What is Design Thinking Anyway?

This article dug into what design thinking is today and how it has evolved, especially over the last decade. Even though "design thinking" can have a very broad definition, they narrowed it down to reasoning tools with deductive and inductive logic. The article also touched on methods designers used and also the stereotypes they can be applied to in the business world. In addition the article also discussed how it was first thought that understanding came just from experiences. But now this is expanded and now it is acceptable to think that understanding can also come from wondering.

Roger Martin is the leading proponent of design thinking at business schools. He doesn't mean merely teaching students about the importance of cool-looking stuff. He sees value in the designer's approach to solving problems -- the integrative way of thinking and problem-solving that can be applied to all components of business. Martin's take on the future of management is shooting through innovation circles: "Businesspeople will have to become more 'masters of heuristics' than 'managers of algorithms."' What does that jargon mean? Martin is saying that corporate managers will have to become flexible problem-solvers rather than sophisticated number-crunchers if they're to be creative and successful. "With the forces of competition today, it will make the difference between success and mediocrity," Martin predicts.

This article brought up several important points:
-design thinking has involved into "a discipline that uses the designer's sensibility and methods to match people's needs with what is technologically feasible and what a viable business strategy can convert into customer value and market opportunity"

-students are exposed to formal logic only by inference and then only to the two dominant forms of logic: deductive and inductive reasoning
-deductive: logic of what must be-general to the specific
-inductive: logic of what is operative-specific to the general
-both are reasoning tools

-understanding shows evolving interaction with a context or environment

-James Dewey and company formed American Pragmatist philosophers and thought one could gain understanding only through ones experience... now thought that no new idea could be proved deductively or inductively using past data

-first step of observation is now wondering... called abductive logic
-look for new data points, challenge accepted explanations and infer possible new worlds

-design thinking isnt something business people are comfortable with- don't like to deal with "creative types" thought to be less productive and lazy
-they like having a set right and wrong answer that is not true with design thinking

-innovations now must make business sense

-designers need to strive for balance with abduction, deduction, and induction

-best way to prosper with design thinking, embrace abduction

1. There are many advantages of a multiple column grid; they allow a designer to organize text and images in a rational, easy to absorb manner. They allow designs to be divided up in a way that have a cohesive result.

2. At normal reading distance the arc of the visual field is only a few inches - about the width of a well-designed column of text, or about 10-15 words per line.

3. A baseline grid can be your best friend when creating documents that require a clean, structured look. Far from constraining your design possibilities, baseline grids are liberating, taking the hassle out of trying to figure out where to put things relative to other elements on your page. InDesign’s implementation of baseline grids is elegant and efficient.

4. In typography, rivers, or rivers of white, are visually unattractive gaps appearing to run down a paragraph of text. They can occur with any spacing, though they are most noticeable with wide inter-word spaces caused by either full text justification or monospaced fonts.

5. Line/part of a layout that helps the reader go through the entire spread.

6. Using a grid is a great way to allow for whitespace to be incorporated into a design by grouping elements together. White space can be a great aspect of a design in order for the spread to not be too crowded and can also make it easier for the viewer to read through the page.

7. Type color refers to the weight or boldness of a typeface and is used by designers and typographers to describe the visual tone of a mass of text on a page. The type color of a particular typeface affects the amount of ink on the page, also known as its blackness. "Black" faces are bold and heavy.

8. In typography, the x-height or corpus size refers to the distance between the baseline and the mean line in a typeface. Typically, this is the height of the letter x in the font. It can effect type color because X-height can be in direct relation to the "blackness"of the text on the page.

9. The space between words: minimum is the least, optimum is the concept/idea, and maximum is the most you would want/need.

10. Paragraphs can be indicated many ways, for example: skipping a line, simple space, indentation, bullet, hanging indent, color, size, etc. There are not many rules when you are designing a spread other than not to indent the first paragraph.

11. Use hyphenation to improve text alignment in a given area by reducing the amount of white (empty) space between the last word on a line and the right margin. If a word is too long to fit entirely on a single line, the word is hyphenated at the proper hyphenation point, which forces a line break as close to the right margin as possible. Hyphenation makes each line of text approximately the same length to give the text a more uniform layout.

