modernist typography and the swiss grid
DESCRIPTION
Carlo Giannasca Partner and Head of Environments at Frost* Design shares some of his insights into the basics of modernist typography and the effective use of the Swiss grid system.TRANSCRIPT
2 October 2013 1
Typography WorkshopPURPOSE OF WORKSHOP
Modernist typography and the swiss grid
TYPOGRAPHY WORKSHOP 1
+61 (0) 2 9280 423315 Foster St, Surry Hills NSW 2010 Sydney Australia Proprietary and confidential information ©Frost* 2013
2 October 2013 2
Typography WorkshopMY BACKGROUND
1982 – 1985BA Degree Visual Communication at Sydney College of the Arts1986Davis Madden Advertising Junior Art Director1987 – 2003Emery Vincent Design Junior to Senior Designer2004 – 2005Emery Frost Design DirectorNovember 2005 – 2012Frost Design Partner / Design DirectorNovember 2012 – PresentFrost Design Partner / Head of Environments
2 October 2013 3
Typography WorkshopPURPOSE OF WORKSHOP
To provide some insights into the basics of modernist typography and the effective use of the swiss grid system.
2 October 2013 4
Typography Workshop
The letter
2 October 2013 5
Typography Workshop 1THE ORIGINS OF OUR ALPHABETTHE PHOENICIANSc.1050 BCE – The first phonetic alphabet
2 October 2013 6
Typography Workshop 1THE ORIGINS OF OUR ALPHABETTHE ANCIENT GREEK ALPHABETc.800 BCE
2 October 2013 7
Typography Workshop 1THE ORIGINS OF OUR ALPHABETROMAN ALPHABETc.700 BCE
2 October 2013 8
Typography WorkshopLETTER CONSTRUCTION GRIDEMPLOYING CLASSIC PROPORTIONS
2 October 2013 9
Typography WorkshopLETTER CONSTRUCTION GRIDEMPLOYING CLASSIC PROPORTIONS
2 October 2013 10
Typography Workshop 1GUTENBURG’S BIBLEc.1450 – The first major book printed with movable type in the West
2 October 2013 11
Typography WorkshopTHE ANATOMY OF A TYPEFACE
Cap Height
X Height
Baseline
Meanline
AscenderCrossbar
Stem Terminal
DescenderCounter Link/Neck Axis
TailLoop/Lobe
Bracket
ShoulderBowl EyeEar
Overshoot Aperture
2 October 2013 12
Typography WorkshopUNITY OF DESIGN IN THE TYPE FONT
2 October 2013 13
Typography WorkshopTYPE STYLES
Serif Times New Roman
Sans Serif Akzidenz Grotesk
Slab Serif Archer
Display Rosewood
Script Edwardian Script
Monospace OCR
2 October 2013 14
Typography WorkshopHOW TO SELECT A TYPEFACE
http://inspirationlab.wordpress.com/2010/04/16/so-you-need-a-typeface/
2 October 2013 15
Typography WorkshopMODERNISTS PREFERSANS SERIF TYPE STYLES
Grotesques Akzidenz Grotesk
Neo Grotesques Helvetica
Geometrics Avant Garde
Humanistic Meta
Preferred
Preferred
2 October 2013 16
Typography WorkshopWHAT IS MODERNIST TYPOGRAPHY?
– Is a ideological approach to typography that had its origin in Europe in the first and second decade of the 20th century.
– It was developed to combat all the wrongs developed by industrialistion during the 19th century
– It was a commitment against greed, commercialisation, exploitation and cheapness
2 October 2013 17
Typography WorkshopTHE MODERNIST TYPOGRAPHIC MOVEMENT WAS A REVOLT AGAINST THE OVERLY DECORATIVE 19TH CENTURY APPROACH
2 October 2013 18
Typography WorkshopCHARACTERISTICS OF MODERNIST TYPOGRAPHY
– Priority is to be given to function– Rational principles are essential– A preference for Grotesque or Neo Grotesque typefaces over
types modelled on earlier forms;– A dislike of decoration– A preference for sans serif type over type with serifs– A preference for asymmetric layouts and grids over traditional
centered arrangements– A preference for the honestly industrial over the handmade– Use of negative space
2 October 2013 19
Typography WorkshopWHERE DID IT ALL START?ITALIAN FUTURISM 1909–1916
FILIPPO MARINETTI“I call for a typographic revolution directed against the idiotic and outdated concepts of the conventional book.”
2 October 2013 20
Typography WorkshopWHERE DID IT ALL START?DUTCH DE STIJL 1917–1931
2 October 2013 21
Typography WorkshopWHERE DID IT ALL START?RUSSIAN CONSTRUCTIVISM 1919-1922
El Lissitzky
Alexander Rodchenko
ALEXANDER RODCHENKO
“In order to educate man to a new longing, everyday familiar objects must be shown with totally unexpected perspectives.”
