eS ee ails Fundamentals of Creative DTeste lt Pee ere a Con ad Pg ae era ee erecta) through detailed explanations illustrated with exemplars from eee apseston contents 6> Introduction 8> Formats & 30> Layout printing techniques Whether for print The many shapes, oo screen, the sizes and fold fundamental patterns available principles of page for printed matter layout enable the extend design controlled and possibilities, visually appealing help achieve placement of differentiation graphic and text and can enhance elements within a usability given space, creating hierarchy and order T> How to get the most 10> 180 paper sizes 32> layout out ofthis book 12> leternress 44> golden section & 16> hot metal ype ‘Bopacel Humber 20> print finishing Baa C20 24> image resclution 28> choosing a page size “The Frais of Crate Deson Com56> 58> 62> a> 66> 72> 78> 24> 88> 90> 96> uae ne> as> 20> Typography The principles of ‘typography have existed for centuries, but the ease of use and the ever increasing possibilities of the digital age, mean they have never been more important ‘ype kerning & ligatures leading typhenation, justification & tracking modernism post modernism anatomy of a typeface ‘ype personality ‘ype as image classification systems special characters fratiger's grid extended type families ‘ype detailing 126> Image 30> 16> i> 1as> 52> Type and image have long been the basis of visual communication, a potent relationship that can elicit a multitude of meanings colouring images bouncers/shiners ink trapping ‘mage manipulation moving image The Funda of Cte Dain Ces 154> Colour 158> 160> 62> 16> 70> a2> a> ae> Creatively used, colour can increase visual appeal. An understanding of the principles of colour association equips a designer to reliably control colour usage and maximise its impact four-colour tints specials understanding colour colours controlling colour conclusion glossary of terms An explanation of useful terminology contactsintroduction CREATIVE DESIGN IS IN SOMETHING OF A GOLDEN ‘THE FUNDAMENTALS AGE. NEVER BEFORE HAVE THE OPPORTUNITIES neste AND OUTLETS BEEN SO BROAD AS SOCIETY CONTINUES ToEquiP PEOPLE TO BECOME VISUALLY RICHER AND MORE ADVENTUROUS, ie AND TECHNOLOGICAL DEVELOPMENTS CONTINUE TO ESTABLISHED TENETS Insori ADVANCE THE FRONTIERS OF THE VISUAL WORLD. WE LIVE inca INA MEDIA-RICH AGE, ONE IN WHICH WE ARE BOMBARDED DESIGN. PROVIDING FROM ALL SIDES BY FINELY TARGETED NICHE PRODUCTS So AND SERVICES, EACH STRIVING TO GRAB OUR ATTENTION FUNDAMENTALS, THROUGH THE ARTISTRY OF THE GRAPHIC DESIGNER. WE EMIANCED WITH ARE SURROUNDED BY THEIR OUTPUT IN BOTH PRINT AND PRACTICAL APPLICATION ELECTRONIC FORMAT FROM ADVERTISING BILLBOARDS, THROU canes SHAMPOO BOTTLES AND MAGAZINES TO TELEVISION AND Sees THE INTERNET. Bonk oFFeRs A UNIQUE RESOURCE TOALL WITH SO MUCH VYING FOR OUR ATTENTION, GETTING Js okanatineetedl NOTICED IN THE VISUAL MORASS AND QUICKLY oF THe GENERAL CREATING A GOOD IMPRESSION IS BECOMING epee INTEREST INDESIGN. INCREASINGLY DIFFICULT. AT THE SAME TIME, TECHNOLOGY IS DEMOCRATISING CREATIVE DESIGN AND MAKING IT EASIER FOR NON-DESIGNERS TO PRODUCE CREDIBLE WORK. AS A CONSEQUENCE, A SOLID GRASP OF CREATIVE DESIGN FUNDAMENTALS IS OF PARAMOUNT IMPORTANCE TO PRODUCE EFFECTIVE AND EYE-CATCHING DESIGNS, A SOUND FOUNDATION FROM WHICH CREATIVITY CAN FLOURISH 6 The Fenton of Cea Omigt odinhow to get the most out of this bookFormat is the shape and size of the final product whether it is a book, magazine, brochure, or package. Format selection is an area that is often neglected due to the ISO (International Organization for Standardization) series of paper sizes, based on a rectangle with sides ina ratio of 1:1.4142. This series provides a benchmark range of proportionally related paper sizes that, in effect, means thata designer does not have to give his or her full consideration to format. The existence of a standard range of sizes gives a degree of uniformity for all involved in print production. However, the design brief may call for something different. Format selection is typically embroiled in the practical considerations such as who the target audience is, the nature of the information to be presented and the budget as non-standard paper sizes will be more expensive to print and finish. That said, a creative approach to format selection can produce dramatic results. With a variety of folding options available the designer has additional creative possibilities that can have a pronounced affect on the resulting product whether it is an annual report or a magazine insert. Format concerns thepysial ‘dimensions of te product and the space ane has topes the ‘graphic elements ofa deste. ‘This seton vl explore baw the shapes, sae ano fold patterns can be used in he achive iferentiason, Format isreeainaney concerns ‘th printmeia though certain aspectscan be applied to the design of ets panels pop-up boxes and ote on ‘Sereen component.Section ISO paper sizes Standard paper sizes provide a convenient and efficient means for designers, printers and others involved in printing and publishing to communicate product specifications and keep costs down. Standardised paper sizes can be traced back to 14th-century Bologna in Italy where the outlines for four paper sizes were given to guide local paper manufacturers. 0 1188 x 40mm AL= 840 x 59dem A2= 596 « 420m 130 420 « 297mm sigos AG 297 x 2100 AS= 210 « 1485 b= 148.5 x 105mm & ‘The Foden restive Design ‘Toe meseen 180 (International Organiza for Standardization ape sizes syste is based on an obseraton by German pes pressor Georg Chvstoph Lichonberg who in 1786 Sa the adrantages of paper sizes having a higt-o.ih rati of the square oot of two (1.4142). Paper with tis Lichtenberg ratio will maintain ts aspect rato when ct in a. France waste frst couty to adept paper sizes quale to ‘modern 180 sits wth a sued in 1798, Today, Canals and SR ar the ery installed countries ht do not ue the 150 sytem, ‘The ISO sizes are based on te metre system using the square- oat ofa clio wih format AO having anaes of one square metre, As is does not alow the page height and wth to be Founded metric lengths te area of the pages en dined have a rand metre valu, which simp calelation ofthe eight ofa dcumen frm x nunter of pase a8 paper's ally spect in gv The series comprises a vane of paper sis ha ies from the next size by a actor eter 2 Bere sats are Itemmiate 26s an C series sizes are for mvelipes that can tain sine stationery. RA and SRA stack sizes are sheets of age rom which & sie canbe et ‘The theory that underpins his derives from Fibonacel Numbers 2d the Golden Section which are asesse inthe Layout chapter E- Formats & rng eisenh or Mra coarse ian See He ad Straon Das HE: Suds preted Yeaeten Dees ieee) ot uta ie ie Maree ee brea Ua cea ee Mec tener Ute) ees gives you a more Nees eeu So eae) Sets ene Romeo Die as acskirs eae] eee esd Gries Mercnant a The Fdanevals Create Design 180 apr sies,letterpress Letterpress is a method of relief printing whereby an inked, raised surface is pressed against the paper. It was the first commercial printing method and is the source of many printing terms. The raised surface that makes the impression is typically made from pieces of type, but photoengraved plates can also be used. Letterpress printing can be identified by the sharp and precise edges to letters and their heavier ink border. Adee of etre ic ‘This defect canbe usd to appealing to modern foe nostalgia for a bygone designers. When improperly era The eres-inpired bill Inked, patches appear In posters for the Royal Academy the lets giving tem a ‘of Ars (op right) designed by uniqueness, where ech Alot Meat Viekers » BEDO Impression i suly were stand primed by Forme ferent (ee bel). London sing an smsture of orignal oad Jddddd 2 The Fumento of Ceti Desig Formats & prin chsPRESENTS aveuUsTS ROUNDS |S BATTLE OF THE HEAVYWEIGHTS=| “The Furcal Crea esi ‘The President and Couneil Cf te Royal Academy of Arts Invite you to the Press View ooo: artat tho Groserouds Soe tenTHE PREHISTORY OF SEX L LONGITUDE o=e5,!! 3 Sats SSseeqq er seseeares STISsection 2 hot metal type Hot metal, also known as hot type composition or cast metal refers to the process of casting the type in lines in molten metal. Text is typed into a machine to produce a punched paper tape that controls the characters cast by the casting machine. Hot metal type made it possible to create large quantities of type in a relatively inexpensive fashion. Movable ype Movable ype was th next leap frm te east printing presses ‘mat used a wooden back carved with te text. This speeded up production of ndvidual pages but meant anew beck ha tobe ‘carwafor ech page. Movable ye sa ypeseting meted that essing picts of pe that an e set in ablock and rites. ach characters rowable and ean be wed again Shoulder Polat szeody Bert ‘Shank Nick, wel by locate one of ype oat wistiSet w “he Foals of Cave Design Alexander McQoten ws inspired by State Kubrick's fil, ‘The Shining fora lasion show and created anise to ate. This ‘ns printed by letras nar t imart a Hey inde ints the ‘substrate to give the impression that eat inte was inually ‘ype ena typeriter. The vite mimics he All wok ano lay rakes Jack al boy’ seen. Design: Stutio Myerscoun, pining by Forme LandonAnd now for something completely different... s soft as Charlie Chaplin fluttering his love- I as the Three Stooges poking each other's eyes out. deft as Groucho Marx verbal napalming of art indeed, fr-and prnlcitlinagra of que mealies qui -wogdesfalneren have us love it. We laugh; and as Herman Melville’ Billy Budd said, laughter is good. ‘hemo ati yaLtt an oppsite: Te iret Below: Thematic deals a th see rk simpe dels against ato, colour ist Century Classis the he warning scker on a applane pe or representing the ines Brief To create a seis of ul-pane dplay advertisement to appear Process stars (see opps page primarily aio franca constrains at ment there was no husat for poteraany. In an Insy tha promotes its procts wth shatsrany, tiring to an latrative a sign as eulte a depart bt one that enabled te company stand eat from ater prodoer cf frit, The line art taal Pisin clour sekaroun focuses he views attention on lings of funiture without the traction of Result 18 The Fundamental rate Design Formate & rin tenessectan 2 print finishing onsenreme image Embossing apf eben. Heat stamp, hot stamp, block print, foil stamp Monachrem image with 0% shiner an enlrevaish Die cut Ade Spot varnish Svar a luvs hat buthserve a protectin aang tna rind strate andentances is