Chapter 18: The International Typographic Style
|
|
- Ira McCormick
- 6 years ago
- Views:
Transcription
1 Chapter 18: The International Typographic Style
2
3 International Typographic Style A graphic design style emphasizing cleanliness, readability and objectivity developed in Switzerland in the 1950s. Specifics of the style are a preference for black and white photography, asymmetric layouts, use of a grid system, san serif typefaces and flush let, ragged right text. The style named for the many early International Typographic Style works featuring typography as a primary design element.
4 Visual Characteristics of Swiss: 1. Visual unity of design achieved by asymmetrical organization of the design elements on a mathematically-constructed grid 2. Objective photography and copy that present visual and verbal information in a clear and factual manner, free from the exaggerated claims of much propaganda and commercial advertising 3. Sans-serif typography set flush left, ragged right (The initiators of this movement believed sans-serif typography expressed the spirit of a progressive age and that mathematical grids were the most legible and harmonious means for structuring information.)
5 Typography and Swiss Design New typographic systems and formal ideas of modern typography More Sans Serif typefaces were developed and used in design. Photography became a main technique for communicating visual concepts in the late 1920 s International Typographic Style: A new design movement in1950's was emerging from the countries of Switzerland and Germany. Based on the design advances of the 30s, a new graphic design style emerged in the 50s that would have an impact far beyond Switzerland's borders
6 Modern American Movement & International Typographic Style (Swiss) Early Swiss: New Approaches to Photography Swiss tourism poster, (1934) Herbert Matter Herbert Matter Herbert Matter s posters for the Swiss National Tourist Office in the 1930s used montage, dynamic scale changes, and an effective integration of typography and illustration. Photographic images became pictorial symbols that were removed from their naturalistic environments and linked together in unexpected ways.
7 The angular forms with the linear patterns convey a sense of movement which is appropriate to the winter sports. To enhance communication, Matter used the following design techniques: used collage and montage integrated photography and typography used extreme contrast of scale Swiss tourism poster, (1934) Herbert Matter
8 The photographic montage has a graphic vigor signifying the spatial experience of mountain height. Herbert Matter, Swiss tourism poster, 1935.
9 This is a photomontage. It has graphic elements that signify spatial perspective. High and low camera angles accompany dramatic scale contrasts. Swiss tourism poster, (1935) Herbert Matter
10 Figure 16-64
11 Type Design The new typography influenced type design, and a series of sans-serif typefaces were issued in the 1920s. Among the new sans-serif typefaces were Gill Sans designed by Eric Gill Although a sans-serif font, the proportions of Gill Sans stems from the roman tradition. From a documentary on Helvetica Book jacket for an anthology of Dada poetry. Emil Ruder
12 Swiss (International Typographic style) Swiss design has a strong reliance on typographic elements, the new style came to be known as the International Typographic Style. It became the predominant graphic design style in the world in the 70s, and continues to exert its influence today.
13 Visual Characteristics of Swiss: Visual unity of design achieved by asymmetrical organization of the design elements on a mathematically constructed grid. San-serif type is used in a flush left ragged right alignment and visual elements which are clear and factual. Included objective photography and copy that presents information in a clear, factual manner, free from the exaggerated claims of much propaganda and commercial advertising Detractors complain that the style is based on a formula and the results are similar to each other while advocates argue that the formula allows for a perfection of style and results are only limited by the designer s skill. It roots grew from de Stijl, the Bauhaus, and New Typography. Why did these designers use a grid and san-serif type?
14 The International Typographic Style (Swiss) Cons: Critics have complained that is based on formula and results in the same solution. Pros: Others argue that its purity has given the designer the means to achieve a perfection of form.
15 Characteristics of the ITS What modern art movements (or school) can be identified as the roots of the ITS? The attitude developed by this movements early practitioners about their profession is more important than the visual appearance of the work itself.
16 Pioneers of the Movement Ernst Keller He felt that a solution to a design problem should come from the content. Poster for the rietberg museum
17 Pioneers of the Movement Théo Ballmåer poster for an office professions exhibition, 1928 poster for a traveling exhibition of industrial standards, 1928
18 Pioneer of the Movement Max Bill Book cover, 1942
19 Pioneer of the Movement Max Bill Exhibition poster, 1945
20 Functional Graphics for Science Anton Stankowski What was his major contribution to graphic design?
21 Functional Graphics for Science Anton Stankowski What was his major contribution to graphic design? Trademark for standard elektrik lorenz AG, 1953
22 Figure 18-6
23 Figure 18-7
24 Figure 18-8
25 Figure 18-9
26 Figure 18-12
27 Figure 18-13
28 New Swiss San-serif Typefaces UNIVERS Univers is the name of a sans-serif typeface designed by Adrian Frutiger in Classified as a neo-grotesque typeface, one based on the model of the 1898 typeface Akzidenz-Grotesk, it was notable on its launch for its availability in a comprehensive but consistent range of weights and styles.
