DESIGNING withTYPE

Bristol Community CollegeBristol Community CollegeCIS 13 Business Creativity

Sources: The Non Designers Design Book, Robin Williams

Thinking with type.com John Magnik, Typography-1st.com

Review

Type Color Shapes Lines Graphics

REVIEWWhat are we looking at?“Elements” on the Page:

Review

REVIEW What are the FOUR Basic Principles of Design?

1 Contrast

2 Repetition

3 Alignment

4 Proximity

Review

REVIEWWhat is BACHV?1 Balance

2 Action

3 Consistency

4 Harmony

5 Variety

DESIGNING with TYPE

TYPE Relationships

Concordant

Conflicting

Contrasting

DESIGNING with TYPE

CONCORDANT Type

One type family, not much variety

Easy and safe

Sedate and Formal…

Yet, perhaps a little dull

DESIGNING with TYPE

With CONCORDANT TYPE First impressions count!

You are Cordially invited to a very

easy and safe design element by making your type concordant,

and although it has it’s place, it could put your audience to sleep.

Formal Attire Required

DESIGNING with TYPE

CONFLICTING Type Combining typefaces that are similar in

size, weight, and so on

Not the same, yet not different

Can be visually disturbing

DESIGNING with TYPE

CONFLICTING TypeNot the same, yet not different

DESIGNING with TYPE

Will the real HELVETICA Please Stand Up!

(1) Myriad Pro, (2) Verdana, (3) Arial, (4) Helvetica, (5) Skia

DESIGNING with TYPE

CONFLICTING Type

DESIGNING with TYPE

CONFLICTING Type Notice the subtle differences between the ‘t’

and ‘n’ in both type faces

DESIGNING with TYPE

CONTRASTING Type

Separate typefaces are used Clearly distinct Visually appealing Creates an exciting design that will

attract attention

DESIGNING with TYPE

CONTRASTING TypeBe BOLD, not wimpy

DESIGNING with TYPE

PLEASE… Do not “wing it” when combining

typefaces

Recognize and Name the Contrasts

Avoid Conflicting Type at all costs!

DESIGNING with TYPE

CATEGORIES of Typefaces

Fonts, top to bottom: Times New Roman; Birch Standard; SlabTallX; Arial; Edwardian Script; Curlz

DESIGNING with TYPE

[1600s] Based on hand-lettering

Slanted Serifs

Thick/Thin transition - moderate

“Invisible” - does not draw attention

Good for large bodies of text

DESIGNING with TYPE

[1700s] Moves away from hand lettering

Horizontal Serifs

Thick/Thin transition - more contrast

Cold, elegant look

Not good for large bodies of text

DESIGNING with TYPE

[Late 1800s] Used for Advertisement

Heavy Horizontal Serifs

Thick/Thin transition - little to none

Clean, straightforward

High readability, yet overall darker page than Oldstyles

DESIGNING with TYPE

SAN SERIF [early 1900s] Without Serifs

Monoweight - little to none Thick/Thin transition

Offers a variety of weights

Good for getting attention

DESIGNING with TYPE

Based on hand printing, calligraphy pen/brush, pencil or technical

writing

Like cheesecake - use sparingly and no one gets sick

Never use all caps

Lends contrast and a graphic element when used appropriately

DESIGNING with TYPE

Offers a graphic element

But should never be used in all cap because…

DESIGNING with TYPE

Fun, distinctive

Many varieties

Carries obvious emotions

Use sparingly

Good to experiment with

DESIGNING with TYPE