TYPE LIKE YOUMEAN IT.

A Process Book By Cami Manea

TYPE LIKE YOUMEAN IT.

Copyright © 2012 by Cami Manea

Type Like You Mean It; a process book

-1st edition/ by Cami ManeaAll rights reserved.

1objective

completed assignment Anatomy of Type

2Word Typographytracking

combining typefaces

contents

guidelines/suggestionsgrid systems

about Didotsketches: 3 conceptsdesign development

final posters

3sketches

1 size, 1 weight2 sizes, 2 weights3 sizes, 3 weights

Text Typography

4

5DOs & DON’Ts

Typeface Poster

prefaceEverything you hear about typography and design emphasizes, in one way or another, that “Simplicity is Key.” Looking at my chaotic pile of sketches, designs, notes, and inspirational magazine pages, I saw everything but simplicity. I created Type Like You Mean It in search for order and clarity beneath the mess of work I had compiled throughout this semester. This book organizes all that information in a way that is not only legible but also, as Milka Broukhim likes to call it, “delicious”.

7

1Anatomy of Type

The objective of this assignment is for the student to become familiar with the various anatomical parts of typography, as well as the definition of these parts.

9

1. Meanline/Median: Imaginary line running along the top of non-ascending, lowercase letters.2. Capline: A line marking the height of uppercase letters within a font.3. X-height: The distance between the baseline and the median.4. Baseline: The imaginary line upon which a line of text sits.5. Stem: Vertical, full-length stroke in upright characters.6. Beak: A sharp spur, found particularly at the top of letters in some 20th Century Roman fonts.7. Tail: A descending, often decorative, curved stroke.8. Vertex/Crotch: An acute, inside angle where two strokes meet.9. Descender: The part of letters that extends below the baseline.10. Counter: The open space in a fully or partly closed area within a letter.11. Oblique Stress: The direction in which a curved stroke changes height.12. Bowl: The fully closed, rounded part of a letter.13. Link: Stroke that connects the top and bottom bowls of double-story ‘g’s.14. Loop: The enclosed counter below the baseline of a double-story ‘g’.15. Ear: A decorative flourish usually on upper right side of the bowl.16. Terminal: The teardropped strokes in letters of some typefaces.17. Terminal: The end of a stroke that does not include a serif.18. Finial: A tapered or curved end.19. Spur: Small projection off a main stroke.20. Bracket: Curved/wedge-like connection between the stem and serif of some fonts.21. Ascender: Upward vertical stem on some lowercase letters.22. Shoulder: The curved stroke aiming downward from a stem.23. Serif: Tapered corners on the ends of the main stroke.24. Arm: Horizontal or upward, sloping stroke that does not connect to a stroke or stem on one or both ends.

11

“There are now about as many different varieties of letters as there are different kinds of fools.” Eric Gill

processAlthough this was a very simple assignment, it was extremely beneficial. By drawing out each letter and finding the definition of its parts, I was able to gain a clear understanding of the anatomy of typography.

13

The objective of this assignment is for the student to become familiar with the five classic type families, to experience them in different type styles and to learn how to track and kern a word successfully, for better readability and legibility.

2Word Typography

15

experimenting with tracking

everythingeverythingeverythingEVERYTHING

e v e r y t h i n geverythinge v e r y t h i n gEV E RY T H I NG

everythingeverythingeverythingEVERYTHING

Tight Tracking

Medium Tracking

Loose Tracking

17

combining typefaces

EVERYthing

everything

every thing

EVERYt h ing

everything

Garamond & Century Schoolbook

Century Schoolbook & Helvetica

Century Schoolbook & Helvetica

Helvetica & Bodoni

Garamond & Baskerville

19

completed assignment

e v e r y thingcapline

median

baseline

eye

crotch

ear

tail

serif

arm

ascender

shoulder

counter

loop

21

“The simpler the assignment, the more difficult the solution.” Wolfgang Weingart

processThis assignment taught me a lot about the five standard typeface families, as well as the basics of tracking and kerning. It challenged me to combine typefaces in a way that not only looked aesthetically pleasing, but was also readable and legible.

23

The objective of this assignment is for the student to gain experience in arranging body of text, deciding which words or phrases should be emphasized and how text should be arranged on a page. Students understand the considerations of how we read and how to create harmony and contrast, attracting attention or creating an interesting texture with text arrangement on the page considering readability and legibility. Students in the end learn the effective use of different sizes and weights of type in order to quickly and easily convey information effectively.

3Text Typography

25

sketches

27

one size, one weight

Die Neue Typographie, a manifesto of modern design

“Neue Typographie lays out text by

leading the eye of the viewer from one

word, one group to the next. Thus we

need to structure the text meaningfully,

using differences in size, boldness,

position in space, colour, etc. Neue

Typographie uses the possible effects

of the former background consciously

and considers

both the white background segments

and the black type and shapes as

design elements of equal value. With

that, Neue Typographie has added a

new element to the expressive poten-

tial of printing. It is exactly the use of

large white areas that creates the

startling impact of Neue Typographie.”

