of
the hierarchy because of their value similarity to the
ow white page. A small, rectangular cropped image of one
ry of Weingarts own works and a silhouetted image of his
s book add tonal depth and detail to the composition.
e- Daniel Boyarski Carnegie Mellon University |

s Pittsburgh (PA), USA

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Netherlands Dance Theater
In this series of posters for the Netherlands Dance Theater, in specific sizes and weights; the performance dates are images and the type, further help integrate the typography
the designers explore a starkly simple, yet dramatic, clustered in a modular system that is treated consistently and image into a dynamic and unified whole.
typographic system. The posters feature ethereal colorized and always occupies the third level down in the hierarchy.
images of the dancers, with the information related to The flexibility occurs in the systems response to the pho- Faydherbe/DeVringer | The Hague, Netherlands
each particular performance dominating the foreground. tography in the backgroundthe typographic components,
Through color variation in the typography and in the at all levels of the hierarchy, change configuration to
photographs, the posters maintain a clear branding unity accommodate the formal dynamics in the images they
for the client, but show the flexibility that is intrinsic overlaydiagonal movements, curves, lights, and darks of
to system-oriented typography. The type in each poster the dancers bodies. In some cases, the type complements
reflects the same hierarchical structure: the title is the motion of the bodies. In others, it acts in opposition
assigned a specific size and typeface; the performers in to the directional movement. A subdued, consistent color
the season are listed in a columnar lockup and also appear scheme, with subtle shifts in hue between the background
15 15
Agent Orange Concert Poster
This poster promoting a concert event uses typography

and vivid color to startling effect in very direct and aggress-
ive compositions. The poster is silk-screened in two colors
for maximum saturation. Overlapping, decon-struction,
and collage all characterize the use of type. The large red
A, in an extruded, slap serif typeface reminiscent of early
American wood type, acts as a focal point for the poster.
It overlaps the second initial of the bands name, the enor-
mous O, which is reversed out white from the shocking
cyan background. The secondary type uses the diagonals
of the A as a cue for their alignment. Repeating this infor-
mation at the lower right adds texture and detail, as well
as restates the overlap of the A and O.
Stereotype Design Mike Joyce | New York City, USA
Monash University Museum of Art
The type in this poster is, at first glance, hiddenan appro-

priate entree for the viewer, given the visual concept of
hy
the maze that dominates the poster. On closer inspection,
the letterforms spelling out the museums name reveal
themselveshiding in the maze as part of its walls. The
letterforms are drawn as architectural elements with a
geometric construction. The angle of the maze in the pho-
tograph and the lighting of the surfaces aid in legibility.
Secondary information appears in two lines near the bot-
tom edge of the format in a graphically stylized sans serif
that mimics the form of the letters in the maze.

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With the advent of film and, later, digital design tools, the opportunity to explore the
visual and conceptual potential of typography that moves has presented designers
with newfound possibilitiesand equally unusual concerns. Added to the spatial and
verbal considerations of print is the quality of time and actual movement. The impact
of these two concerns on type is profound. How long do words appear before the viewer?
In what order do they appear? How does their movement change their legibility
or their meaning? How does it enhance the ideas that the words already represent?
T Type
Y PinOMotion
GRAPH Y
I N P RACTI C E
Animations and Film Titles
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Dan Boyarski is Head of the School of Design at Carnegie Mellon University in Pittsburgh,
Pennsylvania. His work in information design and education is highly respected, winning
numerous awards in his 30-plus-year professional career. The aspects of motion and time in
typography are a focus of his recent work and his teaching.
Describe your approach to typography in general. Does the way words sound affect how you manipulate Whose typographic design has influenced you most?
I mix an intuitive approach to typography with a pragma- their typography? Yes, most definitely. At the start Wolfgang Weingart [designer noted for his experimental
tism that brings it down to Earth. By that I mean that of a monologue project I give my students, I ask them work and teaching at the Basel School of Design,
an early typographic ideausually a sketch by hand on to read the words of a quotation theyll be working with Switzerland] and Robert Massin [a French designer whose
paper or a quick composition on computeris clarified out loud several times, listening carefully to its speed, typographic book work uses unconventionally dynamic
with an understanding of how it will be produced and volume, and pacing, as well as pauses. They soon realize text layout] for their spirit of exploration. I was introduced
delivered. I certainly consider what the piece is meant to the importance of pauses and silences the spaces to Massins interpretation of Ionescos The Bald Soprano
achieve early on, but at the same time, Ill take the germ between the movement. Then they begin to explore visu- in college and was forever changed! Years later, I studied
of an idea and freely explore it, sometimes (I have to alizing that reading in dynamic typographic form, often with Weingart in Basel, and his approach to typography
admit) disregarding the goal of the piece. I love to explore, returning to reading the words out loud. visual, intuitive, intelligent, playful, and brave taught
as that elicits the widest range of ideas. The next stage me that one can simultaneously engage and challenge
then involves evaluating what Ive come up with and Describe your process for a kinetic type project. the reader.
selecting the typographic idea that best meets that goal. In this personal project, I was attempting to visualize a
sound montagethe cut Revolution 9 from the Beatles How do you feel about rules in typography ? A re there
How does designing with type that moves differ from White Album. As I listened to this piece over and over, any that should never be broken? I dont believe in
designing for print? The element of time is the major I began to sketch frames for a typographic film that hard-and-fast rules in typography. We have guidelines
difference. Time offers two options when presenting visually represented what I heard. Because this was a when it comes to text setting, like letter- and wordspacing,
type: one, sequencing the appearance of type, and two, rather free-form sound piece, with a collection of all line length, and line spacing. And we certainly do our
moving the type. With the first option, the type may stand sorts of sounds, I decided to use type as my primary visual best to instill best typographic practices in our students.
perfectly still as it is presented in a particular sequence, element, not unlike Dada typography. I wanted our eyes Once students gain confidence in their typographic skills,
Y
where speed, pacing, and rhythm are important factors. to hear sounds . . . kinetic typography as a visualization of they venture beyond the guidelines, hopefully knowing
This sequence may resemble the sequence of pages in a the spoken words. why they challenge the norm and break the rules. I hope
book, but when designing with time, the designer controls that students gain a respect for letterforms and typo-
what is shown and precisely when it is shown to an audi- graphic history, mixed with a healthy skepticism for rules.
ence. The second optionmoving typeis new territory,
closer to choreography or filmmaking than book design.
Movement, transition, appearance, and performance
all have the potential for communication and meaning.

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Wer Weiss Wohin Branded Promotion
Illusory space is used to profound effect in this animated

spot for a German cultural festival. The typography, which
is the only visual element in the materials, is structured
in exaggerated perspective that focuses on a vanishing
point in deep space. The forms change scale as they move
toward the viewerliterally. The digital typeface Chicago,
usually ignored by designers because of its oddly drawn
forms and irregular spacing, is used here fearlesslyit is
not merely used, it is grand. At this scale, the type becomes
a display face; the irregularities that make it a hideous
type for text are transformed into stylistic details. Varying
levels in depth and color separate the individual lines of
information into accessible parcels, as does the changing
angles of the lines resulting from their perspective
relationships. A sharp, acid green lifts off the black back-
ground, while lines in a vibrant red and a rich cyan recede.
Although all the type is arranged around the central axis
created by the vanishing point, the composition ultimately
appears asymmetrical; changes in scale, height, distribution
of weight, and length of the lines breaks the central axis.
Qwer Design Michael Gais, Iris Utikal | Kln, Germany
The intellectual understanding rhythm of linear motion in

of the space described by the perspective. The information
type in the poster is trans- repeats in different locations
formed through motion into a and at different rhythms, giving
visceral experience. The words the viewer a chance to catch
move along individual axes information that he or she
from vanishing point outward might have missed the first
toward the viewer, and some- time. Using type in this manner
times, in the reverse direction, can come dangerously close to
changing scale while proceeding negating the function of the
through space. The pacing of typereading itbut with the
the animation is aggressive but kind of sensitive attention to
slow enough to allow the viewer the needs of the viewer evident
to grasp the information. in this sequence creates a dar-
Different type elements move ing and inventive way to give
along their tracks at different life to typographic material,
speeds, creating a complex both in and outside of print.
15 15
Typography in Practice Type in Motion
Become Whatever Music Video
A straightforward use of type brings an added dimension

to the simple visuals of a bands performance in this
unpretentious music video. The song lyrics appear in the
foreground of the frame, overlaying the photography of
the band members singing and playing instruments, set
all uppercase in a neutral sans serif. The white type is
clearly separate from the background video action, simply
existing to be read as the song is heard. The words appear
letter by letter in rapid succession, as though being keyed
in. Some sequences are joined by words that remain after
the lyric has been sung. Where appropriate, the type is
allowed to move out of the frame, be wiped away, or dis-
solved as the action continues in the background.
Fellow Designers | Stockholm, Sweden

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On the Edge of Time Conference Video
For a series of video shorts shown during a conference of

marketing and media professionals, the designer used
the textures and qualities of various media for interaction
and transformation from simple and practically undesigned
typography into visual metaphors for the media being
examined. The digital jaggedness of computer monitors;
the bloated texture of printed type; the blurred edges and
static fuzz of video morph the neutral sans serif used
throughout to create transitions from one subject to
another. The EX conference tag remains a constant element
altered by the textures and additional type that comes
into contact. It can become part of another phrase or act
as an object that is morphed by texture or lighting effects
to communicate a sense of technology. Overall, the color
of the sequences is restrained and often minimal; a wash
of blue or a sudden change from light neutral background
to vivid red is used as visual punctuation to add interest
and distinguish one portion of the sequence from another.
Interkool Christoph Steineger | Munich, Germany
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Kulturregion Hannover Tourism Branding
A playful sequence of type and typographic elements

creates a fun branding animation that promotes the
The simplicity of the Hannover
Hannover region of Germany. The clean white frame comes logoa modern, uncomplicated
alive as punctuation, dots, lines, and other typographic sans serif combined with icons
symbols move around the format; the elements change and punctuation in a justified
lockupis fresh and direct, yet
in scale and color, and combine and recombine in a playful
allows for variety in designing
dance of shapes that ultimately converge to become applications like this animation:
the regions logotype. The elements in neutral sans serif the iconic elements can be
face provide a strong, simple visual unity that is offset by recombined in different pieces so
the continuous interaction of the different type forms. that the identity may constantly
be updated.
Metaphorically, the selection of type elementsmonetary
symbols, bar coding, letters, dots resembling postal
stamps and their movement around the format allude
to human activity shopping, dance, theater, art and a
sense of the bustling cultural center that is Hannover.
Qwer Design Michael Gais, Iris Utikal | Kln, Germany

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The Sky Kinetic Poem
A poem exploring the skys expansive nature is drama-

tized through kinetic typographic manipulation in this
animation sequence. The words and cadence of the
poem are a source for their visual treatmentsmaller
scale type, moving at reading pace along a baseline
in the middle of the screen, begins to overlap itself as
the thoughts progress from simpler pondering to more
complex metaphoric abstractions. Transparent words
and changes in density allude to shifting winds and
clouds, moving more erratically as the poems intensity
A quiet line-by-line reading
increases. The rhythmic variation, changes in density,
presentation is suddenly
overlap, and alteration of the type builds into a kind of transformed as the phrases
storm; individual words and lines of the poem blow begin to interact dynamically
forward from the background, shifting and breaking in the space.
apart as though being tossed about in a hurricane.The
edges of the type blur from the force of confronting
the absolute and it begins to come apart. Attention to
the timing of these effects on the words ensures they
remain legible long enough to be read and understood
before they are broken apart by the kinetic energy.
Heebok Lee Carnegie Mellon University: Daniel Boyarski,

instructor | Pittsburgh (PA), USA
The Sky (excerpt)

But, sure, the sky is big, I said;
Miles and miles above my head;
So here upon my back Ill lie
And look my fill into the sky.
Focusing on individual words
And so I looked, and, after all,
and phrases long enough to be
The sky was not so very tall. read allows them to then be
The sky, I said, must somewhere stop, obliterated in rapid succession.
Their blurring and breaking
And sure enough!? See the top! apart is handled to maintain
The sky, I thought, is not so grand; readability before their eventual
destruction.
I most touch it with my hand!
And reaching up my hand to try,
I screamed to feel it touch the sky.
I screamed, and lo infinity
Came down and settled over me;
Forced back my scream into my chest,
Bent back my arm upon my breast,
And, pressing of the Undefined
The definition on my mind ...
Edna St. Vincent Millay ( b. 1892, d. 1950 )
15 15

8
Double Indemnity Film Titles
The mystery, intrigue, and danger of a film noir classic

is dramatized through slowly shifting, broken planes of
type against a dark background, intermittently illuminated
by vague bursts of light as though by car headlights or
a flashlight. The credits appear out of the background,
starting out dark and lightening up in a steady, sonorous
pace, or flashing brightly and suddenly into focus from
within one of the lighting effects. As the type slides
across the screen, indeterminately moving back and forth,
it breaks against invisible angular elements that have the
quality of shards of glass. As the type breaks and reforms,
it remains legible enough to read but comes close to
illegibility at various points. The effect is a sinister uncer-
tainty and a sense of violence to come. A flash of luminous
red solarizing the title of the film is the only appearance
of true color in the sequence, distinguishing the title from
the remainder of the credits and creating a break in the
overall darkness of the frame.
Josh Reynolds University of Tenessee at Knoxville:

Sarah Lowe, instructor | Knoxville (TN), USA
An unexpected glare of light

gives way to an actors name,
which slowly moves downward
and out of the frame as it fades
out into the black background.
An alternate treatment involves

the type being fractured against
invisible shards; the actors
name in this particular sequence
seems to be sliced apart by sharp
edges and reform after it passes
around them.
15 15
Tungsten Educational Presentation
In this animated presentation covering the scientific

properties of the element tungsten, the designer brings
together neutral informational typography and textural
typographic and diagrammatic elements scanned from
old textbooks and other sources. The goal of the animation,
to present the scientific information in a way that is
accessible for high school students, is achieved through
the use of rich color and the blending of the two typo-
graphic languagesnew and oldto create a visually
complex but easy-to-understand overview.
Scanned typography from the periodic table, molecular
diagrams, textbook charts and tables, and partially obscured
photographs form a textured backdrop to the informa-
tional type in the foreground. Featured content is called
out in a slightly condensed, uppercase sans serif while
the textural type and pictorial elements move underneath.
Sometimes, the informational type is set in serif italic
for variety. As the information being presented segues
from one important point to the next, the informational
type begins to integrate with its textural background,
dissolving or kinetically interacting with the diagrammatic
elements as the next important point moves into position.
Matt Tragesser Carnegie Mellon University:

Daniel Boyarski, instructor | Pittsburgh (PA), USA
The sequence introducing the In a later section, uses for

subject, tungsten, presents the tungsten are listed in sequence,
typeset word in juxtaposition with each use appearing in
with molecular diagrams and the uppercase sans serif set
a textural version scanned from against a treated photograph
a scientific textbook, which is illustrating proper usage.
revealed to be part of a periodic
table diagram.