appearance. tea be pli o the whole pagear specie parts via separate patna See poes17, 20,21, 26,25, 26, 2,32 UV coating ‘UY costing ea aus apolie to prints setae that stones ithultraviclet ight tis applied inthe ame way asa sootGt i eorryesy Ptr ry coLert i AF f f f £ ives ; cierert rie nerenicie f Fi / 44 oF Py te 7 | C TET 1 NULLA Fat is) Reverse af Sui AS busines car, showing te impression ofa heavy debos, Lor psu, the default ray ex: eften used when designing intl ages becomes te fil printed pec, wit a Nahishted ‘and Sof the sto enti, Design: Gavin Ambroseat: Lamy farclo-taed Cas dese tect or | Pedra Cars 2008 eter calecon. thick gto {cep the sl acy the swatch-like package is ’ encoed wing asi bot Fear, irevina tat the covers re oth ese snd ren Design: clase a ‘The Funan of Crstiv Design Prt EigSection 2 image resolution The spacing of the pixels in an image will determine the resolution of the image. This is measured in pixels per inch (ppi), also called dots per inch (dpi). The higher the resolution, the more pixels in the image. A higher resolution meansan image can contain more information and so detail and colour transitions can be recorded in greater quantity. Conversely, at a low resolution, where insufficient information has been recorded, an image may appear pixelated. The number of pixels in an image is fixed, which is why resolution decreases as an image is enlarged. Monitors have a resolution of 72 dpi, which is why most Web graphics are produced at this resolution. Low-resolution images are also quicker to download, This is an inappropriate resolution for a printed image, Some magazines will print at a minimum of 300 dpi, but high-end imagesetters can print at 1,200 dpi, 2,400 dpi, or more. Phils Vectors ‘an image made of pine wl only reproduce corresty at a ‘As vectors ae a mathematical proces they canbe enlarged Certain sie, Ary enlargement il cause a decrease in qualiy lniey without oss of quality or resolution. This 2000% The mage Glow isa 300 dl at 100%, ana t the rat s& tnlargoment of a section ofthe poster on sage 19 demonsirates lower elton 72 dp inane enlarged tothe sae 338 shoving the cary of type and tne at such magneton. ‘he degractian a quay ” ‘The Funes of Cee Osi Fae & prio cnet‘Outer cover for Jeo ‘Apple Ars Prize 2002 Texts cataloque. A sila tow of pies are slangated to eeate an abstract image. “The ambiguity of he resulting graphics uses _asan overall enti to the ele, rather than focusing on a single piece of work, Desig: NB: Staos | Tre Funnels Crenve Design nage ltsestin2 royal college of art Result A literate ite tat uses simple atiralies colour ats Fete ensuch ta arsommadate varying Brief Redesign ofthe Critical & Mitorical Studies Lecture Series iterate tail fd Cale oP Since strut The umber of lectures — nile enelstncy and fiat a Process, Each ose ore Below: The fees provide oh ‘he Infermat on tobe pase ste to ways! eg 0 sper- They use the pss! ne pag nt sale panes! upon wie th lg The Fncamenis of rate Deon Fors & itn tetasTe ardent of Cate Design rienlier 320 Ria tnsige of cent ut seater Te brochures were finshed on a 16-page folder tat ves one parallel feld and two voht-anale fl. This is a format more anmans ie for trersporation ethasule maps for eample 2000 LECTURE SERIES Osi GaloreSection 2 choosing a page size Theoretically, a designer can use whatever size page he or she likes although the visual impact may be questionable. A body of theory has developed that divides and defines the space on a page that is logical, easy to work with, and more importantly, gives, proportions that are easy on the eye. For the designer, having a variety of page sizes at his or her disposal with appealing proportions saves time and provides a sound starting point for any design. Page site Lets classe layout pioneered by Geran ‘ypogragher Jan Tshicold (1902-1974) based on a age size with proportiens of 223, The spine (a) and ea (©) marcns are pastored faa nin of he page. The Silicity of this page s create by the spatial relatonsips that ‘contain’ the tent bloc Although a desires free tw chose any page sz there ar practical and econamic nideratione tat wil Jilugne tat eee, even 25 paper wastage and the ast of tng nor-standard ‘Snes. Th enistnce of 180 ‘lntematienal Orgaizatin {or Stansordizatoed paper izes provides range of be unacreturus, nevertheless ‘ors aris reel avallabe “The arid renee harmonious rosario: he imor marin () shalt he sz of the eter margin 2), wile See 180 ‘he eign ofthe txt Bock (@)is equal the width of E Sepa Layout developments Jan Tsehchold left Germany in 1933 and worked in Swizerand 2s 2 typographer nt 1946, Getwesn 1546 and 1949 he ved and ‘worked in Eland overseeing the typographic adesign of the fast expanding publisher, Penguin Books. For cversthooand years pae sis have been constructed sng entaors, hexagons, actagons,crls, squares ard tenes. Early Scribes an ypagraphers, infloenced by organic phenomena such the Fexaznal constuction of honeycomb to te pentagonal suctres found inthe growth of les used these shapes asthe bass of page ‘Sues. In turn they were the bias of determining te active area on ‘the page within whieh the text and araptics wil be position. Py ‘he Fundamentals of Create Design Fema & prion cenuesPage size generation 1-Tall Pentagon Layout ‘Above: The Tall Pentagon age i constructed by vertically secting a rotates pentapon “Ths esa page size that hen doubed create double. age soreat. 2 Truncated Pentagon Layout 3 Short Pentagon Layout “he Fundarertas of Crave esa ‘Above: The couble-page spread is then ‘4ssected from bottom et a tp iat, ‘ttm eat 0 tp et, bottom et a tap ‘ene and totiom right ot ene The aad and sine wis ar ten inserted to complete te ncesary anchor points for ‘the tet block. These are esl Based! on isin ofthe height a tel SI PE bore: The resting layout gives a bse Indication ofthe poston fo the min bady ey or tet black. ‘This process canbe repented to create ciflerentaae formats using iflerent areas of the same pentagen (se beneLayout is the arrangement of the elements of the design in relation to the space that it occupies according to an overall design scheme. This could also be called the management of form and space. The objective of layout is to present the visual and textural elements that are to be communicated in a manner that enables the -eader to receive it with the minimum of effort. With good layout, a reader can be navigated through quite complex information in both print and electronic media. Layout addresses the practical and aesthetic considerations of the job in hand such as where and how the content will be viewed, regardless of whether the final format is a magazine, website, television graphic or bottle of bubble bath. Positioning of the various elements in the layout is guided by use of a grid, aseries of reference lines that allows quick and accurate placement of items that ensures a consistent visual identity from page to page, or item to item across a range of products. Layout, guided by a rican srsigtiackt shat ete tie seign and obstructs te sche a lanes lok re twapege, whienmeans thee vil be occasions when you ave ta res with the confines sf erie. This wection il ‘ipiain she fongemertal of rid usage and explore varius grid pattrns canbe ‘sed to present ferent types ef nferratnSection 3 layout Layout is the positioning of elements on a page. How this is done has a dramatic influence on visual impact and how effectively information is communicated to the reader. Layout is influenced by the material that is to be presented, the wishes of who it is being produced for, and of course, the creativity of the designer. Most designers use a baseline grid of varying degrees of complexity to assist in the placement of the elements and provide some kind of order. The bore ilustaton stews the eid std in a pabliation for Design: Gavin Ambrose fer BOP ADP. The wetclcelrins and horizontal elds prvi @ number options forthe leston of textual and araaic elements hat enable cain to be mietaine fam page to page. ca The Funéanenalsf Create Don Layout2s “eFunds rete Deion Lyn3s “Te FunameatstCresve es Lat4) D! uxclurestalie Works used he ea it trough typefaces, formats, Sub ints and paper socks and worey desi, Is niched with variety of ‘ppesrapieilestatora from RSA’s oem Roa Designers or Indus. Desig: Atelier Wores(ASCULAR Uh IGTH FITS| LOVE THE REST OF MY LIFE THOUGH IT IS TRANSITOR ‘See Justification E- LayoutSeaton 5 golden section & fibonacci numbers The Golden Section was thought by the ancients to represent infallibly beautiful proportions. Dividing a line by the approximate ratio of 8:13 means that the relationship of the longer part to the shorter is the same as that of the longer part to the whole. Objects that have this ratio are pleasing to the eye and can be found in a series of numbers called Fibonacci numbers. This ratio can be seen n nature in the growth patterns of plants and the shells of certain animals. Perhaps i: is because of its presence in nature that these proportions are so pleasing to the eye. In the field of graphic arts, the Golden Section is the basis for paper sizes and its principles can be used as a means of achieving balanced designs. yeu dra wo smal souarestgetey, then draw anoher square ving te combined lengths f the tw guar ae one sear carry fn reaatng tis process you creat et of Fibeace rectangles. This east of rectangles whese ses are two sucesive Fibonacci ruber in lerth,cmpose of sauares with sides that are Flboracl umber, in ether word, the rai ofthe sides of tes rectangles tule that of th Golde Secon '8 nonce spiral canbe crate by dawing quarter circles threugh ach Square Wat together form the spl. sila curve occurs in ature in he shape ofa sa’ sh Tk 1 To form a Golden Section / take a square, asec i, form an saseles ana, ‘ ete the arg form a | Golden Section “ ‘The Funerals of rete Bsn Lye5 8 13 21 34 55 89 144 6 10 16 26 42 68 110 178 7 11:18 29 47 76 123 199 aly abut 1375, has 011235 8 13 21 34 55 89 144 233 377 610 987 1597 2484 4181 6765, 10,946 17,711 The Medulor 10 ten point type 11 oneleven point leading 16 sixteen point type 18 on eighteen point leading 26 twenty-six point type 29 on twenty-nine point leading * The Func of Grea Dsign Gof son & Floral mbaSy Seer ere al fo construct the argument bjectively with the means Cee f visual communication to construct the text and illustrative material systematically and logically ic to organise the text and illustrations in a compact arrangement with its own rhythm (| to put together the visual