Translation by Wolfgang Oertl

Die Neue Typographie, a manifesto of modern design

“Neue Typographie lays out text by

leading the eye of the viewer from

one word, one group to the next.

Thus we need to structure the text

meaningfully, using differences in

size, boldness, position in space,

colour, etc. Neue Typographie uses

the possible effects of the former

background consciously and con-

siders both the white background segments and the black type and shapes as design elements of equal value. With that, Neue Typographie has added a new element to the ex-pressive potential of printing. It is exactly the use of large white areas that creates the startling impact of Neue Typographie.” Translation by Wolfgang Oertl

Die Neue Typographie, a manifesto of modern design

“Neue Typographie lays out text by leading the eye of

the viewer from one word, one group to the next. Thus

we need to structure the text meaningfully, using

differences in size, boldness, position in space, colour,

etc. Neue Typographie uses the possible effects ofthe former background consciously and considers both the white background segments and the black type and shapes as design elements of equal value. With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that creates the startling impact of Neue

Typographie.”Translation by Wolfgang Oertl

“neue typographie lays out text by leading the eye of

the viewer from one word, one group to the next. thus

we need to structure the text meaningfully, using

differences in size, boldness, position in space, colour, etc.

neue typograhie uses the possible effects of the former background consciously and

considers both the

white background segments and the black type and shapes as design elements of equal value. with that, neue typographie has added a new element to the expressive potential of printing. it is exactly the use of large white areas that creates the startling impact of neue typographie.”Translation by Wolfgang Oertl

DIE NEUE TYPOGRAPHIE, A MANIFESTO OF MODERN DESIGN

29

two sizes, two weights

Die Neue Typographie,a manifesto of modern design

“Neue Typographie lays out text by leading the

eye of the viewer from one word, one group

to the next. Thus we need to structure the text

meaningfully, using differences in size, bold-

ness, position in space, colour, etc. Neue

Typographie uses the possible effects of the

former background consciously and consid-

ers both the white background segments and

the black type and shapes as design elements

of equal value. With that, Neue Typographie

has added a new element to the expressive

potential of printing. It is exactly the use of

large white areas that creates the startling

impact of Neue Typographie. “

Translation by Wolfgang Oertl

DIENEUE

TYPOGRAPHIE

a manifesto of modern

design

“Neue Typographie lays out text by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, colour, etc. Neue Typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shapes

as design elements of equal value. With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that creates the startling impact of Neue Typographie.”

Die Neue Typographie, a manifesto of modern design

“Neue Typographie lays out text by leading the eye of the viewer from one word, one group to the next. Thus we need to structure the text meaningfully, using differences in size, boldness, position in space, colour, etc.

Neue Typographie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shapes as design elements of equal value. With that, Neue Typographie has added a new element to the expressive potential of printing. It is exactly the use of large white areas that creates the startling impact of Neue Typographie.” Translation by Wolfgang Oertl

“NEUE TYPOGRAPHIE LAYS OUT TEXT BY LEADING THE EYE OF THE VIEWER FROM ONE WORD, ONE GROUP TO THE NEXT. THUS WE NEED TO STRUCTURE THE TEXT MEANINGFULLY, USING DIFFERENCES IN SIZE, BOLDNESS, POSITION IN SPACE, COLOUR, ETC. NEUE TYPOGRAHIE USES THE POSSIBLE EFFECTS OF THE FORMER BACKGROUND CONSCIOUSLY AND CONSIDERS BOTH THE WHITE BACKGROUND SEGMENTS AND THE BLACK TYPE AND SHAPES AS DESIGN ELEMENTS OF EQUAL VALUE. WITH THAT, NEUE TYPOGRAPHIE HAS ADDED A NEW ELEMENT TO THE EXPRESSIVE POTENTIAL OF PRINTING. IT IS EXACTLY THE USE OF LARGE WHITE AREAS THAT CREATES THE STARTLING IMPACT OF NEUE TYPOGRAPHIE.”

die neue typographie,a manifesto of modern designTranslated by Wolfgang Oertl

31

three sizes, three weights

design

Neue Typograph ie l ays out text by lead ing the eye of the v iewer f rom one

word , one group to the next . Thus we need to s t ructure the text mean ingfu l l y,

us ing d i f fe rences in s i ze , bo ldness , pos i t ion in space, co lour, e tc . Neue

Typograph ie uses the poss ib le e f fects o f the fo rmer background consc ious ly and

cons iders both the whi te background segments and the b lack type and shapes as des ign e lements of equa l va lue . Wi th that , Neue Typograph ie has added a new

e lement to the express ive potent ia l o f p r in t ing . I t i s exact ly the use of l a rge whi te a reas that c reates the s ta r t l ing

impact o f Neue Typograph ie .

