eS ee ails Fundamentals of Creative DTeste lt Pee ere a Con ad Pg ae era ee erecta) through detailed explanations illustrated with exemplars from eee apseston contents 6> Introduction 8> Formats & 30> Layout printing techniques Whether for print The many shapes, oo screen, the sizes and fold fundamental patterns available principles of page for printed matter layout enable the extend design controlled and possibilities, visually appealing help achieve placement of differentiation graphic and text and can enhance elements within a usability given space, creating hierarchy and order T> How to get the most 10> 180 paper sizes 32> layout out ofthis book 12> leternress 44> golden section & 16> hot metal ype ‘Bopacel Humber 20> print finishing Baa C20 24> image resclution 28> choosing a page size “The Frais of Crate Deson Com56> 58> 62> a> 66> 72> 78> 24> 88> 90> 96> uae ne> as> 20> Typography The principles of ‘typography have existed for centuries, but the ease of use and the ever increasing possibilities of the digital age, mean they have never been more important ‘ype kerning & ligatures leading typhenation, justification & tracking modernism post modernism anatomy of a typeface ‘ype personality ‘ype as image classification systems special characters fratiger's grid extended type families ‘ype detailing 126> Image 30> 16> i> 1as> 52> Type and image have long been the basis of visual communication, a potent relationship that can elicit a multitude of meanings colouring images bouncers/shiners ink trapping ‘mage manipulation moving image The Funda of Cte Dain Ces 154> Colour 158> 160> 62> 16> 70> a2> a> ae> Creatively used, colour can increase visual appeal. An understanding of the principles of colour association equips a designer to reliably control colour usage and maximise its impact four-colour tints specials understanding colour colours controlling colour conclusion glossary of terms An explanation of useful terminology contactsintroduction CREATIVE DESIGN IS IN SOMETHING OF A GOLDEN ‘THE FUNDAMENTALS AGE. NEVER BEFORE HAVE THE OPPORTUNITIES neste AND OUTLETS BEEN SO BROAD AS SOCIETY CONTINUES ToEquiP PEOPLE TO BECOME VISUALLY RICHER AND MORE ADVENTUROUS, ie AND TECHNOLOGICAL DEVELOPMENTS CONTINUE TO ESTABLISHED TENETS Insori ADVANCE THE FRONTIERS OF THE VISUAL WORLD. WE LIVE inca INA MEDIA-RICH AGE, ONE IN WHICH WE ARE BOMBARDED DESIGN. PROVIDING FROM ALL SIDES BY FINELY TARGETED NICHE PRODUCTS So AND SERVICES, EACH STRIVING TO GRAB OUR ATTENTION FUNDAMENTALS, THROUGH THE ARTISTRY OF THE GRAPHIC DESIGNER. WE EMIANCED WITH ARE SURROUNDED BY THEIR OUTPUT IN BOTH PRINT AND PRACTICAL APPLICATION ELECTRONIC FORMAT FROM ADVERTISING BILLBOARDS, THROU canes SHAMPOO BOTTLES AND MAGAZINES TO TELEVISION AND Sees THE INTERNET. Bonk oFFeRs A UNIQUE RESOURCE TOALL WITH SO MUCH VYING FOR OUR ATTENTION, GETTING Js okanatineetedl NOTICED IN THE VISUAL MORASS AND QUICKLY oF THe GENERAL CREATING A GOOD IMPRESSION IS BECOMING epee INTEREST INDESIGN. INCREASINGLY DIFFICULT. AT THE SAME TIME, TECHNOLOGY IS DEMOCRATISING CREATIVE DESIGN AND MAKING IT EASIER FOR NON-DESIGNERS TO PRODUCE CREDIBLE WORK. AS A CONSEQUENCE, A SOLID GRASP OF CREATIVE DESIGN FUNDAMENTALS IS OF PARAMOUNT IMPORTANCE TO PRODUCE EFFECTIVE AND EYE-CATCHING DESIGNS, A SOUND FOUNDATION FROM WHICH CREATIVITY CAN FLOURISH 6 The Fenton of Cea Omigt odinhow to get the most out of this bookFormat is the shape and size of the final product whether it is a book, magazine, brochure, or package. Format selection is an area that is often neglected due to the ISO (International Organization for Standardization) series of paper sizes, based on a rectangle with sides ina ratio of 1:1.4142. This series provides a benchmark range of proportionally related paper sizes that, in effect, means thata designer does not have to give his or her full consideration to format. The existence of a standard range of sizes gives a degree of uniformity for all involved in print production. However, the design brief may call for something different. Format selection is typically embroiled in the practical considerations such as who the target audience is, the nature of the information to be presented and the budget as non-standard paper sizes will be more expensive to print and finish. That said, a creative approach to format selection can produce dramatic results. With a variety of folding options available the designer has additional creative possibilities that can have a pronounced affect on the resulting product whether it is an annual report or a magazine insert. Format concerns thepysial ‘dimensions of te product and the space ane has topes the ‘graphic elements ofa deste. ‘This seton vl explore baw the shapes, sae ano fold patterns can be used in he achive iferentiason, Format isreeainaney concerns ‘th printmeia though certain aspectscan be applied to the design of ets panels pop-up boxes and ote on ‘Sereen component.Section ISO paper sizes Standard paper sizes provide a convenient and efficient means for designers, printers and others involved in printing and publishing to communicate product specifications and keep costs down. Standardised paper sizes can be traced back to 14th-century Bologna in Italy where the outlines for four paper sizes were given to guide local paper manufacturers. 