SyllabusARTS 2375Typography

University of Mary Hardin-Baylor College of Visual and Performing ArtArt Department

Spring 2015T Th 11:00A–1:30P BCVA 105

Typo-graphy

3

Contact Information Instructor: Matt Smith

Office: Baugh Center for the Visual Arts (BCVA) 111

Office phone: 254.295.4297

E-mail: mjsmith@umhb.edu

Office Hours: MW 9:00 – 11:00 am, or by appointment

Catalog Description Name and Number: Typography, ARTS 2375

Time & Location: MW 11:00A–1:30P, Baugh Center for

the Visual Arts (BCVA) 103

Catalog Description: Historical overview of type and

letterforms; introduction to professional typography

in print and digital environments; primary focus will

be applications to contemporary communications.

Prerequisites: ARTS 1310, ARTS 1320, ARTS 2370, or

permission of instructor. materials fee.

Expanded DescriptionThis course provides students with a historical overview

of type and letterforms. Professional typography in

print and digital environments is introduced; primary

focus will be an introduction to contemporary commu-

nication and visual production techniques using Adobe

InDesign, web type, and motion design software.

Historical and contemporary cultural literacy is

also emphasized. Presentations, critiques, reading as-

signments, and class discussions allow the student to

develop a vocabulary and a critical framework for writ-

ing and speaking about typographic skills, techniques,

and practices.

Instructional FormatThis course is made up of the following components.

1. Lectures. The instructor will introduce the proj-

ects, reading assignments, and central ideas to be

covered.

2. Reading assignments. Reading assignments and

class discussions introduce a critical framework

for reflecting on the student’s design practice.

3. Visual Research Presentations. Visual research

presentations are designed to increase the student’s

cultural literacy. In short, the student will be de-

veloping his or her personal, individual taste as it

pertains to the practice of graphic design (“taste,”

as it is being used here, is sometimes described as

discernment, or critical acumen).

4. Studio projects, assignments, and exercises.

Projects and assignments allow the student to

learn by doing things. The student also learns by

working with and critiquing her peers.

5. A final project. The student will execute a project

based on a design brief, and present it to the class

in a formal critique setting. The final project is

summative. It is an opportunity to apply what has

been learned in the entire course.

Academic Honesty The University of Mary Hardin-Baylor policy on aca-

demic integrity applies to all courses. UMHB expects

the highest standards of academic integrity among all

members of the campus community. All acts of plagia-

rism or violations of academic honesty are considered

serious offenses and may result in failure of the assign-

ment or the course.

Special Accommodations If you have a disability for which you are or may be

requesting an accommodation, you are encouraged to

contact both your professor and the Accommodation

& Student Assistance Program office in the Robert &

Linda Black Center for Counseling, Testing & Health

Services, Mabee Student Center, Suite 310, as early as

possible in the term.

Typography

Course Description

54

Required Textbook While there is no textbook required for this class, you

will be expected to complete several reading assign-

ments. Texts will be distributed in class or made avail-

able online.

Suggested Reading: OnlineThinking with Type, thinkingwithtype.com

Suggested Reading: PrintBringhurst, Robert. The Elements of Typographic Style.

Point Roberts, WA: Hartley & Marks, Publishers,

2004.

Frutiger, Adrian. Signs and Symbols: Their Design and

Meaning. New York: Watson-Guptill Publications,

1998.

Lupton, Ellen. Thinking with Type: A Critical Guide for

Designers, Writers, Editors, & Students. New York:

Princeton Architectural Press, 2004.

Lupton, Ellen. Type on Screen: A Critcal Guide for Design-

ers, Writers, Developers, and Students. Princeton

Architectural Press, 2014.

Solomon, Martin. The Art of Typography: An Introduc-

tion to Typo-Icon-Ography. New York: Art Direction

Book Co, 1994.