12. Collection of written work.

13. The CMYK color model, referred to as process color or four color, is a subtractive color model, used in color printing, also used to describe the printing process itself. CMYK refers to the four inks used in most color printing: cyan, magenta, yellow, and key black.

The RGB color model is an additive color model in which red, green, and blue light are added together in various ways to reproduce a broad array of colors. The name of the model comes from the initials of the three additive primary colors, red, green, and blue.

14. Hanging punctuation or exdentation is a way of typesetting punctuation marks and bullet points, most commonly quotation marks and hyphens, so that they do not disrupt the ‘flow’ of a body of text or ‘break’ the margin of alignment. It is so called because the punctuation appears to ‘hang’ in the margin of the text, and is not incorporated into the block or column of text. It is commonly used when text is fully justified.

15. An apostrophe is a {'} quote mark while a foot mark is a single vertical mark.

16. An inch mark is two vertical, straight marks while a quotation mark is slanted {"} apostrophes.

17. The hyphen ( ‐ ) is a punctuation mark used to join words and to separate syllables of a single word. It is often confused with dashes ( –, —, ― ), which are longer and have different uses.

The en dash, or n dash, n-rule, etc., (–) is roughly the width of the letter n. It is shorter than an em dash. The en dash is used in ranges, such as 6–10 years, read as "six to ten years".

The em dash (—), or m dash, m-rule, etc., often demarcates a parenthetical thought—like this one—or some similar interpolation. It is also used to indicate that a sentence is unfinished because the speaker has been interrupted. For example, the em dash is used in the following way in Joseph Heller's Catch-22:

18. In writing and typography, a ligature occurs where two or more graphemes are joined as a single glyph. Ligatures usually replace consecutive characters sharing common components and are part of a more general class of glyphs called "contextual forms" where the specific shape of a letter depends on context such as surrounding letters or proximity to the end of a line. When used they help keep a typeface uniform

Flash Website

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What is Flash?

Flash has become a popular method for adding animation and interactivity to web pages. Flash is commonly used to create animation, advertisements, and various web page Flash components, to integrate video into web pages, and more recently, to develop rich Internet applications.

Flash can manipulate vector and raster graphics, and supports bidirectional streaming of audio and video.

Designers use flash because it is a way to create interactive works through animation. It is a way to create movement and interest in an otherwise still frame. It has a lot of possibilities and abilities that can be utilized to make great flash projects.

One flash project I liked was from Trollback+Company that they did for Miller Lite. I especially liked how the blue dot was transformed throughout the entire project and helped form different elements of the add. I also like its simplicity and how it sticks to the story and what they want the audience to remember from the ad. They keep it simple and to the point without providing distractions for the viewers.

Another project I liked was for Nike's New Geometry golf club. The motions keep the viewer on edge and in suspense about what the product being advertised is. The sound effects are also very effective to add to the overall feel of the project. The black background also adds to the intensity of the ad.

Lastly, another video I found seemed to be something more closely related to what we are going to be doing with our project. It just narrates lines from pulp fiction. It make the words come to life without seeing the actual movie. It uses interesting ways to highlight important lines to create hierarchy with just moving text.

NEW Font-Gill Sans

From Kenzie's Blog...

The letter 'A' has a flat apex and there are no brackets at all. The legs are straight and the crossbar is a little bit closer to the x-height than the baseline.

The lowercase letter 'a' is considered to be a double-storey with a plain final and plain terminal or possibly a beak stroke terminal. The bowl of the 'a' is higher than most lowercase letters of this font.

The lowercase letter 'd' has an ascender that reaches cap height and is completely flat. There is no terminal to this letter and it sits on the baseline without descending below. The counter of the letter looks like a backwards capital 'D'.

The letter 'G' does not have a spur. The bowl of the letter is at cap height.

The lowercase letter 'g' is considered to be a double-storey with a closed tail. The ear of the 'g' is flat and does not have a serif at all. The link is weaker and longer than most other fonts. The bowl is lower and the counter is a perfect circle.

The letter 'M' has two flat apexes and both terminals are obviously sans serif. The apex of the letter reaches the the cap height and does not go below the base line.

The letter 'Q' has a tail that goes below the base line and the counter is a perfect circle. The bowl of the letter reaches the cap height and goes all the way to the base line.

