Typographic Contrast, Color, & Composition A graphic design project guide
Kimberly Elam
Typographic Contrast, Color, & Composition A graphic design project guide
“Design is so simple, that’s why it is so complicated.” Paul Rand
1
Other Books by Kimberly Elam Expressive Typography, Van Nostrand Reinhold, 1990 Geometry of Design, Princeton Architectural Press, 2001, papress.com Grid Systems, Princeton Architectural Press, 2004, papress.com Typographic Systems, Princeton Architectural Press, 2007, papress.com Paper Food, ebook, 2007, lulu.com/kelam Line Icons, ebook, 2007, lulu.com/kelam Graphic Translation, 2007, Booksurge.com Additional Titles: StudioResourceInc.com
B All works shown are from Kimberly Elam’s Typography course at the Ringling College of Art + Design, Sarasota, Florida.
Book & Cover Design Kimberly Elam
© 2009 Kimberly Elam All rights reserved
[email protected]
Cover Illustration David Trujillo
No part of this book may be used or reproduced in any manner without written permission from the publisher, except in the context of reviews. Errors or omissions will be corrected in subsequent editions.
Typographic Contrast, Color, & Composition A graphic design project guide
Table of Contents Typographic Contrast
1
Project Description
2
Font Booklet Preparation
3
Font Questions
4
Depth Cues
5
Developing a Color Palette
7
Color & Composition Three Colors
8
Color & Composition Three Colors + Tones
10
Composition Notes
11
Contrast in Figure-Ground Positive to Negative
14
Contrast in Scale Large to Small
24
Contrast in Weight Thick to Thin
32
Contrast in Space 2D to 3D
37
Contrast in Slant Roman to Italic
46
Contrast in Width Condensed to Expanded
50
Contrast in Serif Serif to Sans Serif
56
Phone Book Examples
62
C
Typographic Contrast Contrast In Figure-Ground, Positive to Negative
Contrast is a visual technique, tool, and concept
5 55 5 55 55 55
that is vital to visual communication in intensifyContrast In Scale, Large to Small
ing meaning. It would be impossible to understand hot without cold, up without down, or fast without slow. The human eye is programmed to
5
seek balance and harmony and contrast acts as a stimulant as it agitates and captures attention. Typographic contrast can be clear and exagContrast In Weight, Thick to Thin
gerated or nuanced and subtle. In typography, contrast occurs in the structure, color, tone, and scale of letter forms. The contrast of type weight from thin to thick is direct and readily understood, whereas the contrast of serif to sans serif is more subtle and requires careful examination. The contrast in tone can be slight or boldly emphasize the
Contrast In Space, 2D to 3D
differences in light and dark as do complementary contrasts. Other color contrasts such as those between cool and warm are more subtle. 1
The intent of this project is to explore aspects of the fundamental design principles of contrast in Contrast In Slant, Roman to Italic
typography and to encourage students to become familiar with compositional principles and the beauty of classic families of type. The contrasts in typography are a rich resource for visual communication, and the results from this project are readily transferred to other work.
Contrast In Width, Condensed to Expanded
Because the project is so focused on only three area code numbers, students thoughtfully examine and identify font changes which would otherwise be ignored. It is a source of constant amazement that the simplest of typographic concepts yield such an array of results.
Contrast In Serif, Serif to Sans Serif
Kimberly Elam
Project Description
Project Process Overview
The project is deceptively simple. Using only three area code numbers and color, a series of designs
1. Select an Area Code
are developed that create typographic contrast to solve the problems of contrast in Figure-Ground,
2. Create Font Book
scale, weight, space, width, and serif.
3. Create a Series of Color Palettes
The project is limited to the classic families of
5. Contrast With Figure-Ground
ily. These classic families have been selected
type with all variations available in each fambecause of the beauty in the proportions, their 4. Develop a Series Of Contrast
high degree of legibility, and because the font has
Compositions:
stood the test of time. Before beginning work
Contrast in Scale
,students collaborate to produce a font booklet of
Contrast in Weight
all variations within each font. By using the font
Contrast in Space
booklet, students can readily compare and select
Contrast in Width
fonts that are appropriate for each contrast.
Contrast in Serif Color is a strong aspect of the project. In prepa-
6. Create A Phone Book Cover 2
ration for work with the contrasts, students develop a series of four color palettes to work with throughout the project. The colors selected must be appropriate to the location, such as cool colors for northern locations like Siberia and warmer colors for warmer locations like Brazil. Only three colors are used in each palette and are arranged according to the volume of space they will occupy in the composition. There are some constraints: • Area code numbers should read in sequence. • Each number must be legible. • The color palette must be applied according to proportion. • No drawn lines or shapes may be added to the composition.
