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© Spring 2012 Jason Baluyot All rights reserved. No parts of this publication may be republished, systematically reproduced or transmitted in any form or by any means, including photocoping, recording, or by any information storage or retrieval system, without permission in writing from TCID Press.

Special Thanks to:Professor James Miller for the guidance through the assignments and projects that is displayed inside this Type Specimen Book.

References:Ellen Lupton, Thinking with Type, 2nd Revised and Expanded Edition: A Critical Guide for Designers, Writers, Editors, & Students (Design Briefs) (New York, Princeton Press, 2004, 2010)University Affillation:California State University San Marcos333 S Twin Oaks Valley Road San Marcos,CA 92096-0001United States of America760-750-4000www.csusm.edu

Disclaimer:The publisher shall not be held liable for inaccuracies in the text. The views expressed are those of the author. The articles are not intended to be definitive and should not be relied upon as a substitute for specialist advice.

type specimen book

Advance GraphicsJBdesigns

Helvetica2012

Helvetica

Helvetica

Hel

vetic

a

ADVGD

Advance Graphics

Ta b l e o f C o n t e n t s

Ranking for Hierarchy

Typeface Poster

Love Affair Font

Bitmapped Letters

Facts At Hand

Typography Diseases

JBd

es

ign

sAd

vanc

e Gra

phics

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.........................................................................................pg 6

.......................................................................................................pg 7

.........................................................................................................pg 8

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...........................................................................................................pg 10

Letters & Digits .........................................................................................................pg 11

International Fair Poster .....................................................................................pg 12

Type Crimes ................................................................................................................pg 10

Type Samples ...........................................................................................................pg 10 2012

TYPO

GR

APH

IC

TYPOG

RA

PHICC

OM

MO

ND

ISEA

SES

DISEA

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RANKING FOR HIERARCHYCO

MM

ON TY

POGR

APHI

C DI

SEAS

ES Various forms of dysfunction appear among populations exposed to typography for long periods of time. Listed here are a number of

frequently observed afflictions.

Ellen Lupton, Thinking with Type, 2nd revised and expanded edition: A Critical Guide for

Designers, Writers, Editors, & Students (Design Briefs) (New York, Princeton Press, 2004, 2010)

Typo

phili

a An excessive attachment to and fascination with the shape of letters, often to the exclusion of other interestsand object choices. Typophiliacs usually die penniless and alone.

Typophobia

The irrational dislike of letterforms, often marked by a preference for

icons,dingbats, and—in fatal cases—bullets and daggers.

The fears of the typophobe can often be quieted (but not cured) by steady

doses of Helvetica and Times Roman.

Typo

chon

dria A persistent anxiety that one has

selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.

Typothermia

The promiscuous refusal to make a lifelong commitment to a single

typeface—or even to five or six, as some doctors recommend. The

typothermiac is constantly tempted to test drive “hot” new fonts, often without

a proper license.

“Print situates words in space more relentlessly than writing ever did.

Writing moves words from the sound world to a world of visual space, but print locks

words into position in this space. Control of position is everything in print.

Printed texts look machine-made, as they are. In

handwriting, control of space tends to be ornamental, ornate, as in

calligraphy. Typographic control typically impresses most by its tidiness and

invisibility: the lines perfectly regular, all justified on the right side,

everything coming out even visually, and without the aid of guidelines or ruled borders

that often occur in manuscripts. This is an insistent world of

cold, non-human, facts.”Quote adapted from Walter Ong, Orality and Literacy: The Technologizing of the Word

(London and New York: Methuen, 1982)

According to Scrojo (http://www.scrojo.com/), a promotional poster should answer three questions:Why? When? Where?

All remaining information is subordinate. Unless restricted from doing so, consider adding information of your own to support or elaborate upon the primary question—why?

This is where research is needed. Both textual and visual solutions need to be explored to build a visual statement, a unified whole—bigger than the sum of its parts.

The existing fan is already sold. The goal of the poster (commercially) is to grab a potential fan who comes to the event based solely on the poster.

No job is finished without a few client changes; use the proofing process to your advantage. Go ahead and add supportive text or remove what

you may consider extraneous. The client may like your words better than their own.