The lowercase letter 'x' reaches just above the x-height line and there are flat apexes and flat terminals. The counter that is formed creates an arrow like figure without the indentations. In other words it looks like for different triangles facing one another.

The letter 'R' pretty much has one straight leg and another that is slightly curved. The crotch that is created is formed by the loop and the right leg connecting to that loop, not to the left leg. There are terminals that are sans serif and no ascenders. The counter that is created forms the shape of the capital letter 'D'.

The lowercase letter 't' has a ascender that is 'roman' with a sharp and refined serif. The letter does not go below the base line and the cross bar is just right underneath the cap height.

The number 4 has a flat apex and the cross bar crosses directly in the middle of the number. The number goes all the way from the cap height down to the base line without ands serifs.

The question mark is very unique. The dot is a fully enclosed circle and the curve of the question mark kind of has a handwriting-derived tapered serif at the top of it while the end of it comes to a sharp point.

The stroke width in all of these letters when they are just normal font is normal. And when looking at all of the capitol and lowercase letters, there are no other unique letters that I can see.

After looking through the readings, I was very interested in the rhythm and texture posters. I think the designers found a new and interesting way to represent data that didn't fit into the typical bar graph or pie chart. The "tree ring" poster was very interesting to look at; I feel like even though this type of graph would require the reader to look into it a little bit more since its not the typical way to represent data they still would since it is something that would grab their interest. But with this, it would have to be used appropriately and fit with the data.

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Final Series

Poster Sets

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So my colors are inverted... need help in class!

Identity Characteristics, Perpetua Characteristics

Parts of the letter observations (by classification):

Old Style... after looking through the hand out I noticed that Q's and R's have elongated tails, large eyes/counters in capital letters, not a lot of variation in stroke width, flat apexes usually bracketed, high cross bars, "cut off" finial, short barbs, closed loop

Transitional... thick and thin strokes, bracketed serifs, flat apexes (sometimes short), rounded finial, high cross bar, long barbs, thick bracketed spurs, open loops, long legs

Modern... hairline serifs leading to a lot of thick and thin variation, shorter x-height, unbracketed serifs, sharp apex, rounded finial, long barb, small spur, thin link, short tail and legs

Slab Serif... rectangular, uniform, unbracketed, flat apex, large counter/eye, low cross bar

Sans Serif... uniform, equal stroke width, low cross bar, high x-height, large eye/counter, "c" only has one barb, "g" open loop, long "k" stem, short "k" arm

Perpetua Characteristics

A- flat apex, 2 stroke weights, barbs on ends of stem, serif

a- tapered finial, short curved terminal, smaller eye, closed loop

d- two story, short tail, even stroke weight, counter

G- thin spur, flat bracketed serif, tapered finial, barb

g- long link, closed loop, flat ear, varying line weight

M- sharp vertex,bracketed serif, contrasting line width

Q- elongated curved tail, large counter, thinner stroke at top and bottom

x- varying stroke weight with each stem, bracketed serifs, even crotches

t- bracketed serif leads to the left top being filled in, short curved tail

4- sharp apex, contrasting stroke weight, extended ear, all straight or horizontal lines

?- tapered, one line, small gap between dot and terminal, open counter

The lowercase "t" appears to be closed in on the left side where the vertical and horizontal lines meet. The flat "g" ear is different from others, many tend to be curved.

"The design expresses a note of particularity and self-consciousness not universally acceptable. . . . Perpetua may be judged in the small sizes to have achieved the object of providing a distinguished form for a distinguished text; and, in the large sizes, a noble, monumental, appearance."
-- Stanley Morison

Source

Sources:

Fonts

Typedia

Events of 1925

Eric Gill

Story of Eric Gill

Perpetua

2. Perpetua was designed by Eric Gill. He was born February 22, 1882 in Brighton Sussex and passed away on November 17, 1940

3. Eric Gill, the highly skilled English letter-cutter, writer, and sculptor, originally designed this type for Stanley Morison at Monotype in 1925.

4-5. This font fits into the transitional classification because its face retains the qualities of stone-cut lettering, as well as the old style features of a slanted stress and medium contrast between thick and thin letter strokes. The serifs are particularly small, sharply cut, and horizontal. The italic looks more like a sloping roman compared to the usual cursive-style letter form. Perpetua has a small x-height which impairs readability. It also has long ascenders and descenders which need a lot of leading; this limits its use as a mainstream text face. Even so, the roman and italic fonts are widely available in regular and bold weights.