Type Font Booklet
Serif Fonts Bodoni Bauer Bodoni Bodoni Old Face BE ITC Bodoni Seventy-Two Baskerville Baskerville Cyrillic Berthold Baskerville ITC New Baskerville Caslon Caslon 3 Caslon 540 Caslon Book BE Century Century Expanded Century Old Style New Century Schoolbook Garamond Garamond 3 Garamond BE Garamond Premier Pro Adobe Garamond ITC Garamond Simoncini Garamond Stempel Garamond Goudy Goudy Modern MT Serifa Sabon Times Times New Roman Sans Serif Fonts Futura Frutiger Gill Sans Helvetica Helvetica Neue Helvetica Inserat Univers Script & Blackletter Fonts Fette Fraktur Künstler Script Minion Snell Roundhand
Only selected classic families of type are used in this project. The goal is to closely study these families and develop both an appreciation and an intimacy with the details and subtleties of each font. The font families selected for the project should be ones with a complete selection of roman and italic, light to bold, condensed and expanded, and should be fonts to which students have access. In order to be able to make decisions regarding selection of fonts for this project, each student must have a font book that shows all variations of the fonts. Working in collaboration, students prepare individual pages for each font showing all of the numbers. The pages are compiled into a single document and output by all students.
Font Booklet, Sample Page
Bodoni
0123456789 Bauer Bodoni, Bold Condensed
0123456789
0123456789
0123456789
0123456789 Bauer Bodoni, Roman
0123456789
0123456789
0123456789
Bauer Bodoni, Black Condensed
Bauer Bodoni, Small Caps & Oldstyle
Bauer Bodoni, Black Italic
Bodoni, Poster Compressed
Bodoni, Bold Compressed
Bodoni, Book
0123456789
0123456789
0123456789
0123456789
Bauer Bodoni, Italic
Bauer Bodoni, Italic Oldstyle
0123456789 Bauer Bodoni, Bold
0123456789 Bauer Bodoni, Bold Italic
0123456789 Bauer Bodoni, Bold Italic Oldstyle Numbers
0123456789 Bauer Bodoni, Black
Bodoni, Roman
Bodoni, Book Italic
0123456789 Bodoni, Italic
0123456789 Bodoni, Bold
0123456789 Bodoni, Bold Italic
0123456789 Bodoni, Poster
0123456789 Bodoni, Poster Italic
3
Font Questions Student Exercise
In order to gain familiarity with the fonts and varia-
tions throughout the project. There is no single
tions in a font family, students are asked a number
correct answer to each question and students are
of questions. These questions require that stu-
encouraged to discover multiple answers.
dents closely examine their entire font book in
4
order to make the best selections. Often, while
The most effective way to answer the questions
completing this exercise, students find fonts that
is to set the font that answers the question and
are unfamiliar and have merits according to their
then file the answer sheets in a font booklet for
form and this leads to more interesting composi-
reference throughout the project.
Contrast in Weight
Contrast in Width
1. Which serif font has the thinnest stroke?
5. Which font is the most condensed serif font?
2. Which sans serif font has the thinnest stroke?
6. Which font is the most condensed sans serif font?
3. Which serif font has the thickest stroke?
7. Which font is the most expanded serif font?
4. Which sans serif font has the thickest stroke?
8. Which font is the most expanded sans serif font?
Contrast in Serif
Contrast in Shape
9. Which fonts have the largest serifs?
12. Which fonts are the most geometric?
10. Which fonts have the smallest serifs?
13. Which fonts are the most angular?
11. Which fonts have the most elegant serifs?
14. Which fonts are the most curvilinear?
Personal Preferences 15. Which is the most beautiful? 16. Which is the most ugly? 17. Which is the most elegant italic? 18. Which has the smallest counters?
Depth Cues
Letter forms, such as the ones you are now reading, are usually perceived as flat forms without dimension. The simple act of overlapping two letter forms or numbers creates a slight sense of depth and should it have a shadow, or bend the sense of depth is increased. A single letter form repeated in different sizes can create a sense of depth and imply receding space. The addition of thickness through extrusion, parallel line drawing, or isometric drawing immediately and clearly communicates dimension.
Change in Size A change in size implies a change in space and is intensified when coupled with a change in tone.
5
Overlapping Overlapping of letter forms creates a slight sense of depth that is intensified with a change in tone or the use of transparency.