8
The Phantom Tollbooth Film Titles
This title sequence for a film of the classic childrens

book is playful, dynamic, and fun. A whimsical sound track
provides cues for the movements of the type, which sails
around the screen at breakneck speed and communicates
the exciting and surreal adventure of the movie, a story
about a young boy who drives a toy car through a tollbooth
into a magical world of the imagination.
The sequence focuses on a lowercase m as a main character
whose adventure through the sequence begins by flying
through the main title into a world of rich color and kinetic
typography. The lowercase m joins up with other letters
to complete the names of actors and other contributors,
moving from name to name on a farcical journey in which
words swing wildly into the frame, break apart, rejoin and
dance around. Secondary type appears in a casual, hand-
drawn script that helps keep separation from the primary
bold sans serif of the information. The animation comes
full circle as the lowercase m returns from its adventure
and takes its place in the title, coming to rest center
screen in the final frames.
Ben Jurand University of Tenessee at Knoxville:

Sarah Lowe, Julie Rabun, instructors | Knoxville, (TN), USA
15 15

15 15
Establishing a visual voice for a client is a serious undertaking; the design solution
represents the clients identity and values in public consciousness. Very often, typography
forms the basis of such an identity, whether in the form of a letter combination based
on the clients name, a symbol that shares space with typographic material, or a wordmark
a custom treatment to the clients corporate signature. The hallmarks of successful
typographic branding are simplicity, easy recognition, and memorable form, and, in the
case of overall systems, flexibility and ease of use.
T Visual
YPO G R
Identity
A P H Y
I N P RACTI C E
Logos and Corporate Identity Systems
Dept : DTP D/O : 08.04.04(Job no:80872c3 D/O : 14.6.04 Co: CM11) Text Black Dept : DTP
15 15
Frank Rocholl is a partner in KearneyRocholla branding and communications firm

in Frankfurt, Germanyrecently evolved from Rocholls already-established studio,
Rocholl Projects. His sensitive, yet progressive, typographic branding work for cultural,
lifestyle, and corporate clients has garnered numerous industry awards.
What concerns you most when designing with type? How do you feel about rules in typographic design? Describe your approach to designing a typographic
In my opinion, the choice of typeface determines 60 After thirty years of anything goes in graphic design, logohow does it differ from designing something
percent of the look of a layout. Somewhere along the way the phrase rules in typographic design reminds me of like a poster? In logotypes, I like to mix different visual
I concluded that it is very hard to do something new with Jan Tschicholds book, The New Typography (1925). I think approaches and the recently established look of a
a commonly used typeface, because we are too familiar the basics of layout like informational priorities and the company with newer graphic elements that allow me to
with it. So I wrote on my office wall: No more Helvetica or use of grids are so omnipresent that they are a subcon- play around a bit in the applicationslike giveaways,
Meta use your time to do something more interesting! scious vocabulary. Typography, in my view, can be a tool bags, etc. For example, I designed the Packard logo with
I feel that very often, popular typefaces are used as for image differentiation between brands. These are the the intention of later die-cutting the folders or stitching
homages to iconic designers a waste of time and energy. typographic rules I use: the logo in labels. The shapes I used lend themselves to
I think communication design should find solutions for these kinds of applications, and they help distinguish
1 ) Never use more than three different type sizes in one
current visual needsvery hard to realize with tools that the form of the logo to make it more easily identifiable.
project: 7, 11, and 24 points, for example
are thirty years old. Adrian Frutiger developed [the type-
In designing something like a poster, my approach is
face] Univers as the solution for his needs in the 1960s 2 ) Give yourself exercises in the use of faces that arent
quite different. Here, my goal is to find a harmonic overall
not for every design problem. in your aesthetictorture yourself. Search for combinations
composition, which means the most important element
with your favorites, and the look of your new designs
So I see my approach to typography as involving several such as a headlineis accompanied by other elements in
will mix your personal style with something fresh and
activities: mixing familiar typefaces with unknown but a logical way. For example, the deepest color and the lightest
unexpected.
interesting ones; extensive research to find obscure, yet color occur in the most interesting typographic areas.
interesting, typefaces; and designing signature fonts 3 ) Check every sign and ad you see and guess what the
for example, my font Nuri or modifying details in type- typefaces are. Make it a sport. Learn the vocabulary of all What are your favorite typefaces and why?
faces I like. KearneyRocholl Copytext is a hybrid of two market segments from heavy metal to high style fashion Im partial to my own type family, Nuri, because its
Y
mono-spaced typefaces; we needed a readable text face, typography. Thenavoid clichs at any price! timeless and modern without being invisible like
so we kerned the whole character set and added a light, Helvetica. I like a few typefaces from the Dutch Enschede
an italic, and a bold version. Type Foundryfor example, Trinit, Ruse, and Collis
that have a lot of beautiful details in the character
constructions. Im not a big fan of serif types, but these
are special. Maybe I will use one of them before Im
fifty. I also like Fig Script from the Process Type Foundry.

15 15
adding:blue Restaurant Branding
The logotype for this restaurant in Japan uses English form

and syntax in a simple understatement of form that
then becomes the basis for a richly varied graphic identity
in the print applications. Set entirely in lowercase, the
elegantly defined serif face is a bold weight with a great
deal of contrast in the strokes. The serifs are sharply
articulated against the curving modulation of the stems
and terminals. This sharpness is repeated in the juncture
between the bowl and top counter of the lowercase g,
as well as in its quirky ear. The letters are spaced slightly
looser than normal, exaggerating the alternation of
positive and negative, setting up a distinctly deliberate
cadence. However, the identifying visual kernel is the
colon between the two words and this syntactic element
defines the entire system.
In the menus, cards, and other ephemera, the colon is
repeated in a larger scale that transforms it from mere
punctuation into a bold and easily identifiable graphic
form. Its relationship to the format and to the other
typographic elements changes in every application, as
does the colons formal treatment. Sometimes it is a
flat rich blue or articulated with a luminous gradation,
while at other times blurred around the edges. The bold
nature of the two dots contrasts the delicate, formal
nature of the informational type, which is set in the same
serif face in a minimum of sizes and weights. The colon
appears as die-cuts in the cover of the menu and invitation
cards, and is referenced in the small round stickers, as
well as in the repeated dots of the blue match heads and
the screw-post binding of the menu booklet. A vertical
blue bar is introduced for contrast in the wine list,
while the proportion of the open matchbook repeats
this idea in three dimensions. The informational type is
consistently set flush left.
Taku Satoh Design Office | Tokyo, Japan
15 15
Typography in Practice Visual Identity

15 15
Alices Wonderland
Brick Church School Auction
This branded system of campaign materials for an auction

event based on the story of Alice in Wonderland uses
type in a pictorial way, calling to mind the surreal journey
of Alice after she enters the famous rabbit hole. The
primary branding components are photographs of small
figurines depicting characters from the story, a rich red,
and the systematic use of a curling type configuration
referring to the smoke from the Caterpillars pipe and the
swirling tumble down the rabbit hole. Against an otherwise
straightforward presentation of information that is set
in a schoolbook serif in flush-left alignment, the asym-
metrical, curling type configuration for the event title and
a call to action adds a playful, yet mysterious, quality to
the components of the system. The treatment is flexible;
the designer is able to use the idea to set lines of differing
length and complexity on different pieces in the set, and
scale changes allow the treatment to evolve and interact
with the figurine photographs in different ways. By paying
careful attention to the weights, sizes, and general shapes
of the letters in the words in these curling configurations,
the designer is able to create fluid curves in the type
despite the irregular shapes of the letters at different
sizes. The context of the treatment changes its meaning.
Next to a photograph of Alice or the rabbit and a die-cut
circle, the type becomes a depiction of the journey down The front of the save-the-date swirl in a slightly different way, treatment to be very flexible is
the tunnel. Next to the Mad Hatter, the type becomes the invitation to the event features a integrating the important demonstrated in the much
die-cut circle offering a glimpse phrase dont be late, which is shorter, smaller text reversing
smoke from his pipe.
into the rabbit hole; the title of too short to make curl like the out white. It is still clearly the
the event undulates seductively title. Another die-cut invitation same idea, but the actual shape
Lynn Fylak | New York City (NY), USA toward the image of the rabbit features a quiet, mysterious com- of the configuration is allowed
viewable through the hole. The position. Alice is partially to change to suit the individual
larger type uses the back-and- obscured within the die cut; the content in each piece.
forth motion of the type in the potential for the curled type
Making sure to vary the use of Even longer texts are able to
the treatment, the designer be integrated using the same
avoids tiring the viewer of the concept. The distinctly unaligned
idea. Here, the information outline shape of the text in this
about the event is set flush left, configuration begins to take
with clear hierarchic distinctions on a surreal spatial quality.
achieved through scale and color Separate text components,
change in the complex paragraph treated similarly but in different
of information. The curled type colors, interact with the negative
treatment makes a minimal space of the format and the
appearance in the RSVP line at photograph to form a coherent
the lower left. composition.
15 15
FLUX Restaurant Branding
Picking up on the name of the restaurant, the designers

have created a system of endless opportunity, embodied
in a pattern of different typographic treatments. Although
one particular treatment is used as the signature on items
like the menus and napkins, the pattern of logo treatments
(all somewhat retro in feeling and calling to mind diners
and fast-food eateries of 1930s1950s America) appears at
different scales and cropping on the restaurant entry, in
ads, and on the backs of menus. The signature invokes a
kind of word play in its more simple treatment. The word
flux means change, but is similar to another word, flex;
the box surrounding the type appears to be doing both.
However, the lockup is strong and simple, combining the
pattern and more informational text with ease.
Korn Design Denise Korn, Javier Corts | Boston (MA), USA
s Oracle Mobile
g
Pure geometry, as a metaphor for wireless technology,
pe informs the typographic presentation and structure for
d this identity system. The logo, featuring the initial letters
al of the company name, is drawn using geometric strokes,
resulting in a sleek, extended combination of forms. The
M is drawn with semicircles, instead of diagonal strokes,
to formally integrate with the O. A system of rectangular
spaces, articulated in pale colors and negative spaces,
organizes the typography and provides a framework for
print materials. The geometric components of the logo
itself are used in repetition to create branded imagery for
marketing communications.

15 15
Ariane European Space Agency
An extensive identity system for the European Space

Agency revolves around a custom typeface and letterform-
derived logo, a futuristic lowercase a. The logo is con-
structed out of two geometrically constructed strokes with
sharply cut terminals. The strokes curve around right
angles, feeling as though they are machined out of metal,
and do not actually connect with one another. The sharp
points of the terminals on the bowl create a strong
visual tension against the vertical that optically holds the
form together. Comprehensive manuals lay out the
visual guidelines for using the mark, color, and typography,
which involves not just custom letters derived from the
logo form, but two type families, an extended squared-off
sans serif display face and a text-application sans serif.
Information in the applications takes on the appearance
of engineering diagrams as the result of informational
components being enclosed by or joined by thin-ruled
boxes and lines.
Eggers+Diaper Birgit Eggers, Mark Diaper | Berlin, Germany
The custom display typeface for Promotional materials for the space travel, is made through the engineering diagrams to mind,
the identity uses a grid-based Ariane Cup, a boat race spon- imagery. The coloring of the bowl and the linear curves are formally
geometry to construct its letters. sored by the space agency, of the logo a creates a c out of it, congruent with the curves of the
including a poster and racing alluding to the title of the event. logo, the rocket, and the sail.
rules. In the poster, the connec- The poster title uses the agencys
tion between the adventure of custom typeface. The rounded
sailing, an ancient travel ruled box enclosing the event
method, and the next frontier of dates and information brings
15 15
The cover of one of the manuals,

with a silvery mesh carrying
case, promotes the science-fiction
qualities of the identity.
The identity manual illustrates

the basic construction of the logo
form and provides information
about its use, together with color,
graphic elements, photography,
and typographic styles for a uni-
fied communications program.

15 15
Gatto
Typographic Identities Cluster Formations Switzerland far left
TikiTi Theatre
Clustering forms together creates unique shapes, allows Timothy Samara | USA left
complex names to be visually simplified, and may permit
Sounds French
more complicated combinations of form or styles to
Philippe Apeloig | France below, left
coexist without competing. In the Moonwalk logo, the
letterforms are arranged on a grid having no relation to Muse des Beaux Arts Tours
Philippe Apeloig | France below, middle
the number of elements in the word. The word breaks
and moves backward from line to line and then ends Moonwalk
Fellow Designers | Sweden below, right
abruptly, creating an unexpected shape but also forcing
the viewer to read the logo kinetically and perceive the
word in the action it describes. The Gatto logo clusters
its letters within an overall box, but allows them a freeform
composition. The Sounds French logo, for a cultural organi-
zation that promotes French music, features a clustering
of disparate type forms into a square that minimizes their
formal variation, allowing the different styles to coexist
and interact without competing. The Musee des Beaux
Arts logo creates a square from the letters as well, but the
effect of generously spacing the letters on a grid is a
stately cadence of dots. The TikiTi logo is a free-form
cluster of letters that are different sizes and weights;
by clustering the letters, a distinct single image with a
kinetic internal rhythm is created.
Museum Moderner Kunst Krnten
In yet another flexible logo concept, the typographic

components of the identity are able to be varied in relation
to each other while retaining their essential character.
In this case, the individual words of the museums name,
set all uppercase in a sans serif, define the identity in
terms of a spatial relationship: they interact in an illusory
perspective with each other. Whether the words rotate
in perspective toward or away from each other has no
bearing on the perception of the identity of the mark.
The words are always legible, always reading in the same
order, and their dimensionality is the identifying charac-
teristic. The designer carefully considers the alignment
relationships between the beginnings and ends of the
lines of type so that the exterior shape, as a unit, is always
decisive and legible.
Fons Hickmann m23 Chrisina Grni, Christof Nardin,

Simon Gallus, Fons Hickmann | Berlin, Germany
Dept : DTP D/O : 08.04.04(Job no:000000 D/O : 00.00.01 Co: CM0) Text Black Dept : DTP
15 15
Stephanie Odegaard
The defining element of this identity system for a furniture

and textile collection is the logo, composed from a rotating
configuration of overlapping script letterformsthe
initials of the companys principal. The elegant decorative
scrollwork produced by alternating and interlocking the
e
swirled strokes of the script S and O is appropriate to the
collection of furnishings it represents, modern yet classical,
ht
decorative, and well made. The logo may be used as a
signature or as a supergraphic, enlarged and cropped as it
is on the compliment card and the folder cover, so that
it begins to disappear into an abstract pattern. Classical
small caps and a bold sans serif work together to add
texture and contrast to the straightforward arrangements
of secondary information.
Ideas on Purpose John Connolly, Darren Namaye,

Michelle Marks | New York City (NY), USA
Levis K-1 Dockers Apparel Branding
The typographic branding for this retail apparel line

extends from print into the products themselves. A system
of early American gothic typefaces specially drawn
sans serifs originally used for newspaper production and
advertisingis exploited for its variety of weights and
widths: bold, light, condensed, extrabold extended. The
choice of family conveys a casual, industrial heritage
germane to the American experience. The primary K-1
logotype features the most condensed variation in the
typeface. Within any given article print or product
several of these variations are mixed to create a rich
typographic texture. The typography is enhanced with
stickers and other details containing diagrams, icons,
and support information.

15 15
Kln Bonn Airport

The modular construction of
The typographic branding for this airport in Germany the letterforms is similar to that
is dramatically designed to evoke the fun of travel. Its used to create OCR (optical
typographic system hinges on a custom-designed sans character recognition) alphabets,
used by digital scanners. The
serif typeface that incorporates a family of graphic
net effect is an alphabet whose
icons into the construction of the type itselfthe icons, forms are extremely legible.
while pictorial, are made up of the same line elements For example, the characters are
and curves as the letters. They are purposely constructed easily differentiated in rapid
this way to become an integral part of the typography. reading when racing to find a
departure gate in the airport.
Often appearing in the middle of text, the icons replace
words or add to the verbal communication through
repeating the sense of the language symbolically. The identity manual for the
airport details the whimsical use
The typeface for the airport system is constructed from of the custom typeface and its
a few geometric line elements, much the way optical icons, showing them in situ in
character recognition alphabets, used by scanners for signage, on the runway, applied
to doors and products, and in
automated mailing and similar applications, are drawn. print applications.
This is entirely appropriate, since character recognition
on signage in a busy airport is an important and often
frustrating aspect of trying to navigate through a terminal The quirky, humorous quality
when rushing to catch a plane. The typography is con- of the icons and type becomes
structed with the end user in mind in an attempt to ease apparent in signage and envi-
the stress of the airport environment. Clearly, this is in ronmental applications. As the
scale of the icons and type
tune with the use of the icons, which also appear in
increases, their rounded edges
applications like signage, as branding elements on planes and stroke terminals become
and products, and on the uniforms of airport personnel. friendlier, even cartoonish.
Oddly, they lend an extremely
sophisticated sensibility to envi-
Intgral Ruedi Baur+Associs | Paris, France
ronmental applications, despite
how fun they appear. Icons used
to represent actual objects in
the environment, at actual size,
add to the whimsy of the system.
15 15
Intranet and Internet sites defined hierarchic grids and

at continue the evolution of the distinctions between buttons
identitys visual language, and content allow for efficient
ets, becoming friendlier in use. navigation through the reser-
The typography in the Web vation and ticketing processes.
e applications, however fun,
is eminently clear. Clearly-
e
use
ed
Airport stationery uses a

number of different layouts,
e
icon configurations, and color
schemes to keep the print
communications lively and
consistently surprising.
vi-
te
ed
e,
em.

