!0 projects

1Kajsa SwansonProject 10:

Make a book

for the graphic design student

2

TABLE OF CONTENTS

3

1: From thumbnails to posters.............................12

2: Using the grid....................................................16

3: Word play...........................................................20

4: Position is everything.......................................24

5: Get to know a designer.....................................28

6: Type specimen...................................................34

7: Guess this letter................................................58

8: Design yourself a logo......................................60

9: Identity Package...............................................64

10: Make a book.....................................................68

10 GRAPHIC DESIGN PROJECTS

First things first......................................................4

Typography terms and tips....................................6

All about color........................................................10

4

FIRST THINGSFIRST

This book is a compilation of all the projects that were assigned and the notes taken in my graphic design course.

To tell you a little about myself, I am a sophomore at Asbury University, majoring in media communications with an emphasis in multimedia, and minoring in business management. I love all things design, typography and running. As a native Chicagoan, I love good deep dish pizza, which is something I must live without while here at Asbury. Some of my favorite things include napping in hammocks, eating watermelon, and playing in the snow.

6

TYPOGRAPHYTERMS AND TIPSType Family: a collection of related typefaces which share common design traits and a common name

Style: Any variation in a type family (reg. & italic)

Weight: how bold the typeface looks, how heavy the strokes making up the characters are. Traditional weights are Regular and Bold, with Light and Black being the outward extensions on the weight scale, and sometimes a Semibold in between.

Width: determines how wide the characters are. The traditional widths are Condensed and Extra Condensed or Compressed.

The distinction between typeface and font: In metal type, a “font is one single typeface design in one specific type size, which means that metal Palatino 12 pt and Palatino 16 pt are two separate fonts. Yet when phototypesetting started replacing metal typesetting in the 1970, type became scalable (thus size-independent) and “font” came to signify a single type style, disregarding point size. And the terms “typeface” and “font” are now often used interchangeably. A similar thing happens when talking about typefaces and type families, and styles, weights, and widths.

7

Centered: Handy for prim, poetic passages. Not meant for large amounts of text.

Flush left: Type purists prefer this default for a good reason: it’s the easiest to read because we read it most often.

Flush right: A nice break from the norm, but a bit hard to read; should only be used for small captions or special callouts.

Justified: A crisp, handsome look, but vulnerable to awkward hyphens and rivers (gaps running through the text.)

Leading: The amount of horizontal space between two lines of text –leading is measured from baseline to baseline. A healthy balance between point size and leading can keep things together and moving ahead smoothly.

Kerning: Adjusting the space between individual letters when awkward pauses come between them.

Letterspacing: The overall spacing between letters in a block of text, it is also known as tracking. Generally, the larger the type, the less letter spacing required.

Ligatures: An elegant expression of typographic fondness, ligatures create a single character out of two.

8

Smart Quotes: Make sure to always activate smart quotes and standard ligatures in your application preferences.

Numbers: When set in body copy, numbers can look large. Try reducing the point size of the numbers slightly so they blend in better.

Readability: Columns that are too short or too wide are hard to read. An ideal measure is 60–70 characters per line, or 40 online.

Clutter: Avoid distracting background patterns or busy photos behind the type.

Point size: Always choose the body copy size first, and make everything else work with it.

Spacing issues: Tighten up the letterspacing when using large type, such as in a headline.

TYPOGRAPHYTERMS AND TIPS

9

Leading: The bigger the body copy, the smaller the leading, especially if you use all caps.

Hierarchy: Design a clear visual path for the viewer to follow. Just like your significant other, the most important text should get the most attention. Use fewer fonts and typeface styles in your project. The old adage ‘two’s company three’s a crowd’ works with type as well.

Widows and orpans: Show compassion to orphans (words abandoned at the beginning of a column) and widows (words left alone at the end of a paragraph).

10

ALL ABOUTCOLOR

The color wheel: this basic map shows relationships among colors. Children learn to mix colors according to this model, and artists use it for working with pigments (oil paint, watercolor, gouche, and so on).

Primary colors: Red, yellow, and blue are pure; they cant be mixed from other colors. All the other colors on the wheel are created by mixing primary colors.

Secondary colors: Orange, purple, and green each consist of two pimaries mixed together.

Tertiary colors: Colors such as red orange and yellow green are mixed from one primary and one secondary color.