Shadows The presence of a shadow indicates both a light source and dimension.
Depth Cues Student Exercise
This is an experimental exercise intended to give you an opportunity to test and experience the illusion of depth cues. Use all three of your area code numbers to create the illusion of depth and dimension. Rarely, is there a single way to create the illusions of depth and dimension with any of the cues. Try at least three distinctly different variations for each of the depth cues.
Extrusion, Wire Frame, and Bevel Dimension is very strongly communicated by extruding letter forms as a shaded or wire frame object. Using computer effects such as bevel communicates a dimensional surface. 6
Perspective Use of perspective representation implies dimension and position in space. A background grid helps in controlling the amount of perspective and can later be discarded.
Curving and Bending Curving and bending of letter forms implies dimension and position in space.
Developing a Color Palette
Swatch Sample Palette
Color selection and use is one of the most difficult aspects of design for many students. Left to their own devices, students often go wild with color
2. Subordinate Color, Red Occupies second largest volume
and have issues with control and application. The color system used in this project was developed in order to clarify how color is selected, simplify how color is applied, and greatly enhance the 3. Accent, Light Blue Distinctly different than dominant or subordinate colors. Often a complement, and occupies smallest volume.
possibility for success. Work is limited to three colors of the student’s choosing. Colors should be appropriate for the location such as a vibrant tropical palette for a Caribbean island or a cool palette for a cold northern location. Black is considered a color
1. Dominant Color, Orange Occupies largest volume
as is white, and must be included in the swatch sample palette in order to be used. Color must be thought of in terms of the volume of space it will occupy in the composition. The three colors are described as: 1. Dominant Color This color will occupy the most volume in the composition. 2. Subordinate Color This color is distinctly different from the dominant color and will occupy considerably less volume. 3. Accent Color This color is usually the complement of either the dominant or subordinate color and will occupy a very small volume. When used in the composition, the accent color must touch its complement in order to vibrate or interact. Swatch sample palettes are prepared so as to document color selections. The swatches show the colors in their approximate volumes and enable the designer to appropriately evaluate color choices.
7
Color & Composition, Three Colors
Once a composition is de veloped, the color palette is applied to the composition according to the volume of color in Color Palette
the palette. The dominant color occupies the largest volume. The subordinate color occupies the second largest volume, and the accent color the smallest volume. The examples, left, show how the color system works with composition.
702, Las Vegas
Because the designer is thinking about color in relationship to volume, the designer is also thinking about compositional space as a volume. This method is useful in enabling a pleasing Color Palette
8
proportional relationship and enhances the composition.
602, Phoenix
Color Palette
868, Trinidad
Color & Composition, Three Colors
These examples show a series of color palettes and how they might possibly work in a single composition. It is not until the Color Palette
colors are viewed in the composition that evaluation can take place. Each enclosed space in the composition presents opportunities for color and will create different results when filled. Below, is an outline drawing of the composition that reveals all of the areas that can be filled.
216 Tunisia
The designer has been selective in choosing the fills so as to keep the composition simple.
Color Palette
9
Outline Version Each enclosed area may be filled or not filled.
Color Palette
Color & Composition, Three Colors + Tones
Later stages in the project require that the color palette be expanded. This is particularly true in the 2D to 3D contrast when numbers are extruded Expanded color palette with tones of dominant and subordinate colors.
and need the illusion of light, shade, and shadow. The three color palette is still used but the dominant and subordinate colors also have a range of tone variations for use in the project. The tones are incremental steps and are shown to the left and right on the swatch palette.
10
Expanded color palette with tones of dominant and subordinate colors.
Expanded color palette with tones of dominant and subordinate colors.
Composition Notes
35
Positive and Negative Versions If compositions are functional as a Figure-Ground reversal they also work well as an inverse, positive becomes negative and negative becomes positive.
Counters The counters, enclosed interior shapes of letter forms, can either be filled or deleted. Far left, the counter is present and filled with black. Near left, deleting the counter simplifies the composition.
Horizontal Baseline Arrangements with letter forms on a horizontal baseline yield relatively symmetrical arrangements. While symmetrical compositions are satisfying, they are rarely as dynamic as compositions that are asymmetric.
11
Composition Notes
Trapping Space There are opportunities to increase the volume of black or white space by trapping space. The left example shows a composition without trapped space. At right, the top portion of the composition is filled with black. This volume of black is created by filling the void between a border created by the tops of the numbers and the format perimeter. Bold Fonts In the example at left a light font is used, and while it does yield a mediocre result, the composition at right with Gill 12
Sans Extra Bold is much more satisfying. The thick strokes of the Gill Sans give a stronger play with white space and the letter forms are punctuated with small geometric counters in the 6 and 0.