6. Three other fonts from the transitional classification are Baskerville, Caslon, and Bell.

7. In the year of 1925, the world starting to see the makings of World War II. This was the year when Hitler wrote his highly controversial book "Mein Kampf." The Locarno conferences took place to seek to secure European peace by mutual guarantees. John Baird transmitted the first television image in London. Leica marketed Oscar Barnack's 35 mm camera.

8. Eric Gill also designed the typefaces Gill Sans, Joanna, and Aries.

9. Perpetua is a typeface that was designed by British sculptor, typeface designer, stonecutter and printmaker Eric Gill (1882–1940). Gill attended art college in Chichester before studying under Edward Johnston at the Central School of Arts and Crafts in London. A devout Christian, Eric Gill converted to Catholicism in 1913. Between 1913 and 1918 Eric Gill produced fourteen reliefs with scenes for the Stations of the Cross for Westminster Cathedral in London. In 1918 Eric Gill co-founded the Guild of St Joseph and St Dominic, a religious community of craftsmen. In 1920 Eric Gill co-founded the Society of Wood Engravers. From 1924 Eric Gill designed book layouts and most of his typeface designs date from around 1930. From 1928 Eric Gill had his own printing press at Speen, Buckinghamshire. He received commissions from bibliophile publishers, including Golden Cockerel Press, Cranach-Presse in Weimar, Leipzig publishers Faber & Faber, J.M. Dent & Sons, and the Limited Editions Club (established in 1929). Eric Gill executed numerous book illustrations, woodcuts, graphics, and watercolors, which are mainly devotional in content.

Though not designed in the historical period of transitional type (the hallmark of transitional type was John Baskerville's type designed in the last half of the 1700s), Perpetua can be classified with transitional typefaces because of characteristics such as high stroke contrast and bracketed serifs. Along with these characteristics, the personality of Perpetua bears the distinctive personality of Eric Gill's letterforms. According to Robert Harling in The Letter Forms and Type Designs of Eric Gill, Gill began work on Perpetua in 1925 at the request of Stanley Morison, typogaphical advisor to Monotype. Morision sought Gill's talent to design a new typeface for the foundry. By 1929, Perpetua Roman was issued as Monotype Series 239. Gill designed two companion faces for Perpetua. The first was a typeface called Felicity. That design was met with mixed reactions. A second italic, called Perpetua Italic, was drawn by Gill and subsequently issued by Monotype along with Perpetua Roman. Telltale distinctions of the unused Felicity (as seen in the illustration in Harling, page 51) include the absence of a serif at the baseline of the lowercase d and a straight tail on the lowercase y. Overall, Felicity is less sloped than Perpetua Italic. Aptly named, Perpetua was set in a limited edition of a new translation by Walter H. Shewring of The Passion of Perpetua and Felicity. The book was printed in 1929. The same type and illustrations (also done by Gill) for that book subsequently appeared in the Fleuron (number 7) which was edited by Stanley Morision and printed in 1930. Also set in Perpetua and published in 1929 was Art Nonsense and Other Essays written and illustrated by Eric Gill. He would receive many important and prestigious commissions, including works for Westminster Cathedral, the League of Nations, the BBC, and the London Transport before his death in 1940. Gill’s articles and ideas are being revived, reprinted and spread by so-called traditional and conservative Catholics. For example, his article “Painting and the Public” was included in the book Distributist Perspectives: Volume 1, Essays on the Economics of Justice and Charity, published by IHS Press in 2004. But what made Eric Gill famous was principally his art. Even though Gill has a highly skilled artist, some controversy with him and his work because some of it became very sexually explicit. Library Journal endorses that “Gill flaunted traditional morality by engaging in countless affairs as well as incestuous relationships with both his sisters and daughters.”

President Barack Obama used Perpetua in his campaign logo.

“The artist is not a different kind of person, but every person is a different kind of artist”

-Eric Gill

Font Classification: As typography progressed over time there came to be genre's within the field. This led to a system to differentiate typefaces based on thickness, serif's, improved techniques of print with more contemporary inks and paper. Designers began using techniques from different eras to form new typefaces using both new and old elements.