Assignments & Final Grade40% — Studio projects/assignments

10% — Three (3) visual research presentations. Note:

students will be required to complete more than

three presentations, but only the highest three

grades will count

10% — Three (3) reading assignments. Note: students

will be required to complete more than three

reading assignments, but only the highest three

grades will count

30% — One (1) final project

10% — Participation and attendance

University Grading ScaleA — 91 to 100

B — 81 to 90

C — 71 to 80

D — 61 to 70

F — 60 or lower

Please note grade point cut-off points (71% is a C, 70%

is a D). You may always monitor current performance

level via myCampus.

Supplies (this list may change)The computers in the assigned classroom (BVCA 103)

will be the student’s primary source for producing

work. The computers have all the software required to

complete this course.

The student will also need:

• a sketchbook (8.5” x 11” is a good size)

• tracing paper

• fine point pens with black ink

• pencils and an eraser

• a metal ruler (inches and picas)

• black mat board or foamcore

• rubber cement or spray adhesive

• an X-acto knife and extra #11 blades

• an external hard drive, or flash drive (2 GB

minimum)

• headphones for watching tutorials during class

Back up your work!Use an external hard drive; flash drive; and/or a

Google Drive, Dropbox, or Box account. Technological

disasters DO occur. You will be shown absolutely zero

sympathy if you fail to complete a project due to not

having sufficiently backed up your work.

Critiques & ParticipationFormal and informal critiques will be held during the

course of the semester, and participation will be fac-

Typography

Course Requirements Typography

Course Requirementstored into final grading. Strong presentation skills are a

critical component of your creative work. Students are

expected to participate fully in class discussions and

critiques by offering constructive comments to their

peers, and by considering and applying received criti-

cisms of their own work.

AttendanceStudents are required to attend every scheduled class

meeting, complete all required readings, participate

actively in class discussions, and collaborate effectively

in assigned working groups. Studio courses don’t make

sense unless the student attends class (much, if not

most, of your work will be done in class). Presenta-

tions, participation in critiques, and class discussions

are a large part of your grade.

Attendance will be taken promptly at the beginning

of each class. Arriving late three times will result in a

recorded absence. If you have to leave class to get the

tools or materials needed to work, you will be counted

as late. Excessive absences (more than three) will lower

your grade.

If you have extenuating circumstances, inform the

instructor as soon as possible so that we can work with

you to determine how best to mitigate the situation.

Art Department Student LearningOutcomes and Course Objectives

I. Communication: Upon Completion of this

course, the student will be able to make effective

written, verbal, and visual presentations of their

work.

• The student will understand the relationship

between form and content

• Display works of art selectively

• Demonstrate how to self-promote with support-

ing and professional materials

II. Production: Upon Completion of this course, the

student will be able to use visual problem solving

by exploring tools, materials, and techniques.

• Understand the elements of composition and

principles of design

• Employ technical and conceptual expertise in

the creation of visual statements

• Use expressive and sensitive handling of materi-

als in two– and three–dimensional works of art

• Understand the health risks for artists and safe

handling of materials and equipment

III. History: Upon Completion of this course, the

student will demonstrate an understanding of art-

work in relationship to contemporary and histori-

cal practices and theory.

• Recognize culturally diverse art forms and

practices

• Understand how art reflects the history of hu-

man achievement

Credit HoursArt courses follow the recommendations for awarding

credit as recommended by The National Association

of Schools of Art and Design (NASAD) and the Texas

Association of Schools of Art (TASA). For our studio

classes, normally a ratio of one hour of credit = two

hours of contact time and one hour of outside work

per week, for example: a 3-credit hour course would

require six faculty contact hours per week.

Note: Faculty contact must be sufficient to ensure

the development of knowledge and skills required by

each course. Normally, faculty contact is greater at the

foundation or introductory level than at the advanced

studio level.