Serif and Sans Serif Fonts In general, sans serif fonts are easier to work with as their structure is simpler and the spaces created are simple as well. Serif fonts yield more complex compositions and are more difficult to control but the resulting curvilinear lines and lyrical shapes can be beautiful.
Composition Notes
Cropping & Readability The shape and form of numbers are so familiar that a considerable portion of many numbers can be cropped while retaining readability. Each number has visual clues that enable recognition such as the open left portion of the number 3 that makes it different from the closed shape of the number 8.
Cropping & Closure This composition is the same as the composition directly above. Here the portion of the 8 and 9 that are cropped are shown in gray outline. Through closure, when numbers are cropped out of a format the missing portions are completed in the viewer’s mind.
Tension Tension in composition is created as two objects near each other. In the far left example, the contrast of the 0 counter and 2 is sharpened by the contrast in the two shapes; round to pointed. In the near left composition the 0 appears to be squeezed by the 6 and 2. This illusion is heightened by the dent in the 6.
13
Thumbnails
For each of the contrasts a series of thumbnail compositions are created, evaluated, and refined. On this spread are a selection of thumbnail ideas that were developed for the scale contrast. In each the designer is testing ideas of font selection, position, color, scale, and composition. The final contrast, is enlarged on the next page.
14
Thumbnails
Phil Clark Contrast in Scale 702, Las Vegas
2
15
Contrast In Figure-Ground, Positive To Negative
Most designers regard negative space as the color white and positive space as the color black. However, this is not necessarily accurate as the element with the most active visual stress becomes the positive element or figure, and the less active elements the negative form or ground. In compositions were by both elements have an equal amount of stress, such as the yin-yang symbol or the vase/profile, there is a visual ambiguity as the positive and negative forms alternate and vie for attention. This is known as a Figure-Ground reversal as the space fluctuates between positive and negative. This contrast focuses on the interior shapes and space surrounding the numbers. The oriental philosopher Lao-Tse contended that essence depends on empty space and this is certainly true of typography. Eleventh Aphorism of Lao-Tse* “Thirty spokes meet the hub, but it is the emptiness between them that makes the essence of the wheel. From clay pots are made, but it is the emptiness inside them that makes the essence of the pot.
16
Walls with windows and doors form the house, but it is the emptiness between them that makes the essence of the house. The principle: The material contains usefulness, the immaterial imparts essence.”
When working with Figure-Ground relationships and numbers, visually ambiguous compositions are created that stimulate the eye. The familiarity of numbers makes them ideal for such experiments. In most compositions with three numbers, two of the numbers will be positive, and one number negative. In some compositions, the numbers will all be either positive or negative, and the shape and volume of the spaces will create a contrast in figure and ground. Work involving all of the contrasts begins with Figure-Ground as these compositions are in black and white, which focuses work solely on composition. A square format is used for all compositions as the proportions of the format are accepted by the eye and attention is on the composition and numbers. Figure-Ground is a highly interesting contrast, and the compositions developed * Typography: A Manual of Design, Emil Ruder, 1967,
Arthur Niggli Ltd.,
for this contrast are revisited and revised later for developing all of the other contrasts.
Figure-Ground
Erin Weiffenbach
Felicia Koloc
17
Erin Weiffenbach
Nathan Hardy
Ben Buysse
Figure-Ground
Ben Kowalski
5
Ben Kowalski
18
Ben Kowalski
Edward Prendergast
Yan Yan
Figure-Ground
Jamie Hernandez
Jamie Williams
19
Cassandre Gilray
Ojai Mitchell
Li Mei Tan
Figure-Ground
Ojai Mitchell
Kyra Odi
20
Marcus Negron
1
Marcus Negron
Marcus Negron
Lauren Pritchard
2
0
Lauren Pritchard
2
6
Figure-Ground
6
Lauren Pritchard
Sara Mantle
Sara Mantle
21
Figure-Ground
Melike Turgut
Nicole Moffre
22
Joshua Power
Azure Harper
Joshua Power
Figure-Ground
52
Marcos Roman
Ellen O’Reilly
23
Kathryn Grigsby
Kathryn Grigsby
Figure-Ground
Kathy Jones
Mike Plymale
24
Mike Munger
Mike Munger
Yuri Priamo-Canales
Figure-Ground
Helvetica, Baskerville Contrast in Figure/Ground
Jesse Penico
Olivia Posani
1 94 Kathy Jones
Jesse Penico
Olivia Posani
25
5
Contrast in Scale, Large to Small
5 In its simplest form, contrast is a juxtaposition of elements through which differences are revealed. Contrast in scale is a powerful visual force that is readily communicated with letter forms. Although the concept is simple, the resulting compositions have a complex series of interactions. As well as the scale contrast, there will be other visual forces at work such as contrast in shape, color, position, and direction. If the work is to be coherent the composition of the elements must be focused toward the communication of the contrast of size. It is possible to solve the contrast in scale problem with only small changes in size. However, the goal in all of the contrasts is to solve the problem in such a way that the contrast in scale becomes the most important visual force on the page. In the example below left, the composition has a very modest change in scale. The contrast in scale becomes more exaggerated and clear below right. The use of cropping, especially the 2, gives the illusion of being even larger as the viewer mentally completes the missing portions of the number.