material so that it is readily intelligible and structured with a high degree of cats (o}A) Josef Miiller-Brockman ° St ee eedThe baseline grid is the graphic foundatio which a design is constructed. It serves a similar purpose t ithe scaffolding used in building construction, providing a lof sumer and a guide to elements on the page with a accuracy that is difficult to achieve by eye alone. baseline grid important re of the desig ithe baseline: distance, an implication, size and leat consideratio ithe x-height 8 Xho The baseline grid has Lationships ith many key elements such as to-baseline b te typeface ing. Another is, whether ithe grid is positioned to or cap height.haneoeticoein jor intnttiee riying te or more cto teresting ‘oriental vis that conte ot nd acces anit vides tones were | faces for somonts pola te td images ta Sven comply a ha oi roxy ane eter ith om can be dred ine. ee : ° ° ° ° i ° fel i ° i ° ld A i ° ° be nea — home —Ny. the guardian SY, Lie : a Za “we Process Result See Baseline GridTheGuardian Bomb blasts West End Attack ‘shows IRA not interested in peace - | » The Funes of Crete Devan Let An adeionl mastess Irakeoverbrousht a welcome ae of colour the front page and gave seater arominees to he photo leader both taking advantage In eetlopents in four-color preg teh ay Des: PentagramWeekenic Hostage: Brian Keenar’s own story newspaper's ent. As these spreads so, the magazine has a derent ace tthe main newepaer, ‘sig large stale pbatogaphy to gve amore laze, The Fangs of Cente Desieo a a | fe i - o - s es SB oe a a Oe ee oe mn ee oe ee SBCrPeOztcrTypography is the means by which a written idea is given a visual form. The selection of the visual form can dramatically affect the readability of the written idea and a reader's feelings towards it due to the hundreds, if not thousands of typefaces available. Typography can produce a neutral effect or rouse the passions, symbolise artistic, political or philosophical movements, or express the personality of a person or organisation. Typefaces vary from clear and distinguishable letterforms that flow easily before the eye and are suitable for extended blocks of text, to more dramatic and eye-catching typefaces that grab attention and are used in newspaper headlines and advertisements. Typography is anything but static and continues to evolve. Many typefaces in use today are based upon designs created during earlier historic epochs. The fledgling printing industry established Roman capitals and Carolingian minuscules from the reign of Charlemagne as standard forms in the 15th century, which are still widely used today. “Typography este tone of alee of text anda teface ‘hould be chosen that's appropriate and syrah 1othemessage beng presents nde ausence bine resented io. While thereare ahardand fat rules, tere are technical aspetsto bear ‘imiad ati heh ‘ypelace selection. This section vil sect the nate of setae, provide exares faces trom Aswitn many oher ements sf cesign, typeface election 's eal influenced by the ‘ast, syle sn persona preferences ofthe designer, together with corre fens, seal e exgermentaton.type Type size is the vertical size of the body of a character including the space above and below its strokes. Type size is commonly thought of as the size of the typeface, but it historically refers to the size of the body that holds the printing face of a character in the days of letterpress. A character will always be slightly smaller than its given type size because of this. Normal reading type sizes are usually Spt to 14pt and the use of different type sizes in the same text indicates a hierarchy of importance as size influences what is read first. viata 4 161821 24 SO 48 60 72 Point syste ‘The point sate sue to speci the typoaraphical smensions of page This is epreseted in ois an peas. The British and “American system i based ot metre ple with dimensens as follows: the pin is 1/72 ofan ich. Al ype is eesianed in points Pins ae always used to speciy type size. 22 points = 1 pea 1 pi 1 pea = 4.22m0m ‘The European dot system sigh ferent but provides similar vals 1 Diao 2 Clee = 4.56nm ‘There ae 12 pont to pia, abou 6 peas tan Inch. The pie |zueed for iear messieent of type. The length of 2 ine i spect in peas os ‘The Fuel of ree Csr em [Anem isa baste unit af measurement er a sven peace erie from te with ft lower caer. 1m = the plet Size ofthe yelace. The later mwas eal wide a5 the ‘ype size, The om satay a square wth ides equ the pain. size ofthe typeface. This fused as acorstart aginst wich to tae other measurement forthe typeface such asthe set with, ‘which determines How much harlzontal space a aivenamourt of py wl eccy in en ye slaw. The ems alo usd for parzeraph indents and fred spacing. An em dash sa dash one tim in enh an en dash is alf he length ofan em ea, TesABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 0123456789!?,"£S5%@* ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijkimnopqrstuvwxyz 0123456789!?,"£55%@* abcdefgSection 4 kerning & ligatures Kerning concerns the space between two letters. Certain combinations have too much space between them, which may make some words difficult to read. This excess is reduced by kerning, the removal of unwanted space between letters. Some letter combinations frequently need to be Kerned and are known as kerning pairs. The practice of kerning is particularly common to achieve a balanced look for display type. kerning Wit 0 much space between tem, the eters ofthe word on the left above seer award and appear tobe Hating away fram ea2h other. By reducing this space known a keriog back =the word Isvisalytihter and looks mere natural as show en the iat Latin combinations ff fi fl ffi ffl ff fi fl fA ffl “The ¥ ascener and the serif ofthe acender of fllonine letter semetines ok ike they are Interfering with each oer Rather tan tying to separate them they ae aften joined by a gate a5 shown e “The Fn Crete Deon kerning NorLatin combinations fb fh fj fb fh fj above, Silay, where the dt of he ooo messy following the Tis ligature ors at he cossar andthe dt i removed ‘yoratyAY AY AV AV. AW AW Av Av Aw Aw FA FA ie eee a) Taser Te) TS ies aha cee Tye eeih ary eT yy: Tw Tw Ts Ts Te Te LY LY LWLW Ly Ly VA VA Va Va Ve Ve Vi Vi Vr Vr Vu Vu RT RT RV RV RWRW Ry Ry WAWA_ Wa Wa Wo Wo Wi Wi Wr Wr WYWY YA YA Ya Ya Nom OME! = \memE) DULD Nu YU Ne: TheFundamenals leave Desin Keri aturesSection 4 leading If type is set solid (without additional spaces) there is a certain amount of white space above and below the text because some is incorporated as part of each typeface to accommodate ascenders and descenders, and to prevent different lines being too jammed together. Leading is used to add extra space on the bottom of each line of type, typically to make it easier to read. Leading is named after the s-rips of lead that performed this function on a letterpress, it is expressed in points, and its effect is also called line feed or interlinear spacing. Type size and leading may be annotated as 10/12 Garamond, meaning the Garamond type size is 10 point, the distance between the baselines is 12 point, so the leading is therefore 2 point. 10/10 Garamond signifies no leading. Differences in typefaces mean the effect of leading will depend on its point size and x-height. Leading and measure Characters pr tine Leong works in conunctin withthe measur ofthe column Being Az 2 genau, ye on a wider veasir wil appear eaver and ss Taito say tha wo een call set texts same lear (il uenatit far tina leg. Natie how te coun below Iypeface and tye sae wil appear dilferety ever dierent Fight ots greyer than the clumt below ie ‘measures The measure ste width of the column, 12 pica column 24 pica cura If type is set solie (without If type is set solid (without additional spaces) there isa certain additional spaces) there is a amount of white space above and below the text because some is Certain amount of white space incorporated as part of each typeface to accommadate ascenders above and below the text because ‘and descenders, and to prevent different lines being too jammed some is incorporated as part of together. Leading is used to add extra space on the bottom of each each typeface to accommodate line of type, typically to make iteasier to read. Leading is named ascenders and descenders, and to after the strips of lead that performed this ‘unction on a letterpress, prevent different lines being too itis expressed in points, and its effect is also called line feed or jammed together. Leading is used imerlinear spacing. Type size and leading may be annotated as to add extra space on the bottom 19/12 Garamond, meaning the Garamond type size is 10 point, of each line of type, typically to the distance between the baselines is 12 pont, so the leading is male it easier to read. therefore 2 paint. 10/10 Garamond signifies no leading, Differences in typefaces mean the effect of leading will depend on its point size and x-height. Opt type on pt leasing 109 type on 1p leading a ‘Tm Fda Create Design Tipsyis set solic (without additional spaces) there certain amount of white space above and below ee re oo Seren ene ‘apreent aac nabs teeter ening at era the bettom of each Hine of type, typically ‘Iteasier to read. pt leading typeface to accommodate ascenders and cenders, and to prevent clfferent lines 2eing oo jammed together. Leading is used to