11

Complements: Red/green, blue/orange, and yellow/purple sit opposite eachother on the color wheel. For more subtle contrasts, choose “near opposites,” such as red plus a tertiary green, or a tertiary green, or a tertiary blue, and a tertiary orange.

Analogous: Color schemes built from hues that sit near to each other on the color wheel (analogous colors) have minimal chromatic differences.

12

PROJECT 1: FROM THUMBNAILS TO POSTERS

This project practices making a composition out of simple shapes.

Get thirty images of anything graphic design that you like. This can anything from be photographs, layouts, posters, and book covers.Then draw those images in thumbnail version. Draw boxes for the text and simple shapes for the other elements in the design. This helps break up the composition into parts, so you can see what is going on, where the shapes are leading your eyes, whether there is rythym or balance.

Then take the thirty thumbnails and pick two that you feel have the strongest compositions. Make those thumnails into two posters, size 8.5 by 11 inches.

14

Project 1: From thumbnails to posters

ESFJExtrovert, sensing, feeling, judging

ESFJs project warmth through a genuine interest in the well-being of others. They are often skilled at bringing out the best in people, and they want to understand other points of view. They are se-rious about their responsibilities, seeing what needs to be done and then doing it. Generally proficient at detailed tasks, they enjoy doing lit-tle things that make life easier for others. They value tradition and the security it offers.

15

E S F JExtrovert, sensing, feeling, judging

ESFJs project warmth through a genuine interest in the well-being of others. They are often skilled at bringing out the best in people, and they want to understand other points of view. They are serious about their responsibilities, seeing what needs to be done and then doing it. Generally proficient at detailed tasks, they enjoy doing little things that make life easier for others. They value

tradition and the security it offers.

16

PROJECT 2: USING THE GRID

A typographic grid organizes text and images across the pages of a doc-ument. A grid can consist of a single column framed by margins, or it may have multiple columns. When you de-sign a grid, you typically begin with vertical divisions (columns), and then add horizontal divisions.

Create a new document in InDesign. Your page size is 8 x 8 inches. Create a grid with 1/4-inch margins all around and four vertical columns, 1/4-inch gutters. When your document appears on screen, use guidelines to divide the grid again horizontally. Arrange the text below on the grid. Create three different designs on three different pages, all using the same underlying grid. Use Helvetica. Do two layouts us-ing 8-pt type only, and one layout that introduces one additional size of type.

17

COMMON TYPOGRAPHIC DISEASES

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

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

TypophobiaThe irrational dislike of letterforms, often marked by a preference for icons, dingbats, and—in fatal cases—bullets and daggers. The fears of the typophobe can often be quieted (but not cured) by steady doses of Helvetica and Times Roman.

Typochondria A persistent anxiety that one has selected the wrong typeface. This condition is often paired with okd (optical kerning disorder), the need to constantly adjust and readjust the spaces between letters.

TypothermiaThe promiscuous refusal to make a lifelong commitment to a single typeface—or even to five or six, as some doctors recommend. The typothermiac is constantly tempted to test drive “hot” new fonts, often without a proper license.

Use this text:

19

Project 2: Using the grid

20

PROJECT 3: WORD PLAY

Choose two words from the list. In two different compositions, arrange each word to express its meaning (one word per composition). The composition is 6 x 6 inches square. You may vary the size, spacing, placement, and orientation of the letters. You may execute your project by tracing letters, cutting and pasting photocopied letters, using a computer, or any combination of these methods. Use the typeface Futura Med. You may repeat, omit, slice, block, or overlap words or letters. Do not use drop shadows or horizontal/vertical scaling (distortion). Consider the entire space of the square.

21

compression

transition

contraction

addition

subtraction

disruption

repetition

elimination

migration

expansion

Choose 2 of these words:

22

Project 3: Word play

24

PROJECT 4: POSITION IS EVERYTHING

Within a 6 x 6-inch square, compose the text provided below in a manner that expresses its meaning. Use Adobe Garamond only. Use variations in align-ment, leading, line length, orientation, and spacing. Avoid variations in weight or size. You may break the paragraph into smaller elements and distribute them within the square. Be sure to have a concept in mind as you work.

