Typographic Form
PBDS 645.186

NOTE: This is representative of the syllabi for this course. It is not necessarily the syllabus being used in any one semester.

syllabus objectives

At the end of the semester you will have completed four typographic assignments, and several exercises designed to develop basic skills. In the process, you will have studied the form of type comprising, among other things, shape, space, color and terminology.

In addition, you will learn and apply principles of typography that lead to the creation of organized typographic compositions using relationships of harmony and contrast.

standards

The aim of this class is to give all students the typographic skills necessary to complete each assignment to a level high enough that the work will be part of their individual design portfolio.

For students who are not designers, you will learn skills that will enable you to appraise typography and provide knowledgeable feedback.

assessment / grading

Individual assignments will be graded by me, and may be revised by the student as frequently as the student decides. Four specified assignments will be presented at the conclusion of the semester and a final grade will be assessed by me.

Please make sure you read the grading section.

materials:

access to computer with page layout software
two zip disks for backing up duplicates of your work!!!
spray mount (3m, non-permanent)
x-acto and #11 blades
0.5mm mechanical pencil with HB and 1H leads
11x17 tracing or parchment paper
masking tape
notebook
Bristol/poster board for presentation of assignments
Itoya Art portfolio. 11 x 17
This can be obtained from PLA-ZA, 1009 Cathedral Street

As the largest assignment is 11 x 17 inches, your portfolio should accommodate this size.

grading label

On the back of every assignment board attach a label, about four inches square, which should include your name, and the assignment name and number.

Grading

interim assignment grades

Each assignment will be graded by me as the semester progresses.

Grades are:

A: Excellent. Work demonstrates exceptional quality of thought and execution.
B: Good. Work demonstrates better than average design and execution.
C: Average. Meets basic design criteria and no more.
C minus. Poor. Work not up to standard.

Projects not handed in on time will not be given an interim grade.

assignment revisions

All assignments may be revised prior to submission of your final portfolio.

assignment grades

Assignments 1, and 5 through 7 are each worth 22% of your total grade. These four assignments are to be handed in on the weeks indicated in the "project" page, and will be graded and returned to you promptly.

final grade

In week 14 you will hand in a "portfolio" of your work that will include assignments 1, 5, 6, and 7 only. Assignments you have revised should be indicated on your label "REVISION".

I may adjust your interim grade at this point. However, a revision does not guarantee a better grade.

attendance and contribution to class

Your participation, attendance, and contribution to the class will be a consideration in your final grade.

To achieve full credit you must submit assignments on the due dates.

Absence from three classes will result in the loss of a half letter grade, and each additional class missed will drop a further half letter grade. No exceptions are made.

grade summary

22% assignment 1

22% assignment 5

22% assignment 6

22% assignment 7

12% class participation

Textbooks:

Required

Typographic Design: Form and Communication (third edition)

Rob Carter, Ben Day, Philip Meggs

John Wiley & Sons

ISBN 0-471-38341-4

Highly Recommended:

The Elements of Typographic Style

Robert Bringhurst

Hartley & Marks

ISBN 0-88179-132-6

Recommended:

Stop Stealing Sheep

and find out how type works

Erik Spiekermann and E.M. Ginger

Adobe Press

ISBN 0-672-48543-5

Digital Type Design Guide

Sean Cavanaugh

Hayden Books, pub 1995

ISBN 1-56830-190-1

this book comes with a CD-ROM of 200 postscript typefaces.

A History of Graphic Design

Philip B. Meggs

John Wiley & Sons

ISBN 0-471-29198-6

Experimental Typography

Rob Carter

Watson-Guptill Publications

ISBN 2-88046-279-7

There are seven graded assignments as follows:

Week 1

Assignment 1

Type poster

Create for the next class a poster, the subject of which will be a type designer of your choice. Select an influential name such as Francesco Griffo, who cut the typeface Bembo in 1495, or John Baskerville, Claude Garamond, Giambattista Bodoni, or contemporary typographers like Neville Brody, Matthew Carter, or Erik Spiekerman.

You should research the typographer's background, and include about 150-200 words in the poster design. The content of your poster should be type only. The elements of the poster should use one typeface created by that designer, for example Futura designed by Paul Renner in 1928. However your design can include as many weights of that type family as you wish (bold, italic, condensed, etc.).