76

Typography

Course Schedule Week 1jan 12 Welcome, course intro, syllabus overview; questionnaire distributed

• Reading Assignment 1 (due Wednesday)

jan 14 Reading Assignment discussion; Day 1 questionnaire due

• Introduction to Project 1, Drawing & Labeling Letterforms

• Introduction to Visual Research Assignment 1, “type you like”

Week 2

jan 19 Project 1, Drawing & Labeling Letterforms

jan 21 Project 1, Drawing & Labeling Letterforms

• Introduction to Type Quiz (due a week from today)

• Second half of class: Visual Research 1 Presentations, “type you like”

Week 3

jan 26 Project 1, Drawing & Labeling Letterforms: process critique

jan 28 Project 1, Drawing & Labeling Letterforms: final critique

• Type Quiz due

• Introduction to Project 2, Text You Like

Week 4

feb 2 Project 2, Text You Like

feb 4 Project 2, Text You Like: process critique

Week 5

feb 9 Project 2, Text You Like feb 11 Project 2, Text You Like: final critique

• Introduction to Project 3, A Deck of Types

• Reading Assignment 2 (due Monday)

• Introduction to Visual Research Assignment 2

Week 6

feb 16 Project 3, A Deck of Types

• Reading Assignment 2 discussion

feb 18 Project 3, A Deck of Types

• Visual Research Assignment 2 Presentations

Week 7

feb 23 Project 4, New Alphabet

feb 25 Project 4, New Alphabet, process critique

Week 8

mar 2 Project 4, New Alphabet

mar 4 Project 4, New Alphabet final critique

• Introduction to Project 5, Visual Meaning & Interpretation

• Reading Assignment 3: Elliman, “Printing Surface” (due Monday)

Spring 2015 MW 11:00 am – 1:30 pm

BCVA 103

Matt Smith

Office: BCVA 111

mjsmith@umhb.edu

isnotmattsmith.com

254.295.4297

Office Hours

Monday–Thursday

9–11:00a & 4:30–5:00p

or by appointment

Note: This schedule

may change. Check

myCampus for latest

updates.

Typography

Course RequirementsSemester Events: Spring 2015

The Art Department has organized the following

events, talks, and lectures. Your attendance is

recommended.

1. Carlos Hernandez: Gig Posters. Jan. 12—Feb. 6,

2015. Gallery Opening: Thursday, Jan. 15, 2015 at

5:00 p.m.

2. Mary Vernon: Paintings. February 16—March 12.

Gallery Opening: Monday Feb. 16 at 5:00 p.m.

3. UMHB Student Art Competition: March 23—

April 8, 2015. Entry date: Wednesday or Thursday

March 11—12. Reception and Awards: Monday

March 23, 5:00—6:30

4. Senior Exhibitions: April 13—May 9; Reception

TBA

5. TAPPS State Winners: May 25—June 26; Reception

TBA

A Final Note from the DepartmentAll students are required to commit themselves to

the following concepts prior to participating in this

course:

• The student should understand that this course

could expose them to a wide range of experiences,

some of which, for example, may contain themes,

language, graphic violence, and sexual reference

not consistent with Christian values.

• The student should also understand that the pur-

pose for studying such material is to seek a mature

understanding of the potential and accomplish-

ment of the course subject as a means of exploring

the human predicament.

• The student should understand that this

instructor will strive for a mature Christian

discernment concerning the moral and aesthetic

appropriateness of the materials and assignments

for this course.

. . .

All art majors are strongly encouraged to enter student

competitions and exhibitions.

98

Find an example of typography that you like. Bring it

to class. Be prepared share it with the class, and dis-

cuss the following:

1. how it was made

2. who designed it (if you can find this information)

3. what typefaces were used, and

4. why you like it

Goals and Learning Outcomes: The purpose of this

assignment is to notice, analyze, and otherwise think

critically about the formal and informal (everyday,

quotidian) instances of typography in your environ-

ment.

. . .

