Typeface Poster


1. type face (and designer) selected
2. paragraphs written about typeface and designer
3. design theme(s) chosen—some kind of direction
4. two rough layouts


Progressive Variables

Progressive Variable notes.pdf

Hierarchy Text.pdf (for viewing)
Hierarchy Text.rtf (for download to cut/paste)

Type Anatomy Poster



typg_rules.pdf (one author's choices that you may use a source of additional information to include in your design)—some fine examples and a typophile website

—Follow the instructions to create a poster that illustrates the anatomy of type (parts of a letterform). Check out the above examples for ideas and inspiration, but make your design fresh and new. Attempt to present a piece that is both effective at a distance as well as useful as a reference.

—Your poster must be purely typographic. You may not distort type. You may use colors, shapes, and lines as well as text, but no illustrations or photographs. You may not stroke the type nor use effects (especially drop shadows).


See the links below to access the section on Hierarchy, on which our project is based.

Ellen_Lupton_Hierarchy—Hierarchy Through Contrast
PalmFacts.gif—Example of Palm Facts layout from the book

ARTIST: Nicolas Felton

this guy uses grids extensively!

ARTIST: Paula Scher

Facts at hand notes

ARTIST: Creative Resume

download for live links Instructions_supplemental.rtf

1. Write a set of facts about your life, and create a scan or photographic image of your hand.

2. Map your life onto the image of your hand, text at right angles to itself, like this. Position each element on a 30 or 45 degree angle. Use scale, position, color and transparency to organize the information and create visual interest.

3. Use only one typeface; choose a Pro font, like Myriad Pro, Minion Pro, Adobe Gramond Pro, Garamond Premium Pro, Adobe Jensen Pro, Lithos Pro, or Warnock Pro. Most of these are open format fonts that cross platform seamlessly from Mac to PC. Pro fonts with lots of available weights enable easier hierarchical separation—the goal of this project.

4. No stroked type or effects (especially drop-shadows). No images except background image of hand.

5. Work only in straight lines, no curved type paths. Consider word as well as line breaks, dramatic use of bleed, upside down postionings, etc. Not all the text on the page needs to be legible!

6. Work in a square format, as large as your photo will permit before it degrades in image quality.

Tip: You might begin by ranking the information you have listed in order of visual importance, from the information you will emphasize the most to the information you will emphasize the least.

Menu of Options

MenuExample.pdf (menu) ( menu examples) (chicken plus menu)

Gaslight is an American Brasserie in Boston's South End district. The menus incorporate the feel of a traditional brasserie with an American twist. Designed at Tank Design.

1. Find a menu from a local restaurant. Copy the content into a page layout file. InDesign or Illustrator is okay.

2. Break up the content into larger and smaller parts. Employ scale, placement, alignment, type style, and other cues to create visual order. Create clear hierarchical visual structures.

3. In addition to creating a logical and legible order, seek to impart the information with a distinctive and engaging visual identity.

4. Work in a square format, 8" x 8." Work in one page or a spread. Use 2 fonts only (like a serif and sans serif) and up to 3 colors. Bars, rules, reversals, alignment, logical positioning, leading, kerning, tracking, U & L case, weight changes (choose a font with a big family) are okay, but no images and no effects.

5. Create an underlying grid as a basis for your design, as simple or as complex as you wish.

6. Post the original with the new design so we can se the improvement!

Making Connections 02

This project calls for some research. Making the list of connections in your life is not to be taken lightly. In the assignment, Long Lists, we worked with data supplied by a third party. Here, you are both author and designer.

Read about this exercise from the book, Graphic Design The New Basics by Lupton/Phillip: Do 'Design Problem 1' on your own!

