behance

http://www.behance.net/jonduong
check it out, or don't.

first process book complete, many more to come. *le sigh*

Wish I had this idea for a process book cover...
http://www.etsy.com/shop/DeathMau

typography one : project two, i

Goudy

- Serif

- Frederic Goudy

- 1915

- Old Style

- Family:

• Old Style
• Cursive
• Bold
• Old Style Italic
• Title
• Bold Italic
• Catalog
• Handtooled + Italic
• Heavy Face Open
• Heavy Face Condensed
• Extra Bold + Italic
• Old Style Infant

Font Classifications:

Old Style:

– based on handwriting

– contrast between thick and thin strokes is more pronounced

– slight diagonal stress

– shorter x-height

– scooped serifs, sturdy without being heavy

Bembo, Caslon, Garamond, Jenson, Palatino

Transitional:

– contrast between thick and thin strokes is more pronounced

– very slight diagonal stress
– bracketed serifs
– tall x-height

Baskerville, Caslon, Perpetua, Modern Times, Antiqua

Modern:

– extreme contrast between thick and thin strokes

– flat unbracketed serifs

– hairline serifs

– no horizontal stress

– mathematical construction /measurements

– no influence by handwriting

Bodoni, Bauer Bodoni, Walbaum, Portobello, Didot

Slab Serif:

– mono weight

– square ended serifs

– no stress

– bold machine like (industrial age/industrial revolution)

– uniform serifs

– bold display font (used at large sizes)

– rectangular

- geometric impact

Serifa, Rockwell, Memphis Clarendon, New Century Schoolbook, Egyptienne

Sans Serif:

- Geometric

- circular or geometric letters

- little variation in stroke thickness

- modern look and feel

Futura, ITC Avant Garde, Century Gothic, Gotham, Spartan

- Humanist

- oval shapes and variations in stroke thickness

- human appearance

- most calligraphic of the sans serifs

Calibri, Johnston, Lucida Grande, Segoe UI, Gill Sans

- Grotesque

- uniform

- upright character

- early san-serif

Grotesque, Akzidenz Grotesk, Franklin Gothic, Univers, Helvetica

Script:

- varied stroke based handwriting.

- based on 17th and 18th Century writing styles

- fluid and formal

Brush Script, Kaufmann, Mistral, Marigold STD, Monoline Script

Blackletter:

- use letterspacing for emphasis

- tall, narrow letters

- letters formed by sharp, straight, angular lines

Sütterlin, Fraktur, Textur, Rotunda, Cursiva

Grunge:

- dirty, irregular

- crooked

- influenced by punk, rock, heavy metal

Turbo Ripped, Dirty Ames, Sidewalk, Neoprint M319, Trashed

Monospaced:

- glyphs are the same width

- first used for typewriters

- often used to make ASCII art

Courier, Andale Mono, Vera Sans Mono, Lucinda Console, Prestige

Undeclared:

- mix of classifications

- unable to distinguish

- examples include flared serifs on sans serif structures

Optima, Fixedsys, Copperplate Gothic, Gotham, Cooper Black

depicting weather

typography one : project one, iii

adrian frutiger - a prominent swiss typeface designer of the twentieth century whose career and typeface development spans the hot metal, phototypesetting, and digital typesetting eras. he is best known for creating the typeface, Univers. as a child he experimented with scripts and stylized handwriting, in a reaction against the then required cursive writing in swiss schools. at sixteen he apprenticed printer otto schaerffli for four years before moving on to study under walter käch and alfred willimann in the kunstgewerbeschule (school of applied arts) in zürich, where he focused on calligraphic experimentation. after developing many typefaces for charles peignot of deberny & peignot, a french type foundry, frutiger released Univers in 1957 and received much acclaim. from the 1970s to 1990s, frutiger spent most of his career creating variations and adaptations of fonts like Univers or his self-titled Frutiger for numerous clients that include the charles de gaulle airport and the paris metro. most recently, the swiss watchmaking company named ventura commissioned frutiger to design a watch face for a series of limited edition wristwatches. in 2009 he was inducted into the European Design Hall of Fame. some notable typefaces of frutiger include: Egyptienne, Univers, Apollo, Serifa, OCR-B, Frutiger, Avenir, Herculanum, and Linotype Didot.

Univers is notable for having 44 faces, with 16 uniquely numbered weight, width, position combinations. 20 fonts have oblique positions. 8 fonts support Central European character set. 8 support Cyrillic character set. The Univers grid is classification system to eliminate naming and specifying confusion. The number used in a font is a concatenation of two numbers. The first set defines weight, while the second defines width and position. In the Linotype Univers font family, a 3-number system is used. First letter describes font weight, second letter describes font width, third letter describes position

typography one : project one, ii

1. weight - the overall thickness of strokes in relation to their height. standard weights within a family often include light, medium (regular), bold, and black or heavy weights.

2. width - how wide the letterforms in a typeface are in relation to their height. a typeface in which the letterforms are narrower than regular is referred to as condensed or compressed; a face that is wider than regular is referred to as extended or expanded.

3. style - a broad term referring to several aspects of a typeface. first, style can be divided into serif or sans serif. second, style can be historically classified based on the visual idiosyncrasies related to its historical context. third, style refers to the specific form variations that a designer has imposed on the letters, like neutral or stylized.

4. the point system is used to measure type. one point equals 1/72 inch or .35 millimeters. twelve points equal one pica, the unit commonly used to measure column widths. type can also be measured inches, millimeters, or pixels. most software applications let the designer choose a preferred unit of measure; picas and points are a standard default.

5. point - measurement equivalent to 1/72 inch or .35 millimeters

6. pica - measurement equivalent to twelve points

7. 1 inch = 72 points

8. If a letter is set in 36 pts it is a 1/2 inch tall

9. 1 inch = 6 picas

10. 1 pica = 12 points

11. x-height - the height of lowercase letters in proportion to the ascenders and descenders.

12. cap height - the height of the capital letter.

13. leading - amount of vertical spacing between lines of type.

typography one : project one, i

1. grid - a series of regularly spaced horizontal and vertical lines used as a means of organization.

2. designers use a grid as a simple way of organizing large amounts of information. the grid can help a designer compare and contrast different forms of information without compromising the quality of each piece. it presents the project/projects in an easily read composition

3. a modular grid is a grid with four rows and four columns. when repeated these grids, or modules, are able to further subdivide or separate various projects.

4. margins - the negative space between the format edge and the page contents.

columns - vertical alignments of type that create horizontal divisions between margins.

grid modules - individual units of space separated by regular intervals that, when repeated across the page format, create columns and rows.

flowlines - alignments that break the space into horizontal bands

gutter - blank space between columns

5. hierarchy - a system of things ranked one above the other. designers can use hierarchy by manipulating the text in a way that is easily navigated by the viewer.

6. typographic color - altering the scale relationships of type. changing the weight, rhythm, value, texture of text achieves a visual darkness and even an illusion of spatial depth.

7. clear hierarchy can be achieved in many ways. It is important to maintain good organization. keeping similar material in close proximity, shifting or maintaining certain alignments, and size contrast (experimentation with stroke weight, distance, scale are all effective ways of achieving hierarchy.