2 October 2013 22
Typography WorkshopWHERE DID IT ALL START? THE BAUHAUS1919-1933
Herbert BayerLászló Moholy-Nagy
LÁSZLÓ MOHOLY-NAGY“Designing is not a profession but an attitude.”
2 October 2013 23
Typography WorkshopWHERE DID IT ALL START?
JAN TSCHICHOLD“The essence of the New Typography is clarity.”
Jan Tschichold codified the principles of modern typography in his 1928 book, New Typography.
2 October 2013 24
Typography WorkshopTHE PIONEERS OF MODERNIST TYPOGRAPHY (also called the International Typographic Style)
ARMIN HOFMANN EMIL RUDER MAX BILLJOSEF MÜLLER-BROCKMANN
2 October 2013 25
Typography WorkshopJOSEF MÜLLER-BROCKMANN
JOSEF MÜLLER-BROCKMANN
“Reduction of content can make all the difference in the outcome of a design.”
2 October 2013 26
Typography WorkshopARMIN HOFMANN
ARMIN HOFMANN“There should be no separation between spontaneous work with an emotional tone and work directed by the intellect.”
2 October 2013 27
Typography WorkshopEMIL RUDER
EMIL RUDER“Typography has one plain duty before it and that is to convey information in writing.”
2 October 2013 28
Typography WorkshopMAX BILL
MAX BILL“It is possible to develop an art largely on the basis of mathematical thinking.”
2 October 2013 29
Typography Workshop
The word
2 October 2013 30
Typography WorkshopKERNINGBy adjusting the spacing between characters in the word, we achieve a visually pleasing result.
Poorly kerned word
http://type.method.ac/
Too open here
The kerning game
Too tight here
2 October 2013 31
Typography WorkshopKERNINGBy adjusting the spacing between characters in the word, we achieve a visually pleasing result.
http://type.method.ac/The kerning game
2 October 2013 32
Typography WorkshopKERNINGBy adjusting the spacing between characters in the word, we achieve a visually pleasing result.
Correctly kerned word
http://type.method.ac/The kerning game
2 October 2013 33
Typography WorkshopKERNING IS ABOUT EQUAL PERCEIVED SPACE
http://www.paper-leaf.com/blog/2012/05/how-to-kern-properly-essential-tips-resources/
Tip1
Space between straight-to-straight letters
Space between rounded-to-straight letters
Space between rounded-to-rounded letters
The spacing should get progressively less.
2 October 2013 34
Typography WorkshopKERN THE WORD UPSIDE DOWN
http://designshack.net/articles/typography/8-simple-and-useful-tips-for-kerning-type/
Tip2
2 October 2013 35
Typography WorkshopKERN IN THREE LETTER BLOCKS
http://www.paper-leaf.com/blog/2012/05/how-to-kern-properly-essential-tips-resources/
Tip3
2 October 2013 36
Typography WorkshopKERNING PAIRSPairs of letters with the spacing already adjusted for best visual appearance so that manual kerning of headlines and subheads is unnecessary.
http://desktoppub.about.com/od/glossary/g/Kerning-Pairs.htm
Tip4
Watch kerning after characters with overhangs
2 October 2013 37
Typography WorkshopALWAYS KERN THE SPACE AFTER A ‘1’
Tip5
2 October 2013 38
Typography WorkshopTRACKINGThe uniform spacing between all the letters in a given selection of text.
TRACKING
Type
2 October 2013 39
Typography WorkshopLIGATURESSpecial characters that are two letters or more combined into one. The are designed to allow letters to flow together more gracefully.
WaffleWaf f le
With ligatures
Without ligatures
2 October 2013 40
Typography Workshop
1984 yearOLD STYLE NUMBERS V LINING NUMBERSNumbers that have different heights, some aligning to the baseline, some below. Oldstyle figures harmonise well with lowercase letters and help keep the numbers from standing out too much.
1984 year
Old style numbers
Lining numbers
2 October 2013 41
Typography WorkshopSET NUMERALS AND GROUPS OF INITIALS AT A SMALLER SIZE TO BETTER INTEGRATE WITH THE TEXT
Tip5
2 October 2013 42
Typography WorkshopWHEN SETTING A MULTI-PAGE DOCUMENT, SELECT A TYPE FAMILY WHICH HAS A LEAST 3 WEIGHTS.
Tip6
2 October 2013 43
Typography Workshop 1ADJUST WORD SPACING
Dimensionally equal word spacing
Optical word spacing
Tip7
2 October 2013 44
Typography WorkshopADJUST LEADING ACCORDING TO THE SPECIFIC DESIGN OF A TYPEFACE
Helvetica is designed to be set tightly.Proportion of ‘x’ height to Cap heightis greater in Futura than Helvetica
Futura has proportionately longer ascenders and decenders.
Helvetica has proportionately shorter ascenders and decenders.