15 15
Typographic Identities
Letterform Symbols and Customization
In this grouping of logos, letterforms are either created

out of unconventional geometric marks, or they may create
a symbolic image through their unconventional drawing
or arrangement. In the Lowe Associates mark, for example,
a logo for custom builders, the repetition of the Ls creates
an architectural cornice or frame symbol. The A3 Architects
logo is drawn with modular square forms; the A and the
3 are the same form, one simply rotated into an orientation
that changes its identity. In the cashmere.com logo, two
opposing Cs interlock by a threadlike device; taken as a
whole, the shape becomes an abstracted skein of wool or
a knitting stitch. The Vertikal logo uses organic strokes and
A3 Architects
adds a third element to the drawing of the V to create a Markus Mostrm Design | Sweden
human figure. top left
The logos in the second grouping are word sequences, Lowe Associates
styled in different ways for greater customization or stressdesign | USA top right
composed of disparate elements to create a complete Cashmere.com

image. The Hybrid logo is formed from a gridded system Korn Design | Boston middle
of dots whose context allows them to be perceived as Vertikal

letters. The form in this particular case echoes the Creuna Design | Norway bottom
meaning of the word. In the Avaya logo, the letters are
created from strokes whose angles repeat; the gap
between the crossbars of the As and their right stems
adds to the custom quality of the type. The Indiscipline
logo uses a minimum of marks to indicate the letters;
the placement of the marks creates a regimental quality
to the rhythm within the word. The Hype logo is built
from repeated outline forms, so the interior of the forms
is reversed from positive. The sense of augmentation in
this example also conveys the meaning of the word.
Avaya
Templin Brink Design | USA top left
Hybrid
Fellow Designers | Sweden top right
Indiscipline
Interkool | Germany middle
Hype Magazine
Rocholl Projects | Germany bottom
Dept : DTP D/O : 08.04.04(Job no:000000 D/O : 00.00.01 Co: CM0) Text Black Dept : DTP
15 15
Typographic Identities
Illustrative Combinations
The logos in this grouping share illustrative inclusions

or combinations with the typography. In certain instances,
the type is neutrally integrated with an image form; in
others, the drawing of the type itself begins to deviate
from the archetype and takes on the qualities of a picture.
In the 118118 logo, the neutral sans serif of the numerals
is joined to the outline of a Rolodex card. The Fantastic
Fiber logo integrates type forms, drawn to be formally
similar to the lines of the image, with a recognizable image
in an overall shape. The B&G Sawin logo adds image
inclusions to the basic type forms, transforming them into
branches. In the Server Habitat logo, a surreal floating 118118
n roof is joined by neutral typography that allows the image Fellow Designers | Sweden far left, top
to dominate, but is formally congruent in its angular B&G Sawin

terminals. Songwriter Records integrates quirky, almost What!design | USA far left, bottom
hand-drawn letters with a similarly drawn bird image Fantastic Fiber and Fabric Festival
through formal congruence. In the Destiny Dance logo, What!design | USA near left
the drawing of the D begins to unravel from the arche-
typal structure of the letter; its sinuous, disconnected
strokes begin to move and allude to a figure. The Smart
Meeting logo places bold sans serif type inside a stylized
speech balloon, the outline of which is the same weight
as the letterform strokes.
Server Habitat
C. Harvey Graphic Design | USA left
Songwriter Records
What!design | USA above
ft
ght
Destiny Dance
Rule 29 (Justin Ahrens) | USA far left
Smart Meeting
m Fellow Designers | Sweden near left

15 15
Bringing typography into the experience of architectural spacewhether as signage to

help direct visitors around a buildingor as an expressive element in an exhibition, affords
designers a unique opportunity. By virtue of its scale and presentation through varied
medialighting, fabrication in steel or plastic, wrapping around architectural surfaces
commonly seen typographic form takes on a visceral dimensionality. Designing type
to work effectively in space involves a detailed survey of the site to understand where a
visitor will come into contact with it. Considering the scale of typographic elements
in the context of their locations, as well as other factors such as viewing angle, the effect
of light and shadow, and the aspect of flowhow the type leads the visitor from
point to pointis especially important. Similar to the use of type in a poster, typography
in an environment may be accessed at several levels, from long-distance reading in
signs down to the intimate reading level of an informational kiosk.
T Environmental
Y P O G RType APH Y
I N P RACTI C E
Signage, Exhibitions,
and Architectural Branding
Job no:80872 Title : RP-Typography Workbook Client : Pro-Vision

Job no:8087
Scn : #175 S
Dept : DTP D/O : 08.04.04(Job no:80872c3 D/O : 14.6.04 Co: CM11)
Text Black Dept : DTP
15 15
As the principal of Atelier Poisson in Lausanne, Switzerland, Giorgio Pesce

(whose name means fish in Italian, as poisson does in French) has established
a reputation for his quirky and very user-friendly typographic approach to
branding and environmental work. Here, he discusses his typographic ideas
as they relate to three dimensional design.
Describe your personal approach to typography. Discuss your approach to typography in designing the Are there any rules in typography that you feel
I dont know if my typographic sensibility is different from exhibit space des Inventions. How did you think about should never be broken? Everything is always linked to
that of other designers . . . I pay a lot of attention to the scale? How did you use type to direct people around context. For me, anything gratuitous has to be avoided
style of the type, what its form says, its legibility, how it the exhibition areas? For that project, I was looking for during the creative processwhen it comes to typography
will fit into the project. A beautifully designed typeface a font that was, as I said above, legible and beautiful in I never choose a typeface without having a reason.
can become horrible and ridiculous, and an awful one all sizes, and would fit that project a scientific space for Legibility is an important consideration, especially for
transformed into a sensitive and powerful piece of design. kids. It had to be rigorous but friendly, and not childish. texts. But I hate projects where you can feel that the
It depends on the context. I chose Interstate because it has the simplicity of faces designers main concern is about arranging all the elements
used in scientific manuals, but with more rounded forms. on the page so that the final layout is just cute, cool,
What are your greatest concerns when using type With signage, the most important thing is to find the and avant-garde, without any consideration for legibility
in general and, specifically, when designing an exhibit locations where text will be seen most clearly, and then or clarity for the reader.
or other environmental project? The most important develop a logic of scale for messages at each level. For
thing is to have the project goal clearly in mind, and make example, a small size for door numbers or names, a medium What inspires you in terms of typography? |
decisions based on that goal. You can be distracted by size for directional signs, and a big size for main messages Everything inspires me, especially traveling around the
a beautiful typeface that will turn your design into some- to be seen from a long distance. From a conceptual stand- world and seeing images and type in different cultures.
thing very lovely or powerful, but only in a decorative point, we decided to also include scientific captions at The work of other designers is also importantseeing
way, and then youve lost your idea. But Im careful when a very small size on many different hidden locations. how taste evolvesbut the inspiration I get from things
that happens, because it can give you new ideas! As for Its a game for the kids who discover one and try to find I am curious about, or see all the time, is much greater.
designing an exhibit or other environmental project, the the others. Its always important for me to add something Politics, sciences, press (good or very bad), techniques,
concerns are mainly the same as any other kind of project. unexpectedthats what connects with the public. crafts, toys, art, literature, TV, music, watching people
The difference lays in scale: you know that people will see everything is good. Antique fairs are places where
Y
characters in big and small sizes, so its important that I can find a lot of all that.
the type you select works at those different sizes. Its crucial
to test the size of the text on the spot: even if you simulate
the environment in a photo, you always need to see it at
actual scale in the space.

15 15
Pushing the Envelope: The Art of

the Postage Stamp
This elegantly conceived exhibit of postage stamp art

uses a sophisticated typographic language that carries
distinct messages without competing against the
exhibited material. A warm, neutral palette acts as a
backdrop for display cases and wall-mounted podiums,
which are relatively bright within the overall space.
Between these two values, the typography used on the
gallery walls occupies a third level of contrast, bright
enough to be noticed yet subtle enough to sit back out
of the way once acknowledged. There are many details
and references to the subject matter and related context.
In the entry gallery, a central kiosk holds the exhibit title
within a rectangular format, which is perforated around
its edges similar to a stamp. The typeface, a hybrid sans
serif with specific serif qualities, shows characteristics
of a typewritten telegram or postal note. The spacing
is deliberately loose, as though created by the undiffer-
entiated keystrokes of a typewriter. The forms are a Subtle formal details carry the
relatively light, uniform weight and sometimes exhibit brunt of the messaging in the
a slab serif, qualities also associated with the type entry-gallery kiosk. The idea of
created through this obsolete technology. The effect pushing and pulling is quietly
conveyed through the dimen-
is both industrial and elegant.
sional treatment of the title. The
On the walls, a restrained sans serif carries quotations perforated edge of the format
creates just enough texture to be
that create linear motion around the room. Their interesting and relates to the
attributions appear above, flush left, in a smaller italic colon between the title and sub-
version of the title font used as the primary information title. The chosen typeface is
type throughout the galleries. A bold version of this reminiscent of typewriter forms.
face is used to identify categories of study, housed in a

dimensional repeat of the stamp frame from the kiosk.
On the wall-mounted podiums and within the display
cases, a simple two-column structure carries specific
information. The left column denotes attribution and
specifications for a given work while the right column
carries the descriptive text. A change in alignment and
a drop in hangline between the two columns enlivens
Wall-mounted podiums are canted
the composition of these informational materials without
at an angle to improve reading
creating a distraction. and refer to the lecterns sometimes
found in nineteenth-century
Poulin+Morris L. Richard Poulin, Jonathan Posnett | American post offices. The two-
New York City (NY), USA column structure, flushing right
in the first column and left in
the second, presents the type in a
clear hierarchy through weight
and size change. The right flush is
appropriate for short amounts
of text and contrasts here with the
flush-left description. The change
in hangline between the columns
creates more play across the
central axis of the column gutter.

Job no:8087
Scn : #175 S
Dept : DTP D/O : 08.04.04(Job no:80872c3 D/O : 14.6.04 Co: CM11)
15 15
Typography in Practice Environmental Type
The running quotes on the postal work that typically

gallery walls near the ceiling are appear in American post offices,
noticeable but restrained. It is running around the cornices and
relatively bright compared to the moldings of the architecture:
value of the walls, but the combi- Neither rain, nor snow, nor dead
nation of light face and size of night will keep us from our
make the running quotes more appointed rounds.
subtle. The placement around
the upper part of the walls refers
to the lofty statements about

8
Urban Art Commission Window Signage
This designer makes dramatic use of a single typeface by

varying the scale and spacing of the typographic elements
in the composition. Around the base of the windows at
the site, a corner building with two faades, enormous
letterforms carry a simple message: Create. Design. Make
a mark that will last. The type wraps around the corner,
joining both axes of the faade into a coherent whole.
Around the main phrase, in a much smaller scale setting,
questions about the role of the architect and the public
travel across the windows, inviting a public discourse on
9'2" / 2.8 m
urban planning. Red bars, an element added on-site after
the initial layout was approved, highlight specific ques-
tions and create a rhythmic motion of broken lines that
occupy a third informational level.
Option-D David Thompson | Memphis (TN), USA
1.75" / 4.4 cm
6'3" / 1.9 m 6'3" / 1.9 m

Job no:8087
Scn : #175 S
Dept : DTP D/O : 08.04.04(Job no:80872.C5 D/O : 10.05.06 Co: CM8)
15 15
66 Restaurant Branding Signage
In trademark restraint, the designers of the typographic

branding for an Asian restaurant in New York elected
to keep the designed elements to a bare minimum. The
use of a single red color and an alternation of Roman
and Chinese characters creates a subtle progression from
Western to Eastern upon entering the space. The first
typography encountered is the restaurant name (and its
street address), 66, set in a light-weight sans serif in
vivid red. Walking through the doors, a discreet vertical
alignment of Chinese characters, etched in gold in the
marble wall to the left of the entry, becomes apparent.
Viewing the Chinese characters through the door as it
opens momentarily joins them with the sleek sans serif
type. Leaving the doors behind, only the Chinese is left
of the visible typography, until the main dining space is
entered. Here, amid a starkly modern white and black
environment, a series of vivid red banners displaying
Chinese again welcomes the clientele; the transition
from Western outside world to Asian interior experience
is complete.
Piscatello Design Centre Rocco Piscatello |


15 15
Stairway Mural New York Public Library

for the Performing Arts
Simple and dramatic arrangements of large-scale type

create a mural on the walls around a staircase for a library
in New York. The type represents the names of famous
performing artists, from musicians to dancers and actors,
and runs along the walls, beginning at the floor and
extending upward to the ceilings. The choice of Times
Roman, a typeface associated with journalism, casts a Contrast between the typographic
structures of different walls
literary and historical perspective on the names as context corresponds to a change in wall
and source for the existence of the library. The type is color. The light walls use larger
arranged in linear rhythms whose movement is dependent type overall, with individual linear
on the interrelationship of size; smaller lines contrast groupings that seem to float
around the larger-scale type. On
with large forms that become almost architectural in
the dark walls, continuous ribbons
scale. The scale changes create a sense of spatial depth of type in regular intervals create
and a continual refocusing between line and individual a striped pattern that flattens
character. Seen from a distance, the letterforms and their the wall out but allows the large
linear movement offer a counterpoint to the industrial names to come forward, connecting
these elements between walls
hardware of the staircase banister. of different color. To enhance the
linear stripe effect on the dark
Poulin+Morris L. Richard Poulin, Brian Brindisi | walls, the type is set in uppercase
New York City (NY), USA so the lines hold together.