Old Style fonts originated from the Renaissance era which led to the fonts appearing "warm" and "friendly." It is based on handwriting and often has a noticeable contrast with thick and thin strokes. Bracketed serifs are an important element as well.

Examples: Caslon, Garamond, and Palladium

Transitional: Coming from the 18th century, this style combines Old Style features with broad nib pen writing along with a new system of using metal engravings.

Examples: Newton, Petersburg, ITC New Baskerville, Bachenas

Modern: After the introduction of the metal engraving system, this style became known for using a strong contrast between the widths of letters. Serifs tended to be long and thin with strictly vertical axes.

Example: Bodoni, Neva, and Selina

Slab Serif: This style differs from serifs because of a noticeable use of thick square-ended serifs. This was popular in the mid-19th century. Usually all strokes are of a similar width with a large x-height.

Examples: Luxor, Clarendon, Ziggurat

Sans Serif: This style became known as the "bare minimum" due to the lack of serif aspects, like a "tail." They became popular in the mid-19th century by the introduction of type being carved into wood.

Examples: Akzidenz Grotesk, Gill Sans, Futura

Script: Similar to handwriting, the fonts in this family vary and have been in existence since people have been writing. These fonts have a dynamic, fluid, and imperfect form. Usually these fonts are used for something formal, like a wedding invitation.

Example: Brush Script, Sonora, Choc, Mistral

Blackletter: These recognizable and memorable fonts are often used for headlines, labels, and even tattoos. Even though some fonts in this category can be difficult to use, it is one of the most popular types of font.

Examples: San Marco, Fette Fraktur, Engravers Old English

Grunge: "Sketchy" is the best way to describe this category. There are no clear, set descriptions of this style but many are a variation of another font. This became popular along with the Grunge musical movement.

Examples: MC Auto, Turbo Ripped, Laundromat

Monospaced: In this category, all letters are evenly spaced with the same width, this resembles the way a typewriter works. This leads to letters being nonproportional because they each take up the same amount of space by expanding or condensing.

Examples: Courier, Orator, OCR B

Undeclared: These fonts use both serif and sans serif characteristics. They mostly have sans serif form with flared serif elements

Examples: Optima, Beorcana, Copperplate Gothic

Established in New York, New York in 1989, typeface designers Jonathan Hoefler and Tobias Frere-Jones founded Hoefler and Frere-Jones. Their past experience in the industry made it easy for the duo to make their company successful. Coincidentally both men were born six days apart in 1970. Each took in interest in typography as teenagers and started designing fonts before they were 20. Hoefler began working with editorial designer Roger Black (who established Font Bureau) but was mostly a self-taught designer. However working with Black gave him experience at a young age to the field allowing him his first typeface commissions; he established the Hoefler Type Foundry the same year. Frere-Jones went to the Rhode Island School of Design and joined Font Bureau where he worked for seven years designing fonts that would soon become popular such as Interstate, which resembles the font used on U.S. Highways. The two men joined forces in 1999 and started their partnership five years later. Interested clients pursue Hoefler and Frere-Jones when they are seeking a unique typeface for publications and branding. Many of the typefaces become retail fonts do become retail after the contracts run out. Some clients include Sports Illustrated, GQ and Martha Stewart Living. From these examples the fonts Champion, Gotham and Archer have emerged. Even though this firm has a strong connection with the history of typography, they strive to keep their work contemporary to keep up with the times.

After looking through the Hoefler and Frere-Jones website the font that grabbed my attention the most was Mercury Display. It looks best in larger fonts, particularly larger then 18 point. It is a serif font that looks very modern and readable. It also has three weights that are all equally appealing. It was first designed for Esquire magazine. (above)

Hoefler and Frere-Jones

In addition to starting a design firm called Brand Design Inc, Andy Cruz and Rich Roat established House Industries in 1993 in Wilmington, Delaware. They gained another member, Alan Mercer, and the team decided that instead of selling a service they had to sell a product. In their first mailer they advertised ten typefaces. They were all display typefaces and all had their own unique components. These fonts were even delivered on a floppy disk, which encouraged the team to come up with a more unique and visually appealing system of delivering their product. House Industries became known for having fonts that were specific to a certain time, culture, or subcultre. Some examples of inspiration come from artist Ed "Big Daddy" Roth, 1950s bowling alleys, 1960s horror movies and architecture from Richard Neutra. The company has expanded with lettering master Ken Barber, technologically savvy Tal Leming and from collaborations with Christian Schwartz. Some of their popular sans serifs include Neutraface, Chalet. After browsing House Industries fonts one that stuck out to me was the "Tiki" collection (example above). They are very fun fonts and also visually appealing because they create interest with each letter and its attributes. They all look tropical and like something you would see on vacation. Even though these fonts are very stylized, they

are still legible. House Industries has also expanded their business by selling things such as t-shirts and pillows.