beeen werd. ‘Ret. lines formed teoush connecting white 9306 avoided. A alae tis for ery proba ito ok at text aya eo fo be aokded. A vaiale tp fer iderting protoms isto lok jos 9 Yu m0 ny shapes ere ost and to wos, ttt wh Sqr fe, co YU so ony stapes ane don eo ot vse down aso we ‘sr, ann You et pace comm wor. 360 Optimum; 140 Maximum: 200 Minimum: 4 Optima: 270 Maximum: 280 ‘eatwoan 40-76 characters pet tne (C° ‘this, includes: ‘Anything between 40-76 characters per line (CPL) this Includes: ve erm) cit safcy ve CP Sb rt) ered tac, ve 6 Ow ‘= Be com for rausiiy. Ypopapers vy 12 Gene ole en be colin fo reatabiy. poyaahes 1 10 ‘ore than two consecutive hyphenasons, bu: hyphenaions are avoid more than two consecutive hyphenations, but hyshenations are. fren 2 ec vei. on Pan at rt Beton probe fo “eat en a Plah Lat or Ra i = ‘Let FL, by du fe Ragned Aight (FF, end can be des Flush Loft (FU, by deft le Ragged Right (RA, and can bo | FURR. Comersey, Fh Right FA, by eau Ragged _desoibed as FURR, Comers, Fish Runt FF by doit Fy Saeoecrs ‘An en in het ts’ et; canon en wt) ta! we ae ba ‘he sperade appearance of wits ‘ne ‘sane : tees tat ome feds he Soade appecmne. OF we speces tt Soe In one ir ha cn to Ws. or Jaleo to be avoided. A valuable % for Icantying problems ‘acting whte gaps ae ako to be avokied. Avaliable tip for kent ‘to ink tt win squid eae, s0 90H obey sherds robes Te okt tnt wh suri een $0900 see “don't read the words, fuming your text upside down also works, ai hen Sante eee? ai a re ‘Minimum: 170 Optimum: 200 xian: 300 Minimum: 200 Optinum: 250 Manimun: 350coMMUNITY ANCHITEG TUE SU sr nus we raonet ani ih PGB « The Fumento rate Osign yongSee Hyphenaton JtcaUon & Tracking Desian: Sto Merscoush ALISON AND PETER SMITHSON per Cee ne eta 2 fee bry end a Pr ree be Br ctlbo used an intriguing aray of typeface styles over an amorphous yellow shape for ths poster forthe seventh aniversary of Marchesters legendary Hagin ight “he Hagena brand was 50 wel kro that ite information nese tobe ven eter than the date “he brand ise rede to Ishi identifiable first thee ears Hag’ setches Fae 52, an equal familar brand mark of the cu, Several special nk including ‘luminescent are used to create a pester at funtion ‘lective the earty hours the ne the intended aioe seit Design: v0 “The Fomenals of Cate Design ToneyMODERN ART MODERN ART 1Ts REDCHURCH STREET LONDON £2 7D! ‘TeL.saa (0)207739 2081 FAX +44 (0)20 7729 2017 MODERNARTINC.COM INFO@MODERNARTINC.COM 75 REDCHURCH STREET LONDON £2 701 TEL +44 (0)20 7739 2081 FAX +44 (0)207729 2017 MODERNARTINC.COM INFOSMODERNARTINC.COM CHRISTIAN MOONEYsection 4 modernism design reflects prevailing thoughts and ideas. during the last century the prevalent schools of thought have been modernism and post-modernism. from the end of the [9th century, modernism was shaped by the industrialisation and urbanisation of western society. it marked ‘a departure from the rural and provincial towards cosmopolitanism. rejecting or overthrowing traditional values and styles as functionality and progress became Key concerns as part of an attempt to move beyond the external physical representation of reality as depicted by cubism and the bauhaus. ‘he Bauhaus eat ‘conatretvin the bouhous opened In fon ert and desien rustian coneetvie was 159 under the 4 Irevement founded around Influential 10 moderien lf the renowned exhitect the mageai of the tame fhvough ie ute of black felaionsip luitergrpivs. and was ame, founded by thea van and rod santas {vee bore shaper anc the Intended fo be a resh oeaburg de stig used typoqraah arranged ppproach fo design after ftrong ectongulr Forme In asummetica bloc. fe ft word wor. omploued primary colours the most active Universal 1925 Herbert Bayer Beyer Universal typeface was developed atthe Bauhaus and is a redition af Reman fom to simple geomet shies, he ular for features Nel, and yeu cat See Now each charac is clestly base on te ters R ‘Te Funes of Crete Desge—_Tasoraohy ‘unanie.theeugh fo theCDEFGHIJKLMNOPQRSTUVWXYZ locdefghijkimnopaqrstuvwxyz 1234567890 ABCDEFGHIJKLMNOPGRSTUVWXYZ abcdefghijkImnopqrstuvwxyz 1234567890 eee ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ce ni ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 Cee rg Ceetee ote ee cae ABCDEFGHIJKLMNOPORSTUVWKHYZ abcdefghijkimnopaqrstuvwxyz 1234567690= aH i> oe, @ a Bees 11 & ay Sane al Sea NUT TTF 0 hg 1 POM é f » 5b aonTo me good design means as little design as possible. Simple is better than complicated. Quiet is better than loud. Unobtrusive is better than exciting. Small is better than large. Light is better than heavy. Plain is better than coloured. LaCUo Moi mic U Re oice (ln Ten a Being well balanced is better than being exalted. Continuity is better than change. Sparse is better than profuse. Neutral is better than aggressive. The obvious is better than that which must be sought. Few elements are better than many. A system is better than single elements. Dieter Rams, 1987 % Cee ayLondon desion studio Mono was asked to ar det ites mater for 4 perfomance on te Ife ard works of architect Luaula les van der Rote at the Kal Fong Autor n Hena Kong. Te performance used varus media rcludg Ypoqranyy aniston Following van der Rob's anime sic as Less moe, and ‘ed isn the detals’, Mono use tre mensional ter th ‘awe face asarst a vite Eackaovnd, eked ou eniy byte colour ef hlrexaagerated depth, This extreme dept represents the Ohcago skyscrapers that van der Rohe was fms for, an _ascociaton further strangtheed by the huge lla sz that the posters were produced a. Desian: More 7 “The Funder of Cente Din‘tenes wee QI Cs REE Post-modernism Post-modernism Often utilising vernacular” and undesigned artifacts, jost-modernism was pioneered by Basle School in Switzerland and later Cranbrook Academy of Art in the United States. developed following the Second World War and questions the very notion that there is a reliable reality through deconstructing authority and the established order of things by engaging in the idea of fragmentation, : incoherence and the plain ridiculous. Po&-modernism returned to earlier ideas of adornment and decoration, celebrating expression and personal intuition in favour of formula and structure.ABCDEFGHIKLMNOPORSTUVWXYZ abcdefghijkimnopqrstuvwxyZ 1234567890 ABCDEFGHIJKLMNOPQRSTUVWXYZ Pre aL AEM eh aL) 4 1234567890 ABCDEFGHIJKLMNOPQRS TUVWXYZ PU Sa abi p ents eta eae Ok 1234567890 ABCDEFGHiJKLMNOPQRSTUVWXYZ abedefghijkimnopqrstuvwxyz 1234567890fuse@eeoo@ee@eee ° ° e @ e@ e eeee*ed0oe#WAGE weMnNew. ORF oSSection 4 anatomy of a typeface Typefaces and type families can be classified according to their inherent characteristics. To understand the classification system and the means by which a typeface is classified one must be familiar with the terminology used to describe the elements that form a character. Many typefaces originate in designs from the past 500 years that would have originally been cast in metal. Other typefaces have a lineage that goes back to the work of stonemasons. Though now in digital format, such typefaces still contain distinct elements associated with the physical necessities of the times in which they were created. The digital age has led to an explosion of the number of typefaces available to the designer, and has made it simpler to design a new typeface or alter an existing one. Roman Italic ‘The asi letterform. So calla a heals ofthe letter ae inthe Italics a version of he Roman cit ha slopes ote ih inserptons found on Roman monuments, Same typelaces ala earry Moe typefaces nave an Tae family meter. 2 ght ghar version called Book Light Condensed A lighter version of te Roman ex Condensed isa narrower version ofthe Zoman ct. Boldface Extended Using a wider stroke than the Reman, Holdce alo called Mesum, Extend tye fa wide version ofthe Roman cut Poster (as found with Bodoni, see page 110) Grotesque 1926 Monotype Corporation Popular with Swiss designers inthe 19505 AleldenzGrotesk as the aspiration for modern sans-aifs such as Univers and Melita, ‘Toe Fondant of Crete Des Typopre Bowl ABCDEFGH IJ]KLMNOP Sot6 scree e@ MEDISCH ‘TAME 3 WETENSCHAP. SeA IN Beers PELI NDER ZOEK WILS ONBEKWA MEN 86 The Funders of Creme Deon Tpexohy“he Fundaenals of rate Desln Treesseston type personality The variety of typeface designs makes different connections in our minds. We automatically associate personality characteristics to a typeface; for example, we say some fonts are authoritative while others are playful. The personalities we find in typography extend to our interpretation of the message a piece of text conveys. It also reflects the values of the person or organisation that has produced it. If the atmosphere value ofa font has a consistent meaning with what the words actually say it is said to have congeniality. With poor congeniality, or consistency, a reader will respond slower to the text and may not accept the message. What is your reaction to the words below? Too much personality can be a bad thing and reduce legibility. The personaly ofa typeface ean adel the overall design effect, detract fom tor have a netrleffct. To ae Fonts the full advantage an awareness of peace personally is therefore imperan CONTEMPORARY? SERIOUS? Monotype Gala Playbl 1938 Robert Harting Me TRADITIONAL! (above) Pop 1992 Weve Brey ‘rade peace referencing bitmap technology — anything but tran face, ype Classic Fon with no aceampanying lowercase Entra heavy slab ser (copes) Trade Gothic 19404 Burke ‘Avery 9Uh-centry dian - par from the lower case whic a th ry The Funeral of Cathe Den Tonytype as image So far, we have addressed type primarily in relation to its principle function: using letters to communicate words. Type is also used as a symbol or icon that speaks more through its visual representation than the meanings of the constituent letters, although, of course, the fact that the letters may mean something gives an added significance to such an image. Logos are a common example of this. How do we associate a logo with a company? Is it through its visual statement or the letters that comprise it? For Portuoute wine, Hara Do Peso, Lewis ober specially cat ito th ‘yparapy to convey an authentic fel that is Desi: Les Moberly (aig Yamey chose an faghabet of rirentaey eters n this poster {lebatan event enti Lie The lash ratncy of te teers gives a sense “This busines cand fr architectural historian, soe Ker for eamele, has transformed a rater imaginative piece of refit on 3 board ite fun, ley ireverent and unig piece of enti baspess card is for srieane aad Je think we an assume that he did graft the past inorder to take the phot. perecty matches the eson: Craia Vamey Design Studie Myerscaugh 0 “The Fanner of Crete Deen TpenaprType as image is power because thamesss the ‘motion ener) and meaning hate associate wih 2 ven se or araphic with the extra element of communication of what the ‘ype says or represents. Out inserpretaton an translation of he te i mould by the tesa in which it is made Detroit lee te Manic Steet te a journals’ question Stefan Seameistr chose to to ot te desan tos skin to cane the pan hat seers Tipe sorting Het tershis and wonder how lems are produce Iso powerful and shocking oat than ope, The pen lamer Design: Sagrnster Inepi a a a 4PY + on jz 5 jo i r R A N s 0. =:Seaton 4 | classification systems Typeface classification is one of the few occasions when it is appropriate to make judgements based on appearance. It is important to obtain an aopreciation of how typefaces are classified, and the differences between them, in order to understand when best to use them. As there are many systems for classification this section will address the most commonly known classification classes, which may