Tip8
2 October 2013 45
Typography WorkshopUSE SMART APOSTROPHES
Smart
Dumb
Tip9
2 October 2013 46
Typography WorkshopUSE SMART QUOTES
“Smart”
"Dumb"
Tip10When using quotes remember “66” and “99”.
2 October 2013 47
Typography WorkshopBASELINE SHIFT PARENTHESIS
Tip11
2 October 2013 48
Typography Workshop
The column
2 October 2013 49
Typography WorkshopOPTIMUM LEADING FOR GROTESQUES
CAP HEIGHTCAP HEIGHTCAP HEIGHTCAP HEIGHTCAP HEIGHTCAP HEIGHT
Optimum leading should be max. 120% greater than text.This text is set in 10pt on 12pt leading. The space between lines is roughly equivalent to the cap height of the text.
Tip12
2 October 2013 50
Typography WorkshopOPTIMUM COLUMN WIDTHS
Tip13
2 October 2013 51
Typography WorkshopHOW TO ACHIEVE VISUAL ALIGNMENT
2 October 2013 52
Typography WorkshopHANG BULLETED POINTS, PUNCTUATION AND NUMBERED LISTS TO ACHIEVE VISUAL ALIGNMENT
Tip14
2 October 2013 53
Typography WorkshopLINE ENDINGS
Tip15
2 October 2013 54
Typography WorkshopWHAT IS A WIDOW?A paragraph-ending line that falls at the beginning of the following page or column.
Hari aut que nonsed exerum hilicae non nest rae eris excepud iatam, ut eturibust, omnihitatet acia volupta et, iderspercit rentendae el incidesse occulpa escia volessendis eum nit quunt. Iciis vel eturem nisitate ipsuntiorum con perum, cuptati onsedis et ut adis aborem incienimus vendicipsa dolest, sim re voloritae. Nemposse nihicid ut explabo remporp orunt.
Re, core esto volo quiaesequi laboruptaes alicitasse verum nest, quiae conseni hilibus conetur sundit.Ibus, arum quamus is ut omnienimet il eum debit fugitate es molumenis eium imi, cullic tem autem. Et pratur ad que plaut re liquia plias dolupita nihictem
niminctem cus.
Doluptatur moluptaquas illam latemquo blandit arumque parum nonsequ iatquis eos nem. Maios ma auta volut facipsam rem eatae cusaecepel maios sa delignis aditatu sanihillant, que mo est am et quiste debis nobis et et etur.
Les inusdam volupta sperum facernat mosapel iquidignis entissin peribus et at erciet volenet lis dolorro earuptiunto essecatin ressitio veniminis dellorp oriones inverest et lat. Il idellaut ilibusamet rectur aceriossit, simet expe venest qui tet debis si deliquia
2 October 2013 55
Typography WorkshopWHAT’S AN ORPHAN?A paragraph-opening line that appears by itself at the bottom of a page or column.
Hari aut que nonsed exerum hilicae non nest rae eris excepud iatam, ut eturibust, omnihitatet acia volupta et, iderspercit rentendae el incidesse occulpa escia volessendis eum nit quunt. Iciis vel eturem nisitate ipsuntiorum con perum, cuptati onsedis et ut adis aborem incienimus vendicipsa dolest, sim re voloritae. Nemposse nihicid ut explabo remporp orunt.
Re, core esto volo quiaesequi laboruptaes alicitasse verum nest, quiae conseni hilibus conetur sundit.Ibus, arum quamus is ut omnienimet il eum debit fugitate es molumenis eium imi, cullic tem autem.
Doluptatur moluptaquas illam latemquo
blandit arumque parum nonsequ iatquis eos nem. Maios ma auta volut facipsam rem eatae cusaecepel maios sa delignis aditatu sanihillant, que mo est am et quiste debis nobis et et etur.
Les inusdam volupta sperum facernat mosapel iquidignis entissin peribus et at erciet volenet lis dolorro earuptiunto essecatin ressitio veniminis dellorp oriones inverest et lat. Il idellaut ilibusamet rectur aceriossit, simet expe venest qui tet debis si deliquia
2 October 2013 56
Typography WorkshopALTERNATE THE LENGTH OF COLUMNS
As with line endings where we try to achieve variations in widths, the same applies to column lengths. Ideally the first column on a page should be shorter than the following. Alternate the lengths of columns, varying them from short to long. As with line endings where we try to achieve variations in widths, the same applies to column lengths.
Ideally the first column on a page should be shorter than the following. Alternate the lengths of columns, varying them from short to long. As with line endings where we try to achieve variations in widths, the same applies to column lengths. Ideally the first coulmn on a page should be shorter than the following.
Alternate the lengths of columns, varying them from short to long. As with line endings where we try to achieve variations in widths, the same applies to column lengths. Ideally the first column on a page should be shorter than the following. Alternate the lengths of columns, varying them from short to long.