29 New Swiss San-serif Typefaces Adrian Frutiger Univers font
30 New Swiss San-serif Typefaces Adrian Frutiger Univers font What is the important characteristic of Univers? Adrian Frutiger, schematic diagram of the twenty-one Univers fonts, 1954
31 New Swiss San-serif Typefaces HELVETICA Designed in 1957 by Max Miedinger, Helvetica s design is based on that of Akzidenz Grotesk (1896), and classified as a Grotesque or Transitional san serif face. Originally it was called Neue Haas Grotesque; in 1960 it was revised and renamed Helvetica (Latin for Switzerland Swiss )
32 New Swiss San-serif Typefaces Edouard Hoffman It was developed in 1957 by the Swiss typeface designer Max Miedinger with Eduard Hoffman. Edouard Hoffman and Max Miedinger, Helvetica typeface, 1961
33
34
35
36 New Swiss San-serif Typefaces What are the differences between Univers and Helvetica?
37
38 A Master of Classical Typography Hermann Zapf He combined a love and understanding of traditional typography with a 20 th century attitude toward space and scale. Palatino, 1950; Melior, 1952; and Optima, 1958
39 Hermann Zapf, page from Manuale Typographicum, 1968.
40 Hermann Zapf, page from Manuale Typographicum, 1968
41 Design in Basel and Zurich Emil Ruder Book cover for Typography: A Manual of Design, 1967
42 Design in Basel and Zurich Emil Ruder What was the main point he stressed in his teaching? Page spread from typography: A manual of design, 1967
43 Figure 18-22
44 International typographic Style (Swiss) Armin Hofmann Poster for the Basel theater production of Giselle, 1959.
45 International typographic Style (Swiss) Armin Hofmann Poster for herman miller furniture, 1962
46 Figure 18-24
47 Figure 18-26
48 Figure 18-27
49 Design in Basel and Zurich New Graphic Design Carlo L. Vivarelli, editor cover for New Graphic Design 2, 1959
50 Design in Basel and Zurich Josef Müller-Brockmann What were his goals for graphic communications? American Books Today catalog cover, 1953
51 Design in Basel and Zurich Josef Müller-Brockmann His photographic posters treat the image as an objective symbol that gain impact through scale and camera angle. Photography amplifies the text, The friendly hand sign protects against accidents. Swiss Auto Club poster, 1954.
52 Design in Basel and Zurich Josef Müller-Brockmann His photographic posters treat the image as an objective symbol that gain impact through scale and camera angle. Red type declares less noise, while the photograph graphically depicts the discomfort noise causes. Public awareness poster, 1960
53 Design in Basel and Zurich Josef Müller-Brockmann The grid, always underlying Müller- Brockmann s designs, becomes visible as a major element in this poster. Exhibition poster, 1980
54 Figure 18-29
55 Figure 18-30
56 Figure 18-34
57 Figure 18-35
58 Figure 18-36
59 Figure 18-38
60 Figure 18-39
61 Figure 18-40
62 Figure 18-41
63 Figure 18-42
64 Figure 18-43
65 Figure 18-44
66 Figure 18-45
67 Figure 18-46
68 Figure 18-47
69 Figure 18-48
70 The International Typographic Style in America Massachusetts Institute of Technology What was a common design element used in the MIT design program? Ralph Coburn, Poster for the MIT jazz band, 1972
71 The International Typographic Style in America Massachusetts Institute of Technology What was a common design element used in the MIT design program? Jacqueline S. Casey, poster for an MIT open house, 1974
72 Figure 18-51
73 Figure 18-52
74 Figure 18-53
75 Conclusion The design movement that began in Switzerland and Germany became international. A growing awareness of design as a logical tool for large organizations after WWII caused a growth in design and visual identification systems.
76 Essay Question Discuss when and where the International Typographic Style originated and the elements that characterize it. Include in your discussion the work of three pioneer designers (Ernst Keller, Théo Ballmer, and Max Bill) and their contributions to the International Typographic Style.
