volume xi special edition

TYPOGRAPHY MAGAZINE

ISBN 978-0-2323422-8-8

EDITORS’ LETTER

I. Cheers to our first magazine

Dylan, Akanksa, Yali, Honglin, Eilina

II. This magazine has been crafted to convey our new knowledge of typography and design

III.

IV.

V.- Offerings/ wishes for all that were involved

Ten weeks of hard work...sweat,tears

[ Here’s to our spirit. “TEAMWORK” ]

[It includes all that interests us.]

We invite you to enjoy. xx

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TS Byzantine magazine is a collection of Typography

and Graphic Design fundamentals showcased

through numerous thoughtfully designed articles

and advertisements. The objective of this magazine

is to demonstrate our understanding of Typography

and Visual Design through the execution of a

carefully crafted magazine with a cohesive style

and core typographic elements.

LogotypeWritten & Designed By: Yali Xiang

Design ComponentsWritten & Designed By: Eilina Shen

Typography Skills & TermsWritten & Designed By: Dylan Cunningham

Organization & HierarchyWritten & Designed By: Eilina Shen

GridsWritten & Designed By: Akanksa Chaubal

Color TheoryWritten & Designed By: Honglin Li

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L OO G

Three Design TypesA solid visual identity can go a long way to helping a business succeed

A SIMPLY A TYPE OF DESIGN A COMPANY, BRAND OR INDIVIDUAL CHOOSES TO REPRESENT THEMSELVES.

LOGOMARK

A logomark refers to an image or symbol which represents a brand, and usually does not in-clude the name of that company. This version has the advantage of great creative range, and can generate a very strong visual identity for a company.

LOGOTYPE

The logotype, also known as a “word mark”, is a brand name styled as a logo. The advantage of this is obvious - it immediately associates a business name with the visual identity and does not leave much room for brand confusion. This makes it a great starting point for new business-es. It might, however, leave less creative scope for a designer to visually represent the brand, which can be a problem, especially if the busi-ness name does not make it clear what it does.

COMBINATION

A combination mark is just what it sounds like – a combination of the logomark and logotype. This allows for greater freedoms to creatively represent a brand, while ensuring the company name is associated with it. This composition is perfect for new businesses.

An integrated combination mark offers the benefit of a very strong brand identity, whereas the standalone marks can offer greater flexibil-ity in its applications, so it might allow for the logotype to be dropped further down the line. This frees up the opportunity to create a clean-er visual identity once the brand has gained traction.

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1Simple / Recognizable

Simple logos are the ones peo-ple can recognize as soon as they see them. The simplest logos are the ones people re-member the most.

2

Cohesive

A good logo should act as a unit, especially in the combina-tion logo. Separate elements in one logo will be seen as indi-vidual marks.

3Memorable / Unique

A great logo should capture your viewer’s attentions and leave an impression.

4 Versatile

A great logo should look equal-ly good on any web device and on any kind of print material.

5Relevant

A great logo should be relevant to your practice. It has to have meaning that relates to the work you are doing.

DESIGNCOMPONENTS

Design Components (dɪˈzaɪn kəmˈpoʊnənts ) Noun •The composed elements of a designed piece which contributes to the design’s overall visual aesthetic and feeling.

WHAT ARE THEY?

ContrastAlignmentRepetitionProximityLineColorTextureShapeSizeSpace

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Contrast is the striking difference between two or more objects. Contrast is used in successful design to stand out and show a flow of movement from the eyes using either contrasting colors, shapes, size, tone or value.

Alignment is when the elements of a designed piece are connected in relative position to one another. Alignment is used to organize the piece as a whole, allowing for it to be more cohesive.

Repetition allows for cohesiveness in a design when elements that are occuring in a certain pattern reappear in the design. It unites the piece together.

Proximity lets the viewer know that two elements placed close together are related to one another through the placement of said elements.

Lines are used in design with a multitude of purposes. They can be used foremphasizing a certain word or element, creating patterns, or used even as a graphic itself.

Color is a very crucial component in successful design as it sets the mood and overall feeling of a piece. There are various color combinations to choose from such as monochromatic and analogous colors.

Texture is the feeling or appearance of a surface. For example, a wooden texure would look rough and grainy whereas a marble texture looks shiny and smooth.