As with line endings where we try to achieve variations in widths, the same applies to column lengths. Ideally the first column on a page should be shorter than the following. Alternate the lengths of columns, varying them from short to long. As with line endings where we try to achieve variations in widths, the same applies to column lengths.
Ideally the first column on a page should be shorter than the following. Alternate the lengths of columns, varying them from short to long. As with line endings where we try to achieve variations in widths, the same applies to column lengths. Ideally the first column on a page should be shorter than the following.
Alternate the lengths of columns, varying them from short to long. As with line endings where we try to achieve variations in widths, the same applies to column lengths. Ideally the first column on a page should be shorter than the following. Alternate the lengths of columns, varying them from short to long.
Tip16
2 October 2013 57
Typography WorkshopFLUSH LEFT VS JUSTIFIED SETTING
Flush left settingAs with line endings where we try to achieve variations in widths, the same applies to column lengths. Ideally the first column on a page should be shorter than the following. Alternate the lengths of columns, varying them from short to long. As with line endings where we try to achieve variations in widths, the same applies to column lengths.
Ideally the first column on a page should be shorter than the following. Alternate the lengths of columns, varying them from short to long. As with line endings where we try to achieve variations in widths, the same applies to column lengths. Ideally the first column on a page should be shorter than the following.
Justified settingAs with line endings where we try to achieve variations in widths, the same applies to column lengths. Ideally the first column on a page should be shorter than the following. Alternate the lengths of columns, varying them from short to long. As with line endings where we try to achieve variations in widths, the same applies to column lengths.
Ideally the first column on a page should be shorter than the following. Alternate the lengths of columns, varying them from short to long. As with line endings where we try to achieve variations in widths, the same applies to column lengths. Ideally the first column on a page should be shorter than the following.
2 October 2013 58
Typography Workshop
Flush left settingAs with line endings where we try to achieve variations in widths, the same applies to column lengths. Ideally the first column on a page should be shorter than the following. Alternate the lengths of columns, varying them from short to long. As with line endings where we try to achieve variations in widths, the same applies to column lengths.
Ideally the first column on a page should be shorter than the following. Alternate the lengths of columns, varying them from short to long. As with line endings where we try to achieve variations in widths, the same applies to column lengths. Ideally the first column on a page should be shorter than the following.
Justified settingAs with line endings where we try to achieve variations in widths, the same applies to column lengths. Ideally the first column on a page should be shorter than the following. Alternate the lengths of columns, varying them from short to long. As with line endings where we try to achieve variations in widths, the same applies to column lengths.
Ideally the first column on a page should be shorter than the following. Alternate the lengths of columns, varying them from short to long. As with line endings where we try to achieve variations in widths, the same applies to column lengths. Ideally the first column on a page should be shorter than the following.
FLUSH LEFT VS JUSTIFIEDModernist typographers prefer flush left setting
Rivers
Unevenwordspaces
Tip17
2 October 2013 59
Typography Workshop
Tip18
FLUSH LEFT RAGGED RIGHT
2 October 2013 60
Typography Workshop
As with line endings where we try to achieve variations in widths, the same applies to column lengths. Ideally the first column on a page should be shorter than the following. Alternate the lengths of columns, varying them from short to long. As with line endings where we try to achieve variations in widths, the same applies to column lengths.
Ideally the first column on a page should be shorter than the following. Alternate the lengths of columns, varying them from short to long. As with line endings where we try to achieve variations in widths, the same applies to column lengths.
As with line endings where we try to achieve variations in widths, the same applies to column lengths. Ideally the first column on a page should be shorter than the following. Alternate the lengths of columns, varying them from short to long. As with line endings where we try to achieve variations in widths, the same applies to column lengths.
Ideally the first column on a page should be shorter than the following. Alternate the lengths of columns, varying them from short to long. As with line endings where we try to achieve variations in widths, the same applies to column lengths.
INDENTING PARAGRAPHSThe first paragraph already has enough attention (it is first), so there’s no need for the special treatment.
Tip19
2 October 2013 61
Typography Workshop
The page
2 October 2013 62
Typography WorkshopDON’T USE TOO MANY TYPEFACES IN A DOCUMENT OR WEBSITE
Tip20
2 October 2013 63
Typography WorkshopDON’T USE MORE THAN 3 TYPE SIZES ON A PAGE !
Tip21
Heading
Standfirst
Body copy
2 October 2013 64
Typography WorkshopWHY THE GRID?
– They are practical, particularly for multi-page documents– Help bring order to a page– Make the production process quicker– Make it easier to build visual consistency into the design– Unite the practical with the aesthetic– Frees up designer so they can concentrate on the detail
2 October 2013 65
Typography WorkshopWHY THE GRID?
“The grid system is an aid, not a guarantee. It permits a number of possible uses and each designer can look for a solution appropriate to his personal style.” Josef Müller-Brockmann
2 October 2013 66
Typography WorkshopWHY THE GRID? GOODMAN ANNUAL REPORT
Our customer focused approach, size and scale of our quality portfolio, active asset management and diverse global operating platform are key components of Goodman’s business.
