[Kimberly_Elam]_Typographic_Contrast,_Color,__Com(BookFi.org).pdf

Typographic Contrast, Color, & CompositionA graphic design project guide

Kimberly Elam

1Typographic Contrast, Color, & Composition

A graphic design project guide

Design is so simple, thats why it is so complicated.

Paul Rand

BOther Books by Kimberly Elam

Expressive Typography, Van Nostrand Reinhold, 1990

Geometry of Design, Princeton Architectural Press, 2001, papress.com

Grid Systems, Princeton Architectural Press, 2004, papress.com

Typographic Systems, Princeton Architectural Press, 2007, papress.com

Paper Food, ebook, 2007, lulu.com/kelam

Line Icons, ebook, 2007, lulu.com/kelam

Graphic Translation, 2007, Booksurge.com

Additional Titles: StudioResourceInc.com

All works shown are from Kimberly Elams Typography course at the Ringling College of Art + Design, Sarasota, Florida.

2009 Kimberly ElamAll rights [email protected]

No part of this book may be used or reproduced in any manner without written permission from the publisher, except in the context of reviews.

Errors or omissions will be corrected in subsequent edi-tions.

Book & Cover DesignKimberly Elam

Cover IllustrationDavid Trujillo

CTable of Contents

Typographic Contrast 1

Project Description 2

Font Booklet Preparation 3

Font Questions 4

Depth Cues 5

Developing a Color Palette 7

Color & Composition 8Three Colors

Color & Composition 10Three Colors + Tones

Composition Notes 11

Contrast in Figure-Ground 14Positive to Negative

Contrast in Scale 24Large to Small

Contrast in Weight 32Thick to Thin

Contrast in Space 372D to 3D

Contrast in Slant 46Roman to Italic

Contrast in Width 50Condensed to Expanded

Contrast in Serif 56Serif to Sans Serif

Phone Book Examples 62

Typographic Contrast, Color, & Composition

A graphic design project guide

155Contrast In Scale, Large to Small

55Contrast In Weight, Thick to Thin

55Contrast In Width, Condensed to Expanded

55Contrast In Serif, Serif to Sans Serif

5Contrast In Space, 2D to 3D

Contrast In Figure-Ground, Positive to Negative

55Contrast In Slant, Roman to Italic

Contrast is a visual technique, tool, and concept

that is vital to visual communication in intensify-

ing meaning. It would be impossible to under-

stand hot without cold, up without down, or fast

without slow. The human eye is programmed to

seek balance and harmony and contrast acts as a

stimulant as it agitates and captures attention.

Typographic contrast can be clear and exag-

gerated or nuanced and subtle. In typography,

contrast occurs in the structure, color, tone, and

scale of letter forms. The contrast of type weight

from thin to thick is direct and readily understood,

whereas the contrast of serif to sans serif is more

subtle and requires careful examination. The con-

trast in tone can be slight or boldly emphasize the

differences in light and dark as do complementary

contrasts. Other color contrasts such as those

between cool and warm are more subtle.

The intent of this project is to explore aspects of

the fundamental design principles of contrast in

typography and to encourage students to become

familiar with compositional principles and the

beauty of classic families of type. The contrasts

in typography are a rich resource for visual com-

munication, and the results from this project are

readily transferred to other work.

Because the project is so focused on only three

area code numbers, students thoughtfully ex-

amine and identify font changes which would

otherwise be ignored. It is a source of constant

amazement that the simplest of typographic

concepts yield such an array of results.

Kimberly Elam

Typographic Contrast

2Project Description

The project is deceptively simple. Using only three

area code numbers and color, a series of designs

are developed that create typographic contrast to

solve the problems of contrast in Figure-Ground,

scale, weight, space, width, and serif.

The project is limited to the classic families of

type with all variations available in each fam-

ily. These classic families have been selected

because of the beauty in the proportions, their

high degree of legibility, and because the font has

stood the test of time. Before beginning work

,students collaborate to produce a font booklet of

all variations within each font. By using the font

booklet, students can readily compare and select

fonts that are appropriate for each contrast.

Color is a strong aspect of the project. In prepa-

ration for work with the contrasts, students de-

velop a series of four color palettes to work with

throughout the project. The colors selected must

be appropriate to the location, such as cool colors

for northern locations like Siberia and warmer

colors for warmer locations like Brazil. Only three

colors are used in each palette and are arranged

according to the volume of space they will occupy

in the composition.