Instructions 01 LifeFacetData.pdf
Instructions 02 from textbook

Type Specimen Book

Design pages to be gathered into a Type Specimen Book.
samples from Ellen Lupton

Letter-Digit Spread
Text Heavy Spread
Title Spread (colophon)
Typeface/Anatomy Spread

A type specimen, traditionally, is a publication, often in pamphlet or broadside (or broadsheet i, ii, iii) that demonstrates the range of a typeface applied to headlines and text in a variety of sizes. Prnters and typographers have produced type specimens for hundreds of years. Each variation of the typeface was shown, as well as all available sizes.

In a modern digital setting, type specimens [\Scala, OFA Promises Kept] have become more experimental being no longer conscripted by the available weights and sizes of hot metal cast typefaces—font size variations are endless—yet they remain a crucial way to promote and explain typefaces to designers that might want to buy and use them.

Your Type Specimen Book will begin with choosing a font with which you would have a love affair. Select a typeface for your project that has a substantial number of variations, such as Univers, Helvetica, Caslon, Baskerville, Garamond, Futura, or Bodoni. Any pro font would be a good choice. Be wildly flamboyant or classically conservative in your approach. You will lay it out as a 2-page spread or a broadsheet.



Type Specimen Book Thumbnails.pdf

Type Specimen Book Thumbnails.pdf

InDesign document, 16 (or more) facing pages, 10" x 10,".125 " bleed and a definite margin—I chose .5." Include master page items (common page elements, colors, including a grid), style sheets, and automatic page numbering. You may include hyperlinks, if you wish, as our PDF output supports them. You may use two fonts in the document layout—your love affair font and one other, as a compliment. Consider carefully the fonts you choose—mix responsibly!


Some of the pages are based on assignments/projects we have done in class. Choose from what you like best and combine, display, editorialize, and generally showcase the material.

Create new editorial content to write about what you include. Creative resume of your work in this class; thoughts, motivations, ideas, summary, chronology, etc. that you may have already posted can be reproduced here, in whole or in part and augmented as you go along. Take some license here but be thoughtful and consistent in your delivery and style.

ContentTextHeavy.docx (778 words are provided here; use around 700 words; Use completed text. Don't just cut it off at 700!)

Content text for your Text Heavy spread(s) is provided above for you to copy/paste, or you may prefer to gather different (but related) content yourself by visiting this site: - delve in and follow various links to build a body of content based on typography; use around 700 words!

The mandatory pages/spreads are outlined below.


colophon (käl′ə fən, -fän′)

1. a notation often placed in a book, at the end, giving facts about its production; it can vary greatly in content and book page location
2. the distinctive emblem of the publisher, as on the title page or cover of a book—as printing evolved it went from text only info into logotypes

ContentTitleColphon.pdf (sample content—please make your colophon unique to your book)

Title page can be combined with colophon spread (some material is redundant) or designed as a separate page or spread.

Information categories you may wish to include:

• Artist & design contributors
• Author or source of text
Thanks and acknowledgements / sponsors
• Special information
• Name of typeface, paper, or other noteworthy materials
• Methods of printing or production
• Publisher / Press
• City of publication
• Edition size and number
• Signature, logo of artist and/or author
• Publisher's contact details
• Book buying details
Copyright information and/or ISBN number
• Publisher/logo of publisher
• Title of book
• Your name as editor/designer
• Year of publication
• Reference to this course
• Credit to any literature, photographs, illustrations used-cite your source
colophon examples (images)
shaped colophons (colophon examples and list of items you may wish to include on colophon page)
nice summary of colophon comprehension
(example of yearbook colophon)


Map to the interior of your book, to be taken on as a new design challenge, not just an incidental part—a well established hierarchy of information using spacing, type weights, upper and lower case, dot leaders, tables, and/or any amount of puncuation and textual device to achieve a easy-to-read and lively layout.Here is a good excuse to employ the use of DOT LEADERS!

(innovative examples old and new)


Hand drawn/Illustrator generated examples of your prototype typeface—protoface! (display along side at least two samples of a bitmapped fonts found in nature: cash register receipt, cardboard box text, expiration dates on packaging, concert tickets, LED signs, etc.)