Job no:8087
Scn : #175 S
Dept : DTP D/O : 08.04.04(Job no:000000 D/O : 00.00.01 Co: CM0)
15 15
Geelong Gallery
An austere grid of letterforms creates an elegant branding

statement for an Australian art gallery. The name of
the establishment, Geelong Gallery, is set in widely spaced
uppercase serif letters to conform to a square grid of
points. As the name Geelong runs out in the first line,
the second word of the name, Gallery, begins, but runs
vertically down the right edge of the matrix. The interaction
of right-reading and vertical-reading letters creates a
subtle twist in the pattern. The letters are fabricated from
extruded steel and mounted a few inches out from the
wall. The contrast between the polished sheen of the
metal letters and the matte paint of the wall, as well as
the interaction of light and shadows cast by the three-
dimensional forms, play a role in creating a complex visual
experience of the typography.
Symphony Space
For a performance venue in New York City, the designer

opted for a casual, friendly typographic system that was
brought to an unexpected level of sophistication through
lighting and surface treatment. The Symphony Space
typography is set primarily all lowercase, in a very rounded,
somewhat extended sans serif that is light, elegant, and
comfortable. The forms are generously spaced, reflecting
the internal rhythm of the large counters in the letters.
The simplicity is transformed by innovative lighting tech-
niques on the marquee and box office faades, where the
back-lit letters appear almost neon. Compositions of
words running horizontally and vertically frame the box
office windows and tower, also lit from within the walls.
On the steel entry doors to the venue, the typography is
set in an extremely large scale, dissolving at close quarters
into a pattern of curves and lines; their matte finish
contrasts subtly with the polished surface of the doors.
Pentagram Paula Scher, partner | New York City (NY), USA

15 15
Salt Lake City Public Library

Hanging and wall-mounted
Appropriately, a sleek typographic system for branding signs follow a similar logic: the
and signage brings sophistication and style to the informational word is set three-
environment for this public library. The selection of a dimensionally in white against
the brush steel of the facia,
simple, light-weight sans serif typeface for logo and
another subtle contrast in form
signage focuses on the integrity of the written word and texture. Around the edges
with minimal embellishment. In the librarys logo, the of the steel facia, additional
typographic element is set in upper- and lowercase, letterforms are cropped and cut
the rounded forms contrasting with the clean linear to create a linear textural pattern.
geometry of a stylized translation of book spines. The

signage uses the same uppercase face set generously
spaced for a quiet, stately presentation. The primary
informational word in a sign is set in shallow, three-
dimensional white letters against a brushed steel plate,
visually separating the word from its background just
enough to be legible; additional letters are cropped and
cut out of the edges of the sign formats, creating an
understated decorative border. Words related to literature
and reading adorn the tops of tall glass partitions in the
main space, their caplines cropped elegantly by the top
edge of the glass plates.
Pentagram Michael Gericke, partner |

New York City (NY), USA | Photos: Peter Mauss/Esto

Job no:8087
Scn : #175 S
Dept : DTP D/O : 08.04.04(Job no:000000 D/O : 00.00.01 Co: CM0)
15 15
e
e-
st
ut
tern.
The librarys symbol and

logotype is a study in the
subtle contrast of geometry
and organic, rounded
lowercase forms. Exterior
and interior applications
make use of contrasting
materials stone and steel,
for example.
Neutrally colored uppercase

words, cropped by the top edge
of glass partitions, continue the
logic of the hanging signs, as
well as the subtle interplay of
contrasts: in this case, opacity
and transparency.

15 15
Designing a serial publication, such as a magazine or newspaper, places distinct burdens

on the typographic designer. The structure of a publication is integral to its functionality.
The publications grid has to be flexible enough to accommodate different kinds of content
short texts, long texts, complex texts, images, captions, or advertising. Some content will
reoccur from issue to issue newspaper sections or magazine departmentsand needs to
be identifiable as different from that which changesfeature articles or special sections.
Especially when it comes to magazines that focus on fashion, culture, or lifestyle subjects, the
need for flexibility is extreme, given the transitory nature of the subject. A well-designed
magazine will present generations of art directors with opportunities for exploration without
giving up the magazines recognizable branded structure. Typeface selection and the way
the typefaces are used to differentiate information are two of the most important branding
features of a publication. Even a black-and-white publication will be easily recognized for
its typographic language.
T Publications
YPOG RAPH Y
I N P RACTI C E Newspapers, Magazines,
and Newsletters
15 15
Michael Ian Kaye is a creative director at AR Media in New York City, an advertising and
communications firm with clients in the publishing, art, fashion, and consumer product
industries. His reputation as a skilled typographer developed during his tenure as art
director at Little, Brown Publishers and before that at Penguin books, where he designed
book interiors. Here he focuses his attention on the design of editorial projects.
Describe your approach to designing with typography. text. The concept had to resolve these two things, so What was the concept behind the Influence masthead?
I really try to use an analytical approach where the I developed a type language that could vary drastically I was trying to achieve a literary, authoritative identity
clients needs drive the project stylistically. I strive to leave yet texturally feel the same the reader would feel a that felt timeless, informed, and educated. The idea of the
my personal hand out, to be as invisible as possible. difference as one story gave way to the next. Changes in fl ligature spoke not only to typographic craft but also to
I dont see the process as being about me. contrast and in the use of space become signals. The type the idea of connectivity, one thing moving into the next.
choices had to be flexible to convey a breadth of emotions For these reasons, I used Caslon, but especially because of
Whats important to you in designing a magazine but limited so that the whole felt unified. The integrity the ligature. I discarded a different iteration in another
or other publication? I think the goal for a magazine is of the type was essential; we used specific cuts of Caslon typeface once I saw the ligature in Caslon.
to never have to be redesigned; it should have a style and Univers. Integrity to me is about a good cut: about
that is timeless, so it can stay around and evolve. Flexibility line weights and how the letters work together. By using What do you think about rules in typography?
is important so that the style can evolve based on the a number of column structures we could enhance the There are exceptions to every rule, depending on whos
t
content and how it has to speak. feeling of difference between texts, but the texture is driving the typography and how the concept enters into
made the same in all column widths through changes in the communication. You cant break the rules until you
Describe the concept behind the typographic texture type size and spacing. The design also had to address the know what youre sacrificing or gaining based on the
of Influence. Editorially, it was conceived of as a maga- fact that a large portion of the content would be dialogue. decisions you make. What troubles me is misuse from
zine with no beginning and no end, yet I know that readers To avoid awkward spacing issues, there are no paragraph an uninformed point of view.
look for visual clues as to where to enter and exit a given breaks; the speakers texts run into each other, signaled
by their initials. It speaks to the fluidity of conversation.

15 15
Fitrttir Newsletter
Icelandic Association of Graphic Designers
In this design for a design industry newsletter, elegantly

detailed typefaces and structure share equal ground
with simple, humorous configurations that celebrate
designing with type. The logotype sets up a juxtaposition
of seriousness and fun. A beautifully spaced lockup of
Bodonispare, quiet, and credibleis given a twist: two
of the syllables in the configuration have been reversed
in their direction, relative to the other. Fit is oriented
upside-down to rttir, to share the same baseline and
meanline. The flip almost goes unnoticed because of the
careful attention paid to the spacing of the characters,
as well as their vertical orientation. Both parts read
up and down, so the fact that they have been reversed
is likely to be overlooked.
The newsletter pages continue the opposition of serious
and humorous. Delicately spaced lines of type, paragraphs,
and elements share space with quirky pictorializations
and abstract shapes that one might assume have an
Icelandic character. Sometimes, the type leaves conven-
tional arrangement to play among columns that have
been broken, shifted, and separated by enormous letter-
forms and line elements. Large expanses of color hold the
compositions together and play with the nature of the
typographic space, sometimes receding into the distance
or flattening out the pages in cutouts of deep, flat hue.
Einar Gylfason | Reykjavik, Iceland
The interplay of large and small The cover of one edition (near
scale, structure and violation, right) plays with the viewers
continues on an inside spread sense of foreground and back-
(above right). The remnants of a ground, texture and line and
column structure interact with legibility.
an enormous H on a block of
color; textural contrasts help the Forms reminiscent of natural
eye move about the composition. shapes such as deer horns or tree
branches cut into the column
structure of another cover (far
right). A step back reveals its
hidden identity: it is a gigantic,
deconstructed capital F whose
shape is almost that of a black-
letter or engravers capital.
15 15
Typography in Practice Publications
Dagen Newspaper
The striking layout of this Danish newspaper owes its

visual impact to a dramatic use of typographic color.
A family of sans serif News Gothics faces, in a number
of sizes, weights, and widths, permits a wide range of
bold, linear texture, while retaining a clearly unified
feeling. The majority of the headlines and subheadings
are set all uppercase, with each line justified to those
above and below. Clear hierarchic distinctions within
subheadings is achieved through the contrast of bold
and regular weights.
The paper follows a hierarchic compound five-column/
six-column grid. Flowlines denote major content areas,
creating a sense of horizontal bands that are clearly
marked by a visual change in scale or structure. The use
of the columns within each area may change for different
purposes. In the heading area at top, for example, the
six-column grid is used, but images and headings span
two columns each, creating a narrow band of three
apparent columns. The primary headline area uses the
five-column grid, and the lower area with a secondary
story returns to the six-column.
E-Types | Copenhagen, Denmark

15 15
Bibliotech Newsletter
A simple, elegant design for a universitys library newsletter

incorporates a stately typographic masthead and quiet
serif text in a two-column structure. Set in two distinct
widths, text in the wide column is used for article intro-
ductions and running text, while in the narrow column
it is used for callout information or textually different
material, like interviews. Sometimes, the running text of
a single story will span both columns, jogging back and
forth between the two alignments to accommodate
images or simply for compositional variation. A horizontal
band bleeding the top of the format carries the color for
that edition of the newsletter from the cover into the text
spreads. The text hangs from two pointsan article title
from the top hangline, followed by the running text from
the second when the story begins; the text continues into
subsequent columns from the top hangline.
Korn Design Denise Korn, Ruth Boerger | Boston (MA), USA
Dictionary-influenced typo- The cover is printed with a flat Each edition is produced in two The varied widths of the columns
graphic treatment, with syllabic bleed of color, from which the colorsthe masthead color, a on the text pages (above) allows
breaks, diacritical marks, and contents are reversed out in a rich burgundy red, is constant; for different kinds of content
syntactic substitution of letters deconstructed version of Bodoni the second color changes with to be distinguished from running
with phonetic symbols, creates called Filosophia that mixes each issue. text, images, and compositional
a literary elegance in the upper- and lowercase forms. variety among the pages.
newsletter masthead (left).
15 15
Die Rote Fabrik Newspaper
This newspaper makes use of a new font, Newut (see pages

KONzERTE/PARTYs
Fr 12. November 22 Uhr
Dancin Electronics
116117 in Typeface Design), also by the same designer as Aktionshalle Clubraum
Juan Atkins, Tikiman (Live),

the paper. A three-column grid is used in a powerfully Do 11. Sa 13. November
Air Liquide (Live), Scion (Live), Pita (Live)
Special Guest: Carl Craig Steinbrchel
Noto (Live), Byetone (Live visuals),
(Live), Zor-El & Aura
The Modernist (Live), Styro 2000 (Live), Snur,
graphic way, with text allowed to start and stop in columns Elektrip10Adventures in Sound Midi (visuals)
Juan Atkins ist einer der Pioniere des Detroit -Techno und
heute weltweit einer der bedeutendsten DJs und Produzen-
Auf dem Freestyle-Floor wird eine ganze Reihe von Knst -
lern um das Berliner Label Chain Reaction fr Minimal Tech-
nodub sorgen. Chain Reaction entstand aus dem legendren
There are no UFOs, machine music ist the only way foreward. Juan Atkins ten. Die charakteristische Form von Detroit-Techno wirkte
Hardwax-Plattenladen in Kreuzberg, der als allererster das
to bring great rectangles of the pages negative space Die Neunzigerjahre sind das Jahrzehnt der elektronischen Musik. Zwar werden seit Beginn
dieses Jahrhunderts elektronisch Klnge und Musik erzeugt, und in den Achtzigerjahren wurde
stilbildend auf die gesamte europische Bewegung Techno
als Black Music, als Fortsetzung von Sun Ras Soundexplora-
tionen in den House-Clubs der motor city.
Air Liquide verbinden queren Funk mit Four to the floor so
heisse Vinyl aus Chicago und Detroit importierte. Mit einer
kompromisslosen Non-Marketing-Strategie gelang es dem
Label, sich eine geheimnisumwitterte Aura aufzubauen. Chain-
Reaction-Produktionen erscheinen als CD in einer Alumini -
der Computer zum unverzichtbaren Instrument fast jeder grsseren Musikproduktion. Tech- meisterhaft, dass ihr neues Album Anybody Home? in
umbox ohne Cover, die Produzenten verstecken sich hinter
into the text areas. Images and graphic symbols, large-scale no aber verhalf der elektronischen Musik als eigenstndige Kunstform zum Durchbruch. Mit
Techno trat eine Vielzahl von Stilen hervor, deren Gemeinsamkeit die ausschliesslich elek-
tronische Produktion ist. Und am Ende der Neunzigerjahre nun hat die elektronische Musik
Deutschland subito die Charts eroberte. Eigentlich erstaun-
lich, denn die Kln-(Dr. Walker)Frankfurt -(Jammin Unit)-
Connection zeigt sich bis dato trotz Major Deal unerscht-
terlich dem Underground verpflichtet. Jrg Burger aka The
einem Dickicht von Projektnamen, und Pressearbeit wird
berhaupt nicht gemacht: Die Musik soll fr die Musik spre-
chen. Die Reggae-Einflsse bei Chain Reaction haben mit der
Kollaboration mit dem Roots-Snger Tikiman ihren Hhe -
punkt erreicht. Tikimans Toasting und sein Gesang treffen
beinahe alle Musikstile erfasst: Klassische Rockband-Projekte bedienen sich elektronischer Modernist ist neben Mike Ink der fhrende Vertreter der
typographic compositions that are sometimes article titles Klnge ebenso wie Black Music, die mit dem Turntablism den Plattenspieler zum Instrument
erklrt. Da Musik elektronisch oder nicht sich am besten selbst erklrt, ldt die Rote Fabrik
zu einer dreinchtlichen Reise durch die elektronische Musik ein. Ein Abend, Rockin Elec-
galoppierend einflussreichen Klner Elektronik -Szene
seine poppigen Arrangements, die Feinheiten und Eleganz
auf den Dancefloor -Platz bringen, prgen auch seinen unver -
wechselbaren Stil als Live-Produzent.
auf die unterkhlt treibenden Beats der Berliner und bilden
einen universalen Sound.
Kontrastierend wirkt dagegen die modernste Powerbook -
Music des Wiener Klangknstlers Pita. Peter Rehberg, die
kreative Kraft hinter dem Wiener Experimental-Electro-Label
and sometimes illustrative, create a visually aggressive tronics, ist elektronisch beeinflussten Bandprojekten gewidmet. Dancin Electronics, der
zweite Abend, gehrt dem Techno und anverwandten Stilen mit Exponentlnnen aus zehn Jah-
ren Techno-Kultur. HipHop und Turntablism stehen am dritten und letzten Abend auf dem Pro-
Mego, beschallt den Clubraum mit Uneasy Listening.
gramm.
black-and-white environment.
Lennie Laws Breakbeat era
Fabrikjazz
So 7. November 20 Uhr 30 Aktionshalle
Pierre Favres European