0 1188 x 40mm AL= 840 x 59dem A2= 596 « 420m 130 420 « 297mm sigos AG 297 x 2100 AS= 210 « 1485 b= 148.5 x 105mm & ‘The Foden restive Design ‘Toe meseen 180 (International Organiza for Standardization ape sizes syste is based on an obseraton by German pes pressor Georg Chvstoph Lichonberg who in 1786 Sa the adrantages of paper sizes having a higt-o.ih rati of the square oot of two (1.4142). Paper with tis Lichtenberg ratio will maintain ts aspect rato when ct in a. France waste frst couty to adept paper sizes quale to ‘modern 180 sits wth a sued in 1798, Today, Canals and SR ar the ery installed countries ht do not ue the 150 sytem, ‘The ISO sizes are based on te metre system using the square- oat ofa clio wih format AO having anaes of one square metre, As is does not alow the page height and wth to be Founded metric lengths te area of the pages en dined have a rand metre valu, which simp calelation ofthe eight ofa dcumen frm x nunter of pase a8 paper's ally spect in gv The series comprises a vane of paper sis ha ies from the next size by a actor eter 2 Bere sats are Itemmiate 26s an C series sizes are for mvelipes that can tain sine stationery. RA and SRA stack sizes are sheets of age rom which & sie canbe et ‘The theory that underpins his derives from Fibonacel Numbers 2d the Golden Section which are asesse inthe Layout chapter E- Formats & rng eisenh or Mra coarse ian See He ad Straon Das HE: Suds preted Yeaeten Dees ieee) ot uta ie ie Maree ee brea Ua cea ee Mec tener Ute) ees gives you a more Nees eeu So eae) Sets ene Romeo Die as acskirs eae] eee esd Gries Mercnant a The Fdanevals Create Design 180 apr sies,letterpress Letterpress is a method of relief printing whereby an inked, raised surface is pressed against the paper. It was the first commercial printing method and is the source of many printing terms. The raised surface that makes the impression is typically made from pieces of type, but photoengraved plates can also be used. Letterpress printing can be identified by the sharp and precise edges to letters and their heavier ink border. Adee of etre ic ‘This defect canbe usd to appealing to modern foe nostalgia for a bygone designers. When improperly era The eres-inpired bill Inked, patches appear In posters for the Royal Academy the lets giving tem a ‘of Ars (op right) designed by uniqueness, where ech Alot Meat Viekers » BEDO Impression i suly were stand primed by Forme ferent (ee bel). London sing an smsture of orignal oad Jddddd 2 The Fumento of Ceti Desig Formats & prin chsPRESENTS aveuUsTS ROUNDS |S BATTLE OF THE HEAVYWEIGHTS=| “The Furcal Crea esi ‘The President and Couneil Cf te Royal Academy of Arts Invite you to the Press View ooo: artat tho Groserouds Soe tenTHE PREHISTORY OF SEX L LONGITUDE o=e5,!! 3 Sats SSseeqq er seseeares STISsection 2 hot metal type Hot metal, also known as hot type composition or cast metal refers to the process of casting the type in lines in molten metal. Text is typed into a machine to produce a punched paper tape that controls the characters cast by the casting machine. Hot metal type made it possible to create large quantities of type in a relatively inexpensive fashion. Movable ype Movable ype was th next leap frm te east printing presses ‘mat used a wooden back carved with te text. This speeded up production of ndvidual pages but meant anew beck ha tobe ‘carwafor ech page. Movable ye sa ypeseting meted that essing picts of pe that an e set in ablock and rites. ach characters rowable and ean be wed again Shoulder Polat szeody Bert ‘Shank Nick, wel by locate one of ype oat wistiSet w “he Foals of Cave Design Alexander McQoten ws inspired by State Kubrick's fil, ‘The Shining fora lasion show and created anise to ate. This ‘ns printed by letras nar t imart a Hey inde ints the ‘substrate to give the impression that eat inte was inually ‘ype ena typeriter. The vite mimics he All wok ano lay rakes Jack al boy’ seen. Design: Stutio Myerscoun, pining by Forme LandonAnd now for something completely different... s soft as Charlie Chaplin fluttering his love- I as the Three Stooges poking each other's eyes out. deft as Groucho Marx verbal napalming of art indeed, fr-and prnlcitlinagra of que mealies qui -wogdesfalneren have us love it. We laugh; and as Herman Melville’ Billy Budd said, laughter is good. ‘hemo ati yaLtt an oppsite: Te iret Below: Thematic deals a th see rk simpe dels against ato, colour ist Century Classis the he warning scker on a applane pe or representing the ines Brief To create a seis of ul-pane dplay advertisement to appear Process stars (see opps page primarily aio franca constrains at ment there was no husat for poteraany. In an Insy tha promotes its procts wth shatsrany, tiring to an latrative a sign as eulte a depart bt one that enabled te company stand eat from ater prodoer cf frit, The line art taal Pisin clour sekaroun focuses he views attention on lings of funiture without the traction of Result 18 The Fundamental rate Design Formate & rin tenessectan 2 print finishing onsenreme image Embossing apf eben. Heat stamp, hot stamp, block print, foil stamp Monachrem image with 0% shiner an enlrevaish Die cut Ade Spot varnish Svar a luvs hat buthserve a protectin aang tna rind strate andentances is appearance. tea be pli o the whole pagear specie parts via separate patna See poes17, 20,21, 26,25, 26, 2,32 UV coating ‘UY costing ea aus apolie to prints setae that stones ithultraviclet ight tis applied inthe ame way asa sootGt i eorryesy Ptr ry coLert i AF f f f £ ives ; cierert rie nerenicie f Fi / 44 oF Py te 7 | C TET 1 NULLA Fat is) Reverse af Sui AS busines car, showing te impression ofa heavy debos, Lor psu, the default ray ex: eften used when designing intl ages becomes te fil printed pec, wit a Nahishted ‘and Sof the sto enti, Design: Gavin Ambroseat: Lamy farclo-taed Cas dese tect or | Pedra Cars 2008 eter calecon. thick gto {cep the sl acy the swatch-like package is ’ encoed wing asi bot Fear, irevina tat the covers re oth ese snd ren Design: clase a ‘The Funan of Crstiv Design Prt EigSection 2 image resolution The spacing of the pixels in an image will determine the resolution of the image. This is measured in pixels per inch (ppi), also called dots per inch (dpi). The higher the resolution, the more pixels in the image. A higher resolution meansan image can contain more information and