Online Resources

If you're interested, my delicious.com bookmarks on typography.


Inspiration

http://designinformer.com/100-years-movie-title-stills/

http://www.smashingmagazine.com/2009/04/21/creative-print-typography-layouts/

www.smashingmagazine.com


Theory/Discussions

http://www.andyrutledge.com/

http://informationarchitects.jp/the-web-is-all-about-typography-period/

http://webtypography.net/

http://www.papress.com/thinkingwithtype/index.htm

http://typographica.org/

http://www.letterpresstype.com/ (gone temporarily I think)


Resources/Tutorials (most for Web Typography)

http://www.webdesignerdepot.com/2010/06/30-of-the-best-web-typography-resources-online/

http://www.wakeuplater.com/website-building/use-your-own-fonts-a-simple-sifr-guide.aspx

http://www.typophile.com/node/47265

http://www.smashingmagazine.com/2009/04/03/8-simple-ways-to-improve-typography-in-your-designs/

wing's reading list 2

following right after the digital pdf publication by massimo vignelli—the vignelli canon, here comes the hard copy, full version of the pdf.

vignelli from a to z

by massimo vignelli

wing's reading list 1

as promised in the studio, i will be posting a list of reading materials for you all.

this is definitely not the ultimate reading list for every practicing designers but rather a list that is strongly influencing my typographic design/design practice; and i would like to share with you.

to kick start the series of post, is a free digital copy issued by the designer himself—massimo vignelli. apart form the content, the structure of this pdf publication is also a very good example of the two up coming projects of the course.

without a doubt, one of my design heros.

available for downloading from www.vignelli.com or from our own google group, under files.

w

The postcard design interprets the origins of the typeface clarendon - otherwise known as the 'ionic' model, as a derivative of Egyptian and Roman models respectively.

Discussing visual hierarchy between the London tube map and print ad for DASL.

The map of the London tube takes an analytical approach to communicate complex information, by utilising simple colour coded lines to show viewers directions and connections between different lines. Due to the sheer amount of data shown, it would be confusing to communicate this information in any other format other than an information diagram. This way viewers can locate themselves on the map, find their destination and plan their way from A to B. the most important information (the map) is located middle centre, whilst the secondary information the Key and logo for the tube are located at the bottom right and left respectively.

The second example a print ad for DASL, utilises a conceptual approach to discourage young women from excessive drinking. The most important feature of the ad is the image, which takes up three quarters of the page. This image immediately catches the viewers’ attention due the comical and bizarre image of the young woman. Underneath the image is the phrase “If you drink like a man, (written in bold large font) you might end up looking like one” (in slightly smaller font underneath). This comical heading reinforces the image and explains why the young female appears to look like an unsightly drunk male. At the bottom of the page in small type is continuing script in the same comical vein that explains some of the side effects of heavy drinking. The logo for the organisation is located in the bottom right, the last place that the eye travels to. Once the viewer has read all the other information they are left with the name of the organisation in their mind last.

project 1 — letterpress postcards

BS

EH

AY

AI

RW

TJ

NS

NL

KRM

JC

HT

BY

BW

BO

AMc

AM

akz-gro

My postcard is based on the typeface Akzidenz-Grotesk. The elements I chose to highlight in my concept especially include the influence of the Swiss asymmetrical grids which utilised Akzidenz Grotesk and its importance as an influential sans serif font. During 1950's Akzidenz Grotesk was considerably popular with the infamous Swiss design movement. This style of design advocated the asymmetrical organisation of Akzidenz-Grotesk on grid systems. With this in mind, I have taken to placing my type asymmetrically on my postcard. Simply stated, if you were to fold the design in half, both sides would be unequal, either vertically, horizontally or both. By default, when any given item is asymmetrical, everything gravitates towards the greater side. In my case I have chosen to use on the back, text which alludes to the names Akzidenz Grotesk has been released under. The emphasis reads from Commercial, referring to the name it is known as now under Linotype (Basic Commercial) to Standard, the Americanized name it was released under then to Akzidenz Grotesk, standing for Akzidenz Grotesk the name under it was released in 1898. This transition represents the present leading backward to the original, in essence showing what has stemmed from the original Akzidenz Grotesk.



Akzidenz Grotesk was an important precursor to many familiar and recognized sans serif typefaces such as Helvetica and Univers so I chose to exemplify its profound impact with the size of my postcard. The size is 24 x 26 cm which also offered functionality allowing me to sufficiently fit my type with enough line and word spacing. I also chose to add decorative paper featuring images of maps to reiterate the popularity and impact Akzidenz Grotesk has on a global scale. The text used on the front of the postcard "I shot the serif" was used to represent Akzidenz Grotesk as a san serif font.