T he value of Goodman’s investment portfolio was $5.2 billion at 30 June 2013, which is unchanged compared with the 2012 financial
year. The portfolio consists of the Group’s direct property investments, which are valued at $2.1 billion and located in Australia, Europe and the United Kingdom, together with $3.1 billion of cornerstone investments in its managed fund platform and other financial investments. Significantly, Goodman’s investment portfolio gives it an ownership interest in 415 high quality industrial and business space properties in 18 countries around the world.
While the value of Goodman’s investment portfolio remained constant for the period, its composition changed, reflecting an increase in our cornerstone investments through the growth in our third party assets under management. This was partially offset by the sell down of the Group’s holding in Goodman Australia Industrial Fund and the sale of investment properties.
Propertyinvestment
Group operations 415Industrial and business space properties
96%occupancy
The robust property fundamentals experienced during the period ensured the Group’s overall investment portfolio performed well. Our customer focused approach, size and scale of our quality portfolio, active asset management and diverse global operating platform are key components of Goodman’s business. They ensured we were able to meet the needs of our customers and continued to benefit from the significant global demand for quality industrial property and business space experienced during the year. This was reflected in the 2.9 million sqm of space that Goodman leased, equating to $270 million of net property income. Occupancy levels were maintained at a high 96% and we achieved like for like rental growth of 2.6%.
Goodman’s active asset management approach means that we continually review our properties and assess opportunities to reposition assets to achieve better performance. This includes the adaptive reuse of older style industrial properties, and pursuing higher and better use opportunities. During the year, we also recycled a number of properties owned by the Group and our managed funds. These sales, coupled with the sell down of the Group’s fund cornerstone investments, have provided net proceeds of $1.8 billion for reinvestment in new growth opportunities across our business.
$5.2bnvalue of Goodman’s investment portfolio
Olympus, Ferntree Business Park, Melbourne, Australia
Goodman Interlink, Hong Kong
1Goodman GroupSecurityholder Review 2013
2 October 2013 67
Typography WorkshopWHY THE GRID? GOODMAN ANNUAL REPORT
Our customer focused approach, size and scale of our quality portfolio, active asset management and diverse global operating platform are key components of Goodman’s business.
T he value of Goodman’s investment portfolio was $5.2 billion at 30 June 2013, which is unchanged compared with the 2012 financial
year. The portfolio consists of the Group’s direct property investments, which are valued at $2.1 billion and located in Australia, Europe and the United Kingdom, together with $3.1 billion of cornerstone investments in its managed fund platform and other financial investments. Significantly, Goodman’s investment portfolio gives it an ownership interest in 415 high quality industrial and business space properties in 18 countries around the world.
While the value of Goodman’s investment portfolio remained constant for the period, its composition changed, reflecting an increase in our cornerstone investments through the growth in our third party assets under management. This was partially offset by the sell down of the Group’s holding in Goodman Australia Industrial Fund and the sale of investment properties.
Propertyinvestment
Group operations 415Industrial and business space properties
96%occupancy
The robust property fundamentals experienced during the period ensured the Group’s overall investment portfolio performed well. Our customer focused approach, size and scale of our quality portfolio, active asset management and diverse global operating platform are key components of Goodman’s business. They ensured we were able to meet the needs of our customers and continued to benefit from the significant global demand for quality industrial property and business space experienced during the year. This was reflected in the 2.9 million sqm of space that Goodman leased, equating to $270 million of net property income. Occupancy levels were maintained at a high 96% and we achieved like for like rental growth of 2.6%.
Goodman’s active asset management approach means that we continually review our properties and assess opportunities to reposition assets to achieve better performance. This includes the adaptive reuse of older style industrial properties, and pursuing higher and better use opportunities. During the year, we also recycled a number of properties owned by the Group and our managed funds. These sales, coupled with the sell down of the Group’s fund cornerstone investments, have provided net proceeds of $1.8 billion for reinvestment in new growth opportunities across our business.
$5.2bnvalue of Goodman’s investment portfolio
Olympus, Ferntree Business Park, Melbourne, Australia
Goodman Interlink, Hong Kong
Goodman GroupSecurityholder Review 2013
3
Uses a 12 column grid
2 October 2013 68
Typography Workshop
Our customer focused approach, size and scale of our quality portfolio, active asset management and diverse global operating platform are key components of Goodman’s business.
T he value of Goodman’s investment portfolio was $5.2 billion at 30 June 2013, which is unchanged compared with the 2012 financial
year. The portfolio consists of the Group’s direct property investments, which are valued at $2.1 billion and located in Australia, Europe and the United Kingdom, together with $3.1 billion of cornerstone investments in its managed fund platform and other financial investments. Significantly, Goodman’s investment portfolio gives it an ownership interest in 415 high quality industrial and business space properties in 18 countries around the world.