so detail and colour transitions can be recorded in greater quantity. Conversely, at a low resolution, where insufficient information has been recorded, an image may appear pixelated. The number of pixels in an image is fixed, which is why resolution decreases as an image is enlarged. Monitors have a resolution of 72 dpi, which is why most Web graphics are produced at this resolution. Low-resolution images are also quicker to download, This is an inappropriate resolution for a printed image, Some magazines will print at a minimum of 300 dpi, but high-end imagesetters can print at 1,200 dpi, 2,400 dpi, or more. Phils Vectors ‘an image made of pine wl only reproduce corresty at a ‘As vectors ae a mathematical proces they canbe enlarged Certain sie, Ary enlargement il cause a decrease in qualiy lniey without oss of quality or resolution. This 2000% The mage Glow isa 300 dl at 100%, ana t the rat s& tnlargoment of a section ofthe poster on sage 19 demonsirates lower elton 72 dp inane enlarged tothe sae 338 shoving the cary of type and tne at such magneton. ‘he degractian a quay ” ‘The Funes of Cee Osi Fae & prio cnet‘Outer cover for Jeo ‘Apple Ars Prize 2002 Texts cataloque. A sila tow of pies are slangated to eeate an abstract image. “The ambiguity of he resulting graphics uses _asan overall enti to the ele, rather than focusing on a single piece of work, Desig: NB: Staos | Tre Funnels Crenve Design nage ltsestin2 royal college of art Result A literate ite tat uses simple atiralies colour ats Fete ensuch ta arsommadate varying Brief Redesign ofthe Critical & Mitorical Studies Lecture Series iterate tail fd Cale oP Since strut The umber of lectures — nile enelstncy and fiat a Process, Each ose ore Below: The fees provide oh ‘he Infermat on tobe pase ste to ways! eg 0 sper- They use the pss! ne pag nt sale panes! upon wie th lg The Fncamenis of rate Deon Fors & itn tetasTe ardent of Cate Design rienlier 320 Ria tnsige of cent ut seater Te brochures were finshed on a 16-page folder tat ves one parallel feld and two voht-anale fl. This is a format more anmans ie for trersporation ethasule maps for eample 2000 LECTURE SERIES Osi GaloreSection 2 choosing a page size Theoretically, a designer can use whatever size page he or she likes although the visual impact may be questionable. A body of theory has developed that divides and defines the space on a page that is logical, easy to work with, and more importantly, gives, proportions that are easy on the eye. For the designer, having a variety of page sizes at his or her disposal with appealing proportions saves time and provides a sound starting point for any design. Page site Lets classe layout pioneered by Geran ‘ypogragher Jan Tshicold (1902-1974) based on a age size with proportiens of 223, The spine (a) and ea (©) marcns are pastored faa nin of he page. The Silicity of this page s create by the spatial relatonsips that ‘contain’ the tent bloc Although a desires free tw chose any page sz there ar practical and econamic nideratione tat wil Jilugne tat eee, even 25 paper wastage and the ast of tng nor-standard ‘Snes. Th enistnce of 180 ‘lntematienal Orgaizatin {or Stansordizatoed paper izes provides range of be unacreturus, nevertheless ‘ors aris reel avallabe “The arid renee harmonious rosario: he imor marin () shalt he sz of the eter margin 2), wile See 180 ‘he eign ofthe txt Bock (@)is equal the width of E Sepa Layout developments Jan Tsehchold left Germany in 1933 and worked in Swizerand 2s 2 typographer nt 1946, Getwesn 1546 and 1949 he ved and ‘worked in Eland overseeing the typographic adesign of the fast expanding publisher, Penguin Books. For cversthooand years pae sis have been constructed sng entaors, hexagons, actagons,crls, squares ard tenes. Early Scribes an ypagraphers, infloenced by organic phenomena such the Fexaznal constuction of honeycomb to te pentagonal suctres found inthe growth of les used these shapes asthe bass of page ‘Sues. In turn they were the bias of determining te active area on ‘the page within whieh the text and araptics wil be position. Py ‘he Fundamentals of Create Design Fema & prion cenuesPage size generation 1-Tall Pentagon Layout ‘Above: The Tall Pentagon age i constructed by vertically secting a rotates pentapon “Ths esa page size that hen doubed create double. age soreat. 2 Truncated Pentagon Layout 3 Short Pentagon Layout “he Fundarertas of Crave esa ‘Above: The couble-page spread is then ‘4ssected from bottom et a tp iat, ‘ttm eat 0 tp et, bottom et a tap ‘ene and totiom right ot ene The aad and sine wis ar ten inserted to complete te ncesary anchor points for ‘the tet block. These are esl Based! on isin ofthe height a tel SI PE bore: The resting layout gives a bse Indication ofthe poston fo the min bady ey or tet black. ‘This process canbe repented to create ciflerentaae formats using iflerent areas of the same pentagen (se beneLayout is the arrangement of the elements of the design in relation to the space that it occupies according to an overall design scheme. This could also be called the management of form and space. The objective of layout is to present the visual and textural elements that are to be communicated in a manner that enables the -eader to receive it with the minimum of effort. With good layout, a reader can be navigated through quite complex information in both print and electronic media. Layout addresses the practical and aesthetic considerations of the job in hand such as where and how the content will be viewed, regardless of whether the final format is a magazine, website, television graphic or bottle of bubble bath. Positioning of the various elements in the layout is guided by use of a grid, aseries of reference lines that allows quick and accurate placement of items that ensures a consistent visual identity from page to page, or