Andr Baldinger Conception Visuelle | Zrich, Switzerland Air Liquide
Chamber Ensemble
Pierre Favre, der Melodiker, der Lyriker unter den grossen Schweizer
Schlagzeugern, hat auf seinem riesigen Schlagzeug- und Perkussionsar -
Tied and Tickled Trio senal immer schon ebenso mit fein differenzierten Klangfarben experi -
Do 11. November 20 Uhr mentiert wie mit komplexen Rhythmen. Erst recht aber kommt seine Vor -
liebe fr poetische, leise Musik, sein unbefangener Umgang mit Musik ver -
Rockin Electronics schiedenster Herkunft in seinen eigenen Gruppen zum Tragen. Mit dem
neunkpfigen European Chamber Ensemble hat der 61-Jhrige sein bisher
Aktionshalle
Pita wohl ambitioniertestes Projekt als Komponist und Bandleader realisiert.
Die unkonventionelle Formel der Besetzung mit drei Streichern, drei Bl-
Suicide, Tied and

sern und drei Rhythmikern widerspiegelt przis das musikalische Konzept
von Favres kompositorischem Ansatz: Musik im Spannungsfeld von
Tickled Trio, Mina

europischer E-Musik, Jazz und World-Percussion. Allerdings: Damit ist
der formale Schematismus auch schon erschpft; der Rest ist Intuition.
Die Kompositionen von Pierre Favre bewegen sich in einem vllig eige-
ISO 68, Roger Rotor
Sa 13. November 21 Uhr Aktionshalle nen, fast etwas entrckten Klangkosmos. Fr die beiden Trios hat er eine
Reihe von Melodien geschrieben, in denen Sptbarock, Klassik und Folk-
Alan Vega (vocals) und der Free Jazzer Martin Rev (key -
boards) grndeten ihr schockierendes Kultprojekt Suicide
1970 in New York. Sie verwendeten von Anfang an aussch-
HipHop Turntablism: The Beat Junkies feat: lore ebenso anklingen wie die europische Moderne mit Bartok und
Webern. Aber es bleibt beim Anklingen, denn die Musik ist ganz Pierre
liesslich elektronische Mittel, womit ihr unsterblicher Ruhm
J-Rocc, Rhettmatic, Melo D Favre: verspielt, verschmitzt, sanft, in einem durchaus positiven Sinn
naiv, unbefangen und natrlich. Fast unmerklich gleitet sie aus den aus-
Text primarily runs in three Enormous inclusions of negative

und Einfluss auf alle weiteren Industrial-Projekte begrndet
ist: Tatschlich eine lebende Legende. Cash Money, The Arsonists, Apocalypse geschriebenen Partituren ins Freie, franst aus ins Improvisatorische
oder verschmilzt mit neuen Klngen, gert leicht ins Swingen oder lst
Immer noch wird der Einfluss von HipHop auf verschiedenste Formen moderner elektronischer Musik unter - sich auf in therische Schwellenklnge. Die Streicher bleiben bei allen
Clubraum
zeitweiligen Exkursionen in unorthodoxe Instrumentenbehandlung weit-
columns, but on occasion, it is space interact with the text

schtzt. HipHop ist jedoch seit seiner Entstehung wesentlich und hauptschlich DJ-Music. Die Tradition von
gehend dem klassischen, homogenen Klangbild verpflichtet, die Blser
Breakbeat Era (Live)
Grandmaster Flash tragen die modernen Turntablists in modifizierter Form weiter: Beats alleine aus Scratches
zu entwickeln und die Loops ausschliesslich mit zwei Plattenspielern zu generieren. Turntablism ist ebenso transformieren die Musik zuweilen in jazzmssigere Sounds. Eine durch
soundmssiger Hochleistungssport wie postmoderne Cut-up-Technik. Das Turntablists-Kollektiv The Beat Jun- und durch europische Musik also, die allenfalls in der improvisatorischen
English Voodoo, Diva D. Behandlung des Materials und der swingenden Grundstimmung noch auf
allowed to leave this structure structure, providing an almost

kies wirft sich gegenseitig frei improvisierend die Beats und Cuts zu wie einst Miles und John Coltrane ihre
Phrasierungen, ohne jemals den Partyflow zu verlieren: Believe the hype ... den Jazz verweist. Das Rhythmus-Trio ist dabei aber weit mehr als die
Breakbeat Era brauchen hier fast nicht mehr vorgestellt zu bloss verbindende Basis zwischen diesen unterschiedlichen Musiken, es
werden. Das Projekt von Roni Size, DJ Die und der Sin- Sissy Punch
ist zugleich Konterpart, ein selbstndiges Drittes in diesem Dialog der
ger / Songwriterin Leonie Laws ist die neue Supergroup des Kulturen: Rhythmus als Urkraft, aus der alle Musik sich erst entwickelt
to be arranged as the designer architectural quality to the

Drum n Bass. Diese tracklastigste aller Clubmusiken hat mit hat, als bewegter Klang, als Ekstase im Ritual der Geister - und Gtter -
Breakbeat Era Songstrukturen entdeckt: Drum n Bass goes beschwrung, als Droge im Krieg der Vlker und als Aphrodisiakum im
Pop und verliert dennoch nicht seine massive Clubtauglich- Spiel.
keit. Konzert Christian Rentsch
sees fit in support of the article pages. The alternation of mass

Fr 5. November 21 Uhr Aktionshalle
(aus: Programmheft Jazzfestival Schaffhausen 1999)
Keziah Jones Pierre Favre, dr; Lucas Niggli, dr; Roberto Ottaviano, sax; Michel Godard,
tu / serp; Philipp Schaufelberger, g; Karel Boeschoten,
viol; Marius Ungureanu, viola; Vincent Courtois, cello; Pierre-Franois Massy, b
Support: Valerie Etienne (Galliano)
or to vary the pacing from and void directs the eye around
Mina Ausgewhlte Discografie:
Pierre Favres Singing Drums: Souffles, Intakt CD 047, 19997
Nach seinem Debt Blue Funk Is a Fact (1992) und dem Nachfolger Afri - Pierre Favre: Portrait, Unit UTR 5004 CD, 1996
can Spacecraft (1995) wird Keziahs Entwicklung als Musiker, Snger und
spread to spread. the page spreads and allows

Lyriker vor allem diejenigen berraschen, die ihn einfach an seinem
unkonventionellen Stil (eigenartigste Technik diesseits vom Universum
des Gitarrenzupfens bzw. -slappens) festmachen wollten. Leidenschaft,
Poesie und Mut stehen in direktem Zusammenhang mit der musikalischen
supporting graphic elements,

Evolution, die zwischen jedem Album stattfand. Dank dieser Evolution und
einem gesunden Selbstvertrauen sieht Keziah sich selbst zweifellos als
legitimen Nachfolger von Jimi Hendrix ... Man soll das Leben ja nicht erns-
ter nehmen, als es ist!
Als Stimme des Friedens und weiblichen Mittelpunkt der ehemals allge-
both illustrative and typographic, genwrtigen Acid -Jazz-Kombo Galliano kennt man das zuweilen rohe,
doch jederzeit erhabene und stilsichere Organ von Valerie Etienne. Nach
(allzu) langem Warten zeigt sie sich nun endlich als Soloknstlerin, und
es gibt Grnde genug, die Erwartungen hochzuhalten. Was lange whrt,
to participate on equal footing Roger Rotor

wird meistens gut.
Nadya Khelili
with the text.

Rheinhafen Basel: 40 Jahre Preisentwicklung von Erdl
Kein Tropfen l Kartelle Kriege

Ein Drittel des Erdls gelangt ber den Rheinhafen Basel in
die Schweiz. Eine Spurensuche bei der letzten grossen Ree-
und Wohnzimmer. Die Besatzung teilt sich eine Schiffswoh-
nung mit einer Flche von 40 Quadratmetern. Eine Schicht
Lnderquoten
derei in Birsfelden. dauert einen Monat ohne jede Pause, dann haben die See- Die Entwicklung des Erdlpreises ist von vielen Faktoren 1973: Oktoberkrieg; der vierte arabisch-israelische Krieg. da einzelne Staaten die ihnen zugesprochenen Frderquo-
The cover features enormous

Von Armin Khli und Tobias Straumann leute 14 Tage frei. Ein einzelner Tanker ist an 350 bis 360 abhngig. Zu den politischen Einflussgrssen zhlen die in- Die OPEc setzt l als Waffe ein. Die Produktion und der Ex- ten berschreiten. Saudi-Arabien versucht, durch Drosselung
Tagen im Einsatz, an den restlichen Tagen werden die Tan- nenpolitischen Rahmenbedingungen etwa neue Gesetze port werden gedrosselt, arabische OPEc-Staaten verhngen der eigenen Produktion den berschreitungen der Quoten zu
Birsfelden? Der SBB-Billettautomat verweigert die Auskunft, ker berholt. Alle paar Jahre wird der Motor vollstndig er- zur Nationalisierung der Erdlindustrie wie auch die macht- am 19. Oktober 1973 ein lembargo gegen die UsA und spter begegnen und den Preis stabil zu halten.
auf dem Bildschirm erscheint bloss Keine weiteren Orte neuert. Der technische Standard ist hoch. Vorbei sind die politische Kontrolle von Frdersttten und Transportrouten. gegen andere Israel untersttzende Staaten (Niederlande,
typographic branding and

gefunden. Rheinhafen? Die trkische Verkuferin am Birs- Zeiten, als der Kapitn mit dem Fernrohr in die Weite schau- In konomischer Hinsicht beeinflusst die Menge der erwar- Portugal, das damalige Rhodesien, Sdafrika). Das Embargo 1986: Saudi-Arabien ndert die Preispolitik und garantiert
felder Epa-Kiosk schttelt den Kopf: Dieses Heftli haben wir te und bei einer drohenden Gefahr rechtzeitig das Ruder her- teten, der entdeckten und der angelegten Reserven den Preis wird im Mrz 1974 wieder aufgehoben. Der Rohlpreis ver- KuferInnen nachtrgliche, zustzliche Margen. Dadurch
nicht. Doch der Rheinhafen Birsfelden bei Basel existiert. umriss. Heute ist das Lenken eines Schiffs vergleichbar mit ebenso wie die Konsumnachfrage, welche wiederum nicht doppelt sich zwischen dem 22. Dezember 1973 und dem 1. steigt der saudische Marktanteil, und der Preis sinkt massiv.
Immerhin werden via Birsfelden gut 30 Prozent aller flssi- dem Lenken eines Trams, denn die Tanker werden durch nur von der Produktivitt der Erdl verbrauchenden Indus- Januar 1974. Der lschock trifft die l verbrauchende Welt. Im Jahresdurchschnitt halbiert sich der Preis von 1985 bis
bold iconic shapes to create a

gen Treib- und Brennstoffe, aller le und Benzine also, in die moderne Radaranlagen automatisch gesteuert. Die High- trie abhngt, sondern auch davon, ob ein Winter etwa be- Die Industriestaaten reagieren auf die Energiekrise mit der 1986. Die OPEc-Staaten hoffen vergeblich, dass sich die teu-
Schweiz importiert. Und bahntechnisch ist Birsfelden, dem techanlage braucht jedoch stndige berwachung. Die See- sonders kalt war. Zudem kann auch die Havarie eines Tan- Frderung anderer Energietrger (Atomenergie, Rckgriff auf rere Frderung in den anderen Lndern bei tiefen Preisen
SBB-Automaten zum Trotz, gut erschlossen; denn 40 Prozent leute mssen in der Lage sein, die Instrumente abzulesen kers zu Turbulenzen an den Rohstoffmrkten fhren, wenn Kohle) und zum Teil drastischen Sparmassnahmen. Durch den nicht mehr lohnen werde. 1988 endet der irakisch-iranische
dieser Flssigbrennstoffe werden in Tankwagen der Bahn und sehr genau zu arbeiten. 1 Millimeter auf dem Bildschirm ltransporte pltzlich als teurere Risiken gelten. Und da hheren lpreis rentiert die Frderung vermehrt auch in Golfkrieg, beide Lnder haben weiterhin hohen Geldbedarf
weitertransportiert, ein Strang von Industriegeleisen zieht entspricht 15 Metern in der Wirklichkeit. Auch der Bremsweg schliesslich die Preisbildung auf den Finanzmrkten auch den Industrielndern. Unter den anhaltend hohen Preisen fr den Wiederaufbau. 1988 einigt sich die OPEc auf ein neues
dramatic street presence. sich vom Hafen dem Rhein entlang. Von Basel aus ist es ein
kurzer, hsslicher Spaziergang nach Birsfelden, auf Haupt-
strassen, unter Autobahnbrcken hindurch. Unweit von Birs-
muss exakt eingehalten werden, denn die Strecke, bis ein
Tanker zum Stillstand kommt, betrgt immerhin 250 bis 300
Meter. Die Karriere bis zum Kapitnspatent zieht sich deshalb
beim Erdl nicht nur auf konomisch-rationalen Entschei-
dungskriterien beruht, sind die Schwankungen des lprei-
ses auch im Nachhinein nicht einfach rational erklrbar.
leiden vor allem die kein l produzierenden Staaten Afrikas,
Asiens und Lateinamerikas. Die Nationalisierungen der Erd-
lreichtmer gehen weiter, auch Nigeria beginnt mit Ver-
Quotensystem bei tiefem Preisniveau. Die Vereinigten Arabi-
schen Emirate und Kuwait berschreiten ihre Quoten, was zu
heftigen Auseinandersetzungen innerhalb der OPEc und zwi-
felden, auf offenem Felde zu St. Jakob, kmpften am 26. ber einige Jahre hinweg: Die KandidatInnen mssen eine von Armin Khli, Mitarbeit Christoph Mller und Tobias Straumann staatlichungen. schen dem Irak und Kuwait fhrt.
August 1444 von acht Uhr morgens bis gegen Mittag die Eid- dreijhrige Lehre absolvieren und mindestens drei Jahre
genossen gegen die Armagnaken und verloren nach harter Praxis vorweisen knnen, bis sie sich fr die Prfung anmel- 1990: Irakische Invasion in Kuwait. Internationales Embar-
Schlacht; htten sie weniger ausdauernd gekmpft, wre den knnen. Empfehlenswert ist auch der zustzliche Erwerb 1978 1979 go gegen den Irak. Der gleichzeitige Zusammenbruch der
1977
man stelle sich das einmal vor der Aargau vielleicht wie- eines Funk- und eines Radarpatents. Der Schiffsbetrieb ist 1976 1980 sowjetischen Wirtschaft fhrt zu einem massiven Rckgang
der von sterreich erobert worden. Birsfelden, ennet der ebenso modernisiert worden wie die Bewirtschaftung des 1981 der sowjetischen Rohlfrderung und zu einem kurzfristigen
1975
Birs, hat den Charme von Brttisellen, Schlieren und Dietli- Tanklagers. Es gilt das Prinzip, mglichst effizient und rei- Preisanstieg. Vom Ausfall der irakischen, der kuwaitischen
kon, wenn man sich diese drei als eine einzige Gemeinde bungslos zu arbeiten, mglichst keinen Tropfen l zu ver- 1974 1982 und der sowjetischen Produktion profitieren vor allem Gross-
denkt. Wohnblocks aus den Sechzigerjahren, verkehrsberu- geuden. Fr romantische Trumereien ist da kein Platz. Wer britannien und Norwegen sowie die OPEc-Staaten Algerien
higte Nebenstrassen, Staus auf den Hauptstrassen, aktive in seiner Jugend gerne Seeruberromane gelesen hat, wird und Venezuela. Diese beiden Staaten ffneten den Erdlsek-
1973 1983
Kirchgemeinden, Sportpltze, Mchtegern-SchulpflegerIn- besser SchriftstellerIn oder geht nach Hollywood. Natrlich tor wieder fr auslndische Investitionen, worauf die lkon-
nen auf Wahlplakaten, triste Landschaften und eintnige hat das Navigieren durch die Gewsser, das Einlaufen in den zerne wieder in diese Lnder zurckkehrten. Damit ist die
Bro- und Verwaltungsgebude. Wer in Birsfelden die Hafen oder das Fahren in der Nacht auch heute noch seinen 1972 1984 Grundidee der OPEc, eine gemeinsame Front gegen die inter-
Coca-Cola Beverages AG (Schweizer Hauptsitz in Dietlikon) Reiz. Auch die internationale Zusammensetzung der Mann- nationalen Konzerne zu bilden, in Frage gestellt.
hinter sich lsst, kommt bald zum Hafen und steht vor den schaften, die sich fr einen Monat in Schicksalsgemein-
ltanklagern der Van Ommeren (Schweiz) AG, der faktisch schaften wiederfinden, verleiht dem Beruf einen besonderen 1971 1985
1991 besiegen die UsA und ihre Verbndeten im zweiten
letzten von der Schweiz aus arbeitenden Rhein-Reederei. Glanz. Aber im Vergleich zu frher, ja noch vor 20 Jahren, hat Golfkrieg den Irak, die Souvernitt Kuwaits wird wieder her-
Editorial Schn aufgereiht stehen die 63 Tanks, nchtern, chrom-

stahlglnzend, eingefasst von Mauern und Zunen und zwei
dicken Rohren, die suberlich mit Wasser und Schaum
sich der Seemannsberuf sehr stark an andere Berufe ange-
glichen. Der starke Druck zur Effizienzsteigerung hat hand-
feste konomische Grnde. Damit die Rheinschifffahrt ln- 1970 1986
gestellt. Der lpreis sinkt.
1997: Seit Dezember 1996 exportiert der Irak mit Erlaubnis