While the value of Goodman’s investment portfolio remained constant for the period, its composition changed, reflecting an increase in our cornerstone investments through the growth in our third party assets under management. This was partially offset by the sell down of the Group’s holding in Goodman Australia Industrial Fund and the sale of investment properties.
Propertyinvestment
Group operations 415Industrial and business space properties
96%occupancy
The robust property fundamentals experienced during the period ensured the Group’s overall investment portfolio performed well. Our customer focused approach, size and scale of our quality portfolio, active asset management and diverse global operating platform are key components of Goodman’s business. They ensured we were able to meet the needs of our customers and continued to benefit from the significant global demand for quality industrial property and business space experienced during the year. This was reflected in the 2.9 million sqm of space that Goodman leased, equating to $270 million of net property income. Occupancy levels were maintained at a high 96% and we achieved like for like rental growth of 2.6%.
Goodman’s active asset management approach means that we continually review our properties and assess opportunities to reposition assets to achieve better performance. This includes the adaptive reuse of older style industrial properties, and pursuing higher and better use opportunities. During the year, we also recycled a number of properties owned by the Group and our managed funds. These sales, coupled with the sell down of the Group’s fund cornerstone investments, have provided net proceeds of $1.8 billion for reinvestment in new growth opportunities across our business.
$5.2bnvalue of Goodman’s investment portfolio
Olympus, Ferntree Business Park, Melbourne, Australia
Goodman Interlink, Hong Kong
Goodman GroupSecurityholder Review 2013
5
WHY THE GRID? GOODMAN ANNUAL REPORT
Uses a 12 column grid combined with a 14 row horizontal
2 October 2013 69
Typography WorkshopWHY THE GRID? GOODMAN ANNUAL REPORT
Results in 168 individual fields
2 October 2013 70
Typography Workshop
Group CEO’s report
Goodman Group delivered a solid financial result in the 2013 financial year, driven by the focused and consistent execution of our
business strategy and the accelerating momentum of our activities across Goodman’s key operating markets globally. This has enabled us to successfully complete major initiatives during the year and selectively undertake high quality projects in Goodman’s core markets to grow our business and add value for all stakeholders.
The result we have delivered reflects the strength of Goodman’s brand and leading position as one of the world’s largest providers of prime industrial and business space. We have worked hard to build a specialist business of significant size and scale, with a quality product offering and proven capability which is able to service the diverse needs of our customers and secure attractive investment opportunities for our global capital partners. This gives Goodman a distinct competitive advantage and when combined with the global diversification of our business, which consists of an operating platform now spanning Australia, New Zealand, Asia, Europe and North and South America, we are uniquely positioned to drive the future growth of our business.
The global reach of Goodman’s operating platform has seen the contribution of our international businesses grow to 48% of operating earnings during the year. A key advantage of the geographic diversification of our business is the significant scope it gives Goodman to access a broad range of opportunities due to the different timing of economic cycles, which in turn provides greater stability of earnings. This is a real point of differentiation, with the ongoing contribution from our international operations expected to grow even further over the medium-term, as the Group continues to build its capabilities in key logistics markets.
48%
Gregory GoodmanGroup Chief Executive Officer
Sustainablegrowth
earnings sourced outside Australia
Goodman GroupSecurityholder Review 2013
9
WHY THE GRID? GOODMAN ANNUAL REPORT
2 October 2013 71
Typography Workshop
In Europe, we retained our market leading position with solid activity levels, underpinned by robust demand, in particular from the e-commerce, third party logistics and automotive sectors, which has seen total assets under management across our
European business increase to over $5 billion.
Importantly, the Group focused on the measured and disciplined delivery of its initiatives and day to day operational activities. We have maintained our prudent development approach, ensuring that the majority of new projects have customer pre-commitments in place and are pre-sold to Goodman’s managed funds or third parties. We entered the Brazilian logistics market during the period and strengthened our capital partner relationships, raising significant new third party capital across our managed fund platform. Through the efforts of our property teams, we delivered strong leasing results and ensured our customers received the highest standards of service, which was reflected in our high occupancy and customer retention levels.
Goodman delivered full year operating earnings of 32.4 cents per security, up 6% and operating profit of $544 million, representing an increase of 17% compared with the same period last year, and ahead of our initial 2013 financial year targets.
For the full year, Goodman paid a total distribution and dividend of 19.4 cents per security, consisting of a 14.2 cents per security distribution from Goodman Industrial Trust and a 5.2 cents per security fully franked dividend from Goodman Limited.
The underlying performance from Goodman’s operations was a key strength of the 2013 financial year. Our experienced teams around the world focused on the quality execution of our day to day operational activities across all parts of the Goodman business. This was reflected during the period through the robust property fundamentals we experienced, our ability to capitalise on the undersupply of prime quality logistics space, and the significant growth in our development and management businesses.