26
Without Contrast in Scale All three numbers are about the same size.
With Contrast in Scale Numbers vary greatly in scale and visual interest is achieved with overlapping and cropping.
Contrast in Scale, Large to Small
Sarah Alwassia 515 Des Moines Bodoni
Loni Diep 246 Barbados Goudy
27
0 Casey Diehl 305 Miami Garamond
Regina Gallant 305 Miami Caslon, Helvetica
Contrast in Scale, Large to Small
Amanda Clark 602, Phoenix Gill Sans
Amanda Clark 602, Phoenix Helvetica
28
Jamie Hernandez 216, Tunisia Helvetica
Benjamin Kowalski 358, Finland Helvetica
Contrast in Scale, Large to Small
Phillip Clark 702, Las Vegas Bodoni
Phillip Clark 702, Las Vegas Century Old Style
29
Phillip Clark 702, Las Vegas Helvetica
Amanda Clark 602, Phoenix Bodoni
Contrast in Scale, Large to Small
Wendy Ellen Gingerich 701, North Dakota Goudy, Gill Sans, Univers
Ryan Meis 907, Maine Helvetica
30
Sara Coburn 612, Minneapolis Bodoni
Wendy Ellen Gingerich 701, North Dakota Gill Sans, Univers
Contrast in Scale, Large to Small
Lawrie Talansky 212, New York City Helvetica
Dominic Stoffels 206, Seattle Helvetica
31
Chean Wei Law 212, New York City Bodoni
Jennifer Leverault 207, Maine Gill Sans
Contrast in Scale, Large to Small
Felicia Koloc 345, Cayman Islands New Century Schoolbook, Helvetica
Felicia Koloc 345, Cayman Islands Futura
32
Felicia Koloc 345, Cayman Islands Century Old Style, Helvetica
Fernando Perez 602, Phoenix Garamond, Helvetica
Contrast in Scale, Large to Small
Zach Hunt 818, Los Angeles Futura
Zach Hunt 818, Los Angeles Futura
33
Pushpita Saha 212, New York City Künstler Script, Bodoni
Audri Triabassi 907, Alaska Künstler Script
55
Contrast in Weight, Thick to Thin
Contrast in weight is one of the more subtle contrasts, as the change in the thickness of the stroke needs to be dramatic in order to communicate clearly. Fonts that work best are those with a full and complete family of cuts and for this purpose Helvetica and Univers are standouts. Other fonts such as Gill Sans Ultra Bold have exceptionally bold strokes and also work well for contrast in weight. Shown, below left, is a composition with all three numbers as medium weight. Below right, essentially the same composition now has an extreme contrast in thick to thin with the 6 set as Univers 85 Extra Black, the 2 as Helvetica Neue 25 Ultra Light, and 0 as Univers 49 Light Ultra Condensed. The position of the numbers changes only slightly but the visual interest is increased exponentially. This is because of the contrast of the extra black strokes of the 6 that squeeze the counter form, to the fine stroke of the 2 that accentuates the curved stroke as it moves toward the horizontal stroke. Contrast occurs in the weight of the numbers and also in the shape of the counters of the 6 and 0.
34
Without Contrast in Weight All three numbers are regular weight.
With Contrast in Weight Extra black is contrasted with ultra light.