have several different names. Loosely speaking, fonts are classified based on their characteristics. There are four basic categories of typefaces: Roman, Gothic, Script and Block (Sanders and McCormick, 1993). In general terms Roman is the class where we find all serif fonts; Gothic fonts are sans-serif; the Script category is for typefaces that mimic handwriting; and Blackletter is for fonts based on German manuscript handwriting. Seri Ronan sane Gee ‘or Ang ‘orLile 014 Se Ventniamait Grave (4 Se Road nani Tetra sore ‘The above classification is ery much afirst cut and els ite Cree tier than te most basi information abet 2 typetace. Each class canbe further vied into ebclases tat provide Syne ‘more specific information. % ‘The Fontneras of Creative Design TypoyohyGt ican c ano the heavy, venate reiting nle prevalent during the [VIE eee CRO net) of the Letters ther mauy be hard to read, Pena cuo mimo ny fF text. Ther are Roni Mcuaaetcia ss initial caps and on FOS Tanase a Tra SOD a el RRL (UCL aes esta eC NaC Monomer ielomilniOCd OUT ee aT God Sans-serifs, as the name suggests, do not have decorative touches that lead the eye and so, long passages in these typefaces are difficult to read. Their clean and simple design makes them ideal for display text such as headlines, captions and other non-body text uses. the eye across the line of text. For this reason body text is easier forced inc eelf Set Script typefaces wore dosiqued to imitate handwriting 0 that when printed the charactors appear te. be joined up. The writing acer Hh Rete una (te petal pote ont witle havdwiting, text should not be oll. in eapitals. These bouts are conutoxly secu i oleort Luvigts ouch ao ox invitations, Brady 1953 Marla Brose ‘Very short descanders, wit lee iting ener ease lettersEee RCM eae CU NOPORSTUMUXVZ VU CreeteurUnt rep UCIUTTUE TE bd ! f Haire UU SOR neste Serif, Roman or Antiqua Old style/Venetian ABCDEFGHIJKLMNOPQRS TUVWXYZ abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyzAldine ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopgqrstuvwxyz ABCDEFGHUJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 7 Dutch ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz Ie was belived tobe cu ABCDEFGHIJKLMNOPQRSTUVWXYZ abedefghijklmnopqrstuvwxyzOld style/Revivals ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijkImnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz Transitionals ABCDEFGHIJ KLMNOPQRSTUVWXYZ roi ABCDEFGH HIJKLMNOPQRSTUVWXYZ. ee kU Prana &Didone ABCDEFGHIJKLMNOPQRSTUVWXYZ abedefghijklmnopqrstuvwxyz recut by several fundies. This version was cut by Mores Fler Beton for ABCDEFGHIJKLMNOPORSTUVWXYZ abedefghijklmnopqrstuvwxyz Clarendon ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijkImnopqrstuvwxyz that found readers scared sing the ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyzNeo Clarendon ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz Clarendon/Legibility ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz or ABCDEFGHIJKLMNOPQRSTUVWXYZ abedefghijklmnopqrstuvwxyzGlyphic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abedefghijklmnopdrstuywxyz Slab Serif/Egyptian ABCDEFGHIKLMNOPQRSTUVWXYZ abedefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abate GraphSans-serif, Gothic or Lineale Sans-serif/Grotesque News Gale 1908 M F Benn Ip 4¥ou F Banus ext adctuonal welts corpinent te org dab. Franklin Gotle 2904 W F Berton Franklin Gatic Ie now available in italic bol wide and condensed, but has never ben isued as iat Sans-serif/Neo Grotesque ‘aidan Grotes 1096 H Sertheld Pojula wth Ss Gesiner inthe 1960s Akctene Grotesk was the igpfation formes sen serfs such as Uriversand Hevea. Folio 2957 KF Bauer DA aothveenury saree also knawn as "Caravelle withthe distinctive spurred Gand squere! Ml 108 ‘Toe Funkeentls of Create Deyn TypeSans-serif/Geometric ABCDEFGHIJKLMNOPORSTUVWXYZ abcdefghijklmnopgrstuvwxyz Metro No.2 Black 1929 W & Dwigars Dlcinguchsle fom th No.1 evar by the eplavad MM ‘Wand ABCDEFGHIJKLMNOPQRSTUVWXYZ abedefghijklmnopqrstuvwxyz “wenn Century 1930 5 Hess “Similan is proportions to Fura. Sans-serif/Humanist ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz Optima old 2956 Henman Zapf The eres thie tavard the and crating ance slaves appearance ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz GI Sans 2528 ail Cinsdered by mary tobe the mast readable! srsserlf probably de to being served trom classical seri cts as TheFuncameras of Create Dein.; Sans-serif/Square | | | ‘Agen 2932 MF Benton ‘Square sige fot Script es EL TLTIOYS og? ABC. enw hl Pals h arty octane 106 “The Fentaana of Cee Oson——_TpesnohsTn. FURTHER GENERAL CATEGORY NEEDS MENTIONING CALLED SYMBOL, DECORATIVE, DISPLAY, EXPERIMENTAL OR GRAPHIC THAT ENCOMPASSES TYPEFACES THAT CANNOT BE ASSIGNED TO THE OTHER MURS VCSSymbol LENXI@OODOO \ So ao a Ne yd EN Jess Texte 1998 Elsners Fake Symbol font used fr elothing label information. Se BOSH KM SOS KNEE O HAIR FONT PTHOVADOOOOMM DO FD Zapf Dingbats Devine fo na modern interpretation including the agger and Decorative ABODEPCHIIKUNNOPARSTUY WIE ABODEPOMIIELUMOPANSTOY WATE Rosewood 1994 Kim Suker Chanse, Carl Crssgrove and Carol Twombly ‘mate crusinspeed decorative ypelace. ABCDEEGHISKEMNOLQRSTUV HALE abedetshidkimnorsssivvnasé Bell Baten Evocative of 1960's poster designs, this decorative splay font isanly suitable when used at larger izes. 108 ‘he Fuametalbt Cate Design TyraAGCOEFEHUK LMNHOPQHSTUVINTUS iii Graphic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTU VWXYZ abcdefghijklmnopqrstuvwxyzDisplay ABCDEFGHIJKLMNOPOQRSTUVWXYZ abedefghijklmnopqrstuvwxyz Bodoni Poster 1907 onwards G Baden Verticals are haleine with eis tat ar bath stright and unbracketed forming a very mathematical peace ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklimnoparstuvwxyz Optical Character Recognition ABCDEFGHIJKLMNOPQRSTUVUXYZ abcdefghijklmnopqrstuvwxyz ‘OGRA 1968 ATE Deshned to met the requirements of he Ewapesn Computer Manufacturers Associaton (ECNA). ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghi jk\mnopqrstuvwxyzory Ce a ee eee et ee ee ear net aesFayaherbe/De Vrngr eon stu rly lives that cembining the Dutch design stud, typeotaphy has a visual role a pay that is 2s important a Is verbal communletion role, The ue of typography hasa strong and estinctve visual element ebaied by feeling what works sramatically a make an efec eter. Thee fin posters were designed inthe 1990s before the sia had ‘computers. Type wns selected and conied from typeface mana rom the 1920s ans 1930s, The intention vas to come up wth tge that no ‘one ese ts sing tose an oainal ela tothe work. “ype sed more toad information now says partner Wout de Vriger, “rather than to make a pec look cetain nay Theres fecing thatthe image sould do the wor nowadays’ nz “The Foranertals of Cte Og rypoarany is syle to provide extra meaning to te words Th poste i intended to ave the ipresion of sped. The ange in “iim Architect Isto ge a sense of bila, With te useof four Colour less prevalent than ii today designers res to suneze as uch flexibly as pusibie rom tweco eur print rans by 8 Combination of verprnting and sesratons Design: FayerbeD Veingeuziekfilm EFA ei aniol iat ae vay HTD g | 0] Migs Fostevat Furopese Cinemascope Films 23. The FunSection ¢ special characters An alphabet alone is not en6bgh to be able to structure textiiral informationjor communicate phonetic stresses and the infinite number of ideas and propositions thatWe want to. For this we need various special characters. Punctuationemables us to qualify, quantify and organise information; accents provide us with information about how a letter is stressed or sounded; and pictograms provide shorthand information such as currency units. Som ee Liege: a i Anem isa nitofmeasne ‘xu to the with ad eight ofthe pints of he pe ing set So apt, ves nem of 14ptsTheterm ‘originates famwhen ype was ‘cast inal ag the eter was cast ona square bod, Nowadays with carputer sevratod typetees, the etter row hae na reaton te the em measveme. follows the same origina the mand sequal to half the Point size ofa tet, 14pt ne “The Fundnerat of Crete Design i i reste clases na sentence, Em rules ar ypcally preferred inthe USA, withthe eters of receding ard suceedng wards closedup [a uroge witha sce eter side oteee eee ees coer ered eee eee ery Perey Sesection 4 frutiger’s grid Adrian Frutiger is prominent in the pantheon of typeface designers due to the many typefaces he has created but in particular the Univers family, launched in 1957 by Deberny & Peignot. A key reason for its success was the numbering system he developed to identify the width and weight of each of the family’s 21 original cuts. There are in excess of 50 members now following revisions and extensions to this family, some of which are shown on the opposite page. His achievement with Univers is not confined to providing a wide range of typefaces. The diagrammatic presentation of the Univers typeface family by Frutiger provides a sense of order and homogeneity through the relationships of weight and width they have with each other. This grid provided a visual key and a standard that subsequent typeface designers have been able to use to devise and shape their own families. This system has since been adopted by other type producers as can be seen with this example of Helvetica Neue. Halen Helvetica Neue 95 Designed by ax Misnge in 1959 for he Haas ype fonsey : ‘became one of the dominant ypetaces af te 1960s. This Helvetica Neue 85 ypeface was trey ale Neve Habs Gots : Designed with an snarynus’eharactr nth modems ste Helvetica Neue 75 Helvetica Neue 65 Helvetica Neue 55 Helvetica Neue 45 me ‘Tre Fanart of Cathe Dean TypoAkin Fratigor san ‘ypoaraper wha 3s vel as reling many typelaces has create ows ses for varius Intemational organisers and seeded wih creating the complete sea meteeeed the Charles de uate aiport, Pars a Ea Ea | ne | ia za Ea ca eee Most extended ost ondessed 1d pote oe w TheFuoneal of Create Dgn Frage itextended type families An extended type family is all the variations of a particular typeface or font. It includes all the different weights, widths and italics. Examples of family names include Univers, Times Roman, Arial and Garamond. Many type families are named after their creator or the publication in which they were first used. Type families are a useful design tool because they offer a designer a range of variations that work together in a clean and consistent way. To achieve clarity and a uniform feel to a piece of work, many