Goodman continues to benefit from the high level of customer and investor demand for its development product. A major driver of our growing development activity is due to various structural changes taking place across the industrial sector globally, including the rapid growth in e-commerce, greater supply chain efficiencies and consolidation by third party logistics providers. Over the 12 month period, development activity in our Australian business remained strong with over $850 million of new commitments secured. Our development activity continues to grow in China, with current development volume at approximately 600,000 sqm, reflecting the ongoing shortage of quality logistics space and the growing wealth of its population.
Group CEO’s report continued
The result we have delivered reflects the strength of Goodman’s brand and leading position as one of the world’s largest providers of prime industrial and business space.
operating earnings per security
32.4¢ Our experienced teams around the world focused on the quality execution of our day to day operational activities across all parts of the Goodman business.
Toll, M7 Business Hub, Sydney, Australia
Goodman GroupSecurityholder Review 2013
11
WHY THE GRID? GOODMAN ANNUAL REPORT
2 October 2013 72
Typography WorkshopTHE BASELINE GRID MACQUARIE EUROPEAN INFRASTRUCTURE FUNDPROSPECTUS
Uses a 12pt baseline grid
2 October 2013 73
Typography WorkshopTHE BASELINE GRID MACQUARIE EUROPEAN INFRASTRUCTURE FUNDPROSPECTUS
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autat il dolenisim venim in hendre mod er in enisl illupta tinisisl iuscing el erit lumsan ullam vel eum ilit volortie te magnim zzriustis nummolorer iure magnibh eugiamcommy nisi.
Na feugait augait at, se facipit lan ut eriurem quisisi. Igna faccummod miniatum duis num ver sequamc onsenim quipit irilismod ea facilla consenit, sis et iustrud molum do commy nonsecte conullaorero con hent vel essed exeraes equam, commodolore eu faci blam, sit ing et luptatie tinciduisit dolorem am, quis aut wis num dui blandre commy nonullandit wisl
Macquarie Investment Management(UK) Limited (MIMUK or the Manager)
is launching the Macquarie European Ifrastructure Fund II (the fund or MEIF II) to take advantage of a growing number of investment opportunities in the infrastructure sector within the expanding European Union.
Section 122/23
Macquarie European Infrastructure Fund III
Executive summary
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— Summy nos ad minim zzrit utpatem quamet prat niamet et accum quatum eraestrud tate dolore mod dolesenit, quisi eugiat.
— Onsed dolut aute dolum velit vullaor aliquat et, quam, sustie enim in vulputat, velessed eugiam zzriliquate dolum vulputpatem nos atum eu faccum eugue dunt in voluptat.
— Ut volorem quat prat loreet velit augue dolortin er siscin henis alisisisi bla aliquam alis nullamcommy nibh eumsandit num vel dolore velesequis euiscinibh exer in vulpute magna alit enim augiamet nullut alit lumsan el diam niscili quisi.
3.1 INVESTMENT FOCUSMet non el utem eui te magna conum Numsandiatum dolor sequisissed tis nim dolut adiamet, se cor secte tem velestie dolor summodigna atio dionsequatem irilismodiat nim nibh elessi bla at. Tio odolor amcommo dolenim duisissequis enim zzril diam elit wismodiam, vercilla consequamet autat il dolenisim venim in hendre mod er in enisl illupta tinisisl iuscing el erit lumsan ullam vel eum ilit volortie te magnim zzriustis nummolorer iure magnibh eugiamcommy nisi.
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3.1 INVESTMENT FOCUSTum augait prate magna feum do do exerciniam do dolorpe raessi. Ut luptat, sit luptatie tatisl duisim vulla faciliq uissit inci blam, consed duisisl doloreet autat augiat, quisit alit lu:
— Summy nos ad minim zzrit utpatem quamet prat niamet et accum quatum eraestrud tate dolore mod dolesenit, quisi eugiat.
— Onsed dolut aute dolum velit vullaor aliquat et, quam, sustie enim in vulputat, velessed eugiam zzriliquate dolum vulputpatem nos atum eu faccum eugue dunt in voluptat.
— Ut volorem quat prat loreet velit augue dolortin er siscin henis alisisisi bla aliquam alis nullamcommy nibh eumsandit num vel dolore velesequis euiscinibh exer in vulpute magna alit enim augiamet nullut alit lumsan el diam niscili quisi.
3.1 INVESTMENT FOCUSMet non el utem eui te magna conum Numsandiatum dolor sequisissed tis nim dolut adiamet, se cor secte tem velestie dolor summodigna atio dionsequatem irilismodiat nim nibh elessi bla at. Tio odolor amcommo dolenim duisissequis enim zzril diam elit wismodiam, vercilla consequamet autat il dolenisim venim in hendre mod er in enisl illupta tinisisl iuscing el erit lumsan ullam vel eum ilit volortie te magnim zzriustis nummolorer iure magnibh eugiamcommy nisi.