Note: This project is derived from a Typography 1

project taught by Rob Giampietro at RISD.

Typography

Visual Research 1:Type You Like Week 9

mar 9 Project 5, Visual Meaning & Interpretation

• Reading Assignment 3 (Elliman) discussion

mar 11 Project 5, Visual Meaning & Interpretation: process critique

Week 10—Spring Breakmar 16 Spring Break

mar 18 Spring Break

Week 11mar 23 Project 6, Using Type (chap book)

mar 25 Project 6, Using Type (chap book)

• Intro to Project 5, Visual Meaning & Interpretation

Week 12mar 30 Project 6, Using Type (chap book)

• Reading Assignment 3 discussion

april 1 Project 6, Using Type (chap book)

• Visual Research 3 Presentations

• Introduction to Project 7, Type Specimen

Week 13apr 6 Project 7, Type Specimen

apr 8 Project 7, Type Specimen

• Introduction to Project 7, Type Specimen

Week 14apr 13 Project 7, Type Specimen, process critique

apr 15 Project 7, Type Specimen, final critique

• Introduction to Project 8: Motion Type

Week 15apr 20 Project 8: Motion Type

apr 22 Project 8: Motion Type

Week 16apr 27 Project 8: Motion Type

• Introduction to Final Project: Web Type & Type on Screen

apr 29 Final Project: Web Type & Type on Screen

Finals Weekmay ? Final Project Presentations & Critique (date and time TBA)

Spring 2015 MW 11:00 am – 1:30 pm

BCVA 103

Matt Smith

Office: BCVA 111

mjsmith@umhb.edu

isnotmattsmith.com

254.295.4297

Office Hours

Monday–Thursday

9–11:00a & 4:30–5:00p

or by appointment

Note: This schedule

may change. Check

myCampus for latest

updates.

Typography

Course Schedule

1110

Using the templates provided, draw the examples of

each historical style.

1. once freehand

2. once using the tracing-and-transfer method

Choose the most interesting of your two drawings, and

label as many parts as you can (refer to the illustration

below, from Ellen Lupton’s Thinking With Type).

Finally, in the lower right-hand corner of each sheet,

please assign the typeface a historical period, choose

from:

1. Renaissance/Humanist

2. Baroque/Old Style

3. Enlightenment/Romantic/Transitional

4. Modern

Typography

Project 1: Drawing & Labeling Letterforms

Typography

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1716

Typography

Use InDesign to create an 8½ x 11 inch document, five

pages long. Place a 5½ x 5½ inch outline on each page.

Choose a quotation, or brief portion of text that you

like. Typeset your quotation four times, using each of

the typefaces we examined in the “Drawing & Labeling

Parts of the Letterform” assignment, namely:

1. Centaur (Renaissance/Humanist)

—other options: Bembo or Adobe Jenson Pro

2. Garamond (Baroque/Old Style)

3. Baskerville (Enlightenment/Romantic/Transi-

tional)

4. Bodoni (Modern)

—other options: Didot

Give your document a title. Typeset the title on page

one; also include the author, and your name as the

publisher. Be creative; look at the title page of several

books for models to emulate.

Goals and Learning Outcomes: The student will gain

experience using different typefaces. Each typeface

will need to be adjusted when setting blocks of type,

or when enlarged to display sizes. This project builds

off of previous projects (viz., drawing and labeling let-

terforms) by reinforcing the student’s familiarity with

historical styles and periods.

Typography

Project 2: Text You Like

1918

Typography

Purchase a pack of 36p x 24p (6 x 4 inch) unlined note-

cards.

part 1: On one side of the notecards, draw (in pencil

first, then black ink) each of the entries in “Appendix

A” (pages 271–286) of The Elements of Typographic Style

as they appear. Make the drawings as large as possible.

Then, synthesize Bringhurst’s notes about each of the

entries on the other side of the notecards.