http://www.houseind.com/

The Font Bureau, Inc was established in 1989 in Boston. The two men who founded this bureau are publication designer Roger Black and type designer David Berlow, even though they have different backgrounds they were able to join efforts and create this successful company. Berlow had an early interest in digital typography and he quickly grew to appreciate the technology of Adobe postscript and Apple's TrueType. Black had a history of working with magazines such as Rolling Stone, New York, and Newsweek which led to him starting his own business which focused on designing newspapers and magazines. Coincidentally, this business started up the same year he and Berlow founded The Font Bureau. The bureau is now responsible for the production of over 1,500 typefaces which are still pursued by publications today. The bureau prides themselves on having a wide variety of fonts which include traditional serifs to dingbats. Some of the fonts from the FB are Saber(left hand corner), Miller, Sloop, Giza, Tilting Gothic, Boomer Serif (lower left corner) and Roxy to name a few. After looking through the Fonts the Boomer Serif really grabbed my attention because of the thickness of the letters, how they look somewhat condensed, and because of the tails on almost each letter. I find the letter spacing visually appealing however it may influence readability in a negative way. This font was used by the AARP magazine and also the Chicago Tribune.

Font Bureau

I think my biggest challenge in this project is going to be making my sketches successful once they are on the computer- majority of my sketches are very outlined and not filled in so it will be interesting to see what I can come up with to fill the space in a way that works with the animal. I want to emphasize graceful lines but also elude to the animal being fun and playful.

John Baskerville was born in Worverly, Worcestershire England on January 28th, 1706. Throughout his lifetime he made his living by being a type designer, writing master and a printer. In 1725 Baskerville moved to Birmingham where he eventually became a writing master in 1733. By 1740 he was able to set up his own type foundry and printing works. As a result of this new business, his profits allowed him to experiment with typefounding. One of his first projects done in 1757 when his first printed book was published. This was an edition of Virgil, and soon after in 1758 en edition of John Milton followed. Baskerville's masterpiece came in 1763 when he completed an edition of the Bible. As a result of this, Baskerville was appointed as the printer at the University of Cambridge in 1758. Another important work came from Baskerville in 1763 when he designed a New Testament in Greek Type. By 1770 Baskerville was able to print and produce a four volume edition of Ariosto's "Orlando Furioso." Baskerville passed away on January 8th, 1775 but his legacy lives on with the use of his typefaces still in the circuit today. Baskerville's type was recognizable due to his bold quality, high gloss paper and also the true black ink he used that he also invented. In 1953 the Cambridge University Press received Baskerville's original letter stamps and matrices from a donation.

Baskerville is unique in several ways, commonly for its large X-height which improves readability. It also has four different weights including roman, semibold, bold and heavy. Due to its "tail" present in many letters it is a very graceful fond and it very effective when it is in a large font size.

Adrian Frutiger is a famous Swiss designer born in 1928. He began his career as an apprentice as a compositor. Soon after he received more training in type and graphics at the Zurich School of Arts and Crafts from 1949-51 where he was taught by Alfred Williams and Walter Kach. He moved to Paris in 1952 to pursue a career as a typeface designer and Artistic Manager at Derberny and Peignot. His early creations included Phoebus, Ondine and Meridien. He is known for makig some of the earliest typefaces for photocomposition. He established himself internationally with the creation and design of the Univers sans-serif typeface. It was originally intended for metal and film in 1957. Frutiger founded his own studio with Bruno Pfaffli and Andre Gurtler near Paris in 1961. He worked as a professor for ten years and the Ecole Estienne and also for eight years in a Paris school. In addition to being a designer, Frutiger also worked as a consultant to IBM and also Stempel type foundry. He also produced the typeface for the Paris Charles de Gaulle airport in the early 1970's- in 1977 this font was released as the Frutiger typeface. In honor of Frutiger's 80th birthday in 2008 he collaborated with other designers to rework the Meridien typeface which resulted in the new Frutiger Serif. Frutiger has created over fifty fonts, some of which include Courier New, OCR A, OCR B, Serifa, Versailles, and Zurich.