DIENEUETYPOGRAPHIEA MANIFESTO OF MODERN

TRANSLATION BY WOLFGANG OERTL

33

D I E N E U ETYPOGRAPHIE

“ N e u e Ty p o g r a p h i e l a y s o u t t e x t b y l e a d i n g t h e e y e o f t h e v i e w e r f r o m o n e w o r d , o n e g r o u p t o t h e n e x t . T h u s w e n e e d t o s t r u c t u r e t h e t e x t m e a n i n g f u l l y , u s i n g d i f f e r e n c e s i n s i z e , b o l d n e s s , p o s i t i o n i n s p a c e , c o l o u r , e t c . N e u e Ty p o g r a p h i e u s e s t h e p o s s i b l e e f f e c t s o f t h e f o r m e r b a c k g r o u n d c o n s c i o u s l y a n d c o n s i d e r s b o t h t h e w h i t e b a c k g r o u n d s e g m e n t s a n d t h e b l a c k t y p e a n d s h a p e s a s d e s i g n e l e m e n t s o f e q u a l v a l u e . W i t h t h a t , N e u e Ty p o g r a p h i e h a s a d d e d a n e w e l e m e n t t o t h e e x p r e s s i v e p o t e n t i a l o f p r i n t i n g . I t i s e x a c t l y t h e u s e o f l a r g e w h i t e a r e a s t h a t c r e a t e s t h e s t a r t l i n g i m p a c t o f N e u e Ty p o g r a p h i e . ”

a manifesto ofmodern design

Tr a n s l a t i o n b y W o l f g a n g O e r t l

DIE NEUE

TYPOGRAPHIE

DESIGN

A MANIF

ESTOOF

MODERNTRANS

LATION

BY

WOLF

GANG

OERTL

Neue Typograp

hie has

added a new

element to the exp

ressiv

e potential

of

printing. It is exa

ctly the use

of large

white are

as that

create

s the startlin

g

impact of neue typ

ographie.”

“Neue Typograp

hie lay

s out

text by lea

ding the eye of

the viewer

from one word,

one group to the next.

Thus we need to stru

cture

the tex

t meaningfully,

using

differen

ces in size

, boldness,

position in space

, colour,

Neue Typograh

ie uses

the possible

effects

of the former

background

consciously

and co

nsiders

both the w

hite back

ground segments a

nd the

black t

ype and sh

apes as

design el

ements

of equal

value.

With that,

35

DIENEUE

“neue typographie lays out text by leading the eye of the viewer from one word, one group to the next. thus we need to structure the text meaningfully, using differences in size, boldness, position in space, colour, etc. neue typograhie uses the possible effects of the former background consciously and considers both the white background segments and the black type and shapes as design elements of equal value. with that, neue typographie has added a new element to the expressive potential of printing. it is exactly the use of large white areas that creates the startling impact of neue typographie.”

T Y P O G R A P H I Ea manifesto of modern design, translated by wolfgang oertl

neuetypodie

graphie

A MANIFESTO OF MODERN DESIGN, TRANSLATION BY WOLFGANG OERTL

“Neue Typographie lays out text by leading the eye of the viewer from

one word, one group to the next. Thus we need to structure the text

meaningfully, using differences in size, boldness, position in space,

colour, etc. Neue Typographie uses the possible effects of the former

background consciously and considers both the white background

segments and the black type and shapes as design elements of equal

value. With that, Neue Typographie has added a new element to the

expressive potential of printing. It is exactly the use of large white

areas that creates the startling impact of Neue Typographie.”

37

“Negative space is magical-- create it, don’t just fill it up!” Timothy Samara

processBeing constrained with one size and one weight, the first part of this process challenged me to find creative ways to arrange a body of text on a page, while also having a sense of hierarchy between the heading, the body copy, and the sub-head. With two sizes and two weights, it became easier to create this hierarchy, but more difficult to keep a consistent relationship between the body copy and the headings. In the end, when it came to working with three sizes and three weights, I almost began to feel lost. With so much freedom, it became even more difficult to keep a consistency with hierarchy. After hundreds of sketches and a few trial-and-error processes, I was finally able to come up with a set of work that exhibits this body of text in a way that is creative, but still readable.

39

4The DOs and DON’Ts

of Typography

41

Do:

Play with width and height of body text.

Use kerning and tracking.

Be consistent!

Use letter spacing to create depth.

Pay attention to hierarchy of text.

Consider the Rule of Thirds to create movement.

Play with direction of text.

Be Diverse!

Use various ratios, step out of your boundaries.

Consider paragraph structure and readability.

Let the text breathe.

Don’t:Use punctuation at the end of a justified paragraph.

Use hyphenations at the end of a line.

Use negative leading or letterspacing.

Exceed optimum line length.

Make text read downwards.

Crowd text in a confined space.

43

grid systems

There are multiple ways to create a grid system. Graphic designers often use the Fibonacci Sequence to organize information because it is naturally appealing to the eye. Taking advantage of the “Golden Section” is another way to organize information. In the Golden Section, the ratio of the smaller number to the larger is the same as the ratio of the larger number to the sum of two. The Illuminated Books of the Middle Ages used their own unique grid system, which involved margins and text placement that was determined by diagonal lines through both pages. Essentially, the height of the text feild is equal to the width of the full page. Modern graphic designers today use a combination of these grid methods, along with sub-dividing and continuous division of the original grid.