Look closely at the chosen type forms and make use of their unique characteristics. Futura, is a stylized geometric typeface. This very geometric quality can act as a design structure for your poster, as can be seen by selecting the example at left. This example obviously lacks the supporting research you will have completed, but hopefully it will give you an idea of what can be done.

one week assignment only

Be prepared to discuss your research and present your layout next week.

size

10 x 16 inches either vertical or horizontal.

color

Any two colors (one of which can be black)

presentation

The poster should be well mounted to Bristol board and trimmed precisely to 10 x 16 inches. All class work will be placed on the display shelves for review next week. You will eventually be required to include this poster in your portfolio for final grade at the conclusion of the semester.

to do for next class

From either your own collection of fonts or from the UB Lab collection, print the entire alphabet of three different typefaces you use on a regular basis.

Laser printouts should fit on 8.5 x 11 paper. Print only the Roman weight (not italics or bold). Select the "to do" button above to see what the page should look like.

grading label

On the back of your assignment board attach a label, about four inches square, which should include your name, and the assignment name and number. Consider this and exercise in typography also. Make a typographic statement on this 4 inch square canvas.

Week 2

Assignment 2

the shape of letters

An understanding of typography cannot be achieved without developing a sense of how letterforms are constructed.

The subtlety of detail from one typeface to another can only be seen when the letterforms are enlarged and examined carefully.

You are to open and print the alphabet.pdf file which contains 5 pages.

Click the to do button above to access this file.

Each page contains lowercase letters from the 5 primary type catgories shown below.

For next week you are to draw onto 11 x 17 paper with an HB pencil the words below in each of the five categories. Start by accurately drawing the outline and fill in the rest of the letter when you are happy with the shape. You might need to do this more than once.

While drawing the outlines observe the shapes and try to identify the different qualities inherent in each category.

words to draw

verbs go human

xylophone

one week assignment

size and finish

Final size of assignment 11 x 17.

Black only

individual pages
Week 3

Assignment 3

Contrast

In typographic composition, there are three important attributes: balance, contrast and rhythm. By far the most important to understand, and ultimately to put into practice, is contrast. This exercise will introduce you to this attribute through the manipulation of two letterforms.

Problem

Compose three 7 inch square panels, each demonstrating contrasting characteristics of two different letterforms. The object is to discover contrasting features between the letterforms and to also discover visually interesting juxtapositions. Look for ways to align letterform with each other into tangible relationships.

Design each panel so that it amplifies the respective differences of the type fonts and letterforms used. Use a different character (upper or lower case) for each type font chosen. These compositions should additionally emphasize the properties of positive and negative space (the black part and the white space created by the black part). You may use repetition, but this is not an exercise in pattern-making.

Use only the letterforms themselves. No other graphic shapes are permitted.

one week assignment only

size and finish

Final size of artwork 7 inches square. Black and white (no grays). Trim the composition so it has no border. Mount laser paper to Bristol board. Black areas should be as dense as possible.

Be sure to click the example button.

On the back of each board indicate the typefaces selected.

Week 4 and 5

Assignment 4

Organization and the role of grids

overview

Grids have been employed in art and architecture for centuries. The first book printed using movable type, was typeset using a grid to fix the placement of text and headings. Books and magazines today use grids extensively to help with the arrangement of both type and image.

In this assignment you will explore the role of the grid in the organization and exploration of space within a page.

part one / week one

From any magazine, carefully remove three pages.

Each page should contain text.

Each page should be different. Column widths may differ, ie, three columns per page, four columns per page, and so on. Or the underlying content will be different, margins may vary for example, but two of the pages both use a three column grid.

Mount these pages centrally on 11x17 Bristol board. Overlay and attach a sheet of parchment paper that is larger than the page, and with a ruler and pencil, carefully indicate the underlying grid. This should include intercolumn spaces, margins, headings and page numbers.

Annotate each page with the dimensions of the columns, the spaces between columns, margin dimensions, and so on. Be as comprehensive as possible.

important

Measure the vertical distance between lines of type. This is usually measured in points and will most likely be between 9 and 12 points. Be sure to mark this information clearly.

Notice also whether lines of type align horizontally.

part two / week one

Design one double page spreads. Each page (not spread) should be 8.25 x 10.875 inches in dimension.

The two-page spread should use a tree column grid to divide space vertically.

Many grids also divide space horizontally. See the textbook, Typographic Design: Form and Communication, pages 70-73.

Based on your study of the first part of this assignment, you should be able to design the grid with appropriate measurements.

Type selection should be restricted to one family for text and one family for headings, for example Garamond for text and Helvetica for headings.

Click HERE for text for this assignment. This is a Microsoft Word file containing 1,500 words about legibility and readability.

Please add a title and "deck" to this article of your own creation. Use callouts from the supplied copy for emphasis and visual interest. You may also add sub headings within the text to help break up the overall grey appearance of the text. Text can be either flush left ragged right, or justified. See Typographic Design: Form and Communication, page 97.

These elements will provide contrast to the columns of text.

You do not have to use all the text.

You do not have to fill every square inch of the page with type.