Die Demo begann beim Sheraton-Hotel. Die Demonstrantinnen beschriftet sind. Trotz Abschnitten mit neu verlegtem Nato- gerfristig mit dem Landgterverkehr konkurrieren kann, des Uno-Sicherheitsrates innert jeweils 180 Tagen l im Wert
und Demonstranten waren in feine Stoffe gekleidet, trugen teu- Stacheldraht scheint das Gelnde nicht hoch gesichert. Nur muss mglichst kostensparend gearbeitet werden. Direktor von 1 Milliarde Us-Dollar, um Lebensmittel einkaufen zu kn-
ren Schmuck und vergoldete Brillen. Sie zogen vom Sheraton kurz hngt am Rande des Areals ein Hauch von Benzin in der Rudolf Feierabend ist zwar berzeugt von der Rheinschiff- 1960 1987 nen. Die entsprechende Uno-Resolution wird regelmssig
zum zweiten Fnf-Stern-Hotel einer arabischen Hauptstadt. Luft, dann wird man vom angenehm stimulierenden Geruch fahrt: Der Tanker ist das effizienteste, billigste und umwelt- erneuert, der Betrag 1998 auf 5,26 Milliarden Dollar erhht.
Free Kuwait! war die Parole. Die nach der irakischen Invasion berrascht, der von einer kleinen Kaffeersterei ausgeht, die freundlichste Transportmittel. In der Tat ist die kobilanz Je tiefer der lpreis, desto mehr l darf der Irak verkaufen
1991 geflohenen Kuwaitis demonstrierten fr ihre Rckkehr, fr hier inmitten der Tanks berlebt hat. Die ganze Anlage, im- viel besser als bei den Camions und den Flugzeugen, die Ge- und drckt dadurch erneut auf den lpreis. Die Wirtschafts-
45 40 35 30 25 20 15 10 5 0 Dollars per Barrel 1988
ihren Platz an den Quellen des ls. Praktisch gleichentags ver- merhin 350000 Kubikmeter Tankraum, ist gut berschaubar; schwindigkeit wegen der geringeren Umladezeiten viel hher krise in Ostasien senkt die Nachfrage bei gleichzeitiger welt-
suchten Demonstrantinnen und Demonstranten in Zrich die kein Wirrwarr von Rohren und Leitungen, keine gewaltigen als bei der Bahn. Aber auch er rumt freimtig ein, dass der weiter Rekordfrderung. 1998 sinkt der Rohlpreis auf unter
Brse zu blockieren und dadurch die Kriegsgewinnler des Golf- Tanks, keine eindrcklichen, zuweilen Furcht erregenden Druck auf die Margen betrchtlich ist. Viele Basler Reederei- 10 Us-Dollar pro Barrel, so tief wie seit 25 Jahren nie mehr.
kriegs fr symbolische Minuten am Geldverdienen zu hindern. Industrieanlagen wie bei einem Hochseehafen oder einer en sind verschwunden oder redimensioniert worden, unter 1989
Kein Blut fr l war eine oft gesprayte Parole. Was kostet Raffinerie, keine lrmigen Maschinen. Wirklich eindrcklich anderem auch die Neptun-Reederei, deren Schiffe von der 1999 steigt der lpreis wieder und verdoppelt sich auf
das l? Mit dem beginnenden Winter mag sich mancheR Gedan- sind lediglich die Ausmasse der Feuerlscher: eine eigentli- damaligen Direktorin Jacqueline Fendt verkauft worden sind. rund 20 Dollar pro Barrel. Hauptgrnde fr die Trendwende
ken um den Heizlpreis machen. AutofahrerInnen mgen sich che Feuerlsch-Flab; Wasserkanonen, die selbst die Zrcher Durch das Ausscheiden von grossen Reedereien sind zahl- sind die strengere Disziplin der OPEc-Lnder und die gnsti-
1990
um den Benzinpreis sorgen. Aber was kostet der Kampf ums l Polizei neidisch machen wrden. Was im Rheinhafen an- reiche Kleinreedereien entstanden, die mit Dumpingpreisen gen Konjunkturprognosen fr die Weltwirtschaft. Gemss
im Irak, wo als Folge des Golfkriegs und des seitherigen Embar- kommt, wird direkt vom Schiff hochgepumpt, in die Tanks auf den Markt drngen und die verbliebenen Grossreederei- einer von den UsA und Japan finanzierten Studie der Interna-
gos Hunger und Elend herrschen? Was kostet die lfrderung in geleitet und wieder fortgeschafft. Just in time, ohne lange en unter zustzlichen Druck setzen. Zwar fehlt diesen Kleinst- tional Energy Agency (IEA) wirkt sich mglicherweise auch
Kolumbien, wo die Regierung der Occidental Petroleum eben erst Lagerzeiten; bis zu 300 Camions pro Tag werden abgefertigt. unternehmern meist der Atem fr eine lnger anhaltende 1991 das Jahr-2000-Problem auf den lpreis am Ende des 20. Jahr-
eine Bohrlizenz im Gebiet des Volkes der Uwa erteilte, obwohl Die Lager der Van Ommeren gleichen einer berdimensio- Konkurrenz. Aber die Sache verhlt sich so wie im schweize- hunderts aus. Sowohl Pipelines als auch Raffinerien werden
die Uwa, die das Rohl als heiliges Blut der Erde betrachten, fr nierten Tankstelle, nur ist alles noch viel sauberer. Keine rischen Baugewerbe in der Rezession: Die Preise erholen sich als problematisch eingestuft, und bei den Steuerungssys-
diesen Fall mit kollektivem Selbstmord gedroht haben? Was noch so kleine llache verschmutzt den Boden, nichts ist kaum noch von der ruinsen Konkurrenz. Und wie die Bau- 1992 temen von Schiffen und Tankern wird mit einer Ausfallrate
kostet der ltransport in Alaska, das noch lange unter den Fol- schmierig, lig, teerig. Wie bei einer Tankstelle fahren die meister sind auch die Reeder Virtuosen, wenn es darum geht, von 20 bis 30 Prozent gerechnet. Dies knnte zu Staus vor
gen des Schiffbruchs der Exxon Valdez leiden wird? Und was Lastwagen vor, und die FahrerInnen knnen whlen zwi- Beispiele fr den Unsinn von staatlichen Regulierungen zu Hfen und Kanlen fhren. Allgemein wird erwartet, dass die
1993
kostet der lverbrauch in Bangladesch, wo die Reisanbauge- schen Super, Bleifrei, Heizl. Den richtigen Schlauch nehmen, finden. Der hohe Unterhaltungswert solcher Beispiele wird Nachfrage und damit auch der Preis bis Jahresende kurzfris-
biete im Gangesdelta als Folge der weltweiten Klimaerwrmung voll tanken, mit der Kundenkarte elektronisch abrechnen, selbst von JournalistInnen, die sich eine noch strengere tig weiter ansteigen werden.
im Meer zu versinken drohen? Wer verdient am l? Wer ver- fertig. Arbeitende Menschen braucht es hier praktisch Umweltgesetzgebung wnschten, neidlos anerkannt. So 1994
fgt ber Quellen, Pipelines, Tanker, Raffinerien, Technologie, keine mehr, entsprechend ist auch das Verwaltungsgebu- verlsst man denn einigermassen belustigt und zugleich
Mrkte und Vertriebsnetze? Oder, wie die Poison Girls einst san- de am Kopf der Anlage unscheinbar. Auffallend ist nur die ratlos das Gelnde der Van Ommeren (Schweiz) AG. Der Rck- 1995
gen: Who controls the market? Who fixes the price? l bleibt grosse Briefkastenfront. Jedes der von Van Ommeren betrie- weg fhrt uns wieder vorbei an der Kaffeersterei und den 2000 1996
der zentrale Rohstoff fr die Industrielnder. Fr den gesicher- benen 13 Rheinschiffe hat hier seinen eigenen Briefkasten. Mchtegern-SchulpflegerInnen-Plakaten in die Stadt Basel. 1999 1997
* lkonzerne
1998 Bis in die Siebzigerjahre nahmen sieben
ten Zugriff aufs l werden Kriege angedroht und gefhrt. Der Ver- Vom Verwaltungsgebude aus lsst sich die ganze Anlage Nun wissen wir, wo der Rheinhafen Birsfelden liegt, aber das Welt-lpreis-Chronologie 19601999
Konzerne eine Monopolstellung im Erdlbu-
lauf von Pipelines wird nach strategischen Gesichtspunkten berschauen, von hier aus wird alles elektronisch berwacht Erdl blieb uns bis zum Schluss verborgen. siness ein. Zu den Sieben Schwestern
bestimmt. l treibt die Politik. Wenn der aserbeidschanische und reguliert. Die Schiffe, aus denen die le und Benzine 1960 wird die OPEc (Organisation der Erdl exportierenden 1978: Beginn der islamischen Revolution im Iran. Im Janu- zhlten EXXON (EssO, Ex-Standard Oil of New
lminister den britischen Industrieminister trifft, geht das in den in die Tanklager gepumpt werden, passieren das Verwal- Lnder) gegrndet. Der Irak, der Iran, Kuwait, Saudi-Arabien ar 1979 Flucht des Schahs. Errichtung eines islamistischen, Jersey, Rockefeller; UsA), sHELL/ROYAL DUTCH
Wirtschaftsinformationsdiensten um die Welt. Was wre, tungsgebude auf der gegenberliegenden Seite. Der Blick und Venezuela wenden sich damit gegen das 1928 errichte- antiwestlichen Regimes. Whrend der Revolution exportiert (GB/NL), GULF (USA), TEXACO (Texas Company,
USA), BP (British Petroleum; Ex-Anglo Iranian
umns
wenn die Spielregeln im weltweiten Petropolis gendert wr- auf den Rhein knnte nicht idyllischer sein. Fast lautlos glei- te Kartell der Seven Sisters genannten Erdlkonzerne*. Bis der Iran praktisch kein l mehr. Die OPEc erhht die Preise Oil Company; GB), MOBIL (Ex-Standard Oil;
den? Wenn Frderung, Verteilung und Preis nicht vom Markt und ten die Tanker vorbei, am anderen Ufer im deutschen Grenz- 1974 treten Katar, Indonesien, Libyen, Algerien, Nigeria, Ecua- massiv. Rockefeller; UsA). cHEVRON (Ex-Socal, Stan-
nicht von den Multis festgelegt wrden? Nicht von den abhngi- ach erhebt sich ein lieblicher Weinberg. Doch der Schein dor und die Vereinigten Arabischen Emirate der OPEc bei. dard Oil of California; UsA).
gen, oft hoch verschuldeten Regierungen der Frderlnder und trgt, die Rheinschifffahrt ist alles andere als ein gemtli- 1980: Der Irak beginnt Krieg gegen den Iran und wird von Zu den weiteren wichtigen Erdlmultis zhlen
lows
auch nicht von den parasitren Regimes einiger kleiner, reicher ches Geschft. Rudolf Feierabend, Direktor der Van Ommeren Ab 1970 erhhen die OPEc-Staaten zunchst die Erdl- arabischen wie auch von westlichen Industriestaaten stark TOTAL, welche 1998 mit PETRO/FINA zur bel-
Frstentmer? Was wre, wenn die Weltlordnung eine ganz (Schweiz) AG und gelernter Betriebswirt, hebt im Gesprch steuern, dann die Rohlpreise. Damit soll dem Dollar-Preis- untersttzt. Bombardierung der iranischen Hfen und der gisch-franzsischen TOTAL/FINA fusionierte
andere wre? Wenn die Nutzung von erneuerbaren, umweltver- immer wieder die Effizienz des Transportsystems hervor. Wir zerfall begegnet werden (der Rohlpreis wird in Us-Dollar Infrastruktur. Erhhter Geldbedarf am Golf zur Finanzierung und 1999 die franzsische ELF/AQUITAINE ber-
nahm, sowie AGIP/ENI (I), sTATOIL (N) und REP-
trglichen Energien die lwelt auf den Kopf stellen wrde? In fahren jeden Tag rund um die Uhr. Heinrich Bertsch, Leiter bestimmt). Algerien, Libyen, Venezuela und der Irak begin- des Krieges. Der offizielle OPEc-Preis lsst sich nicht mehr
SOL (E). 1998 fusionierte BP mit AMOcO und
nt
dieser Petro-FaZ und der Veranstaltungsreihe lwechsel des technischen und nautischen Dienstes, nickt zufrieden. Er nen mit TeilVerstaatlichungen westlicher Bohrkonzessionen, halten, der Markt bestimmt den Rohlpreis. kaufte krzlich die ARcO (Atlantic Richfield
geht es um die Dynamik der Erdlwirtschaft und der Erdlge- kennt die lange Fahrt nach Rotterdam und wieder zurck um ber den Reichtum an Bodenschtzen selber verfgen zu co.) auf. 1999 schlossen sich EXXON und MOBIL
sellschaft, um die politische konomie des ls. Um die Macht der heute noch auswendig. Jahrelang ist er Tag und Nacht diese knnen. Ab 1972 werden in den Golfstaaten auch Anlagen und 1981: Saudi-Arabien bringt Erdl zu tieferen Preisen auf zusammen die bisher grsste Fusion in der
multinationalen Konzerne und die zunehmende Machtlosigkeit Route gefahren, er weiss genau, wo die gefhrlichen Stellen Infrastruktur im Besitz der lkonzerne teilverstaatlicht, die den Markt, die anderen OPEc-Lnder mssen folgen. Industriegeschichte.
nning
der Nationalstaaten, um die kologischen Verwstungen in den sind. Bertsch sieht aus wie ein typischer Seemann: faltenrei- Konzerne erhalten unterschiedliche Kompensationen.
Produktionsgebieten und entlang der Transportrouten, um die ches, braun gebranntes Gesicht, krftige Statur und zwei T- 1982: Die Nicht-OPEc-Staaten produzieren erstmals mehr
Brosamen, die fr die lokale, oft indigene Bevlkerung in diesen towierungen auf den starken Unterarmen (Seejungfrau und l als die OPEc (vor allem die Nordseelnder Norwegen und
Gebieten noch abfallen. Die Petro-FaZ ldt zum Lesen, l- Anker). Sein Hndedruck ist strker als derjenige des Direk- Grossbritannien), nmlich 20 Millionen Barrel/Tag gegenber
wechsel zu Debatten, Reise und Spiel. tors. Eine Reise nach Rotterdam und zurck (je 850 Kilo- 15 Millionen. Die lschwemme hlt an, die OPEc hat die Kon-
onal Armin Khli, AG Konzept meter) dauert etwas mehr als 100 Stunden. Auf der Fahrt
rheinabwrts ist der Tanker meist leer, auf der Rckfahrt ist
dafr jeder Kubikmeter ausgenutzt. Das Auffllen bzw. das
trolle ber den Rohlpreis verloren.
1983: Die OPEc fhrt Lnderquoten ein. Die Quote pro Land
Leeren dauert fnf bis sechs Stunden. Auf dem Schiff sind richtet sich nach dem erwarteten weltweiten Gesamtbedarf
jeweils vier Mann an Bord, darunter zwei Kapitne, die Mn- an l, davon wird die gesamte Produktion der Nicht-OPEc-
ner sind unter sich. Der dienstlteste Kapitn hat eine Woh- Staaten abgezogen und die Restmenge durch die Anzahl
nung fr sich mit Schlafzimmer, Kche, sanitren Anlagen OPEc-Staaten geteilt. Das Quotensystem funktioniert nicht,

15 15
Japanese and Swiss Typography

Edition of Typographische Monatsbltter
[ Swiss Typographic Review]
This edition of the Swiss Typographic Review uses an

asymmetrical four-column grid. The first column is used
mainly as a margin but also for text callouts. The second
column, for the primary text in German, is wider than
the others. The third and fourth columns contain the
Japanese and English text, respectively. All the text is set
in a neutral sans serif typeface, but at slightly different
sizes. The English text is smaller than the German. The
Japanese appears slightly larger than either of the roman
textsits characters occupy the full body heightbut
its stroke weight is roughly the same. Within the roman
texts, size change is used as a titling device, with bold for
subheads after a proportional return between paragraphs.
Text falls from a hangline near the top of the format
and runs out naturally, creating an organic up-and-down
rhythm across the pages. Vertical images occupy the
second column, where depth is the dominant feature;
horizontal images occupy the two remaining columns.
Captions align left with images at the beginnings of
their respective columns.
Helmut Schmid | Suita-shi Osaka-Fu, Japan
15 15
ESPN College Football Preview Magazine

A full-bleed photograph on overlayed by lines that echo
Bold typography integrated with photography and bright the right page is joined to the those of the bleachers. Arrows
primary colors lends a playful, sporty edge to this editorial flat-colored left page by abstract direct the reader to the entry-
section devoted to American collegiate football. A selection shapes that start as yard lines point of the text, a justified
on the field in the image. The paragraph set toward the lower
of geometric typefaces, sans serifs, and typographic details
geometric uppercase headline right of the left page.
are mixed and matched as needed. No grid is apparent, spreads across the left page,
although paragraphs of text, set justified, seem to find
the right places to go based on their size, shape, and
the elements around them. Abstract shapes and icons in
flat color provide visual counterpoint to the photographs,
and the compositions overall are spontaneous and kinetic,
with elements crossing the gutter to unify two pages
in a spread.
Stereotype Design Barbara Reyes, Peter Yates;

Photo illustration: Phil Mucci | New York City (NY), USA
The section opener sets up the

overall visual language,
introducing a diagonal lockup
of geometric capitals, heavy
rules, arrows, stripes, and an
unconventional sense for laying
out photographs. The paragraphs
to the right run vertically,
participating with the rotated
photograph and stripes to create
an up-and-down rhythm.