Establish a hierarchy. Rank groupings into order of importance—what you wish to be read first, then sec-ond, and so on. Don’t let the given order of importance influence you overly. You may wish to emphasize a different order, based on logic or aesthetics of your own. Copy/paste each line of 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 significantly less emphasized than, “Uni-versity Global Affairs Committee.”) Although ranked the same, the identifier is not as important as the

proper noun, but must remain clustered to make logical sense.

Subdivide text groupings with line breaks into smaller units and remove extraneous punctuation and con-junctions. Simplify text wherever possible. (you can add these items back in later, if necessary)

Use only high-resolution photos (300 ppi). Bear in mind that pixel information can only scaled so far, but vector information (text) can be scaled without degradation of image.

What your client likes and expects plays a big part in what you choose to emphasize. Run with whatever creative license comes your way!

James Miller,hierarchy lecture

Spring 2011

why?

when?

where?

JBd e s i g n sAdvance Graphics PG. 6

WH

Y?

HEN?

WH

RE?

CO

MM

ON

TYPE

FAC

EH

ELVE

TIC

ALOVE

JBd e s i g n sAdvance Graphics PG. 8

AFFAIR

FONTTY

PEFA

CE PO

STER

Typeface PosterSpring 2012

HelveticaABCDABCDABCD

ABCDABCDABCD

Helvetica BoldIstotasit quas dolorro digendame au-temporibus id et et maximint, odit la-tatiis voluptas as simaio volupti do-lore velest ut imaioribusda sunt.Vent occab ipsum imolorem quibus qui-dem idiciis unt fuga. Itaspere dolorep editias est iditatur? Num imendissi an-tiorruptae si nosametur moluptatis

Helvetica RegularIstotasit quas dolorro digendame autempori-bus id et et maximint, odit latatiis voluptas as si-maio volupti dolore velest ut imaioribusda sunt.Vent occab ipsum imolorem quibus quidem idiciis unt fuga. Itaspere do-lorep editias est iditatur? Num imendis-si antiorruptae si nosametur moluptatis

Helvetica LightIstotasit quas dolorro digendame au-temporibus id et et maximint, odit latatiis voluptas as simaio volup-ti dolore velest ut imaioribusda sunt.Vent occab ipsum imolorem quibus quidem idiciis unt fuga. Itaspere do-lorep editias est iditatur? Num imendis-si antiorruptae si nosametur moluptatis

Helvetica Bold ObliqueIstotasit quas dolorro digendame au-temporibus id et et maximint, odit la-tatiis voluptas as simaio volupti do-lore velest ut imaioribusda sunt.Vent occab ipsum imolorem quibus qui-dem idiciis unt fuga. Itaspere dolorep editias est iditatur? Num imendissi an-tiorruptae si nosametur moluptatis

Helvetica ObliqueIstotasit quas dolorro digendame autempori-bus id et et maximint, odit latatiis voluptas as si-maio volupti dolore velest ut imaioribusda sunt.Vent occab ipsum imolorem quibus quidem idiciis unt fuga. Itaspere do-lorep editias est iditatur? Num imendis-si antiorruptae si nosametur moluptatis

Helvetica Light ObliqueIstotasit quas dolorro digendame au-temporibus id et et maximint, odit latatiis voluptas as simaio volup-ti dolore velest ut imaioribusda sunt.Vent occab ipsum imolorem quibus quidem idiciis unt fuga. Itaspere do-lorep editias est iditatur? Num imendis-si antiorruptae si nosametur moluptatis

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JBd e s i g n sAdvance Graphics PG. 10

BIT

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bitm

appe

dle

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sbitmapped letter Spring 2012

FAC

TS A

T H

AN

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Spring 2012

JBd e s i g n sAdvance Graphics PG. 12

LETT

ERS

& D

IGIT

S

LETTERSD

IGITS

International Fair PosterSPRING 2012

crim

esJBd e s i g n s

Advance Graphics PG. 14

T Y P E C R I M E S

Do n

ot S

troke

the

text.

Do

not

stre

tched

the

text.

Do

not

add

a d

rop

shaw

dow

to th

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xt.

RESPECT THE TYPETYPE SA

MPLES

Typographic grids are all about control. Grids belong to the technological framework of typography, from the concrete modularity of letterpress to the rulers, guides, and coordinate systems employed in graphics applications. For graphic designers, grids are carefully

honed intellectual devices, infused with ideology and ambition, and they are the inescapable mesh that filters, at some level of resolution, nearly every system of writing and reproduction.

good

type

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pecimen

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2012