There are some constraints:

Area code numbers should read in sequence.

Each number must be legible.

The color palette must be applied according

to proportion.

No drawn lines or shapes may be added to the

composition.

Project Process Overview

1. Select an Area Code

2. Create Font Book

3. Create a Series of Color Palettes

5. Contrast With Figure-Ground

4. Develop a Series Of Contrast

Compositions:

Contrast in Scale

Contrast in Weight

Contrast in Space

Contrast in Width

Contrast in Serif

6. Create A Phone Book Cover

3Only selected classic families of type are used in this project. The

goal is to closely study these families and develop both an appre-

ciation and an intimacy with the details and subtleties of each font.

The font families selected for the project should be ones with a

complete selection of roman and italic, light to bold, condensed and

expanded, and should be fonts to which students have access.

In order to be able to make decisions regarding selection of fonts

for this project, each student must have a font book that shows

all variations of the fonts. Working in collaboration, students pre-

pare individual pages for each font showing all of the numbers.

The pages are compiled into a single document and output by all

students.

Serif Fonts

Bodoni

Bauer Bodoni Bodoni Old Face BE ITC Bodoni Seventy-TwoBaskerville

Baskerville Cyrillic Berthold Baskerville ITC New BaskervilleCaslon

Caslon 3 Caslon 540 Caslon Book BECentury

Century Expanded Century Old Style New Century SchoolbookGaramond

Garamond 3 Garamond BE Garamond Premier Pro Adobe Garamond ITC Garamond Simoncini Garamond Stempel GaramondGoudy

Goudy Modern MTSerifa

Sabon

Times

Times New Roman Sans Serif Fonts

Futura

Frutiger

Gill Sans

Helvetica

Helvetica Neue Helvetica InseratUnivers

Script & Blackletter Fonts

Fette Fraktur

Knstler Script

Minion

Snell Roundhand

Type Font Booklet

Font Booklet, Sample Page

Bodoni

0123456789Bauer Bodoni, Bold Condensed

0123456789Bauer Bodoni, Black Condensed

0123456789Bauer Bodoni, Roman

0123456789Bauer Bodoni, Small Caps & Oldstyle

0123456789Bauer Bodoni, Italic

0123456789Bauer Bodoni, Italic Oldstyle

0123456789Bauer Bodoni, Bold

0123456789Bauer Bodoni, Bold Italic

0123456789Bauer Bodoni, Bold Italic Oldstyle Numbers

0123456789Bauer Bodoni, Black

0123456789Bauer Bodoni, Black Italic

0123456789Bodoni, Poster Compressed

0123456789Bodoni, Bold Compressed

0123456789Bodoni, Book

0123456789Bodoni, Roman

0123456789Bodoni, Book Italic

0123456789Bodoni, Italic

0123456789Bodoni, Bold

0123456789Bodoni, Bold Italic

0123456789Bodoni, Poster

0123456789Bodoni, Poster Italic

4Contrast in Weight

1. Which serif font has the thinnest stroke?

2. Which sans serif font has the thinnest stroke?

3. Which serif font has the thickest stroke?

4. Which sans serif font has the thickest stroke?

Contrast in Serif

9. Which fonts have the largest serifs?

10. Which fonts have the smallest serifs?

11. Which fonts have the most elegant serifs?

Font Questions Student Exercise

In order to gain familiarity with the fonts and varia-

tions in a font family, students are asked a number

of questions. These questions require that stu-

dents closely examine their entire font book in

order to make the best selections. Often, while

completing this exercise, students find fonts that

are unfamiliar and have merits according to their

form and this leads to more interesting composi-

Contrast in Width

5. Which font is the most condensed serif font?

6. Which font is the most condensed sans serif font?

7. Which font is the most expanded serif font?

8. Which font is the most expanded sans serif font?

Contrast in Shape

12. Which fonts are the most geometric?

13. Which fonts are the most angular?

14. Which fonts are the most curvilinear?

Personal Preferences

15. Which is the most beautiful?

16. Which is the most ugly?

17. Which is the most elegant italic?

18. Which has the smallest counters?

tions throughout the project. There is no single

correct answer to each question and students are

encouraged to discover multiple answers.