There are three different types of shapes: geometric are the basic circles, triangles, squares, abstract are graphics, icons or illustrations, and natural shapes are objects found in the natural world. Think trees, people, and leaves.

Size is how big the elements are in your design. Small or large, the ranges of different sizes in design often stress how important an element is based on the size.

Space is the area around a certain object. It is used to give the eyes a rest from all the information in the design. Value is how dark or light an object is. The values ranging from dark to light and the middle values in between are used to create depth to something.

The basic black letter scripts are textura and rotunda, the former primarily associated with northern Europe and the latter with southern Europe. These are both book scripts.

Fraktur, is another bastarda influenced type style, developed from Imperial Chancery hands during the reign of Maximilian. Its name is derived from the broken curves on many letters.

Blackletter, at times known as Gothic script, Gothic minuscule, or Textura, was a script used throughout Western Europe from approximately 1150 to well into the 17th century. It is characterized by tight spacing and condensed lettering. Evenly spaced verticals dominated the letterform.

(1200 1500)

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&TERMS

TYPOGRAPHY can be a com-plex subject. To remind you, typog-raphy is the style and appearance of printed manner, as stated by the Oxford Dictionary. There are a lot of things to consider to make type perfect: spelling, grammar, spac-ing and alignment, composition, typographic conventions, choos-ing the right typeface, etc. The purpose of this article is to intro-

duce you to common typography skills and terminology.

One of the first considerations you are typically going to make is choosing a typeface. When it comes time to do this it is im-portant to ask yourself “What is the usage of the type?” “Is there a particular style, tone, or voice?” And “What is appropriate and

aligns with the message you are trying to get across?” After you ask yourself questions like those, picking a good type family, like serif or sans serif, is a helpful way to narrow down your choices. It is also important to keep legibility and versatility in mind. In addition, if you plan to use more than one typeface in a design it is crucial that the two typefaces go well with

other. For example, the combina-tion of Sabon and Gill Sans is suc-cessful because of the contrast-ing elements between serif and sans serif typefaces. In general, if you are considering utilizing two typefaces try a serif and sans serif combination first, as these gener-ally get along well with each other. Don’t be afraid to play around and remember that contrast is your

friend. But also remember not to mix italics together.

Another very important typo-graphic skill to master is dealing with text and display type. Text type, also known as body copy or manuscript, refers to text that is meant to be read in bulk. Legibil-ity and readability are key factors to keep in mind for text type. The

size of text type can vary from 7–14 point in printed manner and 12–18 point in web publication. Line length is also an important consideration, with 55 charac-ters per line being a good length. On the other hand, display type, or decorative type, refers to type that is meant to attract attention. Display type is typically only a few words and is larger than text type.

Leading for type also plays a large role in typography. Leading is the space between lines of type that is measured from the baseline to the baseline above. A larger lead-ing is appropriate for text type, whereas, a smaller leading is more appropriate for display type. Type size, x-height, and line length are all important factors that affect leading. There are many para-

graph alignments to choose from, as well. You may align your text flush left, flush right, centered, jus-tified, randomized, or in another way. Letterspacing and wordspac-ing will also influence the way your type will appear.

In terms of display type, readabil-ity, size, and type as a graphic el-ement are some factors that have

the greatest impact on display type. Quite simply, bigger display type will get more attention than smaller display type. Also, caps look more important than lower-case in this situation. And don’t forget: display type should be treated like a graphic!

There are many more elements that go into typography, like how

Script(n.) late 14c., “something written,” earlier scrite (c. 1300), from Old French escrit “piece of writing, written paper; credit note, IOU; deed, bond” (Modern French écrit) from Latin scriptum “a writing, book; law; line, mark.”

Writing(n.) Old English writing “action of forming letters and characters,” verbal noun from write (v.). From c. 1200 as “text; body of poetry, narrative, etc. in written form; written material.” From c. 1300 as “a particular text;” mid-14c. as “act of composing a written text.” From late 14c. as “craft of writing;” also “one’s own handwriting or penmanship.”

Calligraphy(n.) “the art of beautiful writing, elegant penmanship,” 1610s, from Greek kaligraphia, from kallos “beauty” + graphein “to write.”