15 15
Wire Magazine
This music and lifestyle magazine makes use of boldly

scaled headlines and unusual compositional structures to
communicate its hip vantage point as a journal of popular
culture. These layout strategies change as the magazine
evolves, continually refreshing the look of the periodical
from year to year. Feature articles open with dramatic
full-spread compositions of image and type, while depart-
ments follow a standard four-column modular grid using
a modernist sans serif.
Non-Format Kjell Ekhorn, Jon Forss |

Covers for Wire feature a full-bleed The table of contents, nonfeature

photograph in conjunction with a articles, and department pages
statically located masthead, in are structured on a four-column
black-weight sans serif capitals. modular grid. The type family is
Helvetica, used in various weights.
15 15
The typographic styling for

features changes from volume
to volume, keeping the magazine
as hip as possible.
One treatment for feature titles

involves overlapping it on the
image or translucent rectangles;
another creates compact
rectangles of information that
are based on product hangtags,
bank machine receipts, stickers,
tickets, and other ephemera.
Yet another sets a photograph
off-grid against bold sans serif
titling that crosses the boundary
of the image and interacts
with graphic linear inclusions
of dirt and scribbles.

15 15
The design of packaging brings the two extremes of typographys dual nature into sharp
focus. In this context, typography must fulfill its utilitarian function, indicating the contents
of a package and informing a buyer about ingredients, proper uses, and so on. But shelf
appeal is also of paramount importance. The typography of packaging is almost always
geared to selling, and nuances of color and treatment subtly encourage the consumer to buy
one package over another. Even considering the necessity of difference, the design of packag-
ing follows conventions within its particular domaincosmetics vs. wine and spirits vs. golf
balls. The shape of the package plays a role, governed by production and, in turn, governing
potential treatments. Packaging clearly bears the visual stamp of its surrounding culture.
European food packages seem relatively reserved, both in their typography and imagerypic-
tures of the contents accompany direct, almost documentary, typography. In comparison,
American packaging is glitzy, with extravagant type treatments and almost frenetic layout.
Asian packaging alternates between the serene and the wildly expressive.
T Packaging
YPOG RAPH Y
I N P RACTI C E Audio, Software, Cosmetics,
Food & Beverage
15 15
Taku Satoh is widely regarded as a specialist in packaging design. Based in Tokyo, his
office is routinely commissioned to package a variety of productsfrom cosmetics to
food and spirits to housewaresin addition to other commissions for identities and
posters. His packaging designs are minimalist and detailed, focusing on typographic
nuance, color, and fabrication. Here, he discusses working with typography as it relates
to packaging.
How would you describe your approach to typography, and hold. With type, however, the difference between a these respective characters, use them according to specific
and what distinguishes it from that of other designers? food-related package and a package for some other kind information. Skillful use of this aspect of typography is
My personal approach is purely trying to accurately of product is much greater than the difference between required in Japanese graphic design.
express information to be conveyed. I do not focus on a package and a book. In Japan, the key for successful
specific character styles or typefaces; they evolve, and my food-related packaging is to make the consumer salivate. What inspires you in terms of typography? Everyday
standards also change. I want to always control myself Consumers wont pick up just any pretty food package life inspires me. I can learn many things from the ordinary
so that I can accept these changes. I want to think with a with a modern design. In this regard, bottles, etc., for environment. By carefully observing not just special things,
- clean slate every time I handle typography. At least, I try cosmetics, can be in any form, as long as they are beautiful. but ordinary things, I can find unlimited possibilities for
to do so. What I really want to avoid is forcing a personal I think, therefore, that typographic design for food designing with typography. Characters themselves are
style on viewers. The difference between other designers products is naturally much more difficult. constantly changing, depending on materials, light, space,
and myself may be my consistency in this attitude. As shade, and other factors, and provide endless possibilities.
such, my design does not show if I was involved or not. Talk a little bit about the challenges of working with
- In terms of packaging, I concentrate on trying to design typography for a Japanese audience, as opposed to What is your favorite typeface and why? My favorite
typography that expresses the content. And for characters a Western audience. In Japan, the number of people type forms come from Asian calligraphy. The reason is
that correspond to the branding, I always create original who can understand foreign languages is unusually that I can never design such characters, no matter how
characters unique to the product, because this creates small compared with other nations. Nonetheless, various much I study. Asian calligraphy must appear the same
individuality for the product that will quickly distinguish character setsand foreign charactersare used, which to Westerners complex, perfect, unattainable.
it from anything else. is not often seen in other countries. In the Japanese
language, hiragana, katakana, Chinese characters, and
How does designing with typography for packaging English numbers are often mixed in a sentence. It may
differ from designing with type for a book or a poster? appear strange for consumers in countries that use only
Y
I think a package and a book are more similar, compared uniform characters, and designing of Japanese characters
with a poster, in terms of being a product people pick up may look very difficult. Japanese people, who understand

15 15
Frost Malt Beverage Bottling
Distinguishing itself from the confusing and overly

decorative labels associated with beers and malt liquors,
the typography of the Frost bottle makes a forceful
statement without trying too hard. A single typeface,
in a single weight, has been silk-screened onto the surface
of the glass, resulting in a clean, crisp presentation.
The choice of typeface and its treatment convey a chilly,
refreshing message. A condensed sans serif as a base
form helps convey the frozen quality of compacted ice.
An illustrative reference to ice or crystals deforms the
letters slightly but leaves their legibility intact. At a quick
glance, the treatment may not reveal itself. The rhythmic
alternation in sizes between the lines of type which
are justified and well spaced is the remaining stylistic
consideration. The single color, a matte metallic ink, lifts
the type above the surface and contrasts the deep color
of the bottle without being cheap and shiny.
Creuna Design Stein vre | Oslo, Norway
A slight deforming of the

typeface creates a feeling of
being frozen over with ice.
15 15
Typography in Practice Packaging
OCO Sparkling Sake Bottle
The OCO bottle contains a sparkling sake, a less rugged

drink that requires a fresher presentation. The bottle
declares that the beverage is made from only the finest
natural ingredients in an all-uppercase centered setting
of an extended, light-weight sans serif. The upper counters
of the letters tend to be a little larger than those below
unlike strictly conventional forms and the flip in balance
lends a quirkily elegant flavor to the type. The focus of the
label, though, is the OCO logo form that appears in the
Elegant detailing a modern
center, drawn in geometrically abstract strokes. The clean
update of Old World styling
lends a stately strength and
circular forms in black, together with the gold 8 form to
sense of tradition to the presence the left, are bold and simple. Immediately above, a small
of this contemporary bottle metallic gold icon that appears to be an abstraction of
(opposite, near left). Careful rice grain sakes primary ingredientdefines the center
attention to the visual qualities
of very different facesin the
axis of the labels typography. The remaining element, the
choice of scripts for Sterling alcohol content, sits below the brand in a light sans serif.
and Lager, for example, ensures
variety as well as unity. Graph Co., Ltd. Issay Katagawa | Tokyo, Japan
Sterling Lager Bottling
A more decorative, yet still restrained, typographic approach

is evident in the Sterling Lager bottle. The metallic wrap
around the neck contains the logo, derivative of old European
brewhouse typefaces but having a cleaner, almost automo-
tive quality. The forms link dramatically along the baseline,
leaving the main strokes free of detail, save a thin edge
line that lifts the type off the label. Along with a delicate
script describing the freshness and quality of the ingredients, A fresh white label with mini-
the typography recalls classic English packaging without mal, simple black text and two
being a direct lift of historical reference. Around the base metallic details speaks of the
freshness of the contents.
of the bottle, an elegant black band, rimmed in silver,
denotes the brew as a lager, in a similar elegant script face.

15 15
Symbion Project CD Packaging
A minimal, yet rich, typographic presentation gives

identity to the packaging of this CD. A cold, neutral sans
serif, reminiscent of optical character recognition forms
scanned by computers, conveys a mechanistic atmos-
phere. On the front cover, the name of the band and the
album are joined through a syntactic deconstruction,
which is both visual and verbal. The O of the word Project
is shared by the word Immortal, expressing the essential
quality of the word symbionicmutually dependent.
The typeface and the loose spacing of the letters are stately
and austere, having a deliberate rhythm unexpectedly
disturbed by the shift of the linear tittles off the stems
of the lowercase Is.
In stark contrast to the linear pattern of the type itself,
abstract geometric elementswhich have some typo-
graphic characteristics are arranged across the cover and
onto the back. Along the spine of the case, an open area
reveals a typographic texture contrasting the sheen of the
metallic ink and the flatness of the black geometric forms.
The sleeve insert within the jewel case organizes the liner
notes into a checkerboard of modules, in which the type
alternately prints black or reverses to white from the silvery
background. The justified text exhibits bad spacing and
rivers, but in this case, the mechanistic quality of the
overall presentation is compounded by this aspect of the
type. Two sizesone for song titles and a smaller size
for credits and lyricsclarifies the content but remains
minimal in treatment.
Stoltze Design Clifford Stoltze | Boston (MA), USA
15 15
Ennio Morricone Remixes CD Packaging
The vivid yellow jacket for this CD is broken by random

white rectangular inclusions and distressed type forms
in black. On the cover, the type carrying the artists name
changes orientation between vertical and horizontal,
configured in an angle in the lower left corner. Secondary
type appears upward and toward the middle right,
slightly askew. All the type is set in a sans serif face, mixing
upper- and lowercase. Once the flaps of the case are
opened, the random white rectangles become a housing
for the lyrics and production notes, set in a small-size
sans serif that alternates between bold and regular weight.
The text paragraphs are rotated in various directions
across the format, set against vivid yellow forms.
Factor Product Design Agentur | Berlin, Germany
Red Snapper CD Packaging
The cloth wrapper packagingembroidered with the title

typographyis irregular, leaves threads to cross over the
letterforms, and unravel between the major elements,
creating an additional element. Along with this industrial
mistake, the typographic labeling on the exterior surface
of the case consists of bar coding and OCR (Optical
Character Recognition) type forms, as might be used in a
supermarket checkout. Taken together, these typographic
effects convey a conceptual message about quality and
the role of technology and industry in everyday life.
Non-Format Kjell Ekhorn, Jon Forss |

The bar coding and OCR characters

create a stark mechanical texture
against the white case; the red
cloth label contrasts in color and
texture, announcing the CD to be
Right, a detail of the sleeves
a lo-quality product [sic].
embroidered typographic title.

15 15
RMK Cosmetics Packaging

The soaps transparent package
Stunningly simple typography makes for an elegant is printed in white, which partici-
solution in this line of skin care cosmetics. Each product is pates in the overall simplicity.
labeled with its name, set in a single sans serif typeface,
all in caps, screen-printed along the center axis of each
bottles or tubes format. The letters of the product names
are slightly condensed, distinguishing them from the
brand, RMK. There is no other visible typography on the
fronts of the packages.
Taku Satoh Design Office | Tokyo, Japan
Clear plastic bottles display the

color of their contents behind the
minimal typographic treatment
of the label.
In the Skin Tuner series (far right),

each product level is coded with
a colored serif numeral. The
numerals are condensed to hold
the narrow shape created by the
vertical line of type.
In the Cleansing series (near right),

the plastic of the bottles, rather
than the contents, subtly changes
color to differentiate products.
15 15
Project 5 Software Branding
The transparent package carries typographic branding

and information while creating interesting design
opportunities for the surface. The logo and typographic
elements seem futuristic,deviating from traditional
archetypes by exploring angularity, the junctures between
strokes within letters, combinations of forms, and the
extension of the letter bodies. The logotype is the primary
visual element applied to the packaging, along with a
symbol derived from the combination of the letter P and
the number 5, centered over the software product, which
is visible through the box. Opaque fields of a lighter blue
enclose portions of the box, adding to the interplay of
spatial depth between surfaces.
Stoltze Design Clifford Stoltze, Brandon Blangger |

Boston (MA), USA
Nestl Wicked Ice Cream
A mixture of typographic styles, skillfully chosen for their Exaggerating the contrast in the
individual rhythms with the intent of combining them, is strokes, as well as adjusting the
dominated by the product name set in the center of the widths of the letters for more
varietynote the Eintroduces
ice cream cartons. For the product name, a customized
a more custom presentation for
light-weight sans serifoddly displaying a subtle contrast the product name. Extending the
in the strokes of the letters is selected. The designers leg of the K below the baseline
have exaggerated the contrast, adjusted the letter widths, also helps differentiate the logo-
and added elements to the lockup to give the words more type by breaking the horizontal
line of the word sequence.
of their own character. Most notably, a crescent tittle has
been added above the uppercase I, making the word more Under the product line, the
flavor name is set in a decorative
casual, and linking the word image to the photography of
script with a great deal of
the ice cream ball in the backgroundshot against a dark contrast. Its sensuous curves and
background and lit from the side to resemble the moon. bloated, embossed quality are
The nocturnal character of the image and the gothic quality distinctly different from the
of the type support the sense of wickedness declared in main product name in its texture,
and further communicates the
the product name.
decadent nature of the treat.