Consider extending your research into analphabetic

characters beyond Bringhurst’s basic catalog.

part 2: Select a letter of the alphabet, excluding Ii, Jj,

or Ll. Select a typeface (your first card might be your

selection from the “Type You Like” assignment), and

draw (in pencil first, then black ink) the upper- and

lower-case letter you’ve selected on one side of one of

the notecards.

Be creative: type is everywhere. There’s inspiration

in class readings, discussions, or simply your visual

environment.

On the back of the card, write some details about the

typeface: who designed it, the year it was designed,

other typefaces related to it, outstanding features of

the typeface, some aspects of its history, etc. Over

the course of the semester, try to add about five cards

per week to your deck. At the end of the course, you

should have a total of fifty (50). Remember to carefully

craft each card, presentation will be a large part of

your grade.

. . .

This project is largely derived from a Typography 1

project first taught by Rob Giampietro, at Parsons

School of Design in New York.

Typography

Project 3: A Deck of Types

2120

Typography

objective: To develop your own alphabet based

on what you have learned and observed about type

anatomy (the parts of the letterform).

assignment

1. Read Paul Elliman’s “The World as a Printing

Surface.” Be prepared to discuss it in class. (The

article is taken from Martens, Karel, and Paul Elli-

man. Counterprint. London: Hyphen Press, 2004).

2. Create an alphabet by finding/utilizing existing

letters or by making your own from scratch. The

alphabet must hold together as a system-there

should be consistency in the structure and design

of the letters-and in the final presentation they

must appear in alphabetical order.

procedure: Brainstorm four possible alphabets that

you want to create, developing sketches of the first five

letters for each idea. (You do not have to sketch all 26

letters.) You highly are encouraged to work ahead.

You will present your alphabet in the form of a poster

design measuring 10.75 x 16 inches. (You may choose

the paper orientation.) Consider how the poster design

might complement the characteristics or qualities of

your letters.

final deliverables: The day the project is due, you

will turn in the following:

• Two full-color printouts of your poster (measur-

ing 10.75 x 16 inches); one will be returned to you

after grading, and the other will remain with

the instructor. The final prints do not need to be

mounted and veiled.

• A high-res PDF of the final poster design submit-

ted electronically via Canvas/myCampus/my-

Courses.

examples: Several examples of what a “new alphabet”

might look like are included on the following pages.

. . .

This project is almost entirely derived from an exercise

taught by Anne Berry in Visual Communications

Design 4: Typography (spring 2014), at the University

of Notre Dame.

Typography

Project 4: A New Alphabet

2322

example of student work (a New Alphabet), by Katie Pricer. example of student work (a New Alphabet), by Tiffany Dunn.

Typography

Project 4, continuedTypography

Project 4, continued

2524

Typography

Reading Assignment: “The World as a Printing Surface,” by Paul Elliman

example of student work (a New Alphabet), by Sarah Wright.

Typography

Project 4, continued

2726

Typography Typography

2928

Typography

“You can express the meaning of a word or an idea through the spacing, sizing, and placement of letters on the page. Designers often think this way when creating logotypes, posters, or editorial headlines. In this project, physical processes such as disruption, expansion, and migration are expressed through the spacing and arrangement of letters. The round Os in Futura make it a fun typeface to use for this project.”

—Ellen Lupton, Thinking with Type, p. 104

step one. Choose three (3) of the following words to

interpret typographically.

step two. Sketch! Perform changes in scale or acts

of cutting, cropping, shifting, turning, repeating, or

otherwise transforming the letterforms; you may also

create your own forms or manipulate the outlines of the

letters (convert text to outlines). Turn in at least five good

ideas in sketch form for each finished composition—a total

of fifteen sketches, and three finished compositions.

step three. Use Illustrator to create three finished, well-

crafted 7 x 7 inch compositions. In addition to changing

scale, cutting, cropping, shifting, turning, repeating, or

otherwise transforming the letterforms, consider creating

your own forms or manipulate the outlines of the letters (convert

text to outlines).