The most common problem students encounter with this project is what Lup-ton calls “swimming.” This happens when you start changing the size, style, spacing, and/or orientation of the type from word to word or line to line with-out having a sense of structure that holds the composition together. Avoid swim-ming by sketching ideas before you start working on the computer. Read the text; understand its basic meaning; break it into parts. How do those parts relate to typographic forms and structures? Don’t just jump in: think first.

25

Print situates words in space more relentlessly than writing ever did. Writing moves words from the sound world to a world of visual space, but print locks words into position in this space. Control of position is everything in print. Printed texts look machine-made, as they are. In handwriting, control of space tends to be ornamental, ornate, as in calligraphy. Typographic control typically impresses most by its tidiness and invisibility: the lines perfectly regular, all justified on the right side, everything coming out even visually, and without the aid of guidelines or ruled borders that often occur in manuscripts. This is an insistent world of cold, non-human, facts.

Use this text:

Quote adapted from Walter Ong, Orality and Literacy:The Technologizing of the Word (London and New York: Methuen, 1982)

26

This is an insistent world of cold, non-human, facts.

Print situates words in space more relentlessly than writing ever did. Writing moves words from the sound world to a world of visual space, but print locks words into position in this space.

Contro l o f pos i t ion i s eve r y th ing in pr in t .

Printed texts look machine-made, as they are. In handwriting, control of space tends to be ornamental, ornate, as in calligraphy.

The lines perfectly regular, all justified on the right side, everything coming out even visually, and without the aid of guidelines or ruled borders that often occur in manuscripts.

Typographic control typically impresses most by its tidiness and invisibility:

Project 4: Position is everything

28

PROJECT 5: GET TO KNOW A DESIGNER

Basically, write a research paper on one of the graphic designers on the list. Relate your chosen person’s contribution to the field of Graphic Design, and define their work’s characteristics by highlighting a significant example of their design achievements. Include that example for reference.

29

William MorrisBauhausMuriel CooperJan TschicholdPaul RandSeymour ChwastMilton GlaserWilli KunzPaula ScherStefan SagmeisterExperimental JetsetDexter SinisterEric GillMichael BierutEllen LuptonMassimo VignelliDavid CarsonNeville BrodyTibor KalmanErik SpiekermannKarel MartensJessica HelfandPaul RennerAdrian Frutig

Choose a designer:

30

Michael Bierut

Imagine that you are in a room filled with 3,000 designers, and you are to give a presentation. While most people would give a powerpoint, show a film, or present a speech, Michael Bierut walked to center stage, and sang a song a cappella, which he had wrote himself. From posters, to logos, and packaging design, Michael Bierut has made his mark in the graphic design world. Originally from a small town, Bierut didn’t even know that graphic design had a name until he was in high school. Since then he has been creating innovative designs for top companies and firms, and receiving numerous prestigious awards.

Michael bierut was born in Cleveland, Ohio in 1957. His love of art, drawing, and music, lead him to start designing album covers, and various logos for people in his town. He didn’t even know graphic design had a name until he was 15 years old. He then went to the library where he found two books on graphic design one by Milton Glaser and one by Armin Hofmann two designers with very different styles. Bierut could see himself with a future in graphic arts so he decided to attend the University of Cincinnati College of Design, Architecture, Art and Planning. Right out of college he wanted to work for a big name designer. He worked for Massimo Vignelli for 10 years. Pentagram, one of the largest design firms, asked Bierut to partner with them. At Pentagram, Bierut has worked for clients such as the Walt Disney Company, Motorola, the Toy Industry Association, Princeton University, the Library of Congress, and the New York Jets, just

31

to name a few. He also served as the president of the New York chapter of American Institute of Graphic Arts, or AIGA, from 1988 to 1990. He was also the president of AIGA National from 1998 to 2001. He is now a Senior Critic in Graphic Design at the Yale School of Art, and a Senior Faculty Fellow at the Yale School of Management. He frequently writes about design, he has recently published a book called 79 Short Essays on Design.

Michael Bierut’s style combines functionality and fun. Most of his designs involve some sort of humor, and that makes sense once you know his personality. His work is clever and makes the viewer think outside the box. When first starting out at Pentagram, he experimented a lot with each new project, but he always found himself coming back to the reliable Vignelli structure he learned while working for him. Bierut’s work that he designed for the Brooklyn Academy of Music relies heavily on classic Vignelli style, which includes the rules, the grid, and the fonts, but the cut-off type displays the “Bierut wit.” In the words of Paula Sher, another Pentagram Partner and leader in the graphic design world, “Michael Bierut has taken pure European formalism, added a layer of American populism and made it, through warm conversation, accessible to and appreciated by those who have listened to him. They in turn have made it accessible to everyone else. Formidable.”

