Evans and Thomas Chapters 4 & 5 and Williams & Tollett Chapters 6, 7 & 8

1. Evans and Thomas Chapters 4 & 5andWilliams & TollettChapters 6, 7 & 8 By Annisa Liu PRWR 625: Layout Design and Production

2. In this presentation... • I'm presenting on five chapters and have asked multiple questions throughout. Some are supposed to be somewhat fun, and it's not expected that you answer all of them. • The questions listed throughout the presentation are also listed at the end of the presentation.

3. Evans and Thomas: Chapter 4 Typography in Design • "Using type effectively requires an understanding of its communication and visual properties" (117). • Type can satisfy several design objectives at once by serving as text to read and also a means of adding expression to a message.

4. Typographic Nomenclature Typographic nomenclature can be divided into two categories: • Terms that identify type and typographic forms • Terms associated with sizing and adjusting type (118)

5. Terms That Identify Type and Typographic Forms • Typeface—The design of a single set of letterforms, numerals, and punctuation marks unified by consistent visual properties. • Type style—Modifications in a typeface that create design variety while maintaining the visual character of the typeface. • Type family—A range of style variations based on a single typeface design. • Type font—A complete set of letterforms (uppercase and lowercase), numerals, and punctuation marks in a particular typeface that allows for typesetting by keystroke on a computer or other means of typographic composition. • Letterform—The particular style and form of each individual letter in an alphabet. • Character—Individual letterforms, numerals, punctuation marks, or other units that are part of a font (118).

6. Example of Type Style • The title of Stephen King's novel-turned-film "Thinner" exemplifies type style through the type variation of both weight (light, medium, bold) and width (condensed or extended). • Can you think of other movie or book titles that alter standard type to fit the theme of the story?

7. Terms Associated with Sizing and Adjusting Type • Point size—A unit for measuring the height of type and vertical distance between lines of type. • Line length—Horizontal length of a line of type, traditionally measured in picas but also in inches. • Leading—The amount of space between lines of type, measured in points. The term is derived from metal type where strips of lead were inserted between lines of type (Alternative terms: line spacing, interline spacing). • Letterspacing—The distance between characters in a word or number and between words and punctuation in a line of type. 119-120

8. Type falls into two basic categories: • Text typefaces—Used where legibility is an issue, typically, for small print and long passages of text. • Display typefaces—Used where projecting a mood or attitude is important, typically, for names, logos, titles, and other short passages of text (125).

9. Typefaces • Typefaces can convey period looks or an ethnic or cultural feeling. They can express a broad range of moods. • Example: This font, Japanese Brush, is made to resemble Japanese calligraphy. • Many fonts have an "attitude" which can enhance the message you're trying to convey. • Example: This font, Curlz MT, uses playful swirls to give the type an upbeat and happy appearance. • "Type can be altered to express an attitude or concept. It can be configured to suggest an image or shape" (131).

10. A Fun Activity! • The typefaces used in metal band logos are oftentimes so elaborate that they are no longer legible. • 1. See if you can discern the names of the following metal bands (answers will be at the end of the presentation). • 2. What themes are integrated into each typeface, and how does it affect the message?

11. What?

12. Huh?

13. Come again?

14. Say What?

15. Other Typeface Classifications • Other typeface classifications traditionally relied on to help organize typefaces: • Old style, transitional, and modern—these style categories refer specifically to serif typefaces and reflect modifications that have taken place over time from the original Roman or old style letterforms. • Script—These typefaces most resemble handwriting and run the gamut from elegant to casual. • Egyptian/slab serif—These typefaces (also called square serifs) are characterized by heavy, slablike serifs. • Decorative—Many typefaces, by default, fall into this category. Most are highly stylized and suitable for display use (128)

16. Type as Design • Type works as a design element when utilized in design composition. It should be considered just as thoughtfully as shape, line, color, and texture. • "Therefore, all of the principles that guide decision making in a design composition also apply to typography" (133). • The principles of hierarchy, unity and variety, proportion, balance, and scale should still dictate how to style type, what typefaces to use, and what size and color the type should be.