see next page for examples

suspicion

longing

faith

disbelief

doubt

conviction

certainty

hope

grief

melancholy

joy

dismay

delight

guilt

worry

desire

anxiety

fear

paranoia

tension

surprise

lust

trust

honor

Typography

Project 5: Visual Meaning & Interpretation

30 31

johnschen kudos

sition transition

johnschen kudos

dis uptionr

johnschen kudos

c o mpression

jason hogg

migration

igr

a

t

m

ion

chelsea munion

repetition

o

o

oo

o

o

o

o

o

chelsea munion

elimina iont

t

t

t

t

t

t

t

t t

tt

credits: This exercise is taken directly from Lupton, Ellen. Thinking with Type: A Critical Guide for Designers, Writers, Editors,

& Students. New York, NY: Princeton Architectural Press, 2005, pp. 104–105. Examples of student work from the Maryland

Institute College of Art.

Typography

Project 5, continuedTypography

Project 6: Using Type (chap book project)

The result of this project will be a small book

(5½ x 5½ inches, 5½ x 11 inches when open).

Use InDesign.

Your book should include each of the following elements:

1. Outside and inside covers (sometimes referred to as

covers i–iv). Your book will be self-covered, although

you may choose to use heavier paper or card stock for

the covers.

2. A half-title page (optional): This is the first page of

the actual book. It can be blank, or it can contain an

element from the cover, or from the full title page.

Look at several examples of half-title pages before

designing your own.

3. A title page: This is the first full spread inside your

book. It should include your title, author, your name

as editor and designer, and the year of publication (2

pages / 1 spread).

4. A table of contents (optional): this provides a map to

the interior of your book. It could be simple or quite

complex.

5. The main text/content of book.

6. A colophon (optional). Some books have a colophon at

the back, which describes the typefaces used and the

paper or printing method (1 page).

procedure: Use InDesign to create an 5½ x 5½ inch

document. Typeset the Jorge Louis Borges story “The

Library of Babel.” The full text can be found here:

archive.org/stream/TheLibraryOfBabel/babel_djvu.txt

Place the title on page one. Include the title, author, and

(this part’s optional) the publisher from Project 3: A Text

You Like. Remember to look at several books for models to

emulate (your Visual Research may be useful here).

goals and learning outcomes: The student will

become familiar with the typesetting large amounts of

text. Special attention will be paid to setting book titles,

book half titles, epigraphs, paragraphs, running heads and

folios.

32 33

Typography

Project 7: Type Specimen

You will design a booklet that teaches new

design students, and/or your classmates, about

typography through a specific typeface. You will

be responsible not only for designing the book; you will

also be researching, writing, gathering, and creating the

content. Each spread in your booklet will have different

information. It is up to you to determine the hierarchy of

information and sequence. Explore scale, direction, color,

size relationships, positive/negative space, the edge of the

space, etc. The result of this project will be a small book

(5½ x 5½ inches, 5½ x 11 inches when open). Use Microsoft

Word to write the initial text, and InDesign to design the

final publication.

step one. research. First choose a typeface that has had

a significant impact on the world. (No two students in the

class can use the same typeface).

Before doing any design, research and write about the

historical precedence and contribution of your chosen

typeface. This text will be used in your booklet. You must

use at least four bibliographic resources. All sources must

be directly referenced in the written content.

1. Write two paragraphs that include factual information

such as: who designed the typeface (dates of birth and

death) what type foundry it belongs to, when was it

designed, which classification does it belong to, why

was the typeface designed (what was happening in the

world at the time that necessitated the typeface? What

was its original intended purpose or audience?), name

any other typefaces by the designer (up to three).

2. Write one paragraph about your personal critique of

the typeface. Consider discussing the circumstances

in which it would be appropriate to use, do you find it

unique and interesting (why), and how do you see it as

different from other typefaces.