Glyph(n.) 1727, “ornamental groove in sculpture or architecture,” from French glyphe (1701), from Greek glyphe “a carving,” from glyphein “to hollow out, cut out with a knife, engrave, carve,” also “to note down.”

Character(n.) mid-14c., carecter, “symbol marked or branded on the body;” mid-15c., “symbol or drawing used in sorcery;” late 15c., “alphabetic letter, graphic symbol standing for a sound or syllable.”

Lettering(n.) 1640s, “act of writing;” 1811, “act of putting letters on something;” 1796, “the letters marked or written on something,” verbal noun from letter (v.).

Text(n.) late 14c., “wording of anything written,” from Old French texte, Old North French tixte “text, book; Gospels” (12c.), from Medieval Latin textus “the Scriptures, text, treatise,” in Late Latin “written account, content, characters used in a document.”

Type(n.) late 15c., “symbol, emblem,” from Latin typus “figure, image, form, kind,” from Greek typos “a blow, dent, impression, mark, effect of a blow; figure in relief, image, statue; anything wrought of metal or stone; general form, character; outline, sketch.”

Typeface(n.) 1852, “top of a type,” from type (n.) in the printing sense + face (n.). In modern common usage, synonymous with font (n.), but there is a technical distinction: the typeface is the set of characters of the same design; the font is the physical (or electronic) means of producing them.

Type Font(n.) “complete set of characters of a particular face and size of printing type,” 1680s (also fount); earlier “a casting” (1570s); from Middle French fonte “a casting.”

Typestyle(n.) any varient of how a given typeface looks (i.e., the characteristics of the typeface).

Type Family(n.) a collection of one or more typefaces that are stylistically related.

you treat your type and how you make it work with the layout, grid, color scheme, design theme, and so on. The way you utilize hierar-chy and scale also contribute to successful typography. Another interesting component of typog-raphy is the anatomy of type. When people are referring to technical elements of type you may often hear them talk about cap height,

x-height, baseline, ascender, de-scender, serif, stem, bowl, finial, terminal, spine, cross bar, counter, and ligature. Now let’s define a few of those. The cap height is the dis-tance from the top of the capital letter to its bottom. Whereas, the x-height is the height of the main body of the lowercase letter. The baseline is the imaginary line upon which a line of text rests. Finally,

serifs are the beginning or ending strokes added to one of the main strokes of the letter.

Lastly, when it comes to reading there are a few interesting things to note. First, our eyes like famil-iarity and consistency. Further-more, lowercase letters are more recognizable than uppercase let-ters. Also, our eyes scan groups

of words, rather than individual letters. And the top of characters are more recognizable than the bottom of characters.

I hope you found this article to be a useful resource and guide in your exploration of typography skills and terminology. Please use the rest of this magazine as a guide to continue mastering this discipline.

This article was written by Dylan Cunningham, a Strategic Design & Management at Parsons School of Design in New York.

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AAHIERARCHY

BACK T_ THE B_SICS

Typographic hierarchy is a system which allows for the reader to determine level of importance in a body of text, so that it is easier to navigate the content.We need heirarchy in our design because it guides our eyes through the text, allowing for the reader to know when a passage has ended or begun. There are many techniques used in the organization of texts in order to emphasize the importance of each section. For example, big and bold text is usually used for a headlines, stating the importance and grabbing the attention of the reader over smaller, thinner text generally used for the body. Color is also used when emphasizing the significance of a text, as well as tonality, spacing, grid structure and graphic elements of the page.

L__K FOR THE FLOWWe rarely ever read from word to word, instead we tend to scan from one point to another. The design of the page guides the reader’s eyes on what is significant in the body of text. The flow and placement of certain graphics or text tells the reader what is to be read or seen first, thus stressing the level ofimportance of that certain item.

WHAT IS HIERARCHY_

SOME TYPE STYLESNEVER GO OUT OF STYLE.

Try these popular typefaces: Gill Sans, Futura, and Optima.

Sans SerifThings look better in

Sans Serif was first introduced by William Caslon IV in 1816.