Wednesday, April 6, 16
During the 1950s, an important design movement began in Switzerland and Germany. It was known as the SWISS STYLE or INTERNATIONAL STYLE. Wednesday, April 6, 16 The characteristics of this style are: -
More informationThe characteristics of this style are:
The characteristics of this style are: - Sans serif type - Asymmetrical organization of elements - Underlying grid used to structure page - Objective photography and copy used to present information in
More informationThe International Typographic Style
The International Typographic Style Ernst Keller was one of the pioneers of Swiss design. His work used symbolic imagery, simplified geometric forms and vibrant contrasting color. Poster for the Rietberg
More information3/20/16. International Typographic Style. International Typographic Style. International Typographic Style ARTH 4573 HISTORY OF GRAPHIC DESIGN
ARTH 4573 HISTORY OF GRAPHIC DESIGN Section 9a international typographic style (swiss style) } American Modernism } 1913 } 1930s } The Depression } World War 2 } After the War } } Basel and Zurich, Switzerland
More informationThe Ohio State University, Paul Nini, Instructor
Typeface Poster: Shaina Meyers (undergraduate) The Ohio State University, Paul Nini, Instructor I always have students prepare a written rationale statement for their projects, along with a process document
More informationThe typography. of order EMIL RUDER
The typography of order EMIL RUDER 1914-1970 Swiss typographer, born in Zurich He was professor in basel school of design He founded the international center for the typographic arts in New York in 1962
More informationDesigning Research Posters. College of Art and Design Chris Jackson, Associate Dean Keli DiRisio, Assistant Professor
Designing Research Posters College of Art and Design Chris Jackson, Associate Dean Keli DiRisio, Assistant Professor Size and Orientation If you are NOT using the poster template: Start is with a 48"
More informationDavid Glen Smith. Fonts of Influence
David Glen Smith Fonts of Influence Charlesworth {Charlemagne}. (THERE ARE NO LOWERCASE CHARACTERS) Poster Bodini Helvetica Neue Gill Sans My intentions are to merge a thick poster font with a thinner
More informationPre-Venetian or Ancient Humanist or Venetian Transitional Didone Slab Serifs
Pre-Venetian or Ancient Humanist or Venetian Transitional Didone Slab Serifs 1400 1500 1700 1800 Humanist Sans Serif Transitional Sans Serif Geometric Sans Serif Display Typefaces 1900 2000 Pre-Venetian
More informationTYPE ANATOMY jtittle
TYPE ANATOMY TYPE ANATOMY TITTLE j Serif Typefaces Tt HUMANIST (a.k.a. Old Style ) - Modeled after the roman typefaces of 15 th & 16 th centuries - Closely related to calligraphy and hand movement CLASSIC
More informationHURME GEOMETRIC SANS
No.1 SHARP No.2 ALTERNATIVE HURME TYPEFACE SPECIMEN PRINT SAMPLES No.3 BLUNT No.4 SWASH Hurme Geometric Sans Typeface Specimen 03/20/2013 2 Page heading: Black. 30pt/30pt. Byline: Regular/Bold SmallCaps.
More informationthe streamlining of typography rene koszerowski
the streamlining of typography 1920 1929 rene koszerowski poster for sixtieth-birthday exhibition of kandinsky herbert bayer 1926 the streamlining of typography 1920 1929 contents pages 1900 1909 1
More informationDESIGNING THE PAGE FOUNDATIONS OF DIGITAL DESIGN. Layout composition, the grid and typography. Prof. Eva Machauf
DESIGNING THE PAGE Layout composition, the grid and typography FOUNDATIONS OF DIGITAL DESIGN Prof. Eva Machauf prof.machauf@gmail.com THE GRID The grid is the foundation of all design. Creating and working
More informationHEL HEL HEL HEL VETIC HEL VETIC HEL HEL VETICA HEL HEL ETICA ETIC VETIC HEL VETIC HEL HEL C VETICA ETI- HEL HEL VETI HEL VETICA VETIC HEL HEL VETICA
CA C C CA C C CA Max Miedinger with Eduard Hoffmann C C CA C CA ETI- ETI- L istory elvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at the Haas sche Schriftgiesserei of Münchenstein,
More informationTypography One Project Two
Typography One Project Two Typographic Systems, Emphasis and Hierarchy An important design problem is to aid reader comprehension of information through carefully considered logic, structure and order.
More informationIn your lifetime you ve seen billions of letters and millions of words, yet you might never have consciously noticed the typefaces you read.