With his style and experience, Michael Bierut has made his mark on the design world. He has won several awards and has his work.His work is also displayed in permanent collections in the Museum of Modern

32

Art, or MoMA, and the Metropolitan Museum of Art. Bierut was also elected to the Alliance Graphique Internationale in 1989, and to the Art Directors Club Hall of Fame in 2003. Bierut was awarded what is considered to be the profession’s highest honor, the AIGA Medal, in 2006. He has been the speaker at conventions and conferences. Bierut also appeared in the film Helvetica, discussing how companies would redesign their logos from busy hand drawn type to clean looking helvetica. It is often claimed to be the funniest segment of the documentary.

“Only good work leads to doing more good work.” This saying by Michael Bierut is evident in his own work. From a midwestern town to the big city. From not knowing graphic design even existed, to being a leader in the field. His witty, innovative, and func-tional style has won him several awards. All this good work will only lead him to create more good work and to continue to be a leader in the graphic design world.

Bibliography

“Eye Magazine.” Interview by Steven Heller. Eye Magazine. N.p., 1997. Web. 07 Oct. 2012. <http://www.eyemagazine.com/feature/article/michael-bierut>.

Walker, Alissa. “Michael Bierut.” AIGA. N.p., n.d. Web. 07 Oct. 2012. <http://www.aiga.org/medalist-michaelbierut/>.

“Michael Bierut.” Design Observer. N.p., n.d. Web. 07 Oct. 2012. <http://designobserver.com/author/michael-bierut/1047/>.

33

Project 5: Get to know a designer

34

PROJECT 6: TYPE SPECIMEN

Design and produce a 16-page “specimen” for a typeface using text from your Research Paper. A type specimen is a booklet that demon-strates the range of a typeface, applied to headlines and text in a variety of sizes. Each variation of the typeface should be labelled on the page. Type specimens have existed for centuries to help designers pick a font for a project. Type specimens today can be wildly flamboyant or classical in their approach. Choose a typeface for your project that has a substantial number of variations, such as Helvetica, Hel-vetica Neue, Gill Sans, Adobe Caslon Pro, Baskerville, Futura, or Bodoni. Look at a variety of typefaces before you choose one, and be sure that you have access to a good “cut” of the face (a full type family).

35

TITLE PAGEThis is the first full spread insideyour book. It should include yourtitle, your name as editor anddesigner, the year of publication,and the name of this course. (2 pages / 1 spread)

TABLE OF CONTENTS This provides a map to the interiorof your book. It could be simple orquite complex. (2 pages / 1 spread)

MAIN CONTENT OF BOOK(10 pages / 5 spreads)

BIBLIOGRAPHYCredit your sources

COLOPHONA colophon describes the typefacesused and the paper or printingmethod. (1 page)

Contents of your book:

37baskervilleEditor and Designer

Kajsa Swanson

Graphic Design 12012

Biography of Michael Bierut

39

t able of Contents

6 9 11

15 20

Michael Bierut:Introduc-tion

Basker-ville Style Types

Biogra-phy

Bierut’s Witty Style

sourcesand conclu-sion

17 Awards and Achieve-ments

40

Michael bierut was born in Cleveland, Ohio in 1957. His love of art, drawing, and music, lead him to start designing album covers. He attended the University of Cincinnati, where he studied design.



Regular Italic SemiBold

S

41

SMichael bierut was born in Cleveland, Ohio in 1957. His love of art, drawing, and music, lead him to start designing album covers. He attended the University of Cincinnati, where he studied design.



SemiBold Italic Bold Bold Italic

tyle Types

43

r a b c d e f g h i j k l mn o p q r s t v w x y zA B C D E F G H JK L M N O P Q RS T U V W X Y Z

egularImagine that you are in a room filled with 3,000 designers, and you are to give a presentation. While most people would give a powerpoint, show a film, or present a speech, Michael Bierut walked to center stage, and sang a song a cappella, which he had wrote himself. From posters, to logos, and packaging design, Michael Bierut has made his mark in the graphic design world. Originally from a small town, Bierut didn’t even know that graphic design had a name until he was in high school. Since then he has been creating innovative designs for top companies and firms, and receiving numerous prestigious awards.