Objective:

To design visually pleasing arrangements of text, using only the words provided.
To explore how type fits and conforms to certain column widths.
To discover how type size and leading need to be adjusted based on type size and measure.

part three / week two

Using the same material from last week, design three more spreads using these grid arrangements:

4 columns

5 columns

9 columns

Objective are as above with the one addition

To understand the limitations and possibilities inherent in each underlying grid structure.

Week 6, 7 and 8

Assignment 5

logotype and stationery

overview

The choice of typeface, color and overall composition and placement of type has a significant visual impact on how a viewer perceives a brand mark and what type of company that mark represents.

problem

Design a logotype for a furniture design company specializing in one-of-a-kind designs.

company name

Formati

suggestions

Use any combination of upper and lower case letters. Consider all the characters in the font including symbols and numerals. You may utilize other typographic and graphic elements such as rules and shapes, as supporting elements in the design. Avoid the use of imagery such as pictograms from dingbat fonts.

Combine typestyles and forms to create a unique and original mark.

Attempt to create a unique font. This can either be an adaptation of an existing typeface with parts of the font removed or modified, or you can create your own font using basic geometric shapes, squares, circles, triangles etc.

four week assignment

week one:

roughs, black and white, 10 preliminary solutions. These type explorations should be presented on 6 x 6 inch laser paper one solution per sheet. Refer to Typographic Design: Form and Communication, page 79 (figs. 91 and 92), page 111 (figs 21 and 22), page 120, (figs, 9 and 10).

Week two:

three more fully developed ideas, one per sheet as before.

week three:

preliminary stationery layouts in black and white or color showing a letterhead (a typed letter should be included on the letterhead), and a business card and #10 envelope.

text for letterhead

formati editions

1420 North Charles Street / Suite 308

Baltimore, MD 21201-5779

410.837.6000 Telephone

410.837.6001 Facsimile

www.formati.com

board of directors

Walter Gropius, Chairman

Ludwig Mies van der Rohe

L∏szl÷ Moholy-Nagy

Theo van Doesburg

Gerrit Thomas Reitveld

Jan Tschichold

Marcel Breuer

for business card

as above plus your name and "executive vice president" and your email address

exclude the board of directors and website address.

for envelope

formati editions

1420 North Charles Street / Suite 308

Baltimore, MD 21201-5779

week four:

Finished, mounted stationery in color. Click "example" to see how to mount the assignment.

also include the 3 logotype designs from week two

Week 9 and 10

Assignment 6

typographic hierarchy and organization.

part one

Part of the typographer's job of communicating information, is to provide a visual ïroad map' or navigation device to assist in comprehending different levels of information.

In this assignment you are to design and layout the page of contents from a magazine using the linked text supplied. There are at least three levels of information (article title, article summary, author, etc.) Format the page using only type and rules (lines). Images should not be used. The magazine title "Newsfile" should be included somewhere on the page.

Organizing the information into a clear, well-differentiated hierarchy is the primary objective. This does not mean the page has to look dull or regimented. Since most content pages rely heavily on imagery you will have plenty of space within which to work. Use this space as an integrated element in your design. Be aware of the value of white space when laying out your page.

The typography should be appropriate to a high quality news magazine. Before commencing the assignment, you should refer to the section on the typographic grid (TD:F&C p70 -73).

requirement:

Two colors only. Black plus one other color, or any two color combination. Page size: 8.5 by 11

Mount to board and trim flush. (No frame).

timetable:

Finished layout, part 1: Next week

Finished Assignment parts 1 and 2: Two weeks

part two

Using the same text as before, design and layout a second contents page. Make it as different from the first one as possible. Use a different grid (or no grid at all), select different typefaces and typesizes and consider how color can be changed. A dark color background in one might be changed to a white or light color in the second version for example

In part two, seek a radically different solution to part one. Be aware of how you can use typography to create depth to the page. Consider the textural quality of type and how this might be incorporated into this new design.

experiment

I will grade this assignment based upon two criteria.

1.Your ability to organize and prioritize information. This will be demonstrated most clearly in the first example just completed. Pay attention to all typographic details, such as leading, kerning, and alignment.

2. Your ability to compose two very different pages with the same information, and to stretch typographic conventions where appropriate

requirement:

two colors only but can be different colors than those used in part one

same size as part one, 8.5x11

parts 1 and 2 should be individually mounted and trimmed flush.

Week 11, 12 and 13

Assignment 7

motion picture titles

Typography is generally seen as a two-dimensional art form. When consideration is given to the use of type in cinematography it is apparent that there is both a third- and fourth-dimensional aspect to type.

problem

Create a sequence of at least six panels (storyboard) to cinematically introduce a movie of your choice. Alternatively you can select a novel you like and treat it as if it had already been made into a movie.