Contrast in Weight, Thick to Thin
Elizabeth Centolella 212, New York City Helvetica, Univers
Lauren Pritchard 602, Phoenix Helvetica, Gill Sans
35
Doreen Roy 602, Phoenix Futura
Doreen Roy 602, Phoenix Futura
Contrast in Weight, Thick to Thin
Sara Mantle 602, Phoenix Helvetica, Univers
Sara Mantle 602, Phoenix Futura, Gill Sans
36
Stephanie Rule 441, Bermuda Futura
Mona Bagla 246, Barbados Garamond
Contrast in Weight, Thick to Thin
Lauren Furey 202, Washington, D. C. Helvetica, Goudy, Frutiger
David Lopez 612, Futura
37
Brandon Dziedzic 441, Bermuda Gill Sans
Brandon Dziedzic 441, Bermuda Helvetica
Contrast in Weight, Thick to Thin
Colin Bright 358, Finland Helvetica
38
John Lopez 907, Alaska Gill Sans
Jamie Hernandez 216, Tunisia Helvetica
5
Contrast in Space, 2D to 3D
The use of depth cues allows the designer to be a visual magician by creating the illusion of depth and space on the flat page. While changes in size and overlapping create only a slight suggestion of depth, the other depth cues of shadowing, extrusion, perspective, and bending create more dramatic and unmistakable depth. Depth cues allow the numbers to seem to jump off of the page or become objects that occupy space. Without the use of depth cues, space is perceived as a flat plane, as in the 702 composition, below left. The overlapping of the numbers appear to merge the black strokes into a single shape. Below right, the use of the shadow behind the 2 in the composition changes the composition dramatically by creating the illusion of space as if the 2 was floating above the surface. By employing depth cues, the edges of the format can be thought of as the frame of a window, with limitless space inside.
39
Without Contrast in Space All three numbers occupy flat space.
With Contrast in Space The addition of a shadow to the 2 lifts it off of the page giving the illusion of depth.
Contrast in Space, 2D to 3D
Sara Mantle 602, Phoenix Univers
Joshua Jasinski 602, Phoenix Bodoni, Fette Fraktur, Künstler Script
40
0 Sara Mantle 602, Phoenix Univers, Helvetica
Doreen Roy 602, Phoenix Futura, Bodoni
Contrast in Space, 2D to 3D
Dave Broder 305, Miami Gill Sans
Kyra Odi 305, Miami Futura, Univers
41
Joshua Power 602, Phoenix Helvetica
Kyra Odi 305, Miami Futura, Univers
Contrast in Space, 2D to 3D
Ann Marie Rapach 246, Barbados Bodoni, Univers
Edward L. Prendergast 354, Iceland Futura 42
Mona Bagla 246, Barbados Bodoni
Ann Marie Rapach 246, Barbados Helvetica
Contrast in Space, 2D to 3D
Mike Munger 907, Alaska Helvetica
Mike Munger 907, Alaska Helvetica
43
Jamie Hernandez 216, Tunisia Bodoni, Baskerville
Li Mei Tan 403 Yukon Snell Roundhand
Contrast in Space, 2D to 3D
Eva Bodok 612, Minneapolis Garamond
Eva Bodok 612, Minneapolis Garamond
44
Eva Bodok 612, Minneapolis Garamond
Contrast in Space, 2D to 3D
Lisa Martinez 246, Barbados Bodoni
Lisa Martinez 246, Barbados Bodoni
45
David Trujillo 702, Las Vegas Univers
David Trujillo 702, Las Vegas Univers, Helvetica
Contrast in Space, 2D to 3D
Noman Khan 907, Alaska Gill Sans, Helvetica, Sabon
Noman Khan 907, Alaska Gill Sans, Helvetica, Sabon
46
Katryna Jones 907, Alaska Bodoni
Jesse Penico 907, Alaska Helvetica, Snell Roundhand, Bodoni
Contrast in Space, 2D to 3D
Greg Tariff 702, Las Vegas Sabon
Ellen O’Reilly 702, Las Vegas Helvetica
47
Ellen O’Reilly 702, Las Vegas Helvetica
Mina Gomez 702, Las Vegas Univers, Helvetica
55
Contrast in Slant, Roman to Italic
The contrast in slant is a subtle contrast between roman and italic fonts. Unlike the other contrasts, where the numbers are free to move and rotate in the format, this contrast is in relationship to the baseline and the numbers almost always need to be arranged on the horizontal baseline. Because of this relationship it is more challenging to create a dynamic composition. In the small example, below left, the contrast shown is a serif to sans serif contrast as well a a contrast in space and not a contrast in slant because all three numbers are roman. In the larger example, below right, the transparent serif 3 takes on a different sense as it overlaps the roman 3. The change in angle, contrast in slant, is readily apparent as is the comparison of serif and sans serif.