3. Find one quote about the typeface or the type designer.

The three paragraphs should total about 200–225 words,

and be written using proper grammar. Use Microsoft Word

to write the text. Include a bibliography for at least four

sources (three online resources, one book).

step two. exploring typographic nuance. In your

historical classification groups, identify the parts of the

letter and study the differences among the typefaces in

your group. Compare your typeface to several others

so that you can see what makes yours unique within its

historical classification. For your assigned typeface, look

at all letters, numbers and punctuation. Circle, highlight,

indicate, make notes about any and all characteristics

of your typeface. Identify at least 10–15 characteristics

that make up your typeface, and describe them using the

anatomy terms we went through in Project Two: Drawing

and Labeling Letterforms. Clearly indicate your observations.

These must be organized and legible.

step three. drawing and sketching. Create

analog sketches to explore your booklet’s style and the

organization of parts and hierarchy.

step four. final design and production. Working in

InDesign, create a printed booklet. (Hopefully we’ll have

toner for the printer!)

components to include in your book

• 8–10 typeface characteristics diagrammatically shown

• the name of the typeface

• the typeface designer’s name (date of birth–dod)

• year the typeface was designed

• the entire alphabet, punctuation, numbers, and glyphs

• one quote about the typeface or designer

• the three paragraphs you wrote about your typeface

Typography

example of student work: Type Specimen, by Kateland Pricer.

1

TheLibraryofBabel

JorgeLuisBorges

34 35

formatting your sources

Electronic source:

Author’s last name, First name. Title of Publication. URL.

Printed source:

Author’s last name, First name. Title of Publication, page or

plate/figure/slide number referenced. Place (city, state,

country) of publication: publisher’s name, date of pub-

lication.

a final note

This project is largely derived from an exercise taught by

Marty Maxwell Lane in arts 4363, Typography 1, at the

University of Arkansas (fall 2014), and Anne Berry’s Visual

Communications Design 4: Typography (spring 2014), at

the University of Notre Dame.

Typography

Type Specimen, continuedTypography

Type Specimen, continued

example of student work: Type Specimen, by Sarah Wright.

3 | | 4

CLAUDEGARAMOND

was born in Paris, France in 1480. His skills in creating his famous typeface began when he learned and became an independent skilled punch cutter during the early times of the French Renaissance. Claude was an apprentice to printer and publisher Antoine Augereau at the time when he took upon the challenge to create his own Old Style Roman type. In 1530, his type was used in the book Paraphrasis in Elegantiarum Libros Laurentii Vallea. Garamond’s work became well known and greatly admired. When he passed away in Paris, France in 1561, his work was spread out and placed with Christophe Plantin from Antwerp, the Le Bé type foundry and the Frankfurt foundry Egenolff–Berner.Later on, at around 1621, a French printer named Jean Jannon created a typeface that was similar to Garamond’s typeface. Jannon’s typeface was not discovered until

about 200 years later, when the French national printing office had found his work, and was wrongly declared the original Garamond typeface. This information wasn’t corrected until 1927

by researcher Beatrice Ward. However, before Beatrice’s discovery, many of

Jean Jannon’s “Garamond” versions have already been created into other different font types. Today, well–known typefaces that have followed

Jean Jannon’s design are Monotype Garamond, Simoncini Garamond, and

LTC Garamont. Typefaces that have followed Claude Garamond’s type are Adobe Garamond and Garamond Premier, Granjon, and Sabon.