“It’s all about DIVISION to bring harmony and organization.” Grid systems allow you to organize text in a meaningful way. They aid in navigation of text, including hierarchy and cohesiveness, and aesthetics. The grid not only makes a text and image layout more aesthetically pleasing, but also gives the designer a systematic format to follow. When used correctly, a grid system can be a designer’s best friend.

45

5Typeface Poster

Content: Understand more about the structure of type and its anatomy; learn the five classic typefaces and some of its authors. Concept: Become familiar with how “form follows function”; learn the value of sketching for exapnding thinking process; understand process of designing from concept to finish. Design: Practice exploring the system of organization, order of information and arrangement of type relative to its importance; using hierarchy of typography and establishing visual hierarchy. Production: Document all process work and thinking; produce a professional final.

47

chosen typeface: Didot

The Didot typeface family was named after the well-known type and printing family in Paris, France. At the

time, they were the King’s printers, and most of the family members were involved in various branches of

the printing trade. Firmin Didot, a punch-cutter, type founder, printer, publisher, and author born in 1764, was the original designer of the Didot font. In 1783,

he completed development of this new typeface and began to cut the letters and cast them. His brother,

Pierre, later used the type for his printing business in his “Editions du Louvre” series.

The Didot typeface gives text a classic and elegant feel. It is classified as one of the first Modern Roman typefaces. Didot takes inspiration from John Baskerville’s experimentation with contrast and is most prominently characterized by its high contrast between thick and thin strokes, as well as its thin, un-bracketed horizontal serifs. The lowercase ‘a’ has curved lines combined with a straight, clear vertical line. Its feature is more curved than most of the other letters of the Didot typeface. The top of the lowercase ‘t’ has a subtle indent, which also differentiates itself from the rest of the letters. In the 1960s and 70s, Didot was often found in advertising. Today, modern variations of Didot type are mostly seen in fashion-oriented magazines such as Vogue, Harpers Bazaar, etc.

Didot Font Characteristics

Firmin Didot

49

sketches: 3 concepts

Concept 1: Thick and Thin Strokes

Concept 2: Teardrop Terminals

Concept 3: Hairline Serifs

51

design development: 2 concepts

OOFirm

in Didot was the designer of th

e original Didot font.

The Didot type fa

mily was

named after th

e well-

known type and printin

g

family in

Paris, France. A

s

the time, th

ey were the

King’s printers, and m

ost

of the fa

mily m

embers

were involved in

various

branches of the printin

g

trade. Firmin Didot, a

punch-cutter, t

ype founder,

printer, publisher, a

nd

author borin in 1764, w

as

the original designer of

the Didot font. I

n 1783, he

completed development

of this new ty

peface and

began to cut th

e lette

rs and

cast them. H

is brother,

Pierre, later used th

e type

for his printing business in

his “Editions du Louvre”

series. The Didot ty

peface

gives text a

classic and

elegant feel. I

t is classifie

d

as one of the fir

st Modern

Roman typefaces.

Didot takes inspiration from John Baskerville

’s

experimentation with contrast and is most prominently

characterized by its high contrast between th

ick and thin

strokes, as well as its

thin, unbracketed horizontal serifs.

The combination of hard and soft l

ines is ultimately

what makes Didot stand out fr

om other typefaces during

its era. It has a short x-height, a

llowing ascenders

and descenders to look elongated and therefore more

delicate. The lowercase ‘a’ has features that are more

curved than th

e rest of the Didot ty

peface The top

of the lowercase ‘t’

has a subtle indent, which also

differentiates its

elf from other Didot le

tters. Although

primarily used for display type, Didot is

also often

modified to make it

more legible for larger bodies

of text. I

n the 1960s and 70s, D

idot was often found

in advertising. Today, modern variations of th

e Didot

typeface are mostly seen in fashion-oriented magazines,

such as Vogue and Harpers Bazaar. NNT

he D

idot

typ

e fa

mil

y w

as n

amed

afte

r th

e w

ell-

know

n ty

pe

and

prin

ting

fa

mil

y in

Pa

ris,

Fr

ance

.

As

the

tim

e, t

hey

wer

e th

e K

ing’

s

prin

ters

, an

d m

ost

of

the

fam

ily

mem

bers

wer

e in

volv

ed i

n va

riou

s

bran

ches

of

th

e pr

inti

ng

trad

e.

Fir

min

Did

ot,

a pu

nch-

cutt

er,

type

foun

der,

prin

ter,

publ

ishe

r, an

d

auth

or b

orin

in 1

764,

was

the

orig

inal

desi

gner

of

the

Did

ot f

ont.

In 1

783,

he c

ompl

eted

dev

elop

men

t of

thi

s

new

typ

efac

e an

d be

gan

to c

ut t

he

lett

ers

and

cast

the

m.

His

bro

ther

,

Pie

rre,

lat

er u

sed

the

type

for

his

prin

ting

bus

ines

s in

his

“E

diti

ons

du

Lou

vre”

se

ries

.