item to item across a range of products. Layout, guided by a rican srsigtiackt shat ete tie seign and obstructs te sche a lanes lok re twapege, whienmeans thee vil be occasions when you ave ta res with the confines sf erie. This wection il ‘ipiain she fongemertal of rid usage and explore varius grid pattrns canbe ‘sed to present ferent types ef nferratnSection 3 layout Layout is the positioning of elements on a page. How this is done has a dramatic influence on visual impact and how effectively information is communicated to the reader. Layout is influenced by the material that is to be presented, the wishes of who it is being produced for, and of course, the creativity of the designer. Most designers use a baseline grid of varying degrees of complexity to assist in the placement of the elements and provide some kind of order. The bore ilustaton stews the eid std in a pabliation for Design: Gavin Ambrose fer BOP ADP. The wetclcelrins and horizontal elds prvi @ number options forthe leston of textual and araaic elements hat enable cain to be mietaine fam page to page. ca The Funéanenalsf Create Don Layout2s “eFunds rete Deion Lyn3s “Te FunameatstCresve es Lat4) D! uxclurestalie Works used he ea it trough typefaces, formats, Sub ints and paper socks and worey desi, Is niched with variety of ‘ppesrapieilestatora from RSA’s oem Roa Designers or Indus. Desig: Atelier Wores(ASCULAR Uh IGTH FITS| LOVE THE REST OF MY LIFE THOUGH IT IS TRANSITOR ‘See Justification E- LayoutSeaton 5 golden section & fibonacci numbers The Golden Section was thought by the ancients to represent infallibly beautiful proportions. Dividing a line by the approximate ratio of 8:13 means that the relationship of the longer part to the shorter is the same as that of the longer part to the whole. Objects that have this ratio are pleasing to the eye and can be found in a series of numbers called Fibonacci numbers. This ratio can be seen n nature in the growth patterns of plants and the shells of certain animals. Perhaps i: is because of its presence in nature that these proportions are so pleasing to the eye. In the field of graphic arts, the Golden Section is the basis for paper sizes and its principles can be used as a means of achieving balanced designs. yeu dra wo smal souarestgetey, then draw anoher square ving te combined lengths f the tw guar ae one sear carry fn reaatng tis process you creat et of Fibeace rectangles. This east of rectangles whese ses are two sucesive Fibonacci ruber in lerth,cmpose of sauares with sides that are Flboracl umber, in ether word, the rai ofthe sides of tes rectangles tule that of th Golde Secon '8 nonce spiral canbe crate by dawing quarter circles threugh ach Square Wat together form the spl. sila curve occurs in ature in he shape ofa sa’ sh Tk 1 To form a Golden Section / take a square, asec i, form an saseles ana, ‘ ete the arg form a | Golden Section “ ‘The Funerals of rete Bsn Lye5 8 13 21 34 55 89 144 6 10 16 26 42 68 110 178 7 11:18 29 47 76 123 199 aly abut 1375, has 011235 8 13 21 34 55 89 144 233 377 610 987 1597 2484 4181 6765, 10,946 17,711 The Medulor 10 ten point type 11 oneleven point leading 16 sixteen point type 18 on eighteen point leading 26 twenty-six point type 29 on twenty-nine point leading * The Func of Grea Dsign Gof son & Floral mbaSy Seer ere al fo construct the argument bjectively with the means Cee f visual communication to construct the text and illustrative material systematically and logically ic to organise the text and illustrations in a compact arrangement with its own rhythm (| to put together the visual material so that it is readily intelligible and structured with a high degree of cats (o}A) Josef Miiller-Brockman ° St ee eedThe baseline grid is the graphic foundatio which a design is constructed. It serves a similar purpose t ithe scaffolding used in building construction, providing a lof sumer and a guide to elements on the page with a accuracy that is difficult to achieve by eye alone. baseline grid important re of the desig ithe baseline: distance, an implication, size and leat consideratio ithe x-height 8 Xho The baseline grid has Lationships ith many key elements such as to-baseline b te typeface ing. Another is, whether ithe grid is positioned to or cap height.haneoeticoein jor intnttiee riying te or more cto teresting ‘oriental vis that conte ot nd acces anit vides tones were | faces for somonts pola te td images ta Sven comply a ha oi roxy ane eter ith om can be dred ine. ee : ° ° ° ° i ° fel i ° i ° ld A i ° ° be nea — home —Ny. the guardian SY, Lie : a Za “we Process Result See Baseline GridTheGuardian Bomb blasts West End Attack ‘shows IRA not interested in peace - | » The Funes of Crete Devan Let An adeionl mastess Irakeoverbrousht a welcome ae of colour the front page and gave seater arominees to he photo leader both taking advantage In eetlopents in four-color preg teh ay Des: PentagramWeekenic Hostage: Brian Keenar’s own story newspaper's ent. As these spreads so, the magazine has a derent ace tthe main newepaer, ‘sig large stale pbatogaphy to gve amore laze, The Fangs of Cente Desieo a a | fe i - o - s es SB oe a a Oe ee oe mn ee oe ee SBCrPeOztcrTypography is the means by which a written idea is given a visual form. The selection of the visual form can dramatically affect the readability of the written idea and a reader's feelings towards it due to the hundreds, if not thousands of typefaces available. Typography can produce a neutral effect or rouse the passions, symbolise artistic, political or philosophical movements, or express the personality of a person or organisation. Typefaces vary from clear and distinguishable letterforms that flow easily before the eye and are suitable for extended blocks of text, to more dramatic and eye-catching typefaces that grab attention and