In your lifetime you ve seen billions of letters and millions of words, yet you might never have consciously noticed the typefaces you read. Type is important because it is an unconscious persuader. It
More informationDownload Typographic Specimens: The Great Typefaces Kindle
Download Typographic Specimens: The Great Typefaces Kindle Specimens of 38 of the finest type families in the world are brought together in Typographic Specimens: The Great Typefaces, making it an invaluable
More informationThe Evolution of Type. Movable Type: Johannes Gutenberg Early 15th Century
The Evolution of Type Movable Type: Johannes Gutenberg Early 15th Century Studio on Fire: Minneapolis Anatomy of Type cap height cross bar Anatomy n bowl describes g counter ascender finial stem type eye
More informationart 118: intro to communication design // FALL 2011
t y p e specimen Due: Wednesday, November 30 ov e r v i e w A type specimen is a publication, that shows the range of a particular typeface in use. Printers and typographers have produced type specimens
More informationVOICE OF TYPE LECTURE 1
VOICE OF TYPE LECTURE 1 TYPOGRAPHY II COUNTY COLLEGE OF MORRIS PROFESSOR GAYLE REMBOLD FURBERT VOICE OF TYPE As you look at typefaces, analyze their forms, learn their history and learn how to use them
More informationTypography One typeface classification
Typography One typeface classification Why classify? Classification helps us describe and navigate type choices Typeface classification helps to: 1. sort type (scholars, historians, type manufacturers),
More informationGD I // SPRING
GD I // SPRING 2018 1 PROJECT I : TYPOGRAPHIC COLOR Timothy Samara, author of Typography Workbook, defines typographic color as the visual texture of language. It is similar to chromatic color (like green,
More informationBrand Guidelines Solano County Transit (SolTrans)
Brand Guidelines Solano County Transit (SolTrans) May 2018 Table of Contents The SolTrans Story... 1 Brand Elements... 2 Logo Usage... 3 Color Palette... 7 Typography.... 8 Photography.... 9 The SolTrans
More informationLogos. North Dallas Shared Ministries
Brand Guidelines Logos The NDSM logo stands at the center of the NDSM brand. For this reason it must be reproduced and applied with consistency in all of our brand communications. It is essential that
More informationGRAPHIC STANDARDS MANUAL
GRAPHIC STANDARDS MANUAL INTRODUCTION AND GENERAL STANDARDS The purpose of this Graphic Standards Manual is to set forth guidelines that will assist in applying the Active Aerogels Logo to all communications.
More informationLinotype Univers CD for Mac and PC - containing 63 font weights
presented in: Eurostile Roman Find further Font Features in our Font Feature Archive. The Univers family of fonts designed by Adrian Frutiger more than forty years ago is one of the most innovative type
More informationSUCCESSFUL TYPE? Interface Aesthetics
TYPO GR AP HY SUCCESSFUL TYPE? SUCCESSFUL TYPE? TYPOGRAPHY 1 2 TYPOGRAPHY /t 'p gr fi/ n. The art or process of setting and arranging types and printing from them. The style and appearance of printed
More informationTHINGS YOU NEED TO KNOW
TYPOGRAPHY THINGS YOU NEED TO KNOW to prevent your work from appearing amateurish. (p. 151) Only one space after punctuation (p. 152) What is monospaced type? (p. 152) Correct Quotation Marks (as soon
More informationEssentials for Text and Graphic Layout
5. Essentials for Text and Graphic Layout This section provides specific text and graphic guidelines that will help create a unified series of interpretive signs around Humboldt Bay. Text refers to the
More informationChapter 8: Rococo Graphic Design 18 th century
Chapter 8: Rococo Graphic Design 18 th century Romain du Roi (French for King s Roman) The first printing of the Romain du Roi at the beginning of the eighteenth century signified a shift to transitional
More informationThe Visual Scientist Presents Poster Design
The Visual Scientist Presents Poster Design layout fonts science! Hailpern & Danilevsky www.thevisualscientist.com Topics Covered This is a how-to-guide for effectively presenting scientific work in the
More informationB R A N D GUIDELINES
BRAND GUIDELINES You never get a second chance to make a first impression. 01 02 03 INTRODUCTION About the City of New Bedford s brand 5 THE LOGO The Logo and usage 7 Color & variations 7 Clearspace &
More informationTypography Controlling Visual Hierarchy Introduction to Grid Theory Design Consistency
Typography Controlling Visual Hierarchy Introduction to Grid Theory Design Consistency ART-2413 Fall 2017 Typography Controlling Visual Hierarchy Introduction to Grid Theory Design Consistency ART-2413
More informationHow we look. Brand Guidelines version 1.1
How we look. Brand Guidelines version 1.1 TOUCHTUNES Simplicity is the ultimate form of sophistication. Leonardo da Vinci 2 BRAND GUIDELINES This is a guide to the basic elements that make up our brand.
More informationfont pairing FONT PAIRINGS GCEF
font pairing As the saying goes, type is a beautiful group of letters, not a group of beautiful letters. ~Matthew Carter image as a designer ASSETS and type Two Functions of Type In order for your type
More informationBrand Guidelines. Version 1 / May 2016
Brand Guidelines Brand Guidelines 02 Contents 01 Introduction 03 02 Identity 04 02.1 The Hadrian s Wall World Heritage Site logo 04 02.2 Exclusion zone 05 02.3 Separated logo 06 02.4 Non UNESCO logo 07
More informationtypography Typography is what language looks like.
typography Typography is what language looks like. typography Typography is what language looks like. One thing absolutely necessary for working with type is knowing its history: what came after what and,
More informationA Crash Course in Typography: Principles for Combining Typefaces - noupe
A Crash Course in Typography: Principles for Combining Typefaces Cameron Chapman When combining typefaces, there are a couple of important principles you ll need to keep in mind, namely contrast and mood.
