Unit1 R&D Typography Part1 Letterforms

Unit 1 Research & development Part 1 Letterforms 1
Design for visual communication
Design for
visual communication
Visual Research
(document, experiment, contextualise and evaluate)
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Design for
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Unit 1
Research &
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Letterforms
Type classification
Typographic hierarchy
Visual Research
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Design for
SketchBook I SketchBook II
Unit 1 Unit 1
Research & Visual language &
development grammar
Letterforms Form and meaning
Type classification Colour, structure &
Typographic hierarchy meaning
Visual Research
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Design for
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Unit 1 Unit 1 Unit 1
Research & Visual language & Information search
development grammar & design
Letterforms Form and meaning Information research
Type classification Colour, structure & Information design
Typographic hierarchy meaning
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DOCUMENT
Documentation
helps ensure consent
and expectations. It
is important to record
information that can
help support the proper
execution plan.
Visual Research
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DOCUMENT EXPERIMENT
Documentation An experiment is a
helps ensure consent method carried out
and expectations. It to support, refute, or
is important to record validate a hypothesis.
information that can Experiments vary
help support the proper greatly in goal and
execution plan. scale.
Visual Research
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DOCUMENT EXPERIMENT CONTEXTUALISE
Documentation An experiment is a Contextualisation

helps ensure consent method carried out means packaging
and expectations. It to support, refute, or certain units into a
is important to record validate a hypothesis. qualification, to suit
information that can Experiments vary specific needs.
help support the proper greatly in goal and
execution plan. scale.
Visual Research
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DOCUMENT EXPERIMENT CONTEXTUALISE EVALUATE
Documentation An experiment is a Contextualisation Evaluation is a

helps ensure consent method carried out means packaging systematic measurement
and expectations. It to support, refute, or certain units into a of a subject’s merit,
is important to record validate a hypothesis. qualification, to suit worth and significance.
information that can Experiments vary specific needs. The purpose is to reflect
help support the proper greatly in goal and and identify future
execution plan. scale. change.
Visual Research
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SketchBook I
Unit 1
Research &
development
Letterforms
Type classification
Typographic hierarchy
Visual Research
learning session...
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Unit 1
Research &
development
Introduction:
This unit is designed to develop your approach They will also equip you with an advanced
to research methods and design development, contextual understanding of visual
promoting a personal style or stance to your communication practice as preparation for your
engagement with communication problems. potential progression to further postgraduate
masters level or specialist professional practice.You
You will use this unit to engage with research
will investigate how design practitioners have used
methods and understand its relationship to the
visual research and communication theories in
design process. Your findings will be applied
their work and apply this learning to your design
through projects in the Design Resolution unit.
process.
The activities you will engage in are designed to
help you improve your ability to recognise and The unit is underpinned through your critical
identify design problems; establishing the detailed assessment of the knowledge and skills you have
requirements associated with a client (including acquired through learning at undergraduate level
self-authorship) briefing and audience/user or through equivalent experience.
reception and perception.
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Unit 1
Research &
development
Introduction:
This unit is designed to develop your approach They will also equip you with an advanced
to research methods and design development, contextual understanding of visual
promoting a personal style or stance to your communication practice as preparation for your
engagement with communication problems. potential progression to further postgraduate
masters level or specialist professional practice.You
You will use this unit to engage with research
will investigate how design practitioners have used
methods and understand its relationship to the
visual research and communication theories in
design process. Your findings will be applied
their work and apply this learning to your design
through projects in the Design Resolution unit.
process.
The activities you will engage in are designed to
help you improve your ability to recognise and The unit is underpinned through your critical
identify design problems; establishing the detailed assessment of the knowledge and skills you have
requirements associated with a client (including acquired through learning at undergraduate level
self-authorship) briefing and audience/user or through equivalent experience.
reception and perception.