are used in newspaper headlines and advertisements. Typography is anything but static and continues to evolve. Many typefaces in use today are based upon designs created during earlier historic epochs. The fledgling printing industry established Roman capitals and Carolingian minuscules from the reign of Charlemagne as standard forms in the 15th century, which are still widely used today. “Typography este tone of alee of text anda teface ‘hould be chosen that's appropriate and syrah 1othemessage beng presents nde ausence bine resented io. While thereare ahardand fat rules, tere are technical aspetsto bear ‘imiad ati heh ‘ypelace selection. This section vil sect the nate of setae, provide exares faces trom Aswitn many oher ements sf cesign, typeface election 's eal influenced by the ‘ast, syle sn persona preferences ofthe designer, together with corre fens, seal e exgermentaton.type Type size is the vertical size of the body of a character including the space above and below its strokes. Type size is commonly thought of as the size of the typeface, but it historically refers to the size of the body that holds the printing face of a character in the days of letterpress. A character will always be slightly smaller than its given type size because of this. Normal reading type sizes are usually Spt to 14pt and the use of different type sizes in the same text indicates a hierarchy of importance as size influences what is read first. viata 4 161821 24 SO 48 60 72 Point syste ‘The point sate sue to speci the typoaraphical smensions of page This is epreseted in ois an peas. The British and “American system i based ot metre ple with dimensens as follows: the pin is 1/72 ofan ich. Al ype is eesianed in points Pins ae always used to speciy type size. 22 points = 1 pea 1 pi 1 pea = 4.22m0m ‘The European dot system sigh ferent but provides similar vals 1 Diao 2 Clee = 4.56nm ‘There ae 12 pont to pia, abou 6 peas tan Inch. The pie |zueed for iear messieent of type. The length of 2 ine i spect in peas os ‘The Fuel of ree Csr em [Anem isa baste unit af measurement er a sven peace erie from te with ft lower caer. 1m = the plet Size ofthe yelace. The later mwas eal wide a5 the ‘ype size, The om satay a square wth ides equ the pain. size ofthe typeface. This fused as acorstart aginst wich to tae other measurement forthe typeface such asthe set with, ‘which determines How much harlzontal space a aivenamourt of py wl eccy in en ye slaw. The ems alo usd for parzeraph indents and fred spacing. An em dash sa dash one tim in enh an en dash is alf he length ofan em ea, TesABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789!?,"£S5%@* ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijkimnopqrstuvwxyz 0123456789!?,"£55%@* abcdefgSection 4 kerning & ligatures Kerning concerns the space between two letters. Certain combinations have too much space between them, which may make some words difficult to read. This excess is reduced by kerning, the removal of unwanted space between letters. Some letter combinations frequently need to be Kerned and are known as kerning pairs. The practice of kerning is particularly common to achieve a balanced look for display type. kerning Wit 0 much space between tem, the eters ofthe word on the left above seer award and appear tobe Hating away fram ea2h other. By reducing this space known a keriog back =the word Isvisalytihter and looks mere natural as show en the iat Latin combinations ff fi fl ffi ffl ff fi fl fA ffl “The ¥ ascener and the serif ofthe acender of fllonine letter semetines ok ike they are Interfering with each oer Rather tan tying to separate them they ae aften joined by a gate a5 shown e “The Fn Crete Deon kerning NorLatin combinations fb fh fj fb fh fj above, Silay, where the dt of he ooo messy following the Tis ligature ors at he cossar andthe dt i removed ‘yoratyAY AY AV AV. AW AW Av Av Aw Aw FA FA ie eee a) Taser Te) TS ies aha cee Tye eeih ary eT yy: Tw Tw Ts Ts Te Te LY LY LWLW Ly Ly VA VA Va Va Ve Ve Vi Vi Vr Vr Vu Vu RT RT RV RV RWRW Ry Ry WAWA_ Wa Wa Wo Wo Wi Wi Wr Wr WYWY YA YA Ya Ya Nom OME! = \memE) DULD Nu YU Ne: TheFundamenals leave Desin Keri aturesSection 4 leading If type is set solid (without additional spaces) there is a certain amount of white space above and below the text because some is incorporated as part of each typeface to accommodate ascenders and descenders, and to prevent different lines being too jammed together. Leading is used to add extra space on the bottom of each line of type, typically to make it easier to read. Leading is named after the s-rips of lead that performed this function on a letterpress, it is expressed in points, and its effect is also called line feed or interlinear spacing. Type size and leading may be annotated as 10/12 Garamond, meaning the Garamond type size is 10 point, the distance between the baselines is 12 point, so the leading is therefore 2 point. 10/10 Garamond signifies no leading. Differences in typefaces mean the effect of leading will depend on its point size and x-height. Leading and measure Characters pr tine Leong works in conunctin withthe measur ofthe column Being Az 2 genau, ye on a wider veasir wil appear eaver and ss Taito say tha wo een call set texts same lear (il uenatit far tina leg. Natie how te coun below Iypeface and tye sae wil appear dilferety ever dierent Fight ots greyer than the clumt below ie ‘measures The measure ste width of the column, 12 pica column 24 pica cura If type is set solie (without If type is set solid (without additional spaces) there isa certain additional spaces) there is a amount of white space above and below the text because some is Certain amount of white space incorporated as part of each typeface to accommadate ascenders above and below the text because ‘and descenders, and to prevent different lines being too jammed some is incorporated as part of together. Leading is used to add extra space on the bottom of each each typeface to accommodate line of type, typically to make iteasier to read. Leading is named ascenders and descenders, and to after the strips of lead that performed this ‘unction on a letterpress, prevent different lines being too itis expressed in points, and its effect is also called line feed or jammed together. Leading is used imerlinear spacing. Type size and leading may be annotated as to add extra space on the bottom 19/12 Garamond, meaning the Garamond type size is 10 point, of each line of type, typically to the distance between the baselines is 12 pont, so the leading is male it easier to read. therefore 2 paint. 