designers restrict themselves tc using only two type families for a project, meeting their requirements from the type variations these contain to establish the typographic hierarchy. From the six examples of the Officina family on the opposite page you can pick out typefaces for use as titles, body text and captions, for example. FXrenlsccr Maye) L ABCDEFGHIJKLMNOPORSTUVWXYZ Teme ie Pree nO LS CARE CLE Roti 1989 ou Ach The Sans The MixABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopgrstuvwxyz 1234567890 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890 ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijkimnopqrstuvwxyz 1234567890 ABCDEFGHIJKLMNOPOQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 1234567890Seetion 4 type detailing Typefaces vary in many ways. Some have serifs, some do not. Letter spacing is not the most obvious characteristic that springs to mind when specifying a typeface but in certain applications it is of prime concern. Letter spacing is the space that a letter occupies — a typeface is either monospaced or proportionally spaced. Monospaced ype Ench characte in a monespaced typeface octuies these with inespective of actual sie, These rere origi use on yoriters. They ele tt hat Ines up in eral cours to be sly proces seh 3 for mics. Courier it common Ienorpaces yet nthe perzanal computer age Monospaced ELEEPLELCLE Propertorlly space pe A system of proportional spacing was ust by the Manotype and inate print fundres because it mis the letter pacing af hstoieal handset forms, Individual characters accay a space Proportionally spaced FFE FETT ETE sessvassssvazzzy 99999 0 “The Fone of Crete Design Lining sumeras Te majority of typefaces cantina st of ning rama characters that have equal teght and eau} or wanespace, widths Monossace characters allow numeras tobe vertcallyalaed, ‘ich lnportant for tabular inlrmatior such as accounts ard because they are the same hight they areeasy to read 2,341,536,685.00 153,687,145.18 515,598.89 Od ste numerals ‘Seretines cae ower case numerals thy have ferent eigts ‘hat can male ther mare dificult to read 2,341,536,685.00 ‘These characters secuny widths gropertonl to thelr sie making them unsuitable for prseting tabular infrmatn, 2,341,536,685.00 153,687,145.18 515,598.89Type sees Xx\KX XXXXX KX shel “=x-height Palatino GENERATED SMALL CAPS Palatino TRUE SMALL CAPS Teles an ebiqes Smal caps Helvetica Roman V6 3/4 1/4 38 % WM % Helvetica Italic aoboE 8 1 The Funcanens of Greave Deen Type aangCe i oars cer eee as as aad i a as eee MA whe tier Pea Risuarelgieoae“ (GS AD... ANEW Ser TS PEAY. Aceh oe aN AnD Xt SET wwe [eit 4 nd & A ai sie % asi i 57 The HT kG, Stn NE THe A es +) Se Burcp atRee eyiene ere tne ea rete “Rus can also te used eectively to organise txt and shepherd a eases atention, Toman mencon mi fle _Sthirg wal route ss hes examples 2h. Soreasieaaas to ing tent ihe font onthe oi aie i ‘Silos tanger Soy tore poe ‘es tn ao und atest crise on anh ‘neck tron faye Le Rago Rh 79 9p on pean Sets Ta en rt oman et yn nt em ie sig co tg at watt Steck Remco etme ‘can nave a dramatic impact on the way a piece ot aes es cen ao be ued elect lo apse tot and shepard 2 made! atenton. J ‘Set with 1.5mm space ater. Emboleenes fst paragraph (above). me ‘Tre Fnamertas of rete sgn ‘The way 2 piece of text Is formatted can result in many different a = So SSe ae aTinsmiez tetera can eit ry trent striking vel recut a ese oxamlae she. From sinpy esartg 8p cap to ulin leer weighs fart Srce stow pe of dein nang. hangagans oat “to ge erucure hrarchy oc mec, a ecniques we smi out ‘ean hate a raate pact on he wa a6o8 ft gee, ules ci ale be uses est te orgie txt and stephac a Tworne count deep cap (above) “The way a plece of oxtis formato can raul In mary dloront ana thing sul resuts es these examples show. From aivalyhoerng crop cp oiling coat wags ofa ent nc he varou Ns f nse = rnin, naga fa pot fo ge strstr, each er aang, he taemiqns espe bt an tav a aati pact on he way aloe of tet preset, Fs can ao be used tect fo organi tnt dsb eater aaron. ‘yn ine ater (406 ote) pararaph Set to coluna width above “The way a lace of otis formatted can eau in mary ferent ‘a sting aualrests os thoeo axamples show. Fran sinoly Wseng a aop cap te lian Fert wah oa ert “moda varve per cinoresion = unig, argngan os-pant ‘io ie sre each or mearig, he Schr: respi at ‘Wit ule below sett text with (abe) Pa ‘The Fudamertls of Create es With strike traush. Akematey abe (abot “To way 2 pice of txt is ermatiod can result ia many terete ‘nd sting ous resus a8 teas example show, From srrly rearing 2 op cp to lish cee eights fa ont ed ates types of nnn uring, tangng an of. pon phe struct, Nera o meaning, th technea ae spl But ‘arnaveaamatc act cn he way aplce of xt preset, uae can lobe sed fect to opaniss txt and haphad 3 reaoers tention. Centred (abo “The way sploce of tots formatie can rut in many ferent ‘ard sting visual raul 0 these examples sow. From simply insetng 3 crop capt ing dent weights fate ard th vareus ype of indent rowing, argng and o--pont “to gue emis merry o meaning the chriqus espe bu ‘anhave a deat ipost on he way aoe tet fe precete, Fes can aoe sed ofecvty fo omarion and tech & Range Rlht. Raoned Le. drm space ater (ove.Image refers to the graphic elements that can Tae ge bring a design alive. Whether as the main focus Sounten net at of a page or a subsidiary element, images play an ofa design. Ths section essential role in communicating a message and Sevaeunateieaa, they are thus a key part of establishing the visual rong ts a identity of a piece of work. Images perform a and presentation incolour, number of functions from conveying the drama TT of a news report, to summ'ng up and supporting an argument presented in the copy, or providing a visual break to an expanse of text or empty space. Images are effective because they provide instant communication of an idea or instruction, detailed information, or a feeling that the reader can comprehend very quickly. How would you describe the latest fashion trend in words? This is difficult compared to the relative ease of showing it in a picture. Image usage is determined by many considerations including what the desired impact is, who the target audience is, the aesthetic of the project, the function the image will serve, and how adventurous or conservative the overall design needs to be. Image usage is perhaps the most exciting aspect of design as images can have a profound impact on the outcome and success of a piece of work due to the emotional reaction precipitated in the viewer. However, poorly used, images can detract from or counteract the message in the text.In its redesign of The Independent Magazine ever (above), Frost Design made a departure rom contemporary magazines tht hatrage the reader with strains about Textual entet i kept othe astead and perhaps one Azer tapi. Priority He vento an image set agalst vant Bsckaround that produces a caver unlike any Design: Frost besan Frost Desan's fonds for folds posters canbe sen again here (ight ln this pester about Keith Haring. athe than spy repracuclg an inage of one of Haring’ works, he stu sad a photo ofthe artist infront of oe of his works “Textual conten is esticted to ee side of the poster with te text clus define bythe Design: Fest Desian ‘The Framerate Osgnthe Fourth Estate etaooue lettering, NYC isa dl street intel usted > the max by Frost Design (teow. The ack of Information on are se of he peste is countered by the 1 ‘he Finest Came Dessn naseseston 5 colouring images A colour image is produced by separating it into the three trichromatic colours - cyan, magenta and yellow — and black, the process colours utilised in colour printing. Nearly all colours can be printed using these subtractive primaries in the four-colour printing process, using a separate printing plate for each colour to build the image as shown below. But the designer does not have to settle for the original colours of an image. Indeed, using some of the options that follow, the dramatic nature of an image can be changed and enhanced considerably. athe rip ore te irae. They sal © cam (my (cemeysn) ‘ 0 ‘The Findaneraisof Cee Design Inapebhhulton archive Brief Processillustration “A bitof gata print, an imperfect phot, signage, od epeer, agoud stot ina film ora pleze of Fgh: Heathy en the Inside 1 ca entan strona ide hat end the dearer of ded to ive ita handmade iusrative fe 24 layout Isa very cleorganised but ile by alee and stress ul theBelow Big Srther ‘Aneta ilstration for The Guid, ths tne to accampany an atc aout electron merchanelsn nelsina text mesasina, interactive ‘elevsion ard Internet marketing forthe Bia Broter realty TV stow. The Sarge asience’ image sth rated ad calauredby carpe, wit aha raun logo on the shir, agaist a backgroud of found elemets that are lende together to rcte a teuretennd the Bla Broher ee Fight: Spe: Reatlonstips ‘an ilitration for the Guardian Ween magazine's Spit section Ahictig the emotional tes of tralingcaples Photos with sprctc pots forthe man an woman were worked Ito wlth varous layers that were drawn upon and subecteé te ti bur ard paint. au fer eects on te sn, with gostaae watermarks scanned in foran airmail ota pry Te Fanaa of Greve Dein ‘Above: Ne ané Bobby 1A pester fora rerds a, Potts took an abstract aceite photo ‘aken tha Lome which Rad a aoe Fama shape ans maton Squoles He scke eu the simple huran wth ine wor and add hand-sravn dead and fa elements. ike the mend of hs pece and ste fas a successful departure fom my usual tl, relying as it oes on 2singe photo and ieorperatny elements of apc deson an yparaphy, ays Pats e-+---sbouncers/shiners When is black not black? Black is a colour that is not always what it seems when reproduced by the four-colour printing process. While it may do a great job of creating good shadow tone in full-colour images, when left on its own it looks pale and washed out. Where there are large areas of black in a design that is to be printec in four colours it is often advisable to use a cyan shiner. A shiner is typically a 50% or 60% cyan area behind the black that helps to improve the visual density and saturation Cyan is the best of the other three process colours to use as a shiner as yellow and magenta result in a muddy black or one that looks artificially warm. 100% Black) 00% Black (K), 60% Cyan (C) 100% Cyan), Yellow C7, Magenta (A) & Blak cK)ink trapping ate CRMC uae mC CR ee enn Cocel aiole misregistration on the printing press by overlapping them slightly. It is required because the halftone dots that Take up printed images overlap because they are of ieee UT ca eS Lee ee ANd Pee om eed Mere eae there ena e ewe mC Os CR os RCM Deer er et eee ee eee teeter ® | BC gy lt a com een te tel pera’ ees eee ea a ene ee cece ee Pereslanguageimagetrap SS ANTHIAN NOBLE Ee SITY OF 13 SS) ie nel AND SAN JACINTO ROOM 1.110,lial Pe KONFERANS, WORKSHOP VE SERGI OUT Cee Bo ee ‘The posters atove and imstate eft) serve 3 Aifeent purpose (te otine the ams of the projec), but thse by maintaining the bol tence word uttarst wet over an evcatve image that Drones cominity throushout the postr series Desig: Visual Researchcolors Brief The bref was to -edesian the bimonthly Colors magazine sponzare ty Benetton pulsed by La Fabrica in sven lanuases wth 3 ‘ride titan of ovr half «milion, Something eiferen Process Pentagram garner Fernando Gutiex took ove as art rector of Colas a 200 ané made a thooush renppralal fis ldng Principe a he embarked on is rdeslan with etars Asm Broemerg and liver Chanarin colors gear Roda atin Ashen coLors coLors re aaaly a daen Above: These wo groupe of Images show the very aitforne local ane ala! covers forse insues of Colors. 