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By: Akanksa Chaubal

GRID DESIGN

HISTORY In 1928, German typographer Jan Tschichold published the modernist graphic design manifesto Die Neue Typographie. Initially inspired by a Bauhaus exhibit on Russian constructivism, Tschichold believed that effective communication design could be codified into formal, standardized rules for both typography and page layout.

This concept was enormously influential on the post-war generation of Swiss designers, including heavyweights like Max Bill, Emil Ruder, Armin Hofmann, Karl Gerstner, and Josef Müller-Brockmann. In what eventually became known as the International Typographic Style, these designers built on Tschichold’s work with page layouts based on strict, mathematical principles of uniformity and proportion.

It was Müller-Brockmann who was first to formalize and document a grid system as a controlling principle for page layout. His work in the Neue Grafik design journal (1958), The Graphic Artist and His Design Problems (1961), and the seminal Grid Systems in Graphic Design (1981) introduced practices for grid-based layout that became the standard.

“PERFECTION IS ACHIEVED, NOT WHEN

THERE IS NOTHING LEFT TO ADD, BUT WHEN

THERE IS NOTHING LEFT TO REMOVE.”

ANTOINE DE SAINT-EXUPÉRY

His posters also have a very well-defined structure. It very definitely feels like tabular data, which is one such case that the disposition of the information extrapolates the realm of graphic layout and the hinting on the meaning of data and how various chunks of data relate to each other.

His grids follow very specific rules that he lays out in his book and the exact mathemat-ics of making an aesthetically pleasing layout that creates easy viewing.

INTERNATIONAL STYLE

Also known as International Style, the Swiss Style does not simply describe a style of graphic design made in Switzerland. Keen attention to detail, precision, craft skills, system of education and technical training, a high standard of printing as well as a clear refined and inventive lettering and typoraphy laid out a foundation for a new movement that spread worldwide in 1960s to become an international style.

Emerging from the modernist ideals, the Swiss Style can be defined as an authentic pursue for simplicity—the beauty in the underlines of a purpose, not beauty as a purpose in itself. The principle was “form follows function,” and as a consequence, most of the Swiss Style craft is devoted to the minimal elements of style such as typography and content layout rather than on texture and illustrations.

A grid system is a rigid framework that is supposed to help graphic designers in the meaningful, logical and consistent organization of information on a page. Rudimentary versions of grid systems existed since the medieval times, but a group of graphic designers, mostly inspired in ideas from typographical literature started building a more rigid and coherent system for page layout. The core of these ideas were first presented in the book Grid Systems in Graphic Design by Josef Müller-Brockmann.

Nowadays grid systems are an established tool that is often used by print and web designers to create well-structured, balanced designs. You may want to take a closer look at Josef’s book in totality it if you want to learn more about grid-systems. It is a comprehensive guidebook to all the components of the grid system. See the photograph below for a quick look of the cover and snippit of contents.

When we learn from the Swiss Style literature, it’s very easy to embrace the grid system as a purely visual framework. However, upon a further examination we can see that grids are more than just the art of placing elements.

There’s a subtle layer of semantic organization of data which, despite not being inherent to the use of the grid, is a big part of the Swiss International Style essence.

SWISS GRID SYSTEM

MÜLLER-BROCKMANN’S MODULAR GRIDS

RELEVANCE TODAY

Clarity and Consistency

Ease of Description

Speedy Collaboration

Müller-Brockmann’s grids are modular. The designer first segments the page into 2, 3, or more columns, then further divides the page horizontally into 2, 3 or more rows. The heights of the rows should be determined by the type size and leading, so that the baselines of the text always align evenly with the horizontal divisions. The following image is an excerpt from his book on grids.

While the sociopolitical and aesthetic motivations of the modernists may be outdated, the practical advantages of grid systems are more relevant than ever.

Proportion, rhythm, whitespace, and hierarchy improve speed of cognition. Grids help create and enforce these elements consistently throughout. This is especially important in digital products, because they’re functional.

To create things, you have to be able to describe them. Grids help the designer specify complex and responsive layouts with relative units, not absolute values.

Grid systems help to decouple work on an interface design. Multiple designers can work on different components and design details separately, while still knowing that the layouts will fit together seamlessly in the final product.

COLOR THEORY

“It all starts with the color wheel...”

THE NEW MODERN IS HERE.