Unit 1
Research &
development
Learnings:
Typography is a fundamental component of visual communication. It is an

important design skill. The project workshop provides an introduction to
typeface classification (the different types of type), the formal qualities of
typography, choosing a typeface (and why), the geometry of a letter and an
introduction to the specialist language of typography.
Task 01: Hand rendering your name Task 02: Geometric analysis of letters
Choose a typeface from the sheets provided. Try to choose Draw the lowercase alphabet freehand on the supplied
one that reflects something about yourself; consider how template. The height of the centre square represents the
typefaces embody different references – modernist, linear, x-height. The square above should contain the extent of the
elegant, clean, functional, official, informal, personal, ascender and the square below, the extent of the descender.
irregular, simple, complex, etc. Draw a baseline and trace your You are to place emphasis on the geometric quality of the
first name. Draw another baseline underneath and trace your letter. Perform the same exercise for the uppercase alphabet
second name. Consider your choice of font and how it affects using the centre square as the capital height.
the shape of your name. You will have to determine the overall
space between the letters. This is called tracking. The space
between the lines is called leading or line space. Kerning is
the individual space between pairs of letters. Is it necessary
to kern any of the letter spaces? What happens if ascenders
and descenders are stacked on top of each other? How would
changes in leading affect this space? What else can you
observe from this exercise?

Unit 1
Research &
development
Learnings:
Typography is a fundamental component of visual communication. It is an

important design skill. The project workshop provides an introduction to
typeface classification (the different types of type), the formal qualities of
typography, choosing a typeface (and why), the geometry of a letter and an
introduction to the specialist language of typography.
Task 03: Parts of a letter Workshop Development: Aphorisms

Using the handout that shows parts of a letter and the type The School of Life produces a set of aphorisms (http://
sheets provided, identify a letter part that interests you – for www.theschooloflife.com/shop/twentyaphorisms/) Using
instance the counter. Now try to explore how that specific your acquired knowledge of type classification choose four
part differs across various typefaces and fonts. Focus in on contrasting aphorisms and express the meaning of the
your chosen letter part and devise ways in which you can words through four different typefaces from four different
visually communicate your findings. You might want to classifications e.g. serif, sans serif, slab serif and modern.
place your ‘part’ in a square so you can compare like for like. Consider a contrast between display typography exhibiting
Alternatively, you could use tracing paper overlays or colour the form of the letters with a more detailed understanding of
to explore differences. ascenders, descenders, x-heights, baselines, serifs, sans serifs,
upper and lower case. You should show a progression of
visual tests and experiments that communicate how you have
chosen to explore this challenge.

Unit 1
Research &
development
Learning Outcomes:
• Develop skills of research,

organisation and analysis to
support practical resolutions
and meet the needs of visual
communication problems;
(Research, Analysis)

Unit 1
Research &
development
Learning Outcomes:
• Develop skills of research, • Critically evaluate,

organisation and analysis to articulate and sustain
support practical resolutions complex arguments
and meet the needs of visual related to your approach
communication problems; to communication design;
(Research, Analysis) (Subject Knowledge,
Communication and
Presentation)

Unit 1
Research &
development
Learning Outcomes:
• Develop skills of research, • Critically evaluate, • To assess critically

organisation and analysis to articulate and sustain historical, contemporary;
support practical resolutions complex arguments social and cultural references
and meet the needs of visual related to your approach and theoretical contexts
communication problems; to communication design; in investigating visual
(Research, Analysis) (Subject Knowledge, communication problems;
Communication and (Subject Knowledge)
Presentation)

Unit 1
Research &
development
Learning Outcomes:
• Develop skills of research, • Critically evaluate, • To assess critically • Identify visual associations
organisation and analysis to articulate and sustain historical, contemporary; inherent to a range of media
support practical resolutions complex arguments social and cultural references and demonstrate how they
and meet the needs of visual related to your approach and theoretical contexts might be applied in solving
communication problems; to communication design; in investigating visual visual communication
(Research, Analysis) (Subject Knowledge, communication problems; problems. (Experimentation,
Communication and (Subject Knowledge) Technical Competence)
Presentation)