45ia b c d e f g h i j k l mn o p q r s t v w x y zA B C D E F G H JK L M N O P Q RS T U V W X Y Z

talicMichael bierut was born in Cleveland, Ohio in 1957. His love of art, drawing, and music, lead him to start designing album covers, and various logos for people in his town. He didn’t even know graphic design had a name until he was 15 years old. He then went to the library where he found two books on graphic design one by Milton Glaser and one by Armin Hofmann two designers with very different styles. Bierut could see himself with a future in graphic arts so he decided to attend the University of Cincinnati College of Design, Architecture, Art and Planning. Right out of college he wanted to work for a big name designer. He worked for Massimo Vignelli for 10 years. Pentagram, one of the largest design firms,

47sa b c d e f g h i j k l mn o p q r s t v w x y zA B C D E F G H JK L M N O P Q RS T U V W X Y Z

emiBoldasked Bierut to partner with them. At Pentagram, Bierut has worked for clients such as the Walt Disney Company, Motorola, the Toy Industry Association, Princeton University, the Library of Congress, and the New York Jets, just to name a few. He also served as the president of the New York chapter of American Institute of Graphic Arts, or AIGA, from 1988 to 1990. He was also the president of AIGA National from 1998 to 2001. He is now a Senior Critic in Graphic Design at the Yale School of Art, and a Senior Faculty Fellow at the Yale School of Management. He frequently writes about design, he has recently published a book called 79 Short Essays on Design.

49

sa b c d e f g h i j k l mn o p q r s t v w x y zA B C D E F G H JK L M N O P Q RS T U V W X Y Z

emiBold ItalicMichael Bierut’s style combines functionality and fun. Most of his designs involve some sort of humor, and that makes sense once you know his personality. His work is clever and makes the viewer think outside the box. When first starting out at Pentagram, he experimented a lot with each new project, but he always found himself coming back to the reliable Vignelli structure he learned while working for him. Bierut’s work that he designed for the Brooklyn Academy of Music relies heavily on classic Vignelli style, which includes the rules, the grid, and the fonts, but the cut-off type displays the “Bierut wit.” In the words of Paula Sher, another Pentagram Partner and leader in the graphic design world, “Michael Bierut has taken pure European formalism, added a layer

51ba b c d e f g h i j k l mn o p q r s t v w x y z

oldof American populism and made it, through warm conversation, accessible to and appreciated by those who have listened to him. They in turn have made it accessible to everyone else. Formidable.”

A B C D E F G H JK L M N O P Q RS T U V W X Y Z

53ba b c d e f g h i j k l mn o p q r s t v w x y z

old ItalicsWith his style and experience, Michael Bierut has made his mark on the design world. He has won several awards and has his work.His work is also displayed in permanent collections in the Museum of Modern Art, or MoMA, and the Metropolitan Museum of Art. Bierut was also elected to the Alliance Graphique Internationale in 1989, and to the Art Directors Club Hall of Fame in 2003. Bierut was awarded what is considered to be the profession’s highest honor, the AIGA Medal, in 2006. He has been the speaker at conventions and conferences. Bierut also appeared in the film Helvetica, discussing how companies would redesign their logos from busy hand drawn type to clean looking helvetica. It is often claimed to be the funniest segment of the documentary.

A B C D E F G H JK L M N O P Q RS T U V W X Y Z

54

“Only good work leads to doing more good work.” This saying by Michael Bierut is evident in his own work. From a midwestern town to the big city. From not knowing graphic design even existed, to being a leader in the field. His witty, innovative, and functional style has won him several awards. All this good work will only lead him to create more good work and to continue to be a leader in the graphic design world.

s

55

“Eye Magazine.” Interview by Steven Heller. Eye Magazine.

N.p., 1997. Web. 07 Oct. 2012. <http://www.

eyemagazine.com/feature/article/michael-bierut>.

“Michael Bierut.” Design Observer. N.p., n.d. Web. 07 Oct. 2012.

<http://designobserver.com/author/michael-

bierut/1047/>.