17. Type Alignment Type Alignment: Arranging type so that it conforms to a grid requires aligning it to the imaginary axis that form the grid structure. The definition sounds kind of confusing until you recognize that you use these arrangements frequently in Microsoft Word • Flush left/ragged right • Flush right/ragged left • Justified • Centered –139

18. Chapter 5: Imagery in Design • Photographs are considered the most credible type of imagery. However, they can be altered through: • Cropping: Removing portions of the photograph that detract/distract from the viewers attention from its central focus. • Outlining/Silhouetting: Isolating a subject from its background. • "This technique may be your only option if the photograph is poorly composed or the background is so distracting it needs to be entirely removed" (151).

19. Illustrations While photographs can provide a reliable visual for audiences, illustrations have benefits that photographs do not. • Photographs do not have the "expressive quality" of illustrations, so the mood cannot be enhanced. • "Illustrations can also help an audience visualize something that can’t be seen or better understand something that’s complex" (157). • Imagine trying to visualize which state ends where on a satellite map!

20. Sources for Imagery • Royalty-free collections • Pro: Inexpensive • Con: Generic and available for anyone to use. • Stock Agencies • Pro: Agencies grant limited use rights • Con: Available to anyone willing to pay • Commissioned • Pro: Yields and original piece • Con: Higher cost • Found Imagery • Pro: Free and original!

21. Graphic Reduction Graphic Reduction: "Taking an image down to its simplest form while preserving its ability to be recognized" (161). Accomplished by: • Describing the contours of an image with an outline • Converting the basic form of an object to a silhouette or simple shape • Interpreting shadowed contours of a form into a series of shapes • Using a combination of these methods. A stencil is a perfect example of Graphic Reduction!

22. Logos • Logo: "whatever symbol a company uses to identify its brand in the marketplace" (166) • Logotype: "a distinctive, typographic treatment of a company name" (166) • Many companies use both:

23. Logos • "Because logos often appear on apparel labels, in newspaper ads, and in other situations where there is little control over the size and color of its reproduction, their design is typically clean and simple so they can be easily recognized and understood regardless of scale or color" (166). • You were asked last week to give an example of a logo. Would the logo you chose still be effective if the size or color were affected?

24. Williams and Tollett Chapter 6: Logos • Many logos consist of only type. Businesses that want a "solid, dependable, no-nonsense" (90) corporate look prefer this kind of logo: • Or, combine two different typefaces to create an appealing logo. • The key is to use contrasting typefaces.

25. Logos Sometimes logos will have their letterforms interact with each other, adding visual interest, by "tweaking a letterform out of the ordinary" (94). • The examples below use an illustrative technique.

26. Logos To spruce up your logo, use illustrative elements like: • Symbols • Clip Art • Illustrations

27. Chapter 7: Business cards, letterhead, and envelopes Business Cards • A standard-sized business card is 3 ½ x 2 inches. • You should not make the card any larger because it will not fit inside of a wallet. • If you must have a larger card, design it so that it folds into a standard 3 ½ x 2.

28. Business Cards Examples of typical business card design: • It is okay to have empty corners • It is okay not to center the layout • It is okay not to use all caps • It is okay to use a typeface other than Helvetica (Arial) or Times • It is okay to use type smaller than 12 point • It is okay to use one large graphic image instead of two small ones stuck in the corners (104)

29. Business Cards • So you don't think business cards are important? • Patrick Bateman from American Psycho begs to differ... • https://www.youtube.com/watch?v=2Ux3vncNNLg

30. "My God, he even has a watermark..." Considering what we have learned, which business card do you think is better?

31. Letterhead and Envelopes • The numbers typically found on a letterhead or business card are: • Office number - (T)(P)(V) • Cell number - (C) • Fax number - (F) • Address • Zip Code • Because there are so many numbers typically used, choose a typeface with oldstyle numbers for a more aesthetically pleasing look!