5
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Uses a 12pt baseline gridcombined with a 7 column grid and a 7 row horizontal
2 October 2013 74
Typography WorkshopTHE BASELINE GRID MACQUARIE EUROPEAN INFRASTRUCTURE FUNDPROSPECTUS
Regardless of point sizes all baselines align with the grid
2 October 2013 75
Typography WorkshopTHE BASELINE GRID MACQUARIE EUROPEAN INFRASTRUCTURE FUNDPROSPECTUS
Regardless of point sizes all baselines align with the grid
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Typography WorkshopTHE BASELINE GRID MACQUARIE EUROPEAN INFRASTRUCTURE FUNDPROSPECTUS
2 October 2013 77
Typography WorkshopTHE BASELINE GRID MACQUARIE EUROPEAN INFRASTRUCTURE FUNDPROSPECTUS
2 October 2013 78
Typography WorkshopUSE ODD NUMBERED GRIDS TO ACHIEVE ASYMMETRIC LAYOUTS
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Genecti quis denihitius
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Incto dis minctur ibuscidElluptatibus earit parum undeseque volestrum resenis utemped quidelique suntiam sunt ideliti umquam qui doluptiuntur remoluptiae in ea doluptatem vendignam ex eum evernam, nobitium ea nonsequam fugit magnatatis sam consequi cum videbist, conse ipidus quae. It facit idestem eum atur sum quam fugit etur, aspit, sit, sunt. Iquias restiuscil ipictorepuda dis illuptatur, consequo te omnis quibus alit volor ad quo eris exped ma cone experitione de verferum vita consequi ressit volorunt officiis is ut erum doluptae nonseque iderumquos doluptam es de modi simin rerepra saped molorio eosti omnit eosam, occum corum, ullectem rem eume nus as eum commole stiaes nihicim odipsam nosam vit, optatur.
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Et esto et ut harchillupti optae soluptatium dolorio magnistiis a aut volorro que voloribus dolessi nonsedi denimi, officid moluptati dem aliqui senihicatur? Qui ut essimen deliqui blabo. Incimus ut venimus maximusdam sitas maximagnat eum facilla ccatem untent, velias sit enimusae nuscient que cusapercima cus sum ut quaspellam, ium atur, volorro exerfernam fugia quas aut vid quod quas ipici veratem harum que nimillu ptatem quia volupta sincien iscipitati dolupti onecto inctur atium fuga. Arum quiandantem endae ium di aliquam rem rest ex eum, odit fugiam qui bla quiam dolore ni consequ aeptae explici beaque quamus, sint parum est est esti omnimagnamus cus.
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Olecum latinis aperum ditectur maximagnatur ma nullum volore voloresti dit, aborepratat volorio nemquiatiis este necto molectati optis et is et re vellaci enisinu sdaesequo cum quiaerciae sendus autem quodis magnien testium, aut faccatur sa consendignam quae nullat incte cus ditatecto inctios prem ium quostium quae enimustium que ne doluptatur. Udae reperuptium fuga.
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Et esto et ut harchillupti optae soluptatium dolorio magnistiis a aut volorro que voloribus dolessi nonsedi denimi, officid moluptati dem aliqui senihicatur deliqui blabo. Incimus ut venimus maximusdam sitas maximagnat.
Tip22
7 column grid 5 column grid 3 column grid
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Typography WorkshopEXAMPLESZEMBLA MAGAZINE
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Typography WorkshopEXAMPLESZEMBLA MAGAZINE
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Typography WorkshopEXAMPLESZEMBLA MAGAZINE
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Typography WorkshopEXAMPLESGATEWAY BROCHURE
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Typography WorkshopEXAMPLESGATEWAY BROCHURE
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Typography WorkshopEXAMPLESOZ HARVEST ANNUAL REPORT
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Typography WorkshopEXAMPLESOZ HARVEST ANNUAL REPORT
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Typography WorkshopEXAMPLESEYE ANNUAL
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Typography WorkshopEXAMPLESEYE ANNUAL
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Typography WorkshopEXAMPLESAMPERSAND MAGAZINE
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Typography WorkshopEXAMPLESAMPERSAND MAGAZINE
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Typography WorkshopEXAMPLESAMPERSAND MAGAZINE
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Typography WorkshopEXAMPLESAMPERSAND MAGAZINE
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Typography WorkshopEXAMPLESPOWERHOUSE MUSEUM
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Typography WorkshopREFERENCES
WEBSITES
typetoken.net
swiss-miss.com
aisleone.net
thegridsystem.org
ilovetypography.com
thinkingform.com
BOOKS
The Graphic Designer and His Design ProblemsJ.Müller-Brockmann
Typographic Design: Form and CommunicationCarter, Day, Meggs
Basic Typography Design with LettersRuedi Rüegg
The Designer and the GridRoberts/Thrift
The New TypographyJan Tschichold
Typography: Formation + TransformationWilli Kunz
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Typography Workshop
Thanks