48
3
Without Contrast in Slant All three numbers are roman.
With Contrast in Slant The light orange italic and transparent 3 is contrasted with the blue roman 3 and gray roman 1.
Contrast in Slant, Roman to Italic
Loni Diep 246, Barbados Baskerville
Sarah Alwassia 515, Des Moines Times, Helvetica
49
Azure Harper 617, Boston New Century Schoolbook
Azure Harper 617, Boston New Century Schoolbook
Contrast in Slant, Roman to Italic
Sara Coburn 612, Minneapolis Univers, Künstler Script
Zach Hunt 818, Los Angeles Baskerville, Futura
50
Nathan Hardy 305, Miami Sabon
Sara Coburn 612, Minneapolis Univers, Fette Fraktur
Contrast in Slant, Roman to Italic
Michael Johnston 313, Detroit Baskerville, Univers
Michael Johnston 313, Detroit Garamond, Helvetica
51
Amanda Clark 602, Phoenix Times, Sabon
2 2
0
Amanda Clark 602, Phoenix Univers
55
Contrast in Width, Condensed to Expanded
The contrast between condensed and expanded letter forms is rarely seen in graphic design. Ultra compressed type is uncomfortable to the eye as the counters are squeezed to the point that they are difficult to read and the letter spacing is tight. However, the shapes of compressed types are very interesting because they resemble radius rectangles that have a strong vertical stress. In the example, below left, all three numbers are set in medium weight and the composition feels static. Below right, the same composition now has a dynamic contrast from Helvetica 93 Expanded to Univers 39 Thin Ultra Condensed. The contrast is in the direction the eye follows from the horizontal to vertical. Most numbers work well in this exercise with the exception of the number 1. No matter which font is used the number 1 reads as a narrow condensed number.
Contrast in Visual Stress The horizontal stress of the 2 is contrasted with the vertical stress of the 6.
52
Without Contrast in Width All three numbers are regular width.
With Contrast in Width An ultra condensed 6 is in contrast to an extra expanded 2.
Contrast in Width, Condensed to Expanded
Kodi Mynatt 702, Las Vegas Gill Sans, Helvetica
Ian Hoene 207, Maine Helvetica, Univers
53
Jennifer Levreault 207, Maine Gill Sans
Loni Diep 246, Barbados Univers
Contrast in Width, Condensed to Expanded
Ben Kowalski 358, Finland Univers
Ben Kowalski 358, Finland Univers
54
Sarah Alwassia 515, Des Moines Univers, Helvetica
Colin Bright 358, Finland Univers, Helvetica
Contrast in Width, Condensed to Expanded
Willie Diaz 809, Dominican Republic Univers, Gill Sans
Andrea Mendez 353, Ireland Univers
55
Li Mei Tan 403, Youkon Univers
Kathryn Grigsby 886, Taiwan Bodoni, Helvetica
Contrast in Width, Condensed to Expanded
Jamie Hernandez 216, Tunisia Univers, Helvetica
Jamie Hernandez 216, Tunisia Univers, Helvetica
56
Mike Munger 907, Alaska Univers, Helvetica
Mike Munger 907, Alaska Univers, Helvetica
55
Contrast in Serif, Serif to Sans Serif
The contrast in serif compositions are subtle because the visual clues are often slight and the viewer’s eye reads and comprehends the numbers quickly. The problem becomes more about contrasting the complexity of serif fonts with the simplicity of sans serif fonts as the intricate serifs and thick and thin strokes are juxtaposed to the simple sans serif numbers. In the example, below left, the small composition is composed of three serif numbers, and is pleasing because of the angles of the numbers and the visual interest as the yellow background flows into the 7 and 2. The larger composition employs the same two serif numbers, 7 and 2, with one very bold sans serif 0. This composition is even more dynamic because of the contrast in serif, the increased volume of black, and small geometric counter of the 0 punctuated with the accent color, white.
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Without Contrast in Serif All three numbers are serif letter forms.
With Contrast in Serif The serif 7 and 2 are contrasted with the sans serif black 0.