Use established master page baseline grid and employ certain relative leading sizes to match those baselines; grid for entire book from the master page also works for this spread. Apply hanging puncuation, drop caps, super and subscripts, baseline shifts, balance ragged lines, align text within text boxes, hyperlinks, ligatures, glyphs, tonal changes. Also learn about prefab shape corner options, and style sheets. Use provided content or around 700 words acquired from wiki website listed below.

ContentTextHeavy.pdf (778 words are provided here; use these or acquire around 700 words of your own by visiting this site: - delve in and follow various links to build a body of content. Use completed text. Don't just cut it off at 700!

InDesign auto page numbering

InDesign hanging puncuation (grid design stuff including baseline grids)


Font choice love affair spread(s) that demonstrates the range of the typeface applied to headlines and text in a variety of sizes. Each variation of the typeface should be labeled on the page. (name, point size, leading, kind, style) Display with a precision layout (do a broadsheet as an option) that uses a grid. Include special characters, small caps, sub and superscripts, glyphs, ornaments, quotation marks, drop caps, ligatures, use of spacing (leading, tracking, kerning), indents, hanging punctuation, baseline shifts, tables, dot leaders, etc. Consider employing techniques and treatments from magazine cover work and other class assignments. Be sure to choose examples that display the entire alpahbet, a-z, in your output, as well as a special characters from the glyphs panel.

Select a typeface for your project that has a substantial number of variations, such as Univers, Helvetica, Caslon, Baskerville, Garamond, Futura, or Bodoni. Any pro font with a large family of weights would be a good choice. Be wildly flamboyant or classically conservative in your approach. You may lay it out as a 2-page spread or a separate broadsheet that you then include in the book.


toilet type.tif
yaris key tag.tif

Samples of typography, 'found letters' if you will; bits of type and text ephemera, both printed and electronic, that you gather as examples of inspiration and sources of emulation. You may sketch, photograph, cut items from magazines, find scraps of paper on the street, or cut out bits of packaging. All designs are derivative of something that came before; every great new design is a fresh combination. This project will help you to look at type in an historical perspective, as type has evolved over time, designed to fulfill varying commercial concerns and influenced by changing cultural eras. (i.e. Garamond)

Prospect from 'tearsheets,' junk mail, advertisements, photographs, packaging and industrial design, signage and archetecture, old books and manuals, even manuscripts. There are lots of resources besides the World Wide Web, but of course take screen shots and download images from the Interenet; shoot photos with your digital camera and use a scanner to digitize pertinent examples. (i.e. Gotham, the font of Barack Obama's presidential campaign which has become the defacto font of the Democratic National Party was based on letter forms found on a NYC bus terminal sign.) I tend to collect things that are pre-digital, type that was set by hand and pasted up! Develop a library that you can reference and mine for good material not only for this class but for the extent of your design career.

Find examples that demonstrate a large variety of output: offset and digital examples of type found on documents and signage, food and product packaging, hand painted with a brush, stenciled, form molded as metal or rubber (convex), embossed in paper, ceramic, or branded into wood (concave). Find variety in both the surfaces or substrates the type is printed or painted upon, but also in the varying forms of the type itself, the way it changes in regard to the process of rendering it to a given substrate. Look for samples of type applied with heat and pressure, painted by hand, pushed into leather, tatooed on skin, silkscreened onto fabrics, molded into plastic, wood, foam, or even arrayed in light (LED, LCD). Find bitmapped fonts printed on cardboard boxes, cash register receipts, product and prescription expiration dates, concert tickets, etc.

[You may develop as pure digital, hand constructed, or a synthesis of both. Ultimately, though, for your work to be seen and shared, even your hand constructed specimen samples needs to be photographed/scanned and designed as book spread(s)! However, nothing beats the tangibility of the real thing! You might construct your "original" by hand and keep it as a reference point from which to work.]

Include some photographed or scanned in examples of type crimes you have gathered throughout the semester. Add commentary as to why it's a crime. The textbook contains other examples. Don't rule out plain old misspellings and gramatical errors.