1. DESIGNING with TYPE Bristol Community College Bristol Community College CIS 13 Business Creativity Sources: The Non Designers Design Book, Robin Williams Thinking with type.com John Magnik, Typography-1st.com

2. Review  Type  Color  Shapes  Lines  Graphics REVIEW What are we looking at? “Elements” on the Page:

3. Review REVIEW What are the FOUR Basic Principles of Design? 1 C ontrast 2 R epetition 3 A lignment 4 P roximity

4. Review REVIEW What is BACHV? 1 B alance 2 A ction 3 C onsistency 4 H armony 5 V ariety

5. DESIGNING with TYPE TYPE Relationships  Concordant  Conflicting  Contrasting

6. DESIGNING with TYPE CONCORDANT Type  One type family, not much variety  Easy and safe  Sedate and Formal…  Yet, perhaps a little dull

7. DESIGNING with TYPE With CONCORDANT TYPE First impressions count! Y ou are Cordially invited to a very easy and safe design element by making your type concordant, and although it has it’s place, it could put your audience to sleep. Formal Attire Required

8. DESIGNING with TYPE CONFLICTING Type  Combining typefaces that are similar in size, weight, and so on  Not the same, yet not different  Can be visually disturbing

9. DESIGNING with TYPE CONFLICTING Type Not the same, yet not different

10. DESIGNING with TYPE Will the real HELVETICA Please Stand Up! (1) Myriad Pro, (2) Verdana, (3) Arial, (4) Helvetica, (5) Skia

11. DESIGNING with TYPE CONFLICTING Type

12. DESIGNING with TYPE CONFLICTING Type  Notice the subtle differences between the ‘t’ and ‘n’ in both type faces

13. DESIGNING with TYPE CONTRASTING Type  Separate typefaces are used  Clearly distinct  Visually appealing  Creates an exciting design that will attract attention

14. DESIGNING with TYPE CONTRASTING Type Be BOLD, not wimpy

15. DESIGNING with TYPE PLEASE…  Do not “wing it” when combining typefaces  Recognize and Name the Contrasts  Avoid Conflicting Type at all costs!

16. DESIGNING with TYPE CATEGORIES of Typefaces Fonts, top to bottom: Times New Roman; Birch Standard; SlabTallX; Arial; Edwardian Script; Curlz

17. DESIGNING with TYPE [1600s]  Based on hand-lettering  Slanted Serifs  Thick/Thin transition - moderate  “Invisible” - does not draw attention  Good for large bodies of text

18. DESIGNING with TYPE [1700s]  Moves away from hand lettering  Horizontal Serifs  Thick/Thin transition - more contrast  Cold, elegant look  Not good for large bodies of text

19. DESIGNING with TYPE [Late 1800s]  Used for Advertisement  Heavy Horizontal Serifs  Thick/Thin transition - little to none  Clean, straightforward  High readability, yet overall darker page than Oldstyles

20. DESIGNING with TYPE SAN SERIF [early 1900s]  Without Serifs  Monoweight - little to none Thick/Thin transition  Offers a variety of weights  Good for getting attention

21. DESIGNING with TYPE  Based on hand printing, calligraphy pen/brush, pencil or technical writing  Like cheesecake - use sparingly and no one gets sick  Never use all caps  Lends contrast and a graphic element when used appropriately

22. DESIGNING with TYPE  Offers a graphic element  But should never be used in all cap because…

23. DESIGNING with TYPE  Fun, distinctive  Many varieties  Carries obvious emotions  Use sparingly  Good to experiment with

24. DESIGNING with TYPE