Contrast in Serif, Serif to Sans Serif
Melike Turgut 679, Fiji Islands Futura, Century Expanded
Melike Turgut 679, Fiji Islands Futura, Goudy
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Kyle Hamilton 679, Fiji Islands Univers, Goudy
9
Mike Munger 907, Alaska Bodoni, Univers
Contrast in Serif, Serif to Sans Serif
Lennse Garcia 212, New York City Serifa, Helvetica, Univers
Jerald Saddle 886, Taiwan Baskerville, Helvetica
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Kathryn Grigsby 886, Taiwan Baskerville, Helvetica
Mike Richardson 868, Trinidad Century Old Style, Garamond, Helvetica
Contrast in Serif, Serif to Sans Serif
93 5
Kim Keene 907, Alaska Univers, Snell Roundhand
Lucas Human 935, San Diego Bodoni, Helvetica
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Elizabeth van Kleef 941, Sarasota Helvetica, Garamond, Caslon
Willie Diaz 809, Dominican Republic Futura, Baskerville
Contrast in Serif, Serif to Sans Serif
Joshua Jasinski 602, Alaska Fette Fraktur, Gill Sans, Künstler Script
Joshua Jasinski 602, Alaska Bodoni, Helvetica, Fette Fraktur
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Joshua Jasinski 602, Alaska Fette Fraktur, Gill Sans
Lennse Garcia 212, New York City Bodoni, Garamond, Futura
Contrast in Serif, Serif to Sans Serif
David Trujillo 702, Las Vegas Fette Fraktur, Gill Sans
David Trujillo 702, Las Vegas Fette Fraktur, Gill Sans
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David Trujillo 702, Las Vegas Univers, Futura, Baskerville
Ellen O’Rielly 702, Las Vegas Univers, Bodoni
Contrast in Serif, Serif to Sans Serif
Jesse Penico 907, Alaska Snell Roundhand, Univers
Noman Khan 907, Alaska Helvetica, Minion
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John Lopez 907, Alaska Fette Fraktur, Futura, Bodoni
Katryna Jones 907, Alaska Fette Fraktur, Futura
Phone Book Examples Isometric Instructions
At the conclusion of the contrast exercises, students have 30+ works to choose from for an application to a phone book cover. Students select their strongest work for the cover, apply the location name, and create a spine and dummy pages. In order to retain compositional unity, the font used for the location name must be a font that was used in the exercise. The color palette must Cover
still be employed according to volume, and the size and location name must be in sync with the visual dynamics of the composition. Adjustments are needed for the spine, and the spine width is variable with larger locations such as NYC havSpine
Dummy Pages
ing thicker spines and smaller locations such as Alaska having narrower spines. For final presentation, a spine and dummy pages are created and the three surfaces are trans-
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formed into an isometric drawing with computer software. Isometric is ideal for creating the illusion of dimension as it corrects for distortion and yields a visually pleasing drawing that has the illusion of dimension. The cover, spine, and pages are setup as shown, Cover Elements Positions Positions for front cover, spine, and pages for isometric drawing.
left. Each surface is converted to isometric by following the table below.
30º 30º Isometric Drawing
Final Isometric Drawing A shadow has been added and the spine has been darkened slightly to increase the sense of three dimensional space.
Face
Vertical Scale
Horizontal Sheer
Rotate
Cover
86.602%
30º
-30º
Spine
86.602%
-30º
-30º
Pages
86.602%
30º
30º
Area Code 212, New York City Elizabeth Centolella
65
Area Code 212, New York City Thomas Cooper Werd
66
Area Code 213, Los Angeles Forrest Moulton
67
Area Code 246, Barbados Loni Diep
68
Area Code 305, Miami Lara Carvalho
69
Area Code 305, Miami Melissa Pena
70
Area Code 305, Miami Nathan Russel Hardy
71
Area Code 305, Miami Regina Gallant
72
Area Code 313, Detroit Michael Johnston
73
Area Code 345, Cayman Islands Felicia Koloc
74
Area Code 403, Alberta Johnathan Seniw
75
Area Code 441, Bermuda Ryan Egan
76
Area Code 515, Des Moines Sarah Al-wassia
77
Area Code 602, Phoenix Amanda Clark
78
Area Code 602, Phoenix Doreen Roy
79
Area Code 602, Phoenix Fernando Perez
P
P H O E N I X
80
H
O
E
N
I
X
Area Code 612, Minneapolis David Lopez
81
Area Code 612, Minneapolis Eva Bodok
61 2
2 Minn ea
polis
82
1
2 minneapolis
Area Code 612, Minneapolis Sarah Coburn
83
Area Code 679, Fiji Islands Melike Turgut
84
Area Code 702, Las Vegas Cheryl Charming
85
Area Code 809, Trinidad Mike Plymale
86
Area Code 809, Dominican Republic Willie Diaz
87
Area Code 818, Los Angeles Zach Hunt
88
Area Code 808, Trinidad & Tobago Mike Richardson
89
Area Code 907, Juneau, Alaska Mike Munger
90