Unit 1
Research &
development
Learning Outcomes:
• Develop skills of research, • Critically evaluate, • To assess critically • Identify visual associations
organisation and analysis to articulate and sustain historical, contemporary; inherent to a range of media
support practical resolutions complex arguments social and cultural references and demonstrate how they
and meet the needs of visual related to your approach and theoretical contexts might be applied in solving
communication problems; to communication design; in investigating visual visual communication
(Research, Analysis) (Subject Knowledge, communication problems; problems. (Experimentation,
Communication and (Subject Knowledge) Technical Competence)
Presentation)
Research & Analysis Skills

Subject Knowledge
Experimentation
Technical Competence
Communication & Presentation Skills

Unit 1
Research &
development
Assignment criteria/format:
It should include research Consider historical and Experiment using various Design is an iterative
into type classification contemporary contexts in media, materials and process; testing or validating
systems and how the formal your further explorations. processes. is an essential part of the
qualities of a typeface are design process. Hence,
designed to express different evaluate the outcome and
messages in different submit the result.
environments.
DOCUMENT CONTEXTUALISE EXPERIMENT EVALUATE

development Part
Unit 1 Research & Development Part 11 Letterforms
Letterforms 20
Definition & knowledge of

the letterform.
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A letterform, is a term used mainly

in typography, and calligraphy to
mean a letter’s shape.

A letterform, is a term used mainly

in typography, and calligraphy to
mean a letter’s shape.

Definition: a letterform is a phrase used mainly in

typography, palaeography, calligraphy & epigraphy
to indicate a letter’s shape. A letterform is a type
of glyph, which is a specific, tangible way of
writing an abstract character or grapheme.

Definition: a letterform is a phrase used mainly in

typography, palaeography, calligraphy & epigraphy
to indicate a letter’s shape. A letterform is a type
of glyph, which is a specific, tangible way of
writing an abstract character.
Palaeography: is the Epigraphy: is the study of Glyph: is an elemental

study of ancient & inscriptions like writing. symbol within an agreed
historical handwriting. It’s It is the science of identifying set of symbols, intended to
study of the deciphering graphemes, clarifying their represent a distinct character
& dating of historical meanings, classifying their for the purposes of writing.
manuscripts. uses according to dates and
cultural contexts,
and drawing conclusions
about the writing and the
writers.


cultural contexts,
writers.


cultural contexts,
writers.


cultural contexts,
writers.

In Sum...

cultural contexts,
writers.

development Part
Letterforms 29
Basic understanding of the

letterform by sketching.
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Anatomy of Typography
Typefaces, like most things, are made up of constituent
parts. The characteristics of these parts give typefaces their
character.




Selected by the world’s most knowledgeable and well-

connected graphic design commentator, Steven Heller, this
survey gets into the minds of designers who create typefaces,
word-images and logos through their private sketchbooks

development Part
Letterforms 35
Document the understanding

and recording the learning.
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Task 01: Hand rendering your name elegant, clean, functional, official, informal, personal,
Choose a typeface from the sheets provided. Try to choose irregular, simple, complex, etc. Draw a baseline and trace your
one that reflects something about yourself; consider how first name.
typefaces embody different references – modernist, linear,




Task 03: Parts of a letter part differs across various typefaces and fonts. Focus in on
Using the handout that shows parts of a letter and the type your chosen letter part and devise ways in which you can
sheets provided, identify a letter part that interests you – for visually communicate your findings.
instance the counter. Now try to explore how that specific











development Part
Letterforms 51
Found alphabets,
a practical typography
exercise.
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development Part
Letterforms 61
Typography experimentations
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development Part
Letterforms 71
Letterpress
printing exploration &
experimentation
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development Part
Letterforms 80
Outcomes...
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development Part
Letterforms 104
Study materials &

contextual understanding.
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Lettering & Type:

Creating Letters & Designing Typefaces
by Bruce Willen & Nolen Strals

William Caslon I (also known as William Caslon the Elder), was

an English typefounder. The distinction and legibility of his
type secured him the patronage of the leading printers of the
day in England and on the continent





























development Part
Letterforms 137
Suggested reading and

resources
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development Part
Letterforms 143
Experts and their

contribution.
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Univers is the name of a large sans-serif typeface family

designed by Adrian Frutiger and released in 1957. Classified
as a neo-grotesque sans-serif, one based on the model of
nineteenth-century German typefaces such as
Akzidenz-Grotesk,

My intention was to design a highly flexible system while Greta Sans was conceived by Peter Biľak
also ensuring that the resulting shapes were not just designed & produced together with
compromises, but maintained the strong personality of the Nikola Djurek.
Greta San typeface.

development Part
Letterforms 146
Typography rules
and terms every designer
must know.
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Typography rules
must know.
Font selection
Font design is a long and involved process. Typefaces are The best, professionally designed fonts come with various
created by crafts people over a substantial period, using weights and styles to form a complete family with alternate
talent honed over many years. glyphs to add character and variety to typesetting.

Typography rules
must know.
Size
All typefaces are not created equal. Some are fat and wide; The most common method used to measure type is the point
some are thin and narrow. So words set in different typefaces system. One point is 1/72 inch. 12 points make one pica, a unit
can take up a very different amount of space on the page. used to measure column widths.
When pairing different typefaces, it’s generally wise to use
those that share a similar x-height.

Typography rules
must know.
Hierarchy & scale
If all the type within a layout looks the same, it’s difficult to Size is not the only way to define hierarchy – it can also be
know which is the most important information. Size is one key achieved with colour, spacing and weight.
way in which typographers create hierarchy and guide their
readers. Headings are usually large, sub-headings are smaller,
and body type is smaller still.

Typography rules
must know.
Font file types

Typography rules
must know.
Typeface - Font

Typography rules
must know.
Typeface - Font

Typography rules
must know.
Fonts weights

Typography rules
must know.
Lining and old style figures

Typography rules
must know.
Typographic alignment

Typography rules
must know.
Readability

Typography rules
must know.
Readability

Typography rules
must know.
Small caps

Typography rules
must know.
Kerning

Typography rules
must know.
Tracking

Typography rules
must know.
Tabular & Proportional figures

Typography rules
must know.
Line lenght

Typography rules
must know.
Rivers

Typography rules
must know.
Orphans and widows

Typography rules
must know.
Rags

Typography rules
must know.
Hyphens and Dashes

Typography rules
must know.
Ligatures: standard & discretionary

Typography rules
must know.
Superscripts & subscripts

development Part
Letterforms 169
International Society
of Typographic Designers
Student Assessment
Scheme.
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The International Society of Typographic Designers is a

professional body run by and for typographers, graphic
designers, and educators. The society has an international
membership, and it aims to establish and maintain standards
of typography and to provide a forum for debate.

In the recently held International Society of ‘A life’s work’ – a tribute to Frutiger

Typographic Designers (ISTD) Student Assessment Scheme,
Chai-Lin Lin’s submission received the prestigious
Commendation Award, the highest award available!
He also gained membership into ISTD.

‘A life’s work’ – a tribute to Frutiger











Thank you...
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UNIT 1 Unit 2 Design Resolution
This unit aims to build upon the knowledge acquired in the Research and De-
Unit 1 Research and Development velopment unit and to challenge you to investigate and test out more exacting
This unit is designed to develop your approach to research methods and design development, promoting a personal solutions to visual communication problems. The work you will engage in is
style or stance to your engagement with communication problems. You will use this unit to engage with research designed to help you adapt, extend and apply your knowledge of Research
methods and understand its relationship to the design process. Your findings will be applied through projects in the and Development that support design thinking and the investigation of the
Design Resolution unit. The activities you will engage in are designed to help you improve your ability to recognise process. It is expected that as you gain further insight into Research and
and identify design problems; establishing the detailed requirements associated with a client (including self-author- Development, which runs in parallel to this unit, you will move incremen-
ship) briefing and audience/user reception and perception. They will also equip you with an advanced contextual tally towards more complex, sophisticated and integrated design solutions.
understanding of visual communication practice as preparation for your potential progression to further postgraduate Some of the tasks have been designed to equip you with a further contextual
masters level or specialist professional practice. You will investigate how design practitioners have used visual research understanding of the workings of professional practice as preparation for your
and communication theories in their work and apply this learning to your design process. The unit is underpinned potential progression as a design author or to further related study. This unit
through your critical assessment of the knowledge and skills you have acquired through learning at undergraduate aims to enable you to organise and present design solutions to visual commu-
level or through equivalent experience. nication problems in a way that is of optimum value to the end-user.
--- ----
Part1: Letterforms Research Unit 2 Learning Outcomes and Marking Criteria