More informationUnit 4. Multimedia Element: Text. Introduction to Multimedia Semester 2
Unit 4 Multimedia Element: Text 2017-18 Semester 2 Unit Outline In this unit, we will learn Fonts Typography Serif, Sans Serif, Decorative Monospaced vs. Proportional Style Size Spacing Color Alignment
More informationFont classification review
Font classification review Taken from Lettering & Type by Bruce Willen Nolen Strals Old Style Transitional Modern Slab Serif Garamond ag Baskerville ag Bodoni ag Cowboys ab Sans Serif Gill Sans ag Decorative
More informationTypography. is the foundation of good web design
Typography is the foundation of good web design my name is Samantha Warren I am a web designer for Viget Labs I teach web & graphic design at the Center for Digital Imaging Arts at Boston University &
More informationunderstanding typography
understanding typography What is typography?! it is what language looks like! it is the art and technique of modifying type and arranging it on a page What does the arrangement of type mean? the arrangement
More informationCORPORATE GRAPHIC STANDARD GUIDELINES. Revision: 07/17/2014
CORPORATE GRAPHIC STANDARD GUIDELINES Revision: 07/17/2014 Graniterock Corporate Graphic Standard Guidelines 2 INTRODUCTION The Graniterock logo and graphics are an important part of our Company s identity.
More informationTypographic. Alphabet. Book. Interactive PDF of typographic rules & terms YOU NEED TO KNOW. Home. Table of Contents
Typographic Alphabet Table of Contents > Rules That Every Typographer Should Know... 2-3 Book Interactive PDF of typographic rules & terms YOU NEED TO KNOW > Baseline... > Gutter... > Hierarchy... > Kerning...
More informationBRAND GUIDE L I N E S
BRAND GUIDE LINES NETWORK OF COMMUNITY MINISTRIES SIMPLICITY IS THE ULTIMATE FORM OF SOPHISTICATION. Leonardo da Vinci 2 BRAND GUIDELINES THIS IS A GUIDE TO THE BASIC ELEMENTS THAT MAKE UP OUR BRAND. IT
More informationDigital Media, UX-UI Design > Website Principles
Contents At a glance: Page layout header To ensure the correct appearance of our brands in a broad spectrum of applications with a web front end, uniform treatment of design elements is an absolute necessity.
More informationCOPY/PASTE: Allows any item within a document to be copied and pasted within the same document or within compatible software applications.
You will need to understand basic terms and techniques used in DTP, as well as file types used within DTP and their advantages and disadvantages. This is separate from Elements and Principles of DTP which
More informationGraphic Design (Including Yearbook and Newspaper)
Graphic Design (Including Yearbook and Newspaper) Classes provide photographic instruction plus emphasizing hands-on graphic design industry skills. Using imac computers with digital SLR and bridge cameras,
More informationJABRA CORPORATION GRAPHIC STANDARDS MANUAL
JABRA CORPORATION GRAPHIC STANDARDS MANUAL A simple reference guide for how to use the JABRA Corporation logo in real-world communications applications. INTRODUCTION Corporate image is a valuable asset,
More informationGraphic Design. shawacademy LESSON 5. summarynotes INTRODUCTION TO TYPOGRAPHY. For further questions visit us online at:
shawacademy Graphic Design LESSON 5 INTRODUCTION TO TYPOGRAPHY summarynotes The Diploma in Graphic Design Toolkit For further questions visit us online at: www.shawacademy.com Lesson 5 S shawacademy Lesson
More informationsection four typography contents introduction...44 helvetica neue...45 bodoni...46 examples of type usage...47 body text examples...
section four typography 43 contents introduction...44 helvetica neue...45 bodoni...46 examples of type usage...47 body text examples...48 introduction Consistent application of type fonts and styles allows
More informationUTILITY TRAILER MANUFACTURING COMPANY IDENTITY STANDARDS GUIDE
1 TABLE OF CONTENTS LOGO OVERVIEW Corporate Logo General Corporate Logo / Tag line Aftermarket Parts Logo General COLORS Corporate Colors Corporate Logo Color Specifications Corporate Logo / Tag line Color
More informationcorporate identity guidelines
Seilevel Corporate Identity Guidelines Introduction 1 Preferred Signature and Components Logo Space and Minimum Size Signature Variations Color Palette Typography Signature Misuse 2 3 4 5 6 7 corporate
More informationOCA Graphic Design: Core Concepts 1 Assignment 5 - Penguin Books Jane Braybrook Jane511794
OCA Graphic Design: Core Concepts 1 Assignment 5 - Penguin Books Jane Braybrook Jane511794 Supporting Blog Post: https://jane511794.wordpress.com/category/assignments/assignment-5/ Critical Evaluation
More informationTypefaces are character sets based on distinct design characteristics.