32. Letterhead Things to keep in mind when creating letterhead: • Be conscious of where the body of a letter will appear on the stationary. • Don’t be afraid to use small type or graphic elements. • Don’t be afraid to use large type or graphic elements. • Don’t be afraid to place elements in “unusual” positions. • Don’t be afraid to fill the writing space with an image. (109-117)

33. Does my company's letterhead, envelope and business card conform to the lessons in our readings?

34. Chapter 8: Invoices and Forms The secret to good forms: • Alignment: Lack of alignment is the single biggest feature that makes a form appear unclear to the user • Contrast: To help direct the user through the form • Proximity: To keep groups of related pieces of information together • Repetition: To tie it all together (122)

35. Invoices and Forms • To make forms even clearer, especially those with many lines of data, use a color tint on alternating lines (130). • The lines themselves can be something other than plain black! You can use: • Thin lines __________________ • Thicker gray lines _________________ • Dotted lines ............................................ • Dashed lines -------------------------------- • Thicker, lightly colored lines _________________ • Boxes around the field

36. Questions • Slide 6: "Can you think of other movie or book titles that alter standard type to fit the theme of the story?" • Slide 10: • See if you can discern the names of the following metal bands (answers will be listed on the final slide). • What themes are integrated into each typeface, and how does it affect the message? • Slide 23: You were asked last week to give an example of a logo. Would the logo you chose still be effective if the size or color were affected? • Slide 30: Considering what we have learned, which business card do you think is better? • Slide 31: Does my company's letterhead, envelope and business card conform to the lessons in our readings?

37. Band Names • 1.Beastial Summoning • 2. Enslaved • 3. Nokturnal Mortum • 4. Katharsis

38. Sources • All Slides: • Evans, Poppy, and Mark Thomas. “Chapter 4: Typography in design.” In Exploring the Elements of Design. 2nd ed. Clifton Park, NY: Thomas/Delmar Learning, 2008. 117-145. • Evans, Poppy, and Mark Thomas. “Chapter 6: Imagery in Design.” In Exploring the Elements of Design. 2nd ed. Clifton Park, NY: Thomas/Delmar Learning, 2008. 146-179. • Williams, Robin, and John Tollett. “Chapter 6: Logos.” In Robin Williams Design Workshop. 2nd ed. Berkely, Calif.: Peachpit Press, 2007. 87-102. • Williams, Robin, and John Tollett. “Chapter 7: Business cards, letterhead, and envelopes.” In Robin Williams Design Workshop. 2nd ed. Berkely, Calif.: Peachpit Press, 2007. 103-120. • Williams, Robin, and John Tollett. “Chapter 8: Invoices and Forms.” In Robin Williams Design Workshop. 2nd ed. Berkely, Calif.: Peachpit Press, 2007. 121-132.

39. Image Sources • Slide 6: Thinner [Online] Available: http://www.imdb.com/title/tt0117894/?ref_=fn_al_tt_1 • Slides 11-14: 31 illegible black metal band logos [Online] Available: http://www.nme.com/photos/31-illegible-black-metal-band-logos/289103/1/1 • Slide 17: Text Manipulation [Online] Available: http://www.txshl.org/word1.cfm • Slide 21: royalcrusty. (2008, February 20) Stencil kid Before After [Online] Available: http://royalcrusty.deviantart.com/art/Stencil-kid-Before-After-77915622 • Slide 22: Fruit of the Loom [Online] Available: http://logos.wikia.com/wiki/Fruit_of_the_Loom

40. Image Sources Continued • Slide 23: Fruit Loops Box [Online] Available: http://www.miltontrainworks.com/MTW/services/KCC/ • Subway Logo [Online] Available: http://www.logostage.com/logo/subway/#.US2jG_Iv9Co • Slide 24: Cloudtimes. (2012, February 7) New Look Sony Unveils Smartphones [Online] Available: http://cloudtimes.org/2012/02/27/new-look-sony-unveils-smartphones/ • Slide 26: Hoffman, Scott. red-bull-logo [Online] Available: http://www.motocross.com/features/red-bull-and-outdoor-motocross-partner/attachment/red-bull-logo/ • Slide 29: Murray, Paul. American Psycho Business Card Scene [Online] Available: https://www.youtube.com/watch?v=2Ux3vncNNLg • Slide 30: Alyx. Movie Review: American Psycho (2000) [Online] Available: http://horrorfanzine.com/american-psycho-movie-review/