Part2: Type classification
Background On completion of this unit you will be able to:
Task 01 Hand rendering your name • Effectively apply research and development to define design potential within
Task 02 Geometric analysis of letters communication problems; (Research, Analysis)
Task 03 Parts of a letter • Demonstrate knowledge of and an ability to apply a range of specialist skills
Part3: Typographic Hierarchy in determining visual communication resolutions; (Technical Competence,
Workshop Development; Aphorisms Experimentation)
• Evaluate design solutions against identified objectives and apply them with-
in specified communication contexts; (Subject Knowledge, Communication
------ and
Presentation)
Unit 1 Learning Outcomes: • Demonstrate an awareness of future opportunities for further academic
• Develop skills of research, organisation and analysis to support practical resolutions and meet the needs of visual study, creative training or professional development. (Independent Profes-
communication problems; (Research, Analysis) sional Working and Personal Development)
• Critically evaluate, articulate and sustain complex arguments related to your approach to communication design; ----
(Subject Knowledge, Communication and Presentation) Assignment criteria/format:
• To assess critically historical, contemporary; social and cultural references and theoretical contexts in investigating
visual communication problems; (Subject Knowledge) Unit 2 Final design outcome to be included in the Design Resolution submis-
• Identify visual associations inherent to a range of media and demonstrate how they might be applied in solving sion: visual documentation and exploration of the different formal qualities of
visual communication problems. (Experimentation, Technical Competence) six typefaces. Choose between the following resolutions. a) A set of A5 cards,
-- minimum of four cards. b) A one-minute movie. c) A screen based interac-
Assignment criteria/format: tion. You are to include the type specification (font, sizes and weights). Please
Unit 1 Research, analysis and development work to be documented in the Research and Development submission. note. As part of Unit 2 you
It should include research into type classification systems and how the formal qualities of a typeface are designed to will present one written evaluation (between 500-750 words) of the progress
express different messages in different environments. Consider historical and contemporary contexts in your further you have made in your learning and an analysis of how this impacts on your
explorations. Experiment using various media, materials and processes. Occasionally break out of the sketchbook and future plans and understanding of your potential to engage in further study
consider scale. and professional practice.