The most effective way to answer the questions

is to set the font that answers the question and

then file the answer sheets in a font booklet for

reference throughout the project.

5Letter forms, such as the ones you are now read-

ing, are usually perceived as flat forms without

dimension. The simple act of overlapping two

letter forms or numbers creates a slight sense of

depth and should it have a shadow, or bend the

sense of depth is increased. A single letter form

repeated in different sizes can create a sense of

depth and imply receding space. The addition of

thickness through extrusion, parallel line drawing,

or isometric drawing immediately and clearly com-

municates dimension.

Depth Cues

Change in SizeA change in size implies a change in space and is intensi-fied when coupled with a change in tone.

OverlappingOverlapping of letter forms creates a slight sense of depth that is intensified with a change in tone or the use of transparency.

ShadowsThe presence of a shadow indicates both a light source and dimension.

6Extrusion, Wire Frame, and BevelDimension is very strongly communicated by extruding letter forms as a shaded or wire frame object. Using computer effects such as bevel communicates a dimensional surface.

PerspectiveUse of perspective representation implies dimension and position in space. A background grid helps in controlling the amount of perspective and can later be discarded.

Curving and BendingCurving and bending of letter forms implies dimension and position in space.

Depth Cues Student Exercise

This is an experimental exercise intended to give

you an opportunity to test and experience the

illusion of depth cues. Use all three of your area

code numbers to create the illusion of depth and

dimension. Rarely, is there a single way to create

the illusions of depth and dimension with any of

the cues. Try at least three distinctly different

variations for each of the depth cues.

7Developing a Color Palette

Color selection and use is one of the most difficult

aspects of design for many students. Left to their

own devices, students often go wild with color

and have issues with control and application. The

color system used in this project was developed

in order to clarify how color is selected, simplify

how color is applied, and greatly enhance the

possibility for success.

Work is limited to three colors of the students

choosing. Colors should be appropriate for the

location such as a vibrant tropical palette for

a Caribbean island or a cool palette for a cold

northern location. Black is considered a color

as is white, and must be included in the swatch

sample palette in order to be used.

Color must be thought of in terms of the volume

of space it will occupy in the composition. The

three colors are described as:

1. Dominant Color

This color will occupy the most volume in the

composition.

2. Subordinate Color

This color is distinctly different from the dominant

color and will occupy considerably less volume.

3. Accent Color

This color is usually the complement of either the

dominant or subordinate color and will occupy a

very small volume. When used in the composi-

tion, the accent color must touch its complement

in order to vibrate or interact.

Swatch sample palettes are prepared so as to

document color selections. The swatches show

the colors in their approximate volumes and en-

able the designer to appropriately evaluate color

choices.

1. Dominant Color, OrangeOccupies largest volume

2. Subordinate Color, RedOccupies second largest volume

3. Accent, Light BlueDistinctly different than dominant or subordinate colors. Often a comple-ment, and occupies smallest volume.

Swatch Sample Palette

8Color & Composition, Three Colors

Once a composition is de-

veloped, the color palette is

applied to the composition ac-

cording to the volume of color in

the palette. The dominant color

occupies the largest volume.

The subordinate color occupies

the second largest volume, and

the accent color the smallest

volume. The examples, left,

show how the color system

works with composition.

Because the designer is think-

ing about color in relationship

to volume, the designer is also

thinking about compositional

space as a volume. This method

is useful in enabling a pleasing

proportional relationship and

enhances the composition.

Color Palette

Color Palette

Color Palette

702, Las Vegas

602, Phoenix

868, Trinidad

9Color & Composition, Three Colors

These examples show a series

of color palettes and how they

might possibly work in a single

composition. It is not until the

colors are viewed in the com-

position that evaluation can take

place. Each enclosed space in

the composition presents oppor-

tunities for color and will create

different results when filled.

Below, is an outline drawing of

the composition that reveals all

of the areas that can be filled.

The designer has been selective

in choosing the fills so as to keep

the composition simple.

Color Palette

Color Palette

Color Palette

Outline Version Each enclosed area may be filled or not filled.

