Type Definitions

1. absolute measurement- measurements of fixed values. i.e points, picas, millimeters
2. relative measurement- measurements linked to type size i.e type size, em, en, leading
3. point- the type size of a font
4. pica- unit of measurement in a layout. typically between each element it is, 24.
5. em (and em dash)- it is a relative unit of measurement used in typesetting to define basic spacing functions, and therefore it is linked to the size of type. The dash is the same size as the type ie. 72pt type has a 72 pt em.
6. en (and en dash)- it is a relative measurement equal to half of one em. in 72pt type it would be 36 points. The dash is used to denote nested clauses but also means 'to' in phrases such as two dates 1990-2009.
7. legibility- how well the eye identifies each letter of the typeface caries upon negative space, leading and line measurement.
8. rag- when left justified copy causes ragged ends on the right. it can create gaps, overhanging text, slopes or inclines
9. type alignments: (Flush) all to one side, seen as informal and asymmetrical. Can be positive in design of a page because consistent word space, clarity and harmonious. (Centered)-effective in design of a single page in a formal context. negative because it reduces readability. (Justified) positive because it creates even margins but negative because it causes space between words, hyphenation, and it has wide columns.
10. word spacing- ideal is not pared back and not extended. The space between words has been traditionally been based upon a space equivalent to the body width of a lowercase i. This space can be adjusted manually for display and title setting.
11. rivers-are separations of words that leaves gaps between several lines
12. indent- the space used to introduce a new paragraph.
13. leading-the space between one baseline to the next.
14. kerning- is the spacing between each letter. sometimes kerning pairs are made to create consistent rhythm of intercharacter space, which enhances legibility and readability
15. tracking- adjusting the overall space between letters, rather than the space between two characters. aka letterspacing.
16. weight- choice of bold, book, medium or demi. With different typefaces different options are given.
17. scale- increase in point size. larger provides more emphasis. To make the increase obvious needs to be at lease a 2pt increase.
18. typographic variation- the use if different typefaces, weights, and sizes. Bold, italic, or small-cap fonts, should serve to clarify visually for the reader specific kinds of emphasis and hierarchy.
19. orphan- final 1-2 lines of a paragraph separated from the main paragraph to form a new column.
20. window- lone word at the end of a paragraph left hanging.

My theme song

Reading One

"The general public does not understand graphic design and art direction...the conceptual nature of the graphic design process generates public confusion about the designer's task".
I feel that this is partial true because in my own experience people don't quite understand what it means to be a graphic design major. I had to show examples and go into depth during my conversation with my dad for him to understand what I wanted to do with my life. He is a very business oriented man but I made him see that as a designer its about business as well as personal creativity.

Josef Muller Brockmann is...

Swiss Graphic Designer, Josef Muller Brockmann inspired a generation with his modern outlook of design. He began as a freelance designer and illustrator in Zurich. In 1936 he established his own studio of exhibition design, graphic design and photography. But in 1950 he gradually moved away from illustration toward constructive design when he did his first typographical posters for the Tonhalle. Like many great designers he spent some time educating the younger generation in Zurich. One of his major contributions was the creation of the publication "New Graphic Design" which spread Swiss ideas internationally. He is the author of many books explaining principals and his works. He has had many one-man shows all over the world and was recognized for his cultural contributions. Another major contribution to the design world was his part in creating the modular grid. In "Grid Systems in Graphic Design"(1981) he shows many grids and designs to teach the principals. In the history of graphic design he stands for bringing geometric and radically minimalist designs to the page.

"For 60 years I have produced disorder in files, correspondence and books. In my work, however, I have always aspired to a distinct arrangement of typographic and pictorial elements, the clear identification of priorities." -Josef Muller Brockmann

Jan Tschichold's Influence

The life of Jan Tschichold was full of ups and downs but as a whole impacted the world of design with revolutionary designs. He began school in teaching but after three years realized his ambition of being a typeface designer. He was so influenced by Russian artists and the Bauhaus that he called himself Iwan Tschichold. He was so annoyed with the pre-1925 type that he abandoned the rules. Tchichold began only using san serif type and asymmetrical setting. His new type had no relation to handwriting. His ideas caused a passionate split in the design world. Not long after, the lavish and outdated type as well as centered typesetting gave way to a more modern style.

Tschichold was employed by a number of publishing houses including; Insel, Penguin, Benno Schwabe and others. He taught typography and calligraphy for about eight years in Munich. The rise of the Nazi regime caused problems for Tschichold. After they searched his house, brief imprisonment and he lost his job he fled to Switzerland. Sadly, the progress he made was reversed by the sterile rigidity of the Nazi party.

Throughout his life he published many works that impacted the design community then and are still inspiring today. Some of his works are; "The New Typography" (1928), "Typographic Design" (1935), "Typeface Theory, Practices and Sketches" (1942), "In the Service of the Book" and "Arbitrary Measurement Relations of the Book Page" (1962). His fonts include; Transit (1931), Saskia (1931), Zeus (1931), Sabon (1967). He passed away in 1974 at the age of 72 leaving his mark on our pages.

Type-questions=answers

• Grid- a system for arranging content within the space of page, screen, or built environment. It is a flexible structure that moves with the mass of information. It is an intellectual device, infused with ideology and ambition and filters that are used in nearly every system of writing and reproduction.
• A grid is beneficial because it provides a base for designers in virtually any production. It is a place to begin but a frame to break. The modules govern the placement and cropping of pictures and text. It establishes a system for arranging content within the space of the page, screen or environment.
• A modular grid is a grid that has consistent horizontal divisions from top to bottom, in addition to vertical divisions from left to right.
• margins- the outside 'rim', the space left on each edge of the page.
• columns- the vertical group of boxes.
• grid modules- the individual space which is made by intersecting columns and rows.
• flow lines- lines between the characters
• gutter- the space between each module
• hierarchy-a logical and visual way to express the relative importance of different text elements by providing a visual guide to their organization. A text hierarchy helps make a layout clear, unambiguous and easy to understand.
• To achieve clear hierarchy vary the size, weight, color, position (left to right), and scale.
• type family- typefaces that have extended versions of display faces. They typically share a common width and proportion are seen as part of the same face.
• type styles- any full set of standardized letter forms designed for reproduction through print.