The

D

idot

type

face

gi

ves

text

a

clas

sic

and

eleg

ant f

eel.

It is

cla

ssif

ied

as o

ne o

f

the

firs

t M

oder

n R

oman

typ

efac

es.

Did

ot t

akes

in

spir

atio

n f

rom

Joh

n

Bas

kerv

ille

’s e

xper

imen

tati

on w

ith

con

tras

t an

d is

mos

t pr

omin

entl

y

char

acte

rize

d by

its

hig

h c

ontr

ast

betw

een

th

ick

and

thin

st

roke

s,

as

wel

l as

it

s th

in,

unbr

acke

ted

hor

izon

tal

seri

fs. T

he

com

bin

atio

n

of h

ard

and

soft

lin

es i

s ul

tim

atel

y

wh

at m

akes

Did

ot s

tan

d ou

t fr

om

oth

er t

ypef

aces

dur

ing

its

era.

It

has

a

shor

t x-

hei

ght,

al

low

ing

asce

nde

rs

and

desc

ende

rs

to

look

el

onga

ted

and

ther

efor

e

mor

e de

lica

te.

Th

e lo

wer

case

‘a’

has

fe

atur

es

that

ar

e m

ore

curv

ed t

han

th

e re

st o

f th

e D

idot

type

face

Th

e to

p of

th

e lo

wer

case

‘t’

has

a s

ubtl

e in

den

t, w

hic

h a

lso

diff

eren

tiat

es

itse

lf

from

ot

her

Did

ot l

ette

rs.

Alt

hou

gh p

rim

aril

y

used

fo

r di

spla

y ty

pe,

Did

ot

is

also

of

ten

m

odif

ied

to

mak

e it

mor

e le

gibl

e fo

r la

rger

bod

ies

of

text

. In

th

e 19

60s

and

70s,

Did

ot

was

of

ten

fo

und

in

adve

rtis

ing.

Toda

y,

mod

ern

va

riat

ion

s of

th

e

Did

ot

type

face

ar

e m

ostl

y se

en

in

fash

ion

-ori

ente

d m

agaz

ines

,

such

as

Vog

ue a

nd

Har

pers

Baz

aar.

Firm

inD

idot

cJ

The Didot type family was named after the well-known type and printing family in Paris, France. As the time, they were the King’s printers, and most of the family members were involved in various branches of the printing trade. Firmin Didot, a punch-cutter, type founder, printer, publisher, and author borin in 1764, was the original designer of the Didot font. In 1783, he completed development of this new typeface and began to cut the letters and cast them. His brother, Pierre, later used the type for his printing business in his “Editions du Louvre” series. The Didot typeface gives text a classic and elegant feel. It is classified as one of the first Modern Roman typefaces. Didot takes inspiration from John Baskerville’s experimentation with contrast and is most prominently characterized by its high contrast between thick and thin strokes, as well as its thin, unbracketed horizontal serifs. Didot takes inspiration from John Baskerville’s experimentation with contrast and is most prominently characterized by its high contrast between thick and thin strokes, as well as its thin, unbracketed horizontal serifs. The combination of hard and soft lines is ultimately what makes Didot stand out from other typefaces during its era. It has a short x-height, allowing ascenders and descenders to look elongated and therefore more delicate. The lowercase ‘a’ has features that are more curved than the rest of the Didot typeface The top of the lowercase ‘t’ has a subtle indent, which also differentiates itself from other Didot letters. Although primarily used for display type, Didot is also often modified to make it more legible for larger bodies of text. In the 1960s and 70s, Didot was often found in advertising. Today, modern variations of the Didot typeface are mostly seen in fashion-oriented magazines, such as Vogue and Harpers Bazaar.

firminDIDOT

The Didot type family was named after the well-known type and printing family in Paris, France. At the time, they were the King’s printers, and most of the family members were involved in various branches of the printing trade.

Firmin Didot, a punch-cutter, type founder, printer, publisher, and author borin in 1764, was the original designer of the Didot font. In 1783, he completed development of this new typeface and began to cut the letters and cast them. His brother, Pierre, later used the type for his printing business in his “Editions du Louvre” series.

The Didot typeface gives text a classic and elegant feel. It is classified as one of the first Modern Roman typefaces. Didot takes inspiration from John Baskerville’s experimenta-tion with contrast and is most prominently characterized by its high contrast between thick and thin strokes, as well as its thin, unbracketed horizontal serifs. The combina-tion of hard and soft lines is ultimately what makes Didot stand out from other typefaces during its era. It has a short x-height, allowing ascenders and descenders to look elongated and therefore more delicate. The lowercase ‘a’ has features that are more curved than the rest of the Didot typeface The top of the lowercase ‘t’ has a subtle indent, which also dif-ferentiates itself from other Didot letters. Although primarily used for display type, Didot is also often modified to make it more legible for larger bodies of text. In the 1960s and 70s, Didot was often found in advertising. Today, modern variations of the Didot type-face are mostly seen in fashion-oriented magazines, such as Vogue and Harpers Bazaar.