Part 1 Letterforms,
Part 2 Type Classification
Background
Typography is a fundamental component of visual communication. It is an important design skill. The project workshop provides an introduction to typeface classification (the different types of type), the formal
qualities of typography, choosing a typeface (and why), the geometry of a letter and an introduction to the specialist language of
typography.
Task 01: Hand rendering your name
Choose a typeface from the sheets provided. Try to choose one that reflects something about yourself; consider how typefaces embody different references – modernist, linear, elegant, clean, functional, official,
informal, personal, irregular, simple, complex, etc. Draw a baseline and trace your first name. Draw another baseline underneath and trace your second name. Consider your choice of font and
how it affects the shape of your name. You will have to determine the overall space between the letters. This is called tracking. The space between the lines is called leading or line space. Kerning is the individual
space between pairs of letters. Is it necessary to kern any of the letter spaces? What happens if ascenders and descenders are stacked on top of each other? How would changes in leading affect
this space? What else can you observe from this exercise?
Task 02: Geometric analysis of letters
Draw the lowercase alphabet freehand on the supplied template. The height of the centre square represents the x-height. The square above should contain the extent of the ascender and the square below, the extent
of the descender. You are to place emphasis on the geometric quality of the letter. Perform the same exercise for the uppercase alphabet using the centre square as the capital height.
Task 03: Parts of a letter
Using the handout that shows parts of a letter and the type sheets provided, identify a letter part that interests you – for instance the counter. Now try to explore how that specific part differs across various typefaces
and fonts. Focus in on your chosen letter part and devise ways in which you can visually communicate your findings. You might want to place your ‘part’ in a square so you can compare like for like. Alternatively,
you could use tracing paper overlays or colour to explore differences.
Workshop Development: Aphorisms
The School of Life produces a set of aphorisms (http://www.theschooloflife.com/shop/twentyaphorisms/) Using your acquired knowledge of type classification choose four contrasting aphorisms and express the
meaning of the words through four different typefaces from four different classifications e.g. serif, sans serif, slab serif and modern. Consider a contrast between display typography exhibiting the form of the letters
with a more detailed understanding of ascenders, descenders, x-heights, baselines, serifs, sans serifs,
upper and lower case. You should show a progression of visual tests and
experiments that communicate how you have chosen to explore this challenge.
-------------------------------------------------
Part 3 Typographic Hierarchy
--
Unit 1 Research and Development

This unit is designed to develop your approach to research methods and design development, promoting a personal style or stance to your engagement with communication problems. You will use this unit to en-
gage with research methods and understand its relationship to the design process. Your findings will be applied through projects in the Design Resolution unit. The activities you will engage in are designed to help
you improve your ability to recognise and identify design problems; establishing the detailed requirements associated with a client (including self-authorship) briefing and audience/user reception and perception.
They will also equip you with an advanced contextual understanding of visual communication practice as preparation for your potential progression to further postgraduate masters level or specialist professional
practice. You will investigate how design practitioners have used visual research and communication theories in their work and apply this learning to your design process. The unit is underpinned through your
critical assessment of the knowledge and skills you have acquired through learning at undergraduate level or through equivalent experience.
Assignment criteria/format:
Unit 1 Research, analysis and development work to be documented in the Research and Development submission. It should include research into type classification systems and how the formal qualities of a typeface
are designed to express different messages in different environments. Consider historical and contemporary contexts in your further explorations. Experiment using various media, materials and processes. Occa-
sionally break out of the sketchbook and consider scale.

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Design for visual communication

DOCUMENT EXPERIMENT CONTEXTUALISE

Documentation An experiment is a Contextualisation

DOCUMENT EXPERIMENT CONTEXTUALISE EVALUATE

Documentation An experiment is a Contextualisation Evaluation is a

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Typography is a fundamental component of visual communication. It is an

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Typography is a fundamental component of visual communication. It is an

Task 03: Parts of a letter Workshop Development: Aphorisms

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• Develop skills of research,

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• Develop skills of research, • Critically evaluate,

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• Develop skills of research, • Critically evaluate, • To assess critically

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Research & Analysis Skills

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DOCUMENT CONTEXTUALISE EXPERIMENT EVALUATE

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Definition & knowledge of

A letterform, is a term used mainly

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A letterform, is a term used mainly

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Definition: a letterform is a phrase used mainly in

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Definition: a letterform is a phrase used mainly in

Palaeography: is the Epigraphy: is the study of Glyph: is an elemental

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Palaeography: is the Epigraphy: is the study of Glyph: is an elemental

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Palaeography: is the Epigraphy: is the study of Glyph: is an elemental

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Palaeography: is the Epigraphy: is the study of Glyph: is an elemental

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Palaeography: is the Epigraphy: is the study of Glyph: is an elemental

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Basic understanding of the

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Selected by the world’s most knowledgeable and well-

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Document the understanding

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Unit1 R&D Typography Part1 Letterforms

Unit1 R&D Typography Part1 Letterforms