Level 3 WGHS VISUAL ARTS 2011 ART DESIGN Typography An Introduction to Type Type Design Since the first recordings of letterforms the concept of the typographic form has evolved into a seemingly endless
More informationDIGITAL PRINT DESIGN (568 )
DESCRIPTION Create and produce digital print projects that communicates and promotes graphic communication. Develop knowledge and skills relative to the graphic design & printing industries. Includes:
More informationBrand Guidelines. Brand Guidelines. Keeper Security, Inc
Brand Guidelines rev 9.21.17 Keeper Security, Inc. 2017 Keeper Security, Inc. 2017 1 Don't Get Hacked. Get Keeper. The Leading Secure Password Manager and Digital Vault for Businesses and Individuals.
More informationGraphic Standards. Scope: CITYWIDE. Policy Contact Amy Williams, Communications and Media Manager, (916) ,
Graphic Standards Scope: CITYWIDE Policy Contact Amy Williams, Communications and Media Manager, (916) 808-5014, awilliams@cityofsacramento.org Table of Contents 1- Policy 2- Graphic Standards Manual Regulatory
More informationTYPOGRAPHY. ascender arm (as on the capital T) descender bar (as on the capital H) counter ear (as on the lower case g and r)
TYPOGRAPHY Parts of letters: base line x-height ascender arm (as on the capital T) descender bar (as on the capital H) extenders bowl counter ear (as on the lower case g and r) serif stroke tail (as on
More informationHISTORICAL INFLUENCE TESS PEREYO WEINGART
WOLFAN HSTORCAL NFLUNC TSS PRYO WNART CONTNTS 1. NTRODUCTON 2. RSARCH 3. SKTCHS 4. TRATONS 5. FNAL 6. DFNS NTRODUCTON This project was inspired by AA gold medalist Wolfgang Weingart for his accomplishments
More informationProducts At Home for Skin, Hair & Body Care: A Step by Step Guide & 70 Simple Recipes for Any Skin Type and Hair Type Designing Type Lettering &
Designing Type PDF One of the most essential tools of graphic design, typography influences the appearance of visual print materials perhaps more than any other component. This essential book explains
More informationCONTENTS. The Brand 3. Logo 4. Alternative Looks & Tagline 6. Color 9. Logo Usage 11. Typography 12. Web 13. Divisions & Departments 14
BRANDING GUIDE CONTENTS The Brand 3 Logo 4 Alternative Looks & Tagline 6 Color 9 Logo Usage 11 Typography 12 Web 13 Divisions & Departments 14 2 THE UPCI BRAND DESIGN PHILOSOPHY 1. THE GLOBE Since the
More informationINTRODUCING THE Transition family
INTRODUCING THE Transition family A TYPFACE DESIGNED BY JAN ERASMUS CIRCA 2006 INFORMATION GUIDE RELEASED AND DISTRIBUTED BY: Cybergraphics.bz ALSO DISTRIBUTED BY: Fonts.com Linotype.com ITC.com Transition
More informationBRAND & LOGO GUIDELINES SOCKET MOBILE. - Logos - Social Media - Web
BRAND & LOGO GUIDELINES - Logos - Social Media - Web SIMPLICITY IS THE ULTIMATE FORM OF SOPHISTICATION. 2 BRAND GUIDELINES THIS IS A GUIDE TO THE BASIC ELEMENTS THAT MAKE UP OUR BRAND. IT WILL LET YOU
More informationDMD DIAMOND, BRAND GUIDE ISSUE 01: DESIGN MANUAL CREATED FOR: DMD DIAMOND DESIGN AND BRAND GUIDELINE BOOK
DMD DIAMOND, BRAND GUIDE ISSUE 01: DESIGN MANUAL CREATED FOR: DMD DIAMOND DESIGN AND BRAND GUIDELINE BOOK CREATION DATE: FEBRUARY 2018 ISSUE 01: BRAND GUIDELINE CREATED FOR: DMD Diamond www.bit.diamonds
More informationcommunication design and the web John Zimmerman HCI Institute and the School of Design, Carnegie Mellon University 17 November 2010
communication design and the web John Zimmerman HCI Institute and the School of Design, Carnegie Mellon University 17 November 2010 goals for today explore communication design familiar with basic principles
More informationDesign Principles. Advanced Higher Graphic Presentation. Professional Graphic Presentations by kind permission of
Design Principles Advanced Higher Graphic Presentation Professional Graphic Presentations by kind permission of Design Principles:- Balance Balance in Composition Three different types of balance :- *
More informationPart 01: Logo, Typography & Colours. Brand Identity Guidelines 2015
Part 01: Logo, Typography & Colours Brand Identity Guidelines 2015 At a glance Logo Typography ITC Caslon No. 224 Univers Georgia Arial The core elements of the Arts Council identity makes our brand instantly
More informationMoviePlex Graphic Standards 02.06
MoviePlex Graphic Standards 02.06 Contents Logo Elements Unnacceptable Logo Usage Clear Space & Sizing Color Variations Background Control File Structure 3 4 5 6 7 9 Color Specifications Typography 10
More informationCorporate Identity Style Guide. April 2014
Corporate Identity Style Guide April 2014 Table of Contents Our Signature 1.0 Restrictions Legibility 2.0 Color 2.1 Usage with Photos 2.2 Color Palette 3.0 Typography Primary Type 4.0 Websafe / Alternate
More informationName: Class: Teacher:..