There are two stages to this assignment.

concept stage (1st week)

The first week you should conceptualize. Evolve and generate ideas based on your understanding and interpretation of the motion picture. Decide how you can imaginatively convey the subject matter. Remember you are not telling the story, but conveying the spirit and nature of the content, be it a thriller, a comedy or something else. Have at least two approaches which can be presented to the class visually in the form of rough sketches (stick figures are fine) and be prepared to explain what will take place from one frame to the next.

implementation stage 2nd week)

Create a black and white (or color) storyboard sequence showing clearly how your titles work. You may use type alone or type and image. Bear in mind that this is an exercise in typography. The imagery you use, if any, should support the typographic interpretation. Not dominate it.

Somewhere in the sequence you must include the title of the movie and one other typographic level of information. This can be the name of the director or an actor(s) or both. Make sure the screen proportions are correct. Panavision film is 2.3:1. This means that the dimension of the long side is 2.3 times greater than the short side.

Unlike earlier assignments, your ideas can involve type transitions, metamorphosis, dynamic changes of scale, mass, and form. The fourth dimensional element of time should be explored in this assignment.

project schedule

1st week: Thumbnail sketches and roughs with written notes of your concept ideas for class presentation.
2nd week: Tight storyboard roughs in black and white or color for class presentation. Bring a video to class of a movie which you consider has a strong typographic concept.
3rd week: Completed storyboard in color to be included in final portfolio. You may include a Quicktime or Flash movie as an alternative to a printed storyboard.

multimedia

You may also wish to consider a QuickTime or Flash presentation in addition to the printed and mounted presentation. Please check with me if you want to approach the assignment this way to ensure I have the software to view the file.

Alternate Assignment 3

Pattern

As a further study of the formal characteristics of typography, this problem focuses on the creation of typographic pattern through the repetition, rotation, and alignment of letterforms.

Problem

Create three 7 inch square compositions. Each panel will contain only one letterform. A different letter and type category should be used for each composition. Through careful placement and manipulation of the letterforms, remove the letters from their functional context as letters.

Objective

When the negative shapes created by the arrangement and placement of repeated letters become equal to or more important than the actual letterform, you will have achieved the objective. Work in black and white only. You will probably find it helpful (though not essential) to work in illustration, not page layout software.

Alternate Assignment 4

Organization and spatial arrangement

The personal computer enables the designer to play visual games with type and to generally have fun and make a page of type look "cool". Nevertheless at the heart of typography is the ability to prioritize and structure information to allow the reader the easiest possible access to any given message. In this exercise you will be challenged to explore the virtually unlimited compositional and structural possibilities of a simple typographic problem with specific constraints and an intentionally restricted typographic palette.

problem

Using the type shown below, design three compositions to the specifications outlined:

Stop Stealing Sheep & find out how type works. First Edition 1993. Erik Spiekermann & E.M. Ginger. Adobe Press. 20 dollars

type specification:

14pt Helvetica roman or medium, upper and lower case only, all capitals may not be used

black type on white paper, no rules or reverses

Composition one Horizontal placement only
Composition two Horizontal and vertical placement only.

Composition three Diagonal, horizontal and vertical. The diagonal will be at 45 degrees only. You must place at least one line on the diagonal. You may place all type on the diagonal, or you may use any combination of horizontal vertical and diagonal. Composition area: 6 x 6 inches
Other information

What Tutors Can Do For You

Identify learning strategies applicable to this course
Help clarify concepts, techniques, or formulas that confuse you
Help you identify your learning style and adapt it to the learning task
Help you solve problems by suggesting possible approaches / solving similar problems
Review prerequisite material (if you have taken the prerequisite course)

What Tutors Can't Do For You

Solve problems for you
Help you with graded homework or take-home exams
Review another semester's exams with you (unless we have the instructor's permission)
Repeat the classroom lecture for you

For help with writing:

The ARC also provides assistance for the development and improvement of student writing skills. From the same web site you can select Writing Resources. Again they suggest the following for your syllabus:

The Academic Resource Center (ARC) is a free resource for all UB students.

An ARC writing consultant can offer comments and advice on anything you're writing (for UB courses) at any point in the writing process, from brainstorming to editing. (Please note that ARC writing consultants do not edit or correct papers.) Writing consultants can meet with you in person, discuss your work via e-mail, or talk with you over the web using MS NetMeeting

The ARC also offers workshops and mini-courses (no credit) on special writing topics

For more information or to make an appointment, call 410-837-5383, visit its web site at www.ubalt.edu/arc, e-mail arc@ubmail.ubalt.edu, or stop by AC111.