10 ‘The Fearn of Create Deon Result Gules cesta content aed magazine rat les othe ace of te oss, nary maxims af other fey magazines with ope easing eves ies, Tarte your potonaoners arrmissones to decurn hea communis an rl event to ave apoweralexpreson ofthe rel wore. Each lsu ns wo vers ore alba and ane local. The pamiter, evocative iva language of Colorsmagezne sco to the quia prince that Satie mages are often far mor resonant thn he epherreral oar om rateaby We lars visual content withthe tent Right: Simp anc stralghfernars ayo i se to joxapete te Erlich text with one af te ether even languages rat each sue ic publ sedi, The seeade are reraer of te cast. Design: Pentagram| HAVE NO FEAR OF DEATH AT ALL, | HAVE ALREADY DIED TWICE ICH HABE KEINE ANGST VOR DEM TOD, ICH BIN SCHON ZWEIMAL GESTORBENater ey; i) oh Py i “ 15 5 if fl Py vy iPe eae ey Crea ec nederhynds OMS) Ube ater a7 ‘he FucammtaisofCrtiv Ors Imageimage manipulation Image manipulation in the days before computers was an arcane alchemical art practiced in darkrooms or with an airbrush. Technology has relocated this role to the graphic designer and armed him or her with a vast array of software tools and effects, and the hardware to power them. The only limits are the creative abilities of the user. From photo retouching to colouring, overlaying images to superimposing elements of one —such as texture — on the other, cut outs, shape alteration, and blending are some of the many possibilities. Rather than provide an exhaustive and marginally useful list of techniques, the following examples of imaginative image manipulation will give some idea of just how broad the possibilities are. viii mn ns | nm Binh mh sik tt | ma Lh | i we The Famers of Cate Design imaoe.ISAGMEISTERS ISAGMEISTER®The Fest of 251See moving image Renn Suey Mciaia cre macy ACT neta increasingly being asked by clients to produce designs for media other than print eae on MRR Ra een eee Pr ee ee a ee ESOS) EW cso eee aN ele Me aT aaT RCC COO A Tag oe Ve CUR UTICA LeU cae lat Ree eo aero Cae Me nuns roa or are there to be ignored. Some designs will call for clarity while others will harness i : Procite gn Tc ace : . = | ps eee ee ee ee et eed fea Ne ie ee Cee eee pene ee eS cee Na oer oy Fc Dee ey4 Ps LOuER eee eee ee eee ee ee eee ee! lam ter eter rgetic and high-powered eas inthe NBA, tt Pera serens All lent tracked from actual game footage, move eee ert eres one Ft} eetColour has become a permanent fixture in the field a oraymtali values depending of visual communication in the last two decades. oss ac ak Magazines and even newspapers take advantage of ‘stop inthe Western work four-colour printing and most companies now have oa eesemoacte the capability of producing colour documents in uoph cearagiteenes house due to the emergence of affordable personal shed beer Ts computer printing technology. Colour provides ‘rstive se of calour to Irerease visual appeal and ‘maximise design impact added dynamism; it attracts attention and can be used to elicit emotional responses in the viewer. It can function to help organise the elements on a page, leading the eye from one item to the next, zoning elements or grouping items of a similar nature, coding certain types of information, and aiding the viewer to get the information they require. Colour printing technology continues to increase the range of possibilities open to the designer. Hexachromatic printing (six colours compared to the four colours of the standard four-colour process) is becoming more widely available from printers extending the range of colours that designers can use without the need for special spot colours. Spot colours provide a vast palette for designers and have been added to with the development of spot varnishes and metallic effect pigments that continue to extend design possibilities.Peetsection 6 four-colour tints The reproduction of colour is created by screening the three trichromatic process colours cyan, magenta, and yellow — usually in 10% increments - that when combined with one or both of the other colours form all the permutations shown opposite. There are 1,000 tints available using the three process colours and a further 300 colours obtainable by combining a single process colour with black. The three charts shown at the top of the opposite page demonstrate the 100 colour variations available by using a single process colour in combination with black. The remaining 11 charts are mixes of magenta and cyan in combination with varying increments of yellow. ‘The tnt siagrams on the The black and yellow chart The tap ethan corer of By drawing ne vertically opps gage are cesigned to ‘below deronsvats how to tbe char is 0% yellow with ard haizontally fom a provide a clear vis.al fetermine the values ofa (0% back, hence nothing selected colour ore can Ingleaton of the tue thesen cout rims. Te chart gies the ‘sal its component ‘presentation obtained by ‘ange of enous at 10% pats. Inthe example sing Fouoour ts Increments ofboth ylow and below the selected colour its parents Seale lack through a 100% yellow is proce sing 40% black aoa ee reveaniamelas ard 100% blackn Ue botom and I yoliom, yaasarnie right and comer, whch stand furor printing rns a slid eoou, process and its imitans. Poe eiock incr page 4 clu itso Back & Yow rine on wil aso fect the Yellow 0% Black 00% Blak 0% Yow reproduction ofthe ecour 07 tack combinations, as will any oe | | | stoc you use, Zz = 158 The Famers of Cte Dsgn colour4 lar Yo Bek & Aw eour tn of Baek & Magen 4 colar nf lc & a8 = << = 4 er bts of Magenta & Cyn wth 3085 Yom 159 The Funeral of Creme Desi FaureSection & specials The four-colour printing process uses the subtractive primary process colours —CMY (cyan, magenta and yellow) ~ that are applied via separate printing plates to create a colour image. The three primary colours are usually applied in the cyan, magenta, yellow order with black applied to add contrast. “The frst PMS (Pantone Matching Sten Printers Eaition was launched in 1963. 2 spot clout Isa premixed Colour nk usually identified by a caour system eg, PMS that |s asd for dreams requir few colours ar ‘pectic colours, Spo aur ie applied as a separate pate and will appear smooth when viewed closely wo Process colour uses four Standard inks to produce mary ‘thousands of colours and is use or printing photographs and complex coloured inane, “he Fudan of rete Design Printing costs vary depending fn the number ois use. Spot colour can be cheaper IT fewer tsa fou elours are used (roe colour ‘5s four ks). (alow Pantone has developed a S-elour printing process called Hexachrome that enhanes the CMYK system acing orange an aren, “The extended colour range enriches photographic reproduction an accurate sulin af al PHS spot coloursThis page was printed using a special or spot colour. If you look closely you will see that it is a solid colour and not made up of dots like the square on the opposite page, which was produced using the four-colour printing process. A special colour is one that cannot be made using the CMYK process colours and they include metallic, fluorescent and Pantone (PMS) inks that must be applied using additional plates. One common usage of special colours is for corporate logos. Although more expensive, the advantage is obvious, the design is printed in a precise, defined colour. Pages 164, 165, 168, 169,172,173, 176 areal printed using PMS 812understanding colour Colour reproduction is based on the principles behind the three-colour vision of the human eye. The eye contains three different types of receptors that are each sensitive to one of the primary colours of light: red, green and blue. These are called additive primaries because when these colours are added together they produce white light. The standard four-colour process uses cyan, magenta, yellow and black inks as they can reproduce nearly all colours; but how is this achieved? A little colour theory will explain how the processes work. ‘Adve primaries te i is made up of and lve ih, called cause they are sae tether to produce ‘it ak. When ely we ive primaries are orine they create ane of the subtractive primaries shou inte lust tt White tei comprised of three main colours, the REB ade primaries that when combined form white ight. If you remove one of thee colours diferent coleur is proce: ue and green mins red reduce yan ed and geen minus ble preduce yellow, ard reé and ue mius geen resus in magenta. As cyan, magenta ad yellow are mace by removing one af the ative pelmares they are known as subtractive primaries ‘What has ths got todo with colour separation? You wil note that ‘he subtractive primaries are the sme as the proces olurs used a regtive for each respective enlour by photographing the oigiral ‘rough a colar fier that hasbeen matched to te standard CMY inks. These ters corespani ta the RGB ative primary colors. we The Fame of rate Dson Subwztivepriaries Subtactvepraries work inthe same way but when ‘0 ae erin hay make an adit primary ‘nde al are combined they adc black. Ard filter produces a ncgatve rear fal he wavelengths of re ligt reflected or transite rm the image called the re ‘partion negative. In effec is isa rserdig ofthe can ‘component a te neste has Subtract he ri ot from he lmao, an the positive fa reoring ofthe blue and the aren, hich ran The postive the ean intr In the same way a green