Concept 1: Thick and Thin Strokes

Concept 2: Teardrop Terminals

53

design development: 1 concept

fallingr ain

DIDOT

D I D O T t y p e f a c e g i v e s

t e x t a c l a s s i c a n d e l e g a n t

f e e l . I t i s c l a s s i f i e d a s o n e

o f t h e f i r s t M o d e r n R o m a n

t y p e f a c e s . D i d o t i s

c h a r a c t e r i z e d b y i t s

h i g h c o n t r a s t b e t w e e n

t h i c k a n d t h i n s t r o k e s ,

a s w e l l a s i t s t h i n ,

u n b r a c k e t e d h o r i z o n t a l

s e r i f s a n d t e a r d r o p

t e r m i n a l s . T h e c o m b i n a t i o n

o f h a r d a n d s o f t l i n e s i s

u l t i m a t e l y w h a t m a k e s

D i d o t s t a n d o u t f r o m o t h e r

t y p e f a c e s d u r i n g i t s e r a . I t

h a s a s h o r t x - h e i g h t , a l l o w i n g

a s c e n d e r s a n d d e s c e n d e r s t o l o o k

e l o n g a t e d a n d t h e r e f o r e m o r e

d e l i c a t e .

F I R M I N D I D O T,

a p u n c h - c u t t e r , t y p e f o u n d e r , p r i n t e r ,

p u b l i s h e r , a n d a u t h o r b o r i n i n 1 7 6 4 ,

w a s t h e o r i g i n a l d e s i g n e r o f t h e

D i d o t f o n t . I n 1 7 8 3 , h e c o m p l e t e d

d e v e l o p m e n t o f t h i s n e w t y p e f a c e a n d

b e g a n t o c u t t h e l e t t e r s a n d c a s t t h e m .

H i s b r o t h e r , P i e r r e , l a t e r u s e d t h e

t y p e f o r h i s p r i n t i n g b u s i n e s s i n h i s

“ E d i t i o n s d u L o u v r e ” s e r i e s .

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz

1234567890 (“‘,;.:&!?’”)

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DIDOTF I R M I N D I D OT, a punch-cut ter, t ype founder, pr inter,

publ i sher, and author bor in in 1764 , was the or ig ina l

des igner o f the Didot font . In 1783 , he comple ted

deve lopment o f th i s new type face and began to cut the

l e t ters and cas t them. His brother, P ierre, l a ter used the

t ype for h i s pr int ing bus iness in h i s “Edi t ions du Louvre”

ser ie s. D I D O T T Y P E FA C E g i v e s t e x t a c l a s s i c a n d

e l e g a n t f e e l . I t i s c l a s s i f i e d a s o n e o f t h e f i r s t

M o d e r n R o m a n t y p e f a c e s . D i d o t i s c h a r a c t e r i z e d b y

i t s h i g h c o n t r a s t b e t w e e n t h i c k a n d t h i n s t r o k e s ,

a s w e l l a s i t s t h i n , u n b r a c k e t e d h o r i z o n t a l s e r i f s

a n d t e a r d r o p t e r m i n a l s . T h e combinat ion o f h a r d a n d

s o f t l i n e s i s u l t i m a t e l y w h a t m a k e s D i d o t s t a n d o u t

f r o m o t h e r t y p e f a c e s d u r i n g i t s e r a . I t h a s a s h o r t

x - h e i g h t , a l l o w i n g a s c e n d e r s a n d d e s c e n d e r s t o l o o k

e l o n g a t e d a n d t h e r e f o r e m o r e d e l i c a t e .

55

JyaF I R M I N D I D O T,

a p u n c h - c u t t e r , t y p e f o u n d e r , p r i n t e r ,

p u b l i s h e r , a n d a u t h o r b o r i n i n 1 7 6 4 , w a s

t h e o r i g i n a l d e s i g n e r o f t h e D i d o t f o n t . I n

1 7 8 3 , h e c o m p l e t e d d e v e l o p m e n t o f t h i s

n e w t y p e f a c e a n d b e g a n t o c u t t h e l e t t e r s

a n d c a s t t h e m . H i s b r o t h e r , P i e r r e , l a t e r

u s e d t h e t y p e f o r h i s p r i n t i n g b u s i n e s s

i n h i s “ E d i t i o n s d u L o u v r e ” s e r i e s .

D I D O T T Y P E F A C E

g i v e s t e x t a c l a s s i c a n d e l e g a n t f e e l . I t

i s c l a s s i f i e d a s o n e o f t h e f i r s t M o d e r n

R o m a n t y p e f a c e s . D i d o t i s c h a r a c t e r i z e d

b y i t s h i g h c o n t r a s t b e t w e e n t h i c k a n d t h i n

s t r o k e s , a s w e l l a s i t s t h i n , u n b r a c k e t e d

h o r i z o n t a l s e r i f s a n d t e a r d r o p t e r m i n a l s .