15 15
DiStasio Wine Bottle Labels
The labels designed for these wine bottles seem distinctly

undesigned . . . and this is their charm. The bottles appear
wrapped in half-sheets of ruled paperlike one might
find in a students school notebookand written on by an
unsteady hand. Actually printed, the labels do vary from
vintage to vintage and between varietals. The author of
the writing is unknown. Perhaps it is the patriarch of the
family who bottles the wine, adding his name to the final
product he taught his children to craft. Perhaps it is a
small child who is only beginning to write, entering into
an awareness of the familys business. Either way, the labels
have a casual, friendly, and unpretentious feeling that
speaks of good times with wines made by hand with love.
15 15
Callaway Golf Ball Packaging
This packaging system for high-performance golf balls

focuses on a typographic symbol for the brand line,
combined with an abstraction of one of the golf balls
divots, along with engineering diagrams and informational
text. Along one side of the package, a lockup of large-
scale letterforms in opposing orientation stands out from
a linear texture of the divots. Another panel of the package
carries features in uppercaseTubular Lattice Network
in two languages, the primary engineering feature of the
ball. The diagram type, reversed out to white from the
clean blue surfaces in a strong sans serif set all uppercase,
creates an active texture and evokes the image of blue-
prints. The diagrams describe the golf balls feature charac-
teristics that enhance its performance. Other packages in
the overall system feature an embossed pattern.
Pentagram Woody Pirtle, partner | New York City (NY), USA

Photos: Chris Gentile
The outer carton wraps the interior

smaller packages in the embossed
texture of the golf ball. The blueprint-
like diagram type on the packages
alludes to the balls superior engineering.

15 15
Index of Contributors | Bold pages denote featured projects, Typography in Practice

344 Design, LLC | Pasadena (CA), USA Cato Purnell Partners | Richmond, Australia Fons Hickmann m23 | Berlin, Germany
www.344design.com [email protected] www.fonshickmann.com
page 99 pages 143, 231, 235 pages 123, 177, 202
AdamsMorioka | Beverly Hills (CA), USA Leslie Cheung Otis College of Art + Design | Los Angeles (CA), USA Lynn Fylak | New York City (NY), USA
www.adamsmorioka.com c/o [email protected] [email protected]
page 66 page 52 pages 100, 198
Allemann, Almquist+Jones | Philadelphia (PA), USA CODEsign Leonardo Sonnoli | Rimini, Italy Oscar Genel Otis College of Art + Design | Los Angeles (CA), USA
www.aajdesign.com [email protected] c/o [email protected]
pages 152, 156157 pages 90, 171, 175 page 59
AND Partners | New York City (NY), USA Creuna Design | Oslo, Norway Gollings+Pidgeon | St. Kilda, Australia
www.andpartnersny.com www.creunadesign.no www.gollings.com.au
pages 41, 120121, 144 pages 79, 105, 113, 118, 206, 230 pages 115, 161, 165, 181, 215, 236
Andr Baldinger Conception Visuelle | Lausanne, Switzerland Design Machine Alexander Gelman | New York City (NY), USA Graph Co., Ltd. Issay Kitagawa | Tokyo, Japan
[email protected] [email protected] [email protected]
pages 114, 116117, 223 pages 114, 167 pages 125, 165, 231
Apeloig Studio Philippe Apeloig | Paris, France Design Rudi Meyer | Yerres, France Einar Gylfason | Reykjavik, Iceland
pages 8, 21, 49, 98, 176, 202 page 174 pages 77, 98, 220
AR Media Michael Ian Kaye | New York City (NY), USA Designalltag Zurich | Zurich, Switzerland Elizabeth O. Hawke | Rutherford (NJ), USA
www.ar-media.com www.designalltag.com [email protected]
pages 218219 page 107 page 58
Atelier Bundi | Bollingen, Switzerland Doyle Partners | New York City (NY), USA Hoefler Type Foundry | New York City (NY), USA
www.atelierbundi.ch www.doylepartners.com www.typography.com
page 100 pages 89, 101, 125 page 119
Atelier Poisson | Lausanne, Switzerland E-Types | Copenhagen, Denmark Ideas on Purpose | New York City (NY), USA
[email protected] www.e-types.com www.ideasonpurpose.com
page 209 page 221 pages 51, 140141, 203
Atelier Varga | Zrich, Switzerland Eggers+Diaper | Berlin, Germany Intgral Ruedi Baur + Associs | Paris, France
[email protected] www.eggers-diaper.com www.integral.ruedi-baur.com
pages 53, 132133, 155 pages 69, 124, 200201 pages 204205
Bohatsch Visual Communication | Vienna, Austria Felix Estrada | New York City (NY), USA Interkool Christoph Steinegger | Hamburg, Germany
www.bohatsch.at [email protected] [email protected]
pages 87, 127 page 94 pages 42, 69, 186, 206
Daniel Boyarski Carnegie Mellon University | Pittsburgh (PA), USA Factor Product Design Agentur | Munich, Germany Jack Design Jenny Chan | New York City (NY), USA
[email protected] www.factor-product.com [email protected]
pages 179, 183 page 233 pages 51, 167
Bro fr Gestaltung | Offenbach, Germany Faydherbe/DeVringer | The Hague, Netherlands Brian Jacobsen University of the Arts | Philadelphia (PA), USA
www.bfg-online.de www.ben-wout.nl c/o [email protected] (GD Department Chair)
pages 58, 131, 164 pages 61, 137, 145, 180 page 48
Bro Schels fr Gestaltung | Munich, Germany Fellow Designers | Stockholm, Sweden Benjamin Jurand | Orlando (FL), USA
www.bueroschels.de www.fellowdesigners.com [email protected]
page 81 pages 177, 185, 202, 206, 207 pages 192193
C. Harvey Graphic Design | New York City (NY), USA First Rabbit GmbH | Kln, Germany Shane Keaney Pratt Institute | New York City (NY), USA
www.charvey.com www.first-rabbit.de [email protected]
pages 65, 139, 168, 207 pages 37, 95, 146147 page 130
Cahan + Associates | San Francisco (CA), USA Gary Fogelson Pratt Institute | Brooklyn (NY), USA Keller Maurer Design | Munich, Germany
www.cahanassociates.com [email protected] www.km-d.com
page 73 pages 6, 130 page 73
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15 15
Appendixes Index of Contributors
Korn Design Denise Korn | Boston (MA), USA Gnter Rambow | Gstrow, Germany Stoltze Design | Boston (MA), USA
www.korndesign.com [email protected] www.stoltze.com
pages 75, 81, 149, 199, 206, 222 page 97 pages 163, 232, 235
LMN Guenter Karl Bose | Berlin, Germany Amanda Raymundo Otis College of Art + Design | Los Angeles (CA), USA stressdesign Marc Stress | Syracuse (NY), USA
[email protected] c/o [email protected] www.stressdesign.com
page 86 page 54 pages 47, 75, 179, 206
Heebok Lee Carnegie Mellon University | Pittsburgh (PA), USA Red Canoe | Deer Lodge (TN), USA Strichpunkt | Stuttgart, Germany
c/o [email protected] www.redcanoe.com www.strichpunkt-design.de
pages 188189 pages 128129, 154 page 138
Uwe Loesch | Dsseldorf-Ekrath, Germany Joshua Reynolds University of Tennesee | Knoxville (TN), USA Studio di Progettazione Grafica | Cevio, Switzerland
www.uweloesch.de [email protected] [email protected]
pages 79, 178 page 190 pages 61, 71, 162, 202
Markus Mostrm Design | Stockholm, Sweden Robert Rytter & Associates | Butler (MD), USA StudioWorks Keith Godard | New York City (NY), USA
www.mostromdesign.se www.rytter.com [email protected]
page 206 page 166 page 50
Dorca Musseb School of Visual Arts | Perth Amboy (NJ), USA Rocholl Projects/ KearneyRocholl | Frankfurt, Germany Yoshino Sumiyama School of Visual Arts | New York City (NY), USA
[email protected] www.rocholl-projects.de yoshino@ earthlink.net
page 59 pages 6, 150, 195, 206 page 55
Niklaus Troxler Design | Willisau, Switzerland Rule 29 Justin Ahrens | Elgin (IL), USA Taku Satoh Design Office | Tokyo, Japan
[email protected] www.rule29.com [email protected]
pages 23, 60, 76, 172 page 207 pages 7, 25, 99, 108, 196197, 229, 234
Non-Format | London, England Sean Ryan | New York City (NY), USA Templin Brink Design | San Francisco (CA), USA
www.non-format.com [email protected] www.tbd-sf.com
pages 226227, 233 page 85 pages 169, 199, 203, 206
Option-D David Thompson | Memphis (TN), USA Wongi Ryu School of Visual Arts | New York City (NY), USA Matthew Tragesser Carnegie Mellon University | Pittsburgh (PA), USA
www.option-d.com [email protected] c/o [email protected]
page 212 page 99 page 191
Paone Design Associates | Philadelphia (PA), USA Sagmeister, Inc. | New York City (NY), USA U9 Visuelle Allianz | Offenbach / Mein, Germany
www.paonedesign.com www.sagmeister.com www.u9.net
pages 41, 54, 80, 90, 104, 118, 158159, 177 page 84 page 78
Pentagram Design | New York City (NY), USA Helmut Schmid | Osaka, Japan What!Design | Allston (MA), USA
www.pentagram.com [email protected] www.whatweb.com
pages 85, 96, 119, 126, 215, 216217, 237 page 224 pages 99, 207
Phaidon Press Julia Hasting | New York City (NY), USA Ralph Schraivogel | Zurich Switzerland Martin Woodtli | Zrich, Switzerland
pages 130, 134135 page 54 pages 168, 173
Piscatello Design Centre | New York City (NY), USA Shinnoske, Inc. Shinn Sugisage | Osaka, Japan Worksight Scott Santoro | New York City (NY), USA
www.piscatello.com www.shinn.co.jp www.worksight.com
pages 73, 153, 213 pages 126, 173 page 142
Poulin+Morris | New York City (NY), USA Travis Simon School of Visual Arts | New York City (NY), USA
www.poulinmorris.com [email protected]
pages 6, 106, 210211, 214 page 59
Houman Pourmand Pratt Institute | New York City (NY), USA Stereotype Design | New York City (NY), USA
[email protected] www.stereotype-design.com
page 130 pages 7, 181, 225
Qwer Design | Kln, Germany STIM Visual Communication | New York City (NY), USA
www.qwer.de [email protected]
pages 7, 78, 79, 105, 184, 187 pages 23, 6263, 99, 100, 101, 109, 202

15 15
240 Typography Workbook
About the Author

Timothy Samara is a graphic designer and educator based
in New York City, where he divides his time between
teaching at the School of Visual Arts, NYU, and the Fashion
Institute of Technology; and writing and consulting
through STIM Visual Communication. His design work
focuses on identity development and information
Bibliography
design for corporate and nonprofit clients, in projects
spanning print, environmental, and digital media. He has Aldersey-Williams, Hugh et al | Cranbrook Design: The New Discourse.
taught and lectured at UArts, Philadelphia; Newhouse New York: Rizzoli, 1990.
School of Communications, Syracuse University; Alfred Bosshard, Hans Rudolf | The Typographic Grid. Sulgen/Zrich,
University; Western Michigan University; Rensselaer Switzerland: Niggli AG, 2000.
Polytechnic Institute, Troy, New York; and SUNY Fredonia.
Bringhurst, Robert | The Elements of Typographic Style, Version 2.4.
Making and Breaking the Grid, his first book, was released Vancouver, Canada: Hartley & Marks, 2001.
by Rockport in 2003, and is now in its second printing. Celant, Germano et al | Design: Vignelli. New York: Rizzoli, 1990.
Samara graduated a Trustee Scholar from UArts in 1990
with a BFA in graphic design. He lives in New Yorks Chelsea Dair, Carl | Design with Type Toronto, Canada: University of Toronto
Press, 1992.
district with his partner of four years.
Gerstner, Karl | Designing Programmes. Teufen AR, Switzerland:
Niggli AG, 1968.
Hiebert, Kenneth | Graphic Design Sources. New Haven,

Connecticut: Yale University Press, 1998. | Graphic Design Sources.
Producing a book of this kind involves a lot of busy people. My sincere New York: Van Nostrand Reinhold, 1992.
thanks to all those designers who submitted examples of their work Hoffmann, Armin | Graphic Design Manual. Sulgen, Switzerland:
Verlag Niggli AG, 1998.
assembling projects to contribute to a book like this is time consuming.
Jury, David | About Face. Mies, Switzerland: RotoVision SA, 2002.
Special thanks to those who participated in the short interviews that
Kinross, Robin | Modern Typography. London: The Hyphen Press, 1992.
appear. In particular, many thanks to Philippe Apeloig, Dan Boyarski,
Kuns, Willi | Typography: Formation + TransFormation. Teufen,
Michael Ian Kaye, Giorgio Pesce, and Taku Satoh for their time in Switzerland: Verlag Niggli AG, 2003. | Typography: Macro- +
providing extensive responses to my questions. Additional thanks to the Microaesthetics. Teufen, Switzerland: Arthur Niggli Verlag, 1999.
team at RockportKristin, David, Rochelle, Silke, and Kristyfor all Morrison, Stanley | The First Principles of Typography. London:
Cambridge University Press, 1967.
their help along the way.
Mller-Brockmann, Josef | The Graphic Artist and His Design
Problems. Teufen AR, Switzerland: Verlag Arthur Niggli, 1968.
This book is dedicated to Sean, who squeezes me Noordzij, Gerrit | Letterletter. Vancouver, Canada: Hartley & Marks,
2000.
and endures my long hours without complaint;
Ruder, Emil | Typography. Sulgen, Switzerland: Verlag Niggli AG, 2002.
to my parents, who always cheer me on; and to my
Samara, Timothy | Making and Breaking the Grid. Gloucester,
wonderful friends Catherine, Lynn, and Greg. Massachusetts: Rockport Publishers, 2003.
Last, but not least, I dedicate this book to all my Tschichold, Jan | The Form of the Book. Vancouver, Canada:
Hartley & Marks, reprint edition, 2000. | Die Neue Typographie
students at SVA, FIT, and NYU. (The New Typography). Berlin: Verlag des Bildungsverbandes, 1928.
Tufte, Edward R. | Envisioning Information. Cheshire, Connecticut:

Graphics Press, 1991. | The Qualitative Display of Quantitative
Information. Cheshire, Connecticut: Graphics Press, 1991.
Weingart, Wolfgang | My Way to Typography. Baden, Switzerland:

Lars Mller Verlag, 2000.
p<#> Job no:80872 Title : RP-Typography Workbook Client : Pro-Vision

8
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TypogWrkbk_p001-009/M15 15/06/04 4:11 PM Page 1

The Typography Workbook

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contents Typography Fundamentals 10

0 Typography in Practice 110

Typeface Design|112 Stein vre and Frode Slotnes

Book Design|122 Fons Hickmann

Collateral Texts|136 Wout de Vringer and Ben Faydherbe

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words, ligatures, rags, and grids and bringing those pieces

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Apeloig heads his own studio in Paris, France. Upon graduating

Transport Fluvial poster

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The Visual Tool Kit T

Typography Fundamentals Type Mechanics

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Stem or Main Stroke Crossbar Bowl Ear Counter

Crossbar Serif Tail Loop or Bowl Juncture or Joint

Aperture Spur Descenders Ligature

The Anatomy of Letterforms

Typography Fundamentals Type Mechanics

Bracketed Serif Terminal

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Optical Compensation for Form

EOAV The seemingly simple structure

Typography Fundamentals Type Mechanics

Character Sets and Type Families

The complete character set for

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Typeface Classification Roman Inscription

Classification is by no means easy, however, especially as

Categories of Type Classification

The progression from archaic to

Typography Fundamentals Type Mechanics

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from another and that create the contrasts in rhythm

Typography Fundamentals Type Mechanics

Posture Width Style

ke contrast Regular Condensed Serif Sans Serif

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Typeface Attributes and Their Effect on Text

Typography Fundamentals Type Mechanics

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The Optics of Spacing

Typography Fundamentals Type Mechanics

words words words

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Type Sizes and Spacing Considerations

Trips Trips Trips

Space That Type!

Typography Fundamentals Type Mechanics

The printing process exacerbates