Looking closely at Claude Garamond’s work, it is very readable and the upper and lower case

letters are very nice together. It gives off a classic and simple look. The lack of contrast with the thick and thin lines of the curves of the letters is most likely what makes it such a legible reading font of choice. Modern literature today have used Garamond for their font to not only make things easier to read, but to also save

some money since Garamond takes up less ink than other fonts like Times New Roman.§

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7 |

Elegantly rounded serifs

Lower case ascenders exceed the height of Capitol letters Long Ascenders

Small BowlsLow contrast between thick and thin strokes

p fo| 8

Downward sloped serifs

Thick, course serifs

Stress in counters are diagonal

Typeface is relatively thin and takes little ink to print, making it eco-friendly

(used to mimic free-hand writing)

Short x-axis

[

36 37

“Having been an early admirer of the beauty of letters, I became insensibly de-sirous of contributing to the perfection of them. I formed to myself ideas of greater accuracy than had yet appeared, and had endeavoured to produce a set of types according to what I conceived to be their true proportion.”

John Baskerville

The creator of Basker-ville, John Baskerville,

was born in 1706 in En-gland. He got his start with typography by engraving tombstones (Lienhard). In his twenties, J. Baskerville was already teach-ing writing and bookkeeping as well as running an engraving business. When J. Baskerville decided to start a type foundry, Phillipe Grandjean’s type, Romain du Roi for Louis XIV, was

circulating around Eu-rope. The mathematically precise characters felt too “cold” to J. Baskerville so he decided to create a soft-

er typeface with rounded bracketed serifs

and a vertical axis (Yau). By applying his un-usual engraving

skills to typog-raphy, J. Basker-

ville created his type Baskerville in 1754 after four years of working on it (Lienhard). John Basker-ville died in 1775.

Typography

Type Specimen, continuedTypography

Project 8: Motion Type

First review the lecture slides from “Type, Motion

Graphics, and the Art of the Title Sequence.”

Also read “Animating Type,” (especially “Basic

Animations”), here: typeonscreen.info.

Then design either (a) three animated GIFs, or (b) one more

complex video animation using Photoshop, Flash, or After

Effects, Premiere, or Final Cut Pro.

The subject of your composition must be: type,

typography, type design, type history, or letterforms of

some kind.

example of student work: Type Specimen, by Kateland Pricer.

bask

ervi

lle

BASKERVILLEB

3938

example of student work: Type in Motion, by Tiffany Dunn.

Typography

Motion Type, continued

example of student work: Type in Motion, by Kateland Pricer.

Typography

Motion Type, continued

4140

Typography

Final Project: Web Type& Type on Screen

Use the HTML files provided to complete the

assignment. Upload your edited, redesigned

files to the server at: umhbdesign.com

Double check all links, and be sure your web pages are fully

functional (images are displaying, and all edits have been

made correctly).

Typography

Motion Type, continued

example of student work: Type in Motion (Countdown), by Justin Minchew.

42

The Elements of Art1. line

• implied line

• contour line

• cross-hatching

2. shape

• positive shape (figure)

• negative space (ground)

1. space—see “Illusions of Space,” below

2. value

3. texture

4. color—see “Elements of Color,” below

The Elements of Color1. primary colors

2. secondary colors

3. tertiary colors

4. analogous color

5. complementary colors

6. tint

7. shade

8. hue

9. CMYK

10. RGB

11. additive color mixing

12. subtractive color mixing

13. monochromatic

14. accent color

15. color temperature

The Principles of Design1. harmony

• repetition

• rhythm/pattern

• visual connections

• grid

2. variety

• difference

• contrast

• emphasis

• elaboration

3. balance

• symmetry

• asymmetry

4. proportion

5. dominance

• emphasis

• visual weight

• hierarchy

• focal point

6. movement

7. economy

8. unity (elements + principles = unity)

Illusions of Space1. one-point perspective

2. two-point perspective

3. three-point perspective

4. picture plane

5. horizon line

6. atmospheric perspective

7. vanishing point

8. kinesthetics

9. amplified perspective

Appendix

The Elements andPrinciples of Design

SyllabusARTS 2375Typography

University of Mary Hardin-Baylor College of Visual and Performing ArtArt Department

Spring 2015T Th 11:00A–1:30P BCVA 105

Typo-graphy