T h e c o m b i n a t i o n o f h a r d a n d s o f t l i n e s

i s u l t i m a t e l y w h a t m a k e s D i d o t s t a n d

o u t f r o m o t h e r t y p e f a c e s d u r i n g i t s

e r a . I t h a s a s h o r t x - h e i g h t , a l l o w i n g

a s c e n d e r s a n d d e s c e n d e r s t o l o o k

e l o n g a t e d a n d t h e r e f o r e m o r e d e l i c a t e .

AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz1234567890 (“‘,;.:&!?’”)

F I R M I N D I D OT, a punch - cu t t e r, t y p e f ounde r,

p r i n t e r, pub l i she r, and au tho r bo r i n i n 1 764 ,

wa s t h e o r i g i n a l d e s i gne r o f t h e D ido t f on t . I n

1783 , h e c omp l e t ed d eve l opmen t o f t h i s n ew

t ype f a c e and beg an t o cu t t h e l e t t e r s and c a s t

t h em . H i s b r o the r, P i e r r e, l a t e r u s ed t h e

t ype f o r h i s p r i n t i ng bu s ine s s i n h i s

“Ed i t i on s du Louv r e ” s e r i e s .

T h e D I D O T t y p e f a c e

g i v e s t e x t a c l a s s i c

a n d e l e g a n t f e e l . I t

i s c l a s s i f i e d a s o n e

o f t h e f i r s t M o d e r n

R o m a n t y p e f a c e s .

D i d o t i s c h a r a c t e r i z e d

b y i t s h i g h c o n t r a s t

b e t w e e n t h i c k a n d

t h i n s t r o k e s , a s w e l l a s

i t s t h i n , u n b r a c k e t e d

h o r i z o n t a l s e r i f s a n d

t e a r d r o p t e r m i n a l s .

T h e combina t ion o f

h a r d a n d s o f t l i n e s

i s u l t i m a t e l y w h a t

m a k e s D i d o t s t a n d o u t

f r o m o t h e r t y p e f a c e s

d u r i n g i t s e r a . I t

h a s a s h o r t x - h e i g h t ,

a l l o w i n g a s c e n d e r s

a n d d e s c e n d e r s

t o l o o k e l o n g a t e d

a n d t h e r e f o r e m o r e

d e l i c a t e .

AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRr

SsTtUuVvWwXxYyZz1234567890 (“‘,;.:&!?’”)

falling rain

DIDOT

falling

rainA

BC

DE

FG

HIJK

LM

NO

PQ

R

ST

UV

WX

YZ

abcdefghijklmnopqrstuvw

xyz

1234567890

(“‘,;.:&!?’”)

F I R M I N D I D O T,

a p u n c h - c u t t e r , t y p e f o u n d e r , p r i n t e r ,

p u b l i s h e r , a n d a u t h o r b o r i n i n 1 7 6 4 , w a s

t h e o r i g i n a l d e s i g n e r o f t h e D i d o t f o n t . I n

1 7 8 3 , h e c o m p l e t e d d e v e l o p m e n t o f t h i s

n e w t y p e f a c e a n d b e g a n t o c u t t h e

l e t t e r s a n d c a s t t h e m . H i s b r o t h e r , P i e r r e ,

l a t e r u s e d t h e t y p e f o r h i s p r i n t i n g b u s i n e s s

i n h i s “ E d i t i o n s d u L o u v r e ” s e r i e s .

D I D O T T Y P E F A C E

g i v e s t e x t a c l a s s i c a n d e l e g a n t f e e l .

I t i s c l a s s i f i e d a s o n e o f t h e f i r s t

M o d e r n R o m a n t y p e f a c e s . D i d o t i s

c h a r a c t e r i z e d b y i t s h i g h c o n t r a s t b e t w e e n

t h i c k a n d t h i n s t r o k e s , a s w e l l a s

i t s t h i n , u n b r a c k e t e d h o r i z o n t a l s e r i f s a n d t e a r d r o p t e r m i n a l s .T h e c o m b i n a t i o n o f

h a r d a n d s o f t l i n e s i s u l t i m a t e l y w h a t

m a k e s D i d o t s t a n d o u t f r o m o t h e r t y p e f a c e s

d u r i n g i t s e r a . I t h a s a s h o r t x - h e i g h t ,

a l l o w i n g a s c e n d e r s a n d d e s c e n d e r s

t o l o o k e l o n g a t e d a n d t h e r e f o r e m o r e

d e l i c a t e .

57

final posters

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d

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B

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ZJyaF I R M I N D I D O T , a punch-cutter, type founder, printer, publisher, and author borin in 1764, was the original designer of the Didot font. In 1783, he completed development of this new typeface and began to cut the letters and cast them. His brother, Pierre, later used the type for his printing business in his “Editions du Louvre” series.

The D I D O T typeface gives a classic and elegant feel. It is classified as one of thefirst Modern Roman typefaces. Didot is characterized by its high contrast between thick and thin strokes, as well as its thin, unbracketed horizontal serifs and teardrop terminals.

DIDOTfrance, 1783

The combination of hard and soft lines is ultimately what makesDidot stand out from other typefaces during its era. It has

a short x-height, allowing ascenders and descenders to lookelongated and therefore more delicate. Today, modernvariations of Didot can be seen in fashion-oriented magazines

such as VOGUE and Harper’s Bazaar.

