Modernist Typography and the Swiss grid

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.

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Typography Workshop

The letter

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Typography Workshop 1THE ORIGINS OF OUR ALPHABETTHE PHOENICIANSc.1050 BCE – The first phonetic alphabet

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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

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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

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Typography WorkshopUNITY OF DESIGN IN THE TYPE FONT

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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

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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

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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

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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.”

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Typography WorkshopWHERE DID IT ALL START? THE BAUHAUS1919-1933

Herbert BayerLászló Moholy-Nagy

LÁSZLÓ MOHOLY-NAGY“Designing is not a profession but an attitude.”

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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.

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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.”

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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.”

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Typography WorkshopMAX BILL

MAX BILL“It is possible to develop an art largely on the basis of mathematical thinking.”

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Typography Workshop

The word

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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

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http://type.method.ac/The kerning game

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Correctly kerned word

http://type.method.ac/The kerning game

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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.

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Typography WorkshopKERN THE WORD UPSIDE DOWN

http://designshack.net/articles/typography/8-simple-and-useful-tips-for-kerning-type/

Tip2

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Typography WorkshopKERN IN THREE LETTER BLOCKS

http://www.paper-leaf.com/blog/2012/05/how-to-kern-properly-essential-tips-resources/

Tip3

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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

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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

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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

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Typography Workshop 1ADJUST WORD SPACING

Dimensionally equal word spacing

Optical word spacing

Tip7

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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

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Typography WorkshopUSE SMART APOSTROPHES

Smart

Dumb

Tip9

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Typography WorkshopUSE SMART QUOTES

“Smart”

"Dumb"

Tip10When using quotes remember “66” and “99”.

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Typography WorkshopBASELINE SHIFT PARENTHESIS

Tip11

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Typography Workshop

The column

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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

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Typography WorkshopOPTIMUM COLUMN WIDTHS

Tip13

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Typography WorkshopHOW TO ACHIEVE VISUAL ALIGNMENT

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Typography WorkshopHANG BULLETED POINTS, PUNCTUATION AND NUMBERED LISTS TO ACHIEVE VISUAL ALIGNMENT

Tip14

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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.

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niminctem cus.

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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.

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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.


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.


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.


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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.


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.


FLUSH LEFT VS JUSTIFIEDModernist typographers prefer flush left setting

Rivers

Unevenwordspaces

Tip17

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Typography Workshop

Tip18

FLUSH LEFT RAGGED RIGHT

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Typography Workshop


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

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Typography Workshop

The page

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Typography WorkshopDON’T USE TOO MANY TYPEFACES IN A DOCUMENT OR WEBSITE

Tip20

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Typography WorkshopDON’T USE MORE THAN 3 TYPE SIZES ON A PAGE !

Tip21

Heading

Standfirst

Body copy

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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

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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






Propertyinvestment


96%occupancy






Goodman GroupSecurityholder Review 2013

3

Uses a 12 column grid

2 October 2013 68

Typography Workshop





Propertyinvestment


96%occupancy







5

WHY THE GRID? GOODMAN ANNUAL REPORT

Uses a 12 column grid combined with a 14 row horizontal

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Results in 168 individual fields

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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


9


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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


11


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Typography WorkshopTHE BASELINE GRID MACQUARIE EUROPEAN INFRASTRUCTURE FUNDPROSPECTUS

Uses a 12pt baseline grid

2 October 2013 73


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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.

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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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5

CA

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DIE

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Uses a 12pt baseline gridcombined with a 7 column grid and a 7 row horizontal

2 October 2013 74


Regardless of point sizes all baselines align with the grid

2 October 2013 75


Regardless of point sizes all baselines align with the grid

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2 October 2013 77


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Typography WorkshopUSE ODD NUMBERED GRIDS TO ACHIEVE ASYMMETRIC LAYOUTS

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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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Typography WorkshopEXAMPLESZEMBLA MAGAZINE

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Typography WorkshopEXAMPLESGATEWAY BROCHURE

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Typography WorkshopEXAMPLESOZ HARVEST ANNUAL REPORT

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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