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Adv Graphic Design

Eric Sevilla



32 ADV GRAPHIC DESIGN ERIC SEVILLA

Advanced Graphic Design Journal o Documents and Identity A ypography Specimen Book

© Spring 2011 Eric Sevilla All rights reserved. No part o this publication may berepublished, systematically reproduced or transmitted in any orm or by any means, including

photocopying, recording, or by any inormation storage or retrieval system, without permissionin writing rom Dis Pinoy Productions.

Publisher:Dis Pinoy Production

1234 Pinoy Way Escondido, CA 92025-5618

Production Notes:Tis book was designed using Adobe InDesign, Illustrator, and

Photoshop and output to Portable Document Format (PDF). Te onts in the book areHelvetica and Minion Pro. Fourteen pages at 10” x 10”

Contributors:Te students o the rst ever Advanced Graphic Design class o the Visual and

Perorming Arts Department o Caliornia State University San Marcos: Asbury, Lucia;Choi, Nathaniel; Dalit, Joemell; Fagaly, Jacob; Gonzaga, Nicole; Hall, Morgan; Lopez,

Eric; Mccormick, Lance; Nolan, Mathew; Olson, Donovan; Parker, Ryan; Reynoso,Lauren; Rodriguez, Lilyana; S evilla, Eric; Volbeda, Ashley; Warlick, Je.

Publication Editor:James Howard Miller Book and cover design, photography and

selected authorship: James Howard Miller Reerences: Ellen Lupton, Tinking with ype,

2nd revised and expanded edition: A Critical Guide or Designers, Writers, Editors, &Students (Design Bries) (New York, Princeton Press, 2004, 2010)

University Aliation:Caliornia State University San Marcos 333 S win Oaks Valley Road San Marcos, CA 92096-

0001 United States o America 760-750-4000 www.csusm.edu Disclaimer: Te publisher shall notbe held liable or inaccuracies in the text. Te views expressed are those o the author. Te articles

are not intended to be denitive and should not be relied upon as a substitute orspecialist advice.

ABLE OF CONENS

4 RANKING FOR HIERARCHY

COMMON YPOGRAPHIC DISEASES 5

6 ANAOMY OF YPE

LEER DIGI/SPACE AND MEANING 7

8 PROGRESSIVE VARIABLES

PROGRESSIVE VARIABLES 9

10 INERNAIONAL FAIR POSER

MENU 11

12 MAKING CONNECIONS

LONG LISS 13




Various orms o dysunction appear amongpopulations exposed to typography or long periodso time. Listed here are a number o requently observed aictions.

ypophilia An excessive attachment to andascination with the shape o letters, oen to theexclusion o other interests and object choices.ypophiliacs usually die penniless and alone.

ypophobia Te irrational dislike o letterorms, oenmarked by a preerence or icons, dingbats, and—inatal cases—bullets and daggers. Te ears o thetypophobe can oen be quieted (but not cured) by steady doses o Helvetica and imes Roman.

ypochondria A persistent anxiety that one hasselected the wrong typeace. Tis condition is oenpaired with okd (optical kerning disorder), the needto constantly adjust and readjust the spaces betweenletters.

ypothermia Te promiscuous reusal to make alielong commitment to a single typeace—or even tove or six, as some doctors recommend. Tetypothermiac is constantly tempted to test drive “hot”new onts, oen without a proper license.

Ellen Lupton, Tinking with ype, 2nd revised andexpanded edition: A Critical Guide or Designers,Writers, Editors, & Students (Design Bries) (NewYork, Princeton Press, 2004, 2010)

“Print situates words in space more relentlessly than writ-ing ever did. Writing moves words rom the sound worldto a world o visual space, but print locks words intoposition in this space. Control o position is everythingin print. Printed texts look machine-made, as they are.In handwriting, control o space tends to be ornamental,ornate, as in ca lligraphy. ypographic control typically impresses most by its tidiness and invisibility: the linesperectly regular, all justied on the right side, everythingcoming out even visually, and without the aid o guide-lines or ruled borders that oen occur in manuscripts.Tis is an insistent world o cold, non-human, acts.”

Quote adapted rom Walter Ong, Orality and Literacy:Teechnologizing o the Word (London and New York:Methuen, 1982)

COMMON TYPOGRAPHIC DISEASES

According to Scrojo (http://www.scrojo.com/), a promotional poster should answerthree questions:

Why? When? Where?

All remaining inormation is subordinate. Unless restricted rom doing so, consider add-ing inormation o your own to support or elaborate upon the primary question—why?

Tis is where research is needed. Both textual and visual solutions need to be explored tobuild a unied design, a unied whole that is bigger than the sum o its parts.

Te existing an is already sold. Te goal o the poster (commercially) is to grab a poten-tial an who comes to the e vent based solely on the poster!

As virtually no design is accepted by the client without at least a ew changes, sometimesit’s okay to use that to your advantage. Go ahead and add supportive text or remove whatyou may consider to be extraneous. Te client may like your words better than his or her

own. Use the proong process to your advantage.

Establish a hierarchy. Rank groupings into order o importance—what you wish to beread rst, then second, and so on. Don’t let the given order o importance infuence youoverly. You may wish to emphasize a dierent order, based on logic or aesthetics o yourown. Copy/paste each line o text into its own text box so it may be moved around and

stylized independently. Ranking now saves time later.

Create subsets within the rankings. (i.e. “Organized By,” can be signicantly less em-phasized than, “University Global Aairs Committee.”) Although ranked the same, the

identier is not as important as the proper noun, but must remain clustered to makelogical sense.

Subdivide text groupings with line breaks into smaller units and remove extraneous

punctuation and conjunctions. Simpliy text wherever possible. (you can add these itemsback in later, i necessary)

What your client likes and expects plays a big part in what you choose to emphasize.Sometimes you are given broad creative license, sometimes not. Either way, a strong

visual path o inormation hierarchy is essential to eective communication.

James Howard Miller,hierarchy lecture

Spring 2011

RANKING FOR HIERARCHY




ANATOMY OF TYPE LETTER DIGIT/SPACE AND MEANING

A A S




PROGRESSIVE VARIABLES

INTERNATIONAL FAIR POSTER MENU




INTERNATIONAL FAIR POSTER MENU

MAKING CONNECTIONS LONG LISTS




MAKING CONNECTIONS LONG LISTS