10/10 Garamond signifies no leading, Differences in typefaces mean the effect of leading will depend on its point size and x-height. Opt type on pt leasing 109 type on 1p leading a ‘Tm Fda Create Design Tipsyis set solic (without additional spaces) there certain amount of white space above and below ee re oo Seren ene ‘apreent aac nabs teeter ening at era the bettom of each Hine of type, typically ‘Iteasier to read. pt leading typeface to accommodate ascenders and cenders, and to prevent clfferent lines 2eing oo jammed together. Leading is used to

beeen werd. ‘Ret. lines formed teoush connecting white 9306 avoided. A alae tis for ery proba ito ok at text aya eo fo be aokded. A vaiale tp fer iderting protoms isto lok jos 9 Yu m0 ny shapes ere ost and to wos, ttt wh Sqr fe, co YU so ony stapes ane don eo ot vse down aso we ‘sr, ann You et pace comm wor. 360 Optimum; 140 Maximum: 200 Minimum: 4 Optima: 270 Maximum: 280 ‘eatwoan 40-76 characters pet tne (C° ‘this, includes: ‘Anything between 40-76 characters per line (CPL) this Includes: ve erm) cit safcy ve CP Sb rt) ered tac, ve 6 Ow ‘= Be com for rausiiy. Ypopapers vy 12 Gene ole en be colin fo reatabiy. poyaahes 1 10 ‘ore than two consecutive hyphenasons, bu: hyphenaions are avoid more than two consecutive hyphenations, but hyshenations are. fren 2 ec vei. on Pan at rt Beton probe fo “eat en a Plah Lat or Ra i = ‘Let FL, by du fe Ragned Aight (FF, end can be des Flush Loft (FU, by deft le Ragged Right (RA, and can bo | FURR. Comersey, Fh Right FA, by eau Ragged _desoibed as FURR, Comers, Fish Runt FF by doit Fy Saeoecrs ‘An en in het ts’ et; canon en wt) ta! we ae ba ‘he sperade appearance of wits ‘ne ‘sane : tees tat ome feds he Soade appecmne. OF we speces tt Soe In one ir ha cn to Ws. or Jaleo to be avoided. A valuable % for Icantying problems ‘acting whte gaps ae ako to be avokied. Avaliable tip for kent ‘to ink tt win squid eae, s0 90H obey sherds robes Te okt tnt wh suri een $0900 see “don't read the words, fuming your text upside down also works, ai hen Sante eee? ai a re ‘Minimum: 170 Optimum: 200 xian: 300 Minimum: 200 Optinum: 250 Manimun: 350coMMUNITY ANCHITEG TUE SU sr nus we raonet ani ih PGB « The Fumento rate Osign yongSee Hyphenaton JtcaUon & Tracking Desian: Sto Merscoush ALISON AND PETER SMITHSON per Cee ne eta 2 fee bry end a Pr ree be Br ctlbo used an intriguing aray of typeface styles over an amorphous yellow shape for ths poster forthe seventh aniversary of Marchesters legendary Hagin ight “he Hagena brand was 50 wel kro that ite information nese tobe ven eter than the date “he brand ise rede to Ishi identifiable first thee ears Hag’ setches Fae 52, an equal familar brand mark of the cu, Several special nk including ‘luminescent are used to create a pester at funtion ‘lective the earty hours the ne the intended aioe seit Design: v0 “The Fomenals of Cate Design ToneyMODERN ART MODERN ART 1Ts REDCHURCH STREET LONDON £2 7D! ‘TeL.saa (0)207739 2081 FAX +44 (0)20 7729 2017 MODERNARTINC.COM INFO@MODERNARTINC.COM 75 REDCHURCH STREET LONDON £2 701 TEL +44 (0)20 7739 2081 FAX +44 (0)207729 2017 MODERNARTINC.COM INFOSMODERNARTINC.COM CHRISTIAN MOONEYsection 4 modernism design reflects prevailing thoughts and ideas. during the last century the prevalent schools of thought have been modernism and post-modernism. from the end of the [9th century, modernism was shaped by the industrialisation and urbanisation of western society. it marked ‘a departure from the rural and provincial towards cosmopolitanism. rejecting or overthrowing traditional values and styles as functionality and progress became Key concerns as part of an attempt to move beyond the external physical representation of reality as depicted by cubism and the bauhaus. ‘he Bauhaus eat ‘conatretvin the bouhous opened In fon ert and desien rustian coneetvie was 159 under the 4 Irevement founded around Influential 10 moderien lf the renowned exhitect the mageai of the tame fhvough ie ute of black felaionsip luitergrpivs. and was ame, founded by thea van and rod santas {vee bore shaper anc the Intended fo be a resh oeaburg de stig used typoqraah arranged ppproach fo design after ftrong ectongulr Forme In asummetica bloc. fe ft word wor. omploued primary colours the most active Universal 1925 Herbert Bayer Beyer Universal typeface was developed atthe Bauhaus and is a redition af Reman fom to simple geomet shies, he ular for features Nel, and yeu cat See Now each charac is clestly base on te ters R ‘Te Funes of Crete Desge—_Tasoraohy ‘unanie.theeugh fo theCDEFGHIJKLMNOPQRSTUVWXYZ locdefghijkimnopaqrstuvwxyz 1234567890 ABCDEFGHIJKLMNOPGRSTUVWXYZ abcdefghijkImnopqrstuvwxyz 1234567890 eee ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ce ni ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Cee rg Ceetee ote ee cae ABCDEFGHIJKLMNOPORSTUVWKHYZ abcdefghijkimnopaqrstuvwxyz 1234567690= aH i> oe, @ a Bees 11 & ay Sane al Sea NUT TTF 0 hg 1 POM é f » 5b aonTo me good design means as little design as possible. Simple is better than complicated. Quiet is better than loud. Unobtrusive