hers used to protce the masenta printer anda bie tei used praduc the yellow pier. Black's produced by anather separation ead the back printer that i recessary et he imitators ofthe pent ik pgmentseg SE ee oe Soe eee) ney Renna creer eee eee tee rns ene ee eC ete rns Fr} eee er ee eySection & photodisc A Mi WONG Og v6, SO,Mosaic rl ss am 29Seaton 6 colours Colour is composed of different wavelengths of light, which means that av infinite number are possible. Computers can produce over 16 million colours anc the human eye can distinguish more than that. Colour is the first thing we register when we assess anything and we have developed and been conditioned to make many associations with certain colours. This is called colour symbolism, but itis far from absolute, Reaction to colour will depend upon cultural associations, trends, age and of course individual preferences. In the West, white is associated with weddings while for Buddhists it is a mourning colour. Boy Pastel es of blue and pink “This association is 0 strong ‘The ait of eleur Lone has its black abs of ar asselated wit newborn ‘hat when the calours ad provide instant communication cours, but perhaps amore cee in Wester cures, ‘genders ae switched there sand recgition plas amajor ——_recosablesyntol of the ale bl for boy ad pale 2 cognitive brakcoun and role in branding and ot ust lyf the red telephone box. rk for rls. Ths sere i samthing appears 088, for products as these two The aengt ofthis smmbole artulary wed for eohing ‘wrong oF even unacceptable Pictures strate. New York associations highlighted by 5 dressed inthis coding, the 2 similar reaction canbe Citys knew 3 he Big te fat that ttl made colours lp identify the sex ‘expected in oer cultures ‘ple, buts that a yellow re though most re ofthe infant and parts ofthe world fhe’ appl, are on, ora green teleptone boxes were ‘alour usage associations one? The city's amaus itera ad replant are no eonsdeed. ickrare has several years ago no cxlor associates with Wut ts tae cabs ae 2 bigtous, easly recognisable symbol of be city we The Foner of reste Design ClerBlue A holy ealour forthe Jevish faith Srey symbolic of an sence of love or oneliness in Western ocletes Blue 4 sacred eolour to Hindus as its the colour of Krishna Green OFhigh significance in Muslin countries because iis the colour of Islam orange Used to epresent Halloween in the USA cy eit fron for the Hinds faith Blue The Chinese link blue te immortality Green Used fora tat it indicates a wife bing untathfl n China ite Orange ‘Associated with the Protestant faith in Ireland Blue Green Negative comotations in France and a poor choice fer packagingyen tad this at home or anywhere ae ete Pu)controlling colour Colour is comprised of red, green and blue light at varying degrees of hue, saturation and brightness (HSB). Effective HSB manipulation allows accurate colcur reproduction to be achieved by preventing any one element having undue emphasis. There may, of course, be occasions when a lack of colour harmony Is required. Hue is synonymous with colour (red, green and blue are different hues), saturation or chroma isan indication of how pure or vivid a colour is, and brightness refers to its lightness, whiteness or tone. The following charts illustrate how adjustments to HSB values affect an image. However, it should be noted that effective and predictable colour control requires the calibration of software, test print devices and your monitor. As he refers to the actual colours f the image changing th hue vale raratically hangs the claus of 1 the image d d d i ‘Adjusting the righes eel alters how much ih wet produce JR tv colour. The more ih that used the brighter he claur wl be, However, as crannies ‘wards the msximuan ae minha levels a briahbess eel hat results In god contri prefer Changing the saturation or contrast, affects how id the colurs appear 2 desaturated mae wil appear sey ¥ 235 te viva of the colours fas been reduced fay satorated nage Contains fl elu aes and may d appear hyper-tal. Balancing the mime amt aus fre, green abe will res in ales satarate colour simu contrast 70 ‘The Fumento reste Deon loree ii ii a da Ga a ia i i i i a ii ii iii iii iin itis ii fd i i i a i iii i i i a anu peseanapSeaton conclusion THE SUBJECTS IN THIS BOOK ARE INTENDED T0 HIGHLIGHT THE USE OF BASIC DESIGN FUNDAMENTALS AND TECHNIQUES. A THOROUGH UNDERSTANDING OF THE FUNDAMENTALS OF FORMAT, LAYOUT, TYPOGRAPHY, COLOUR, AND IMAGE EQUIPS THE DESIGNER WITH POWERFUL TOOLS WITH WHICH TO UNLEASH TREMENDOUS CREATIVITY. DESIGN IS A COMMERCIAL PURSUIT AND THE FUNDAMENTALS FACILITATE THE EFFICIENT USE OF DESIGN TIME WHILE KEEPING COSTS WITHIN BUDGET. INSPIRATION IS ATTHE HEART OF CREATIVE ACTIVITY AND WE HOPE THAT THE COMMERCIAL PROJECTS FROM LEADING CONTEMPORARY DESIGN STUDIOS THAT ILLUSTRATE THE FUNDAMENTALS INSPIRE YOU. WE WOULD LIKE TO GIVE SPECIAL THANKS TO EVERYONE THAT HAS CONTRIBUTED WORK TO MAKE THE FUNDAMENTALS OF CREATIVE DESIGN SUCH A VISUAL TREAT. 1, ‘The Fundanenas of Crete Orson ConlinAndy Pots Ena itidaniy-sous.cor Aste Sto Audie Works Neb: tienen ‘baba Design Tae o42 17 78904 Bie Souree ua War wacom seston 6 contacts tase Crag Yamey 109209485308 dreabae Fayshecte/De Venger BE Sota 62537 Xen rai woe Forme Londor Tal ese ones 20 ae Frost Desin Poe 1,106 129,256 aun amarose Ema snares Gety Creative Sto et nage ci Cee ts, Wetman ohesan Banks Weslaco Levis Moberiy Tek +4 oo 720 252 Mate Checkows Mone Wem mor ‘NB: Studio Pentagram 1 eta Bo esearch Sudlas London enon ih Se, Ine 48 07708 2485 ‘dean rearoatncon Sagmeister Ine al SSaontaoasLon Studie AS Tah to 0662 ni Stale Myerseough 1 40-0 68,0, 90,94 2 Visual ResearchAeworasen fi wo oF ore ar ois tht Adve primaries scene: Par of owe as itr that enone above height of type. Brslne Tie agin ie apa ack nd most one ales 8 pestione. Baseline gi Te gape fundon en sch a design sense. Bienap Block printer The imprinting back ee ‘olor separation poe. Blea ‘Agri image tat extends Boos copy favor. Boos text ‘The mater ta ome te Bod or bldice ype ‘Aes ay vay pe sed he enphasis Boancersaines 20% or 60% ty area ‘sal dersity an satura, owl ‘The cane poetion of type caracte we Seaton 6 glossary of terms hacer escent srt eer Pert vere tr at geonkerslenrer ‘unas eo el pat ar ue throne Spec ges ct a site Toon a cmv tate anor dace ype Sek oe nabactn naer Spica ct be vm iste bean aor tema dutnce. Colston beta Phesraicivaioe press Spedn and lain of ane he seusete ian orp Console bolle roel te seattoedoon, DO Comer cance Prin ch en orice =e feomsteeb ‘Taped ence fod orto — Condensed ye Loe nla te start ot Type teats eengatet a text that drops into lines sar. wot Cine ome Cinta cease eral monte siciesephteyenh at Scena ea po 8 Conra. rr Shot te seeraton oe ‘from white te black. A twe-colour reprodurtion from Coote teneaoen nia ren the md otercsais pp Cron tram wae est ey acon tsa conse es ston fey i eenot ipo pele ae oe te 20 pan suavociepinares veda Ente ncooe pine ‘tense thu bs Scho ed re een itor tothe En aan, Uf srt to hardowen The Feuer of Cea Deion Glsay tems PS (Encapsulated PostScript 2 ple fe frmat fer striag \ector or obet tase artar 2nd bors. EPS lesan be ‘alae tried and colour ‘Sorat bat cate Sorat ean ually be mde Family ‘sei of ots vig Common design sharanerites bt wth arnt tes and eign. Fal same Fall prsed on wa substrate ‘ig fet end presi ‘is nou he 9, hot stamp, eck print or Fant Te sical atts nde tera a typetce, te i, metal wood ae PatSerpt Information Format “Toe saproporns of a book er pane Furcalour printing Fal ele printing ethos ‘ing our separation and CMYK ink. GIF (Grohe Interchange Ferma) ‘storage oat suitable for nas wih at areas of eooer shat tent ared es. Golden section that produces harmonious sreporics Greycale ‘tao! seal tat eales a iter tock te roradete, ris uid or tegite teleeuter “he sac tha caries the fore 996, er outer eof and the tir, The cane alley Way were paoes et at these ard te space beeen outer Hatene ‘The Snuatin ofa continues taney a pate of ts oe ‘ure colar hat oes ot apetion “The arrangement pape in the sauces and psitn in Peis tetera et, feted Ink taping ‘The asta of ares of Colour, text soe fo Gr te printing ress by eran hem. nermatonl paper sie (150) 2 rame of Sandan paper es hae 2 Sara variety of iplace than wed lor enphase PEG (ie Photographic Exper Grau) Photonanic Imes, ont [bi calur intra | Compresion tocar mane bfortation Sule for anes wh complex sal gradations at et for it elo dusty Forman to sce ot ines of ‘ypesetormy tee eh evaig “Theron! of mare pace betwee eters Layout “he pact of text ané lage a ave ie general soperance a a red pee Leasing "eri space betwee nes ms pate Te te ctaractrs, Common Ngstars ae, Mh bes ae aoe. 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Son ole or special Sis of tens SRA paper sae ied wr nthe itr Sten Tremor prominent vets, or doses to verte stein Stak senss Vataton net stroke Soltrate 2 ace be rite on “Tasged Image Fle Format arn 2 fervent soporte by may apeiaties fr storing altos and phtagraphie ire, Tet Wien er rine mastor hat for the bd ofa pbiation orl valse ‘an images ela denier “yfce Theater, amber nd pretation macs fa pete, ‘yp sie Thesze of type, measure in the eserde sn thet of thease, Uorroke Thetne strobe of pe veonirg Coating abled apie sabrate that bonded and fond th ular eke Vanish Coating apie opined shen fer protection Xteight Te eit of ewer ase ets suas with cde or econ.oom nea CoE COW ae Oh Pe aa eee Sa ae aca ere el ECE mR Amen eam eas Niece no a sey Gavin Ambrose, Getty Creative Studio, ImaginaryForces, Johnson Banks, Lewis Moberly, Matt Checkowski, Matt Lumby, Mono, NB: Studios, Pentagram, Research Studios London, Sagmeister Inc., STORET Meco SUM er CU SOc Cee nO Otel COLA ee gee et a Lee ee Mee ele Led explanation, associated theories, and historical references to explain the underlying Pe Se eee ee em cu ORM Ou ec UNA oe eed PC oMca cen mere cr RiCee mM nC noch anon working methods of creative professionals. ET ST an EN RUC ene RUC a eae neee cnr lec me Sa ee Res One ml med eRe R Lcd Ten EU Mee Gnn eran hae ish mame nae alent chapters including Formats, Image and Colour Usage — the basic repertoire of the Gea Le ee ae CSN ne meet ne oma SDC ee UCU noe Rr Seo ene RUC aC eaee munca Chee merce kts help to explain the principles in terms of real-life application and possibilities, and not TO MN gee ag eae eC un es Rae eee Se aoa Ree Cae ec CM Nm Cee eo eer Se cr aoe eee ee SCO meee U OR ar Rae ecu Ruri) PIC COa eeu meen hance kM ecg emia ietis ISBN 2-88479-023-3 IW WON ii ‘UMN