Walker, Alissa. “Michael Bierut.” AIGA. N.p., n.d. Web. 07 Oct.

2012. <http://www.aiga.org/medalist-michaelbierut/>.

sources

56

cTypefaces Used: Baskerville Regular, Baskerville Italics, Baskerville SemiBold, Baskerville SemiBold, Baskerville SemiBold Italics, Baskerville Bold, Baskerville Bold Italics.

olophon

57

cProject 6: Type Specimen

58

PROJECT 7: GUESS THIS LETTER

You will make three compositions. They willl contain only one letter each. This project will exercise using negative and positive space. Scale and positions the letter in a 3 by 3 inch square so you cant see the whole letter, but you can still tell what letter it is. See if you can guess what letters are used in the examples on the next page.

59

Project 7: Guess this letter answers: top-g, bottom-Q, mnion pro

60

PROJECT 8: DESIGN YOURSELF A LOGO

You will develop a name, logo, and graphic identity for your “business” (yourself). Begin with a research phase and proceed through concept development and visual design. Re-search the field (if it is Design, Pro-ductions, Photography, etc...) Use your sketchbook to sharpen your idea—draw at least 50 thumbnails of proposed logotype. This is important, don’t breeze the sketching! If you get stuck, research. Draw, scan, cut and copy. Use layers, transparency, exist-ing typefaces, your own letterforms Your logo must include the name of the “business”. Develop at least three logotypes for your concept.

61

A good logo: describable, memorable,effective without color and scalable. The design process of a professional logo designer usually consists of:

1. The Design Brief: They conduct a questionnaire or interview with the client to get the design brief.

2.Research: They conduct research focused on the industry itself, on its history, and on its competitors.

3.Reference: They conduct research into logo designs that have been successful and current styles and trends that are related to the design brief.

4. Sketching & Conceptualizing: They develop the logo design concept(s) around the brief and research.

5.Reflection: They take breaks throughout their design process. This lets their ideas mature and lets them get renewed enthusiasm and receive feedback.

6. Presentation: They then choose whether to present only a select few logos to the client or a whole collection.

A logo is the very first impression. A logo needs longevity. A logo needs to be original. A logo should look “professional”. A logo should reflect the time and thought gone in to designing it.

About logo design:

62

Project 7: Design yourself a logo

64

PROJECT 9: IDENTITYPACKAGE

Choose your best logo design and use it to create an identity package. An identity package includes a business card, an envelope, and a letterhead. Making a good brand identity is important for all business. Your corporate identity package is your company’s “personality”. Your logo and business cards are the face of your business, and should immediately tell people who you are, what you do, and what your company’s purpose is.

The sizes for this project are as follows: Envelope 3.5 x 6, bus. card 3.5 x 2, letterhead 8.5 x 11.

65

About the business and its clients:

What kind of business is it?What type of products or services does it produce?How long have they been in business?Who are their major competitors?Who needs the product or service the business produces?How do current or potential customers preceive the business or the industry in general?Does the business want to attract or focus on a specific segment of its overall customer base?

About the identity package:

If the business already has a package in use, what do they like/dislike about the current package?How will the letterhead by used? (That is, will it be run through laser printers, inkjet printers, be handwritten, frequently photocopied or faxed?)What kind of budget does the business have and what type of volume is required?Will color be used? (And how much color will the budget allow?)Does the client have a preference for or against thermography, single, bi-fold, or tri-fold business cards, or other definite likes/dislikes?

from Jacci Howard Bear, About.com Guide

Things to think about:

66

Project 9: Identity package

business card

envelope

67

letterhead

68

PROJECT 10: MAKE A BOOK

You will create a book. It will contain a table of contents, a chapter of terms and definitions (from class notes/sketchbook), and as many of your classmates research papers as you see fit (at least 5, you may change them however you wish). The book will be 70 to 100 pages, pocket size (4.25 x 6.87in)

Pay special attention to font selection, balance, positive and negative space, visual hierarchy and flow throughout the entire book. Use your imagination. Express ideas through typography, page layout and the structure of information. Give it room to flow. Think about the materiality of the book, its size, the hands that will hold it and the eyes that will look at it.

70

Kajsa SwansonProject 10: Make a book

for the graphic design student

!0 projects

Documents

things design

type purists

type families

type specimen

single typeface design

specific type size

single type style

graphic design course