is better than exciting. Small is better than large. Light is better than heavy. Plain is better than coloured. LaCUo Moi mic U Re oice (ln Ten a Being well balanced is better than being exalted. Continuity is better than change. Sparse is better than profuse. Neutral is better than aggressive. The obvious is better than that which must be sought. Few elements are better than many. A system is better than single elements. Dieter Rams, 1987 % Cee ayLondon desion studio Mono was asked to ar det ites mater for 4 perfomance on te Ife ard works of architect Luaula les van der Rote at the Kal Fong Autor n Hena Kong. Te performance used varus media rcludg Ypoqranyy aniston Following van der Rob's anime sic as Less moe, and ‘ed isn the detals’, Mono use tre mensional ter th ‘awe face asarst a vite Eackaovnd, eked ou eniy byte colour ef hlrexaagerated depth, This extreme dept represents the Ohcago skyscrapers that van der Rohe was fms for, an _ascociaton further strangtheed by the huge lla sz that the posters were produced a. Desian: More 7 “The Funder of Cente Din‘tenes wee QI Cs REE Post-modernism Post-modernism Often utilising vernacular” and undesigned artifacts, jost-modernism was pioneered by Basle School in Switzerland and later Cranbrook Academy of Art in the United States. developed following the Second World War and questions the very notion that there is a reliable reality through deconstructing authority and the established order of things by engaging in the idea of fragmentation, : incoherence and the plain ridiculous. Po&-modernism returned to earlier ideas of adornment and decoration, celebrating expression and personal intuition in favour of formula and structure.ABCDEFGHIKLMNOPORSTUVWXYZ abcdefghijkimnopqrstuvwxyZ 1234567890 ABCDEFGHIJKLMNOPQRSTUVWXYZ Pre aL AEM eh aL) 4 1234567890 ABCDEFGHIJKLMNOPQRS TUVWXYZ PU Sa abi p ents eta eae Ok 1234567890 ABCDEFGHiJKLMNOPQRSTUVWXYZ abedefghijkimnopqrstuvwxyz 1234567890fuse@eeoo@ee@eee ° ° e @ e@ e eeee*ed0oe#WAGE weMnNew. ORF oSSection 4 anatomy of a typeface Typefaces and type families can be classified according to their inherent characteristics. To understand the classification system and the means by which a typeface is classified one must be familiar with the terminology used to describe the elements that form a character. Many typefaces originate in designs from the past 500 years that would have originally been cast in metal. Other typefaces have a lineage that goes back to the work of stonemasons. Though now in digital format, such typefaces still contain distinct elements associated with the physical necessities of the times in which they were created. The digital age has led to an explosion of the number of typefaces available to the designer, and has made it simpler to design a new typeface or alter an existing one. Roman Italic ‘The asi letterform. So calla a heals ofthe letter ae inthe Italics a version of he Roman cit ha slopes ote ih inserptons found on Roman monuments, Same typelaces ala earry Moe typefaces nave an Tae family meter. 2 ght ghar version called Book Light Condensed A lighter version of te Roman ex Condensed isa narrower version ofthe Zoman ct. Boldface Extended Using a wider stroke than the Reman, Holdce alo called Mesum, Extend tye fa wide version ofthe Roman cut Poster (as found with Bodoni, see page 110) Grotesque 1926 Monotype Corporation Popular with Swiss designers inthe 19505 AleldenzGrotesk as the aspiration for modern sans-aifs such as Univers and Melita, ‘Toe Fondant of Crete Des Typopre Bowl ABCDEFGH IJ]KLMNOP Sot6 scree e@ MEDISCH ‘TAME 3 WETENSCHAP. SeA IN Beers PELI NDER ZOEK WILS ONBEKWA MEN 86 The Funders of Creme Deon Tpexohy“he Fundaenals of rate Desln Treesseston type personality The variety of typeface designs makes different connections in our minds. We automatically associate personality characteristics to a typeface; for example, we say some fonts are authoritative while others are playful. The personalities we find in typography extend to our interpretation of the message a piece of text conveys. It also reflects the values of the person or organisation that has produced it. If the atmosphere value ofa font has a consistent meaning with what the words actually say it is said to have congeniality. With poor congeniality, or consistency, a reader will respond slower to the text and may not accept the message. What is your reaction to the words below? Too much personality can be a bad thing and reduce legibility. The personaly ofa typeface ean adel the overall design effect, detract fom tor have a netrleffct. To ae Fonts the full advantage an awareness of peace personally is therefore imperan CONTEMPORARY? SERIOUS? Monotype Gala Playbl 1938 Robert Harting Me TRADITIONAL! (above) Pop 1992 Weve Brey ‘rade peace referencing bitmap technology — anything but tran face, ype Classic Fon with no aceampanying lowercase Entra heavy slab ser (copes) Trade Gothic 19404 Burke ‘Avery 9Uh-centry dian - par from the lower case whic a th ry The Funeral of Cathe Den Tonytype as image So far, we have addressed type primarily in relation to its principle function: using letters to communicate words. Type is also used as a symbol or icon that speaks more through its visual representation than the meanings of the constituent letters, although, of course, the fact that the letters may mean something gives an added significance to such an image. Logos are a common example of this. How do we associate a logo with a company? Is it through its visual statement or the letters that comprise it? For Portuoute wine, Hara Do Peso, Lewis ober specially cat ito th ‘yparapy to convey an authentic fel that is Desi: Les Moberly (aig Yamey chose an faghabet of rirentaey eters n this poster {lebatan event enti Lie The lash ratncy of te teers gives a sense “This busines cand