Job No:01077 Title:The fundamentals og Graphic Design
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Job No:01077 Title:The fundamentals og Graphic Design
1ST
Proof Page:38
Variety and creativity
Typefaces vary from clearly distinguishable
letterforms that flow easily before the eye, to more
elaborate and eye-catching forms and vernacular
characters appropriated from the urban environment.
The different styles and forms of fonts enable them
to communicate in ways that go beyond the words
they spell out; different typefaces can be said to have
different personalities, and it is these personalities
that a designer often focuses on when selecting
fonts for a particular job.
Typography is a discipline that continues to evolve
as computer technology makes the process of font
creation quicker and easier, as well as more
experimental. In addition to appropriating elements
from the vernacular, typography is also self-
referential – the origins of many of the fonts in
current use can be traced to designs created during
earlier historical epochs, from the earliest days of
printing to Roman tomb inscriptions. Designers can
harness this heritage to instil their designs with
historical references.
This section will look at many different examples
of typographic design and how type is used to
communicate. It will also look at how fonts are
classified into different families and systems that
help to organise and better understand the many
thousands that exist. The ability to classify typefaces
is essential to design and effective communication –
different fonts have different characteristics,
histories and personalities.
Typeface classification is based on the
anatomical characteristics of the letters and are
generally categorised as: block, roman, gothic, script
or graphic, with several further sub-classifications.
Typeface classification loosely charts the
development of fonts over time and gives an
indication of the historical development of type.
Typography
Typography is the means by which a written
idea is given a visual form. It is one of the most
influential elements that establishes the character
and emotional attributes of a design; the visual form
it takes dramatically affects the accessibility of an idea
and how a reader reacts towards it.
38 The Fundamentals of Graphic Design Influences and creative elements
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Slam (below)
This book cover by Studio Output feature eclectic and colourful
type that jumps out at the reader. This dramatic impression is
created by the use of large-format, orange type set against a
black background and fine, white-line art illustrations.
Space (below)
Derwent London’s twice-yearly publication is designed by
Studio Myerscough. It features both nostalgic and contemporary
typography and borrows from previous times and reappropriates
the styles to create a modern approach that is engaging and
dynamic. Note how the letterforms of the title overprint.
Audi (right)
This 1970s Audi Fox poster
by Helmut Krone features
an avant-garde, sans serif
t ypef ace. The design has
clear references to the design
discipline itself – the visual
reference borrows from the
pangram ‘the quick brown fox
jumped over the lazy dog’.
Pangrams are used to
showcase typefaces as they
are holo-alphabetic – they
contain every letter of the
alphabet at least once. The
poster says as much about
the typeface as it does about
the car.
Technology < Ty p o g r a p hy > Consumerism 39
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Job No:01077 Title:The fundamentals og Graphic Design
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Bonfire (above)
Research Studio’s advertisement for the Bonfire Snowboarding
Company features a simple yet clear type hierarchy that imparts
information about the people modelling the clothes: the person’s
name, what they do and what they wear. Brand information takes
a secondary role. The models are real people photographed by
famous snowboard photographers and the type reflects solid
authenticity with its filled-in counters.
40 The Fundamentals of Graphic Design Influences and creative elements
Big Lottery Fund (below)
These typographic A2 posters were created by The Team for
an internal brand for the Big Lottery Fund, following its
formation from the merger of the New Opportunities Fund and
the Community Fund. The key messages of teamwork (circle),
service excellence (star), accountability (plus sign) and valuing
people (tick) were screen printed in a single colour to give a
simple yet memorable message.
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Technology < Ty p o g r a p hy > Consumerism 41
Seduced (above)
These printed pieces by Research
Studios use type to form strong visual
shapes that are still readable in spite of
parts of some characters being cut away.
The way the words ‘art’ and ‘sex’ have
been partially covered suggests both
voyeurism and censorship, which are
relevant concepts to the subject of
the exhibition.
Moving card (right)
A thermographic ink was used to print
this card. It has an expanded number five
depicting the company’s new location:
5 Park Place. Thermography is a print-
finishing process used to produce raised
lettering on paper substrates by
depositing a powder on the printed
piece while still wet; it is then passed
through an oven. In this example, the
numeral has been expanded as much as
possible, while still remaining legible
and recognisable. This project was
created by Parent Design.
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42 The Fundamentals of Graphic Design Influences and creative elements
Roman
Italic
Condensed
Extended
Boldface
Light or Thin
Roman
The basic cut of a typeface is the roman version, so-called
due to the inscriptions found on Roman monuments. Roman is
sometimes referred to as ‘book’, although this can be a lighter
version of the roman face.
Italic
A true italic is a drawn typeface based around an angled axis.
These are normally designed for serif typefaces. Obliques are
slanted versions of sans serif typefaces rather than newly
drawn versions.
Condensed
Condensed types are narrower than the roman cut and are
useful when space is limited.
Extended
Extended types are wider versions of the roman type. They
are often used for items such as headlines to dramatically fill
a space.
Boldface
Bold, boldface, medium, semi-bold, black, super or poster –
all refer to a typeface with a wider stroke than the roman cut.
Light or Thin
Light is a thinner version of the roman cut.
Type classification
The wide range of typefaces available means that a way of classifying them is
essential, particularly to simplify the communication of specifications for a
piece of work. Typefaces and families of type can be classified according to the
inherent characteristics of their anatomical parts.
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