“The Didot typeface was named after the well-known type and printing family in Paris, France.”

59

falling

r ainDIDOT

D I D O T t y p e f a c e g i v e s

t e x t a c l a s s i c a n d e l e g a n t

f e e l . I t i s c l a s s i f i e d a s o n e

o f t h e f i r s t M o d e r n R o m a n

t y p e f a c e s . D i d o t i s

c h a r a c t e r i z e d b y i t s

h i g h c o n t r a s t b e t w e e n

t h i c k a n d t h i n s t r o k e s ,

a s w e l l a s i t s t h i n ,

u n b r a c k e t e d h o r i z o n t a l

s e r i f s a n d t e a r d r o p

t e r m i n a l s . T h e c o m b i n a t i o n

o f h a r d a n d s o f t l i n e s i s

u l t i m a t e l y w h a t m a k e s

D i d o t s t a n d o u t f r o m o t h e r

t y p e f a c e s d u r i n g i t s e r a . I t

h a s a s h o r t x - h e i g h t , a l l o w i n g

a s c e n d e r s a n d d e s c e n d e r s t o look

elongated and th e r e f o r e m o r e d e l i c a t e .

F I R M I N D I D O T,

a p u n c h - c u t t e r , t y p e f o u n d e r , p r i n t e r ,

p u b l i s h e r , a n d a u t h o r b o r i n i n 1 7 6 4 ,

w a s t h e o r i g i n a l d e s i g n e r o f t h e

D i d o t f o n t . I n 1 7 8 3 , h e c o m p l e t e d

d e v e l o p m e n t o f t h i s n e w t y p e f a c e a n d

b e g a n t o c u t t h e l e t t e r s a n d c a s t t h e m .

H i s b r o t h e r , P i e r r e , l a t e r u s e d t h e

t y p e f o r h i s p r i n t i n g b u s i n e s s i n h i s

“ E d i t i o n s d u L o u v r e ” s e r i e s .

AaBbCcDdEeFfGgHhIiJjKkLlMmNnOoPpQqRrSsTtUuVvWwXxYyZz 1234567890 (“‘,;.:&!?’”)

FIRMIN D

IDO

T, a punch-cut te r, t ype founder,

falling rain

DIDOT

printer, pub l i sher, and au thor born in in 1764 , was the

o r ig ina l des igner o f the Didot fon t . In 1783, he

comple ted deve lopm

ent o f th i s new type face

and began to cu t the l e t t e r s and cas t them. His

h i s pr in t ing bus iness in h i s “Edi t ions du Louvre” se r i e s.

b ro ther, P ie r re, l a t e r used the t ype fo r

The D

IDO

Tty

pefa

ce

give

s te

xt a

cla

ssic

and

eleg

ant

feel

.

I t i

s c l

ass i

f ied

as

one

of t

he f i

rst

Mod

ern R

oman

typ

efac

es. D

idot

is

char

acte

r ize

d by

its

hig

h con

tras

t

betw

een th

ick a

nd t h

i n s

trok

es, a

s w

ell

as i

ts t

hin, u

nbrac

kete

d hor

izon

tal

ser i

fs a

nd te

ardr

op te

rmin

als.

The

com

bina

tion

of h

ard

and

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lin

es is

ulti

mat

ely

wha

t m

akes

Did

ot s

tand

out

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oth

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ypef

aces

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ing

i ts

era .

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has a

shor

t x-

heigh

t , a

l low

ing

asce

nders

and

desc

ende

rs t

o lo

ok e

longa

ted

and

mor

e del

icate

. Tod

ay, m

oder

n var

iat i

ons

of D

idot

can

be

seen

in f

ashio

n-

orie

nted

mag

azin

es s

uch a

s V

OG

UE

and

Har

pers

Baz

aar.

AB

CD

EF

GH

I JK

LM

NO

P

no p

qr s

t uv w

x y z 123

4567

890

(“‘,;.

:&!?’

”)

QR

STUVWXYZ

ab cd e f g h i j k lm

61

“Creativity is allowing yourself to make mistakes. Design is knowing which ones to keep.” Scott Adams

processWhile working on this project, I spent a lot of time looking up design and layout work to get inspired. There is so much amazing typography and design work out there, and looking at other people’s examples eventually helped me come up with a clear solution for my design ideas. This project was by far the most stressful and time-consuming assignment of the semester, but in the end, it was also the most rewarding. I was challenged to find a way to combine all of the typographic skills I had learned in the previous months into one poster, while also conveying a concept about the font I had chosen. It was a tough process, but overall I am very satisfied with my work.

63

Type Like You Mean It was designed, printed, and bound by Cami Manea for Milka Broukhim’s Typography 1 class in the fall of 2012. This book was set in Univers and Baskerville typefaces. It was created using InDesign CS6. A lot of blood, sweat, and tears went into my work throughout this semester. I hope you enjoy Type Like You Mean It as much as I enjoyed making it.

65