Univers in a unique typeface because it was the first modular type family which includes 21 face, 5 weights and 4 widths. It has become known as the "alternative" to Helvetica.
The univers grid was originally used by Frutiger as a way to present the type family in a systematic way that would be organized by width and thickness.

I'm still having some issues coming up with ways to represent dolphins using circles squares and triangles. One fact that I learned while doing research was that a dolphins dorsal fin is as recognizable as a person's face. I think once we get our sketches onto the computer I can do more to make this apparent with my dolphin representations.

After this reading I started thinking a lot about how important it is to ensure that your design conveys the message you intend it to. The reading brought up a good point that the receiver may "fully understand the message but not react as the sender intends." I think this is important to consider while you are designing every aspect as an element that someone could interpret differently then someone else. It will be key to consider whether we want our representations of our animal to be more of an icon or image for others to recognize.

Answers for 8/31

1. Absolute measurement refers to the measurement of fixed values which are precisely defined. They cannot be altered.
ex. millimetre, points, picas

2. Relative measurements are measurements that change and are dependent on another element, there is not an absolute size or prescribed size (changes with typeface).
ex. ems and ens

3. Points are a unit of measure used for type size of a font, it refers to the height of the type block, not the actual letter.
ex. 7 pt. Garmond

4. Pica's are a unit of measurement equal to 12 points, usually used for measuring lines of type
ex. 6 picas in an inch.

5. Em's are a unit used for typesetting to define basic spacing functions- related to size of the type (if the size goes up, so does the em). Commonly used to define elements like spacing and paragraph indents.

6. En's a are type of measurement equal to half of am em, used to denote nested clauses
ex. "to" as in a score: 3 "-" 5

7. Legibility refers to readability of text and coherency of a layout. Spacing needs to be well manipulated to match cultural norms and expectancy.

8. Rags usually occur when very noticeable shapes form when the lines of text ends, this distracts from the reading.
ex. exaggerated slopes or extreme inclines

9. Flush left happens when type is set to the even left margin, leaving uneven or ragged right margins.
Advantages: people read text left to right, space between words remains constant
Disadvantages: ragged right column may distract reader because the lines are unbalanced

Flush right is when text is aligned on the right side, resulting in an uneven left side.
Advantages: good for small blocks of text, captions, or anything with asymmetrical layouts
Disadvantages: reduces readability, difficult to identify the start of the next line

Centered: type set on central axis, even word spacing but results in uneven left and right margins
Advantages: good for single page design in formal contexts
Disadvantages: reduces readability because of uneven left and right margins

Justified: space between words is adjusted in each line with even left and right margins
Advantages: even left and right margin, neat box with even sides
Disadvantages: space between words varies with each line to ensure that is has even margins
requires hyphenation and wide columns and number of characters per line

10. Word Spacing: Space between words usually equal to width of a lowercase "i" which is ideal.
Adjustable, improved readability because of reducing word spacing, greater
continuity and less of an interruption in the flow of a sentence.

11. Rivers happen when justified text blocks cause a separation of words which leaves gaps of
white space in several lines. White space gaps join together in a body of text.

12. Indents are when a line of text is pushed in farther then the rest of the text from the margin.
Provides reader with an easily accessible entry point to a paragraph.

13. Leading refers to the depth of space between lines. Space between lines of text in a text block
Changes with type size, used to avoid overlap.
ex. the use of relative measure

14. Kerning means adjustments to the spacing of a particular letter pair (kerning pairs).
When done the right way, ensures a consistent rhythm of intercharacter space.

15. Tracking is adjusting the overall space between letters, aka letterspacing.
ex. common to track capitals and small capitals

16. Weights are when typefaces include a choice of weights
ex. book, medium, demi, ultra bold, light etc

17. Scale is an element used when text is differentiated from the main text block to stand out,
needs to be at least 2 points different to be successful.
ex. title or pull quote is bigger

18. Typographic differentiation purpose is to clarify for the viewer specific kinds of emphasis and
prioritization. Also to distinguish between the kinds of content.