fr architectural historian, soe Ker for eamele, has transformed a rater imaginative piece of refit on 3 board ite fun, ley ireverent and unig piece of enti baspess card is for srieane aad Je think we an assume that he did graft the past inorder to take the phot. perecty matches the eson: Craia Vamey Design Studie Myerscaugh 0 “The Fanner of Crete Deen TpenaprType as image is power because thamesss the ‘motion ener) and meaning hate associate wih 2 ven se or araphic with the extra element of communication of what the ‘ype says or represents. Out inserpretaton an translation of he te i mould by the tesa in which it is made Detroit lee te Manic Steet te a journals’ question Stefan Seameistr chose to to ot te desan tos skin to cane the pan hat seers Tipe sorting Het tershis and wonder how lems are produce Iso powerful and shocking oat than ope, The pen lamer Design: Sagrnster Inepi a a a 4PY + on jz 5 jo i r R A N s 0. =:Seaton 4 | classification systems Typeface classification is one of the few occasions when it is appropriate to make judgements based on appearance. It is important to obtain an aopreciation of how typefaces are classified, and the differences between them, in order to understand when best to use them. As there are many systems for classification this section will address the most commonly known classification classes, which may have several different names. Loosely speaking, fonts are classified based on their characteristics. There are four basic categories of typefaces: Roman, Gothic, Script and Block (Sanders and McCormick, 1993). In general terms Roman is the class where we find all serif fonts; Gothic fonts are sans-serif; the Script category is for typefaces that mimic handwriting; and Blackletter is for fonts based on German manuscript handwriting. Seri Ronan sane Gee ‘or Ang ‘orLile 014 Se Ventniamait Grave (4 Se Road nani Tetra sore ‘The above classification is ery much afirst cut and els ite Cree tier than te most basi information abet 2 typetace. Each class canbe further vied into ebclases tat provide Syne ‘more specific information. % ‘The Fontneras of Creative Design TypoyohyGt ican c ano the heavy, venate reiting nle prevalent during the [VIE eee CRO net) of the Letters ther mauy be hard to read, Pena cuo mimo ny fF text. Ther are Roni Mcuaaetcia ss initial caps and on FOS Tanase a Tra SOD a el RRL (UCL aes esta eC NaC Monomer ielomilniOCd OUT ee aT God Sans-serifs, as the name suggests, do not have decorative touches that lead the eye and so, long passages in these typefaces are difficult to read. Their clean and simple design makes them ideal for display text such as headlines, captions and other non-body text uses. the eye across the line of text. For this reason body text is easier forced inc eelf Set Script typefaces wore dosiqued to imitate handwriting 0 that when printed the charactors appear te. be joined up. The writing acer Hh Rete una (te petal pote ont witle havdwiting, text should not be oll. in eapitals. These bouts are conutoxly secu i oleort Luvigts ouch ao ox invitations, Brady 1953 Marla Brose ‘Very short descanders, wit lee iting ener ease lettersEee RCM eae CU NOPORSTUMUXVZ VU CreeteurUnt rep UCIUTTUE TE bd ! f Haire UU SOR neste Serif, Roman or Antiqua Old style/Venetian ABCDEFGHIJKLMNOPQRS TUVWXYZ abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyzAldine ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopgqrstuvwxyz ABCDEFGHUJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 7 Dutch ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz Ie was belived tobe cu ABCDEFGHIJKLMNOPQRSTUVWXYZ abedefghijklmnopqrstuvwxyzOld style/Revivals ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijkImnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz Transitionals ABCDEFGHIJ KLMNOPQRSTUVWXYZ roi ABCDEFGH HIJKLMNOPQRSTUVWXYZ. ee kU Prana &Didone ABCDEFGHIJKLMNOPQRSTUVWXYZ abedefghijklmnopqrstuvwxyz recut by several fundies. This version was cut by Mores Fler Beton for ABCDEFGHIJKLMNOPORSTUVWXYZ abedefghijklmnopqrstuvwxyz Clarendon ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijkImnopqrstuvwxyz that found readers scared sing the ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyzNeo Clarendon ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz Clarendon/Legibility ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz or ABCDEFGHIJKLMNOPQRSTUVWXYZ abedefghijklmnopqrstuvwxyzGlyphic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abedefghijklmnopdrstuywxyz Slab Serif/Egyptian ABCDEFGHIKLMNOPQRSTUVWXYZ abedefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abate GraphSans-serif, Gothic or Lineale Sans-serif/Grotesque News Gale 1908 M F Benn Ip 4¥ou F Banus ext adctuonal welts corpinent te org dab. Franklin Gotle 2904 W F Berton Franklin Gatic Ie now available in italic bol wide and condensed, but has never ben isued as iat Sans-serif/Neo Grotesque ‘aidan Grotes 1096 H Sertheld Pojula wth Ss Gesiner inthe 1960s Akctene Grotesk was the igpfation formes sen serfs such as Uriversand Hevea. Folio 2957 KF Bauer DA aothveenury saree also knawn as "Caravelle withthe distinctive spurred Gand squere! Ml 108 ‘Toe Funkeentls of Create Deyn TypeSans-serif/Geometric ABCDEFGHIJKLMNOPORSTUVWXYZ abcdefghijklmnopgrstuvwxyz Metro No.2 Black 1929 W & Dwigars Dlcinguchsle fom th No.1 evar by the eplavad MM ‘Wand ABCDEFGHIJKLMNOPQRSTUVWXYZ abedefghijklmnopqrstuvwxyz “wenn Century 1930 5 Hess “Similan is proportions to Fura. Sans-serif/Humanist ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz Optima old 2956 Henman Zapf The eres thie tavard the and crating ance slaves appearance ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz GI Sans 2528 ail Cinsdered by mary tobe the mast readable! srsserlf probably de to being served trom classical seri cts as TheFuncameras of Create Dein.