Name: Class: Teacher:.. Introduction Desktop publishing (DTP) is the process of designing newspapers, magazines, books, leaflets, booklets and reports on a computer. The industry that produces these items
More informationStyle guide.
Style guide www.nam.org Logo Orientation The orientation of the Manufacturing Institute logo is shown below. The base line of the logo mark and typography should be aligned. The logo mark and typography
More informationManuale Typographicum By Hermann Zapf
Manuale Typographicum By Hermann Zapf If you are searched for the ebook by Hermann Zapf Manuale Typographicum in pdf format, then you have come on to correct website. We presented the utter variant of
More informationBaskerville. abcdefghijk For fun I like to jump cars while reading a quote by Albert Einstein.
serif Baskerville page 2 Baskerville page 3 Baskerville Baskerville Regular 26/28 while reading a quote by Baskerville italic 26/28 quote by Baskerville Semi bold 24/30 quote by Baskerville bold 24/26
More informationOur New Corporate Design
Our New Corporate Design Dear Colleagues, At Henkel we have a clear vision for the future of our company, we align our actions to the same values, and share within our organization a unique corporate culture.
More informationVisual Identity Standards
Visual Identity Standards 12.0 Presentations Information and inquiries: University Relations brand@ucalgary.ca Visual Identity Standards 2 12.0 Presentations 12.01 Introduction 12.01 Introduction 12.02
More informationjasonjuwono twentyfifteen TYPEDIA _ Typography Encyclopedia
TYPEDIA _ Typography Encyclopedia ANATOMY_ Anatomy of a typeface Anatomy of a typeface What is a Font & Typeface? A design for a set of characters. A font is the combination of typeface and other qualities,
More informationSTYLE GUIDE. Introduction. Fresh Tradition
Fresh Tradition The visual identity is simply one element of the brand. Yet, it s your introduction to the community. Use it thoughtfully to epose a long-standing tradition of ecellence, engaging students
More informationVisual Identity Standards
Visual Identity Standards Introduction The College s identity is a valuable asset that everyone has a responsibility to protect by managing its use. These guidelines have been established to assist the
More informationOur Look Book. BRAND GUIDELINES VERSION 1.0
Our Look Book. BRAND GUIDELINES VERSION 1.0 SIMPLICITY IS THE ULTIMATE FORM OF SOPHISTICATION. Leonardo da Vinci 2 BRAND GUIDELINES THIS IS A GUIDE TO THE BASIC ELEMENTS THAT MAKE UP OUR BRAND. IT WILL
More informationUNIVERSITY HOUSING COMMU- NICATION GUIDE TO DESIGN
UNIVERSITY HOUSING COMMU- NICATION GUIDE TO DESIGN INTRODUCTION Hello and welcome to the University Housing Communication Guide to Design! In this book, you will find various guides to help you enhance
More informationFerrysavers Brand Guidelines
2 Contents 3 4 5 6 7 8 9 10 11 12 13 Introduction The Ferrysavers Logo Protecting Our Master Logo Incorrect Master Logo Application Ferrysavers Family Logos Typography Print Typography Digital Typography
More informationPrimary Logo. Corporate logo - primary. The centered logo is only to be used when the length of the common logo is problematic for an application.
Primary Logo Corporate logo - primary The elements of the logo may be arranged in two predetermined configurations: the primary logo (which also has a small version and the centered logo. The centered
More informationProject 2 reminders: Hand in your typed book summary/response at end of class today. Make sure to include your name and section.