19.Orphans happen when the final one or two lines of a paragraph are separated from the main
paragraph to form a new column.

20. Widows occur when there is a single word on the last line of a paragraph.

gutter
flowlines

grid modules

column
margin

Josef Muller Brockmann's work

Jan Tschichold's Work

Ways to achieve a hierarchy:

• Bold typefaces indicate importance and tend to get immediate attention
• Italic typefaces usually demand less attention and can be used to include less significant details
• reducing font size creates a hierarchy by showing levels of prominence

Jan Tschichold is a famous typographer who was known for bringing about the transition from the outdated typography era to the "new typography." He was born in 1902 in Leipzig and began training to be a calligrapher in 1919. He was quick to become a star student with unbelievable potential and began to question and address problems with the use of typefaces. He became very influenced by the Bauhaus style and knew the movement would have a heavy influence over typography. After being influenced by modern artists he wrote his first book about how abandoning rules and adopting new systems would benefit typography in his manifest, "Elementary Typographer" which was published in 1925. This created mixed emotions in the design world, but did in fact get his name out. He moved to Munich and wrote another book in 1928 called "The New Type" and it was widely accepted. Soon after the outbreak of World War II he was pursued by the Nazis and was forced to reside in Switzerland. Soon after the war he was invited to Penguin Books Publishing Company where he would eventually reshape the company which would earn him a lot of respect. He wrote two more heavily influential books titled "The Master Book of Typefaces" which was a reflection over his career. His most widely read book was "Arbitrary Measurement of the Book Page" which was published in 1962. He died August 11th, 1947 leaving behind in his legacy the widely used Sabon font in addition to Classical Garamond, Monotype Sabon, Tschichold and Tschicholina. He also had a large in the development of the grid system which is still heavily used by designers today to help gain coherency in a layout. Tschichold is known for developing the modern typography era and his legacy lives on through it.

Josef Muller Brockmann was born in 1914 in Switzerland where he eventually began to study architecture, design and art history. Soon after he was out of school he became an apprentice to a designer and advertising consultant. He eventually opened his own studio in Zurich to pursue his career as a designer. The studio specialized in graphics, exhibition design and photography. He was given the honor of designing the Pavilion honoring Swiss Universities. In addition, he designed sections for the National Fair in 1939 recognizing "Physics and Medicine" along with "History of Swiss Art." By the 1950's he was a leader of the Swiss Style which promoted the use of a grid to ensure consistency. His "Musica Viva" poster series was revolutionary for its style and it spread abroad due to the visual connection with music it created. Brockmann went on to be the founder of the journal "Neue Grafik" which meant New Graphic Design. This journal allowed the Swiss style to be internationally spread. Two popular books he wrote were "A History of Visual Communication" and "A History of the Poster," both were published in 1971. Over his lifetime he was a professor and also had the privilege of being the European design consultant for IBM. He also wrote the world famous book "Graphic Artist and his Decision Problems" in 1981.

Grids are used by designers as a starting place to more easily develop a coherent layout because they create a system of organized space to work with to ensure consistency. They are used by designers because it is a way for the space to be controlled in a way that is flexible enough to allows for creativity and at the same time make a layout coherent and whole. Grids create a system that allows for designs to be structured in a way that is visually appealing for a viewer to comprehend.

Modular Grids are more specific in that they have uniform horizontal and vertical sections from top to bottom and left to right. By using this type of grid, it is possible to create a hierarchy strictly based on placement within the grid, even though adding other elements would contribute to this as well.

Margins are invisible vertical spaces between colums or around the edge in a layout.
Columns are vertical blocks in a layout which are seperated between margins. They are used to assist with readability on a page.
Grid Modules are the smallest area of a grid that contains information.
Flowlines are lines that go in between characters in a grid.
The gutter is the space that appears in between modules.
A type family refers to fonts that are of a similar form and style.
Type styles consist of different weights, widths and heights. These may include regular, bold, italic, condensed and extended.
Hirearchies are used essentially as a guide for viewers to more easily indicate the importance of certain elements used in a design based on placement and use in a layout. They are essential in design to set different aspects of a design apart in a meaningful and purposeful way.