Now with new horizontal serifs and drastic difference between thin and thick strokes.

‘ B ‘ ‘ R ‘ Blue often communicates peaceful, clean qualities. As opposed to more energet-ic, warmer coolers, blue is seen as calming. In some contexts, it can represent sadness or depression.

Blue is widely used and one of the most versatile colors. It’s generally used to communicate trustworthiness, security, and stability. Dark or navy blue is a particularly popular choice for corporate contexts, since it’s perceived to have serious, conservative, and professional qualities.

In Middle Eastern cultures, blue has traditinally represented protection against evil. Because of its association with the heavens, blue symbolizes immortality and/or spirituality in many cultures.

This color can communicate many different ideas depending on its context. Because red is associated with fire, it can represent warmth — or danger. Since red is also the color of blood, it’s considered an energetic, lively color and is also associated with matters of the heart, and sometimes vi-olence.

In some Eastern cultures, red sym-bolizes good fortune and prosperity and is the color worn by brides on their wedding day. Worldwide, red has been associated with various political movements and has symbolized revolution.

In some Eastern cultures, red sym-bolizes good fortune and prosperity and is the color worn by brides on their wedding day. Worldwide, red has been associated with various political movements and has symbolized revolution.、

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HelveticaUnivers

Franklin GothicArial

Originating in the early 19th century, Grotesque fonts represent some of the first sans serif designs. They are characterized by low contrast, an average slope and even widths. Grotesque fonts often have a simple, geo-metric appearancecame from the Italian word ‘grottes-co’, meaning ‘belonging to the cave’. In Germany, the name became Grotesk. German typefounders adopted the term from the nomenclature of Fann Street Foundry, which took on the meaning of cave (or grotto) art.

‘ Y ‘Yellow often communicates happi-

ness, cheerfulness, friendliness, and the freshness of spring. It can also signal warn-ing or caution in certain contexts. Some vari-ations (especially desaturated and greenish yellows) can look sickly or unpleasant; his-torically, yellow has sometimes been associ-ated with illness and quarantine.

In some Eastern and Asian cultures, yellow is associated with royalty or high rank. In parts of Africa and Latin America, yellow is the traditional color of mourning.

Pure/bright yellow does a great job of attracting attention, but can be visually disturbing or even hard to see (for instance, white text against a bright yellow back-ground or vice versa) if not used with care.

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GaramondClassic and classy. Garamond is Michelangelo’s David to the type world. It is a timeless masterpiece created by a classical craftsman and to this day is a cherished piece of history.

A B C D E F G H I J KL M N O P Q R S T U VW X Y Z a b c d e f g hi j k l m n o p q r s t u vw x y z 0 1 2 3 4 5 6 7 8 9& ! ? @ # $ % ( ) “ ” ; : . , *

SANS SERIF

G R O T E S Q U E

LIGHT / LIGHT ITALIC

REGULAR

ITALIC / BOLD

BLACK / BOLD EXTENDED

Grotesques are geometric in design with simple letter forms and even stroke weights and they are bolder

A B C D E F G H I J K L M N O P Q R S T U V W X Y Za b c d e f g h i j k l m n o p q r s t u v w x y z

[1475] Based on the lowercase forms used by Italian humanist schol-ars for book copying and the upper-case letterforms found inscribed on Roman ruins. The forms evolved away from their calligraphic origins over 200 years as they migrated across Europe, from Italy to England.

Oldstyle

VOLUME XISPECIAL EDITION 2018

AKANKSA CHAUBALDYLAN CUNNINGHAM

HONGLIN LIEILINA SHEN

YALI XIANG

CHIVO, ADOBE FONTS HELVETICA, ADOBE FONTS

IBM PLEXMONO, IBMPROCIONO, ADOBE FONTS

UNIVERS, ADOBE FONTS

8 X 10.5 IN

PARSONS SCHOOL OF DESIGN DESIGN LAB

EDITION

DESIGNERS

TYPEFACE

PAPER

PRINTER

COLOPHON

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Byzantine MagazinePrinted in New York CityDecember 2019

Dylan CunninghamAkanksa Chaubal

Yali XiangEilina ShenHonglin Li

$14.99USD / $18.99CAD

298202818190210