Project 2 reminders: Hand in your typed book summary/response at end of class today. Make sure to include your name and section. Project 2 reminders: First book cover critique this Friday. Bring 3 book
More informationSCOTTISH SWIMMING Visual Identity Guidelines 05 February 2015
SCOTTISH SWIMMING Visual Identity Guidelines 05 February 2015 SCOTTISH SWIMMING VISUAL IDENTITY GUIDELINES This guide is a tool designed to help us project the values and vision behind the Scottish Swimming
More informationEverything Emoji Inc Brand Guidelines 2015
Everything Emoji Inc Brand Guidelines 2015 Contents Mission Statement Logo Logo Styles Exclusion Zone Logo Sizing Color Palette Typography Restrictions Applications Contact Mission Statement At Everything
More informationKnightswood Secondary School. Graphic Communication. Desktop Publishing otes. Auto Tracing
Auto Tracing The process of converting a bit mapped image into a vector image. In a bit-mapped image, each object is represented by a pattern of dots, while in a vector image every object is defined geometrically.
More informationCorporate Identity Guidelines
Corporate Identity Guidelines CONTENTS 1.0 TRADEMARK Watco Companies Logo Logo Clear Space Logo Variations Project Logos Proper Logo Use 03 04 05 06 07 08 2.0 TYPOGRAPHY Type Family 3.0 COLOR Brand Color
More informationThe 3 C s of Design COMPOSITION COMPONENTS CONCEPT
The 3 C s of Design The 3 C s of Design COMPOSITION COMPONENTS CONCEPT COMPOSITION (Principles of Design) The way in which the components of a design are visually combined and arranged. COMPONENTS (Elements
More informationIDENTITY GRAPHIC STANDARDS MANUAL
IDENTITY GRAPHIC STANDARDS MANUAL TABLE OF CONTENTS Identity Graphic standards manual v1.0 Table of Contents 1 Introduction and Importance of Graphic Standards 2 Logo System 3 Primary Logo and Variations
More informationLogo Style Guide. February 20, 2008
Logo Style Guide February 20, 2008 Table of Contents Communicating the Plexera Brand. 1 The Plexera Logo. 2 Using the Plexera Logo. 3 Color Palette. 4 Logo Don ts. 5 Typefaces. 6 Product Naming Typography.
More informationVisual Design and Imaging Alignment
Visual Design and Imaging Alignment This document contains information about four Career-Technical Articulation Numbers (CTANs) for the Visual Design and Imaging Alignment Career-Technical Assurance Guide
More informationGraphical Screen Design
1 Graphical Screen Design Grids are an essential tool for graphical design Important graphical design concepts include visual consistency visual relationships visual organization legibility and readability
More informationMINI BRAND GUIDELINES
MINI BRAND GUIDELINES 9.18.17 TABLE OF CONTENTS SECTION 1 Introduction 3 SECTION 4 The Hamline Logo(s) & Seal 5 SECTION 5 Colors 16 SECTION 6 Typography 20 Questions about how to use this brand guide?
More informationSynopsis This module introduces calligraphy, the basic principles of typography, and applications of typography.
8. Typography Synopsis This module introduces calligraphy, the basic principles of typography, and applications of typography. Lectures 8.1 Calligraphy 8.2 Basic Principles of Typography 8.3 Typography
More informationMODULE CM 2004 / STAGE 2 / SEMESTER 2 / SESSION Module title Design Principles and Context
MODULE CM 2004 / STAGE 2 / SEMESTER 2 / SESSION 06-07 Module title Design Principles and Context Typography Fonts are classified under the following headings. Old Face fonts make use of contrasting wide
More informationFriendly Fonts for your Design
Friendly Fonts for your Design Choosing the right typeface for your website copy is important, since it will affect the way your readers perceive your page (serious and formal, or friendly and casual).
More informationIdentity Standards Guide A guide to consistent use of brand elements
08.01.04 A guide to consistent use of brand elements Contents 1 Introduction A cohesive identity system increases and strengthens our visibility to all audiences customers, partners, and prospects. Applying
More informationVeto Font Family (Linotype Library) - consisting of 8 font weights
Document published and visible in internet. MY ACCOUNT / LOGIN presented in: Marathon Book FONT LOUNGE > For a larger view please click on the image Back to Unobtrusively italic Veto is a functional font
More informationWEB TYPOGRAPHY FOR WEB DEVELOPERS. Matej Latin Lead UX/UI Designer at Autotrader.co.uk
WEB TYPOGRAPHY FOR WEB DEVELOPERS Matej Latin Lead UX/UI Designer at Autotrader.co.uk 1 A MEANINGFUL WEB TYPOGRAPHY STARTER KIT 2 Most people think typography is about fonts. Most designers think typography
More information