216 Tunisia

10

Color & Composition, Three Colors + Tones

Later stages in the project re-

quire that the color palette be

expanded. This is particularly

true in the 2D to 3D contrast

when numbers are extruded

and need the illusion of light,

shade, and shadow. The three

color palette is still used but

the dominant and subordinate

colors also have a range of

tone variations for use in the

project. The tones are incre-

mental steps and are shown to

the left and right on the swatch

palette.

Expanded color palette with tones of dominant and subordinate colors.



11

35Positive and Negative

Versions

If compositions are functional as

a Figure-Ground reversal they

also work well as an inverse,

positive becomes negative and

negative becomes positive.

Counters

The counters, enclosed inte-

rior shapes of letter forms,

can either be filled or deleted.

Far left, the counter is present

and filled with black. Near left,

deleting the counter simplifies

the composition.

Horizontal Baseline

Arrangements with letter forms

on a horizontal baseline yield

relatively symmetrical arrange-

ments. While symmetrical

compositions are satisfying,

they are rarely as dynamic as

compositions that are asym-

metric.

Composition Notes

12

Trapping Space

There are opportunities to in-

crease the volume of black or

white space by trapping space.

The left example shows a com-

position without trapped space.

At right, the top portion of the

composition is filled with black.

This volume of black is created

by filling the void between a

border created by the tops of

the numbers and the format

perimeter.

Bold Fonts

In the example at left a light

font is used, and while it does

yield a mediocre result, the

composition at right with Gill

Sans Extra Bold is much more

satisfying. The thick strokes of

the Gill Sans give a stronger

play with white space and the

letter forms are punctuated with

small geometric counters in the

6 and 0.

Serif and Sans Serif Fonts

In general, sans serif fonts are

easier to work with as their

structure is simpler and the

spaces created are simple as

well. Serif fonts yield more

complex compositions and are

more difficult to control but the

resulting curvilinear lines and

lyrical shapes can be beautiful.

Composition Notes

13

Cropping & Readability

The shape and form of numbers

are so familiar that a consider-

able portion of many numbers

can be cropped while retaining

readability. Each number has

visual clues that enable recogni-

tion such as the open left por-

tion of the number 3 that makes

it different from the closed

shape of the number 8.

Cropping & Closure

This composition is the same as

the composition directly above.

Here the portion of the 8 and 9

that are cropped are shown in

gray outline. Through closure,

when numbers are cropped out

of a format the missing portions

are completed in the viewers

mind.

Composition Notes

Tension

Tension in composition is cre-

ated as two objects near each

other. In the far left example, the

contrast of the 0 counter and 2 is

sharpened by the contrast in the

two shapes; round to pointed. In

the near left composition the 0

appears to be squeezed by the 6

and 2. This illusion is heightened

by the dent in the 6.

14

Thumbnails

For each of the contrasts a series of thumbnail

compositions are created, evaluated, and refined.

On this spread are a selection of thumbnail ideas

that were developed for the scale contrast. In

each the designer is testing ideas of font selec-

tion, position, color, scale, and composition. The

final contrast, is enlarged on the next page.

15

02

7Thumbnails

Phil ClarkContrast in Scale702, Las Vegas

16

Contrast In Figure-Ground, Positive To Negative

Most designers regard negative space as the color white and posi-

tive space as the color black. However, this is not necessarily ac-

curate as the element with the most active visual stress becomes

the positive element or figure, and the less active elements the

negative form or ground. In compositions were by both elements

have an equal amount of stress, such as the yin-yang symbol or

the vase/profile, there is a visual ambiguity as the positive and

negative forms alternate and vie for attention. This is known as a

Figure-Ground reversal as the space fluctuates between positive

and negative.

This contrast focuses on the interior shapes and space surround-

ing the numbers. The oriental philosopher Lao-Tse contended

that essence depends on empty space and this is certainly true

of typography.

Eleventh Aphorism of Lao-Tse*

Thirty spokes meet the hub,but it is the emptiness between them that makes the essence of the wheel.

From clay pots are made,but it is the emptiness inside them that makes the essence of the pot.

Walls with windows and doors form the house,but it is the emptiness between them that makes the essence of the house.

The principle: The material contains usefulness, the immaterial imparts essence.

When working with Figure-Ground relationships and numbers,

visually ambiguous compositions are created that stimulate

the eye. The familiarity of numbers makes them ideal for such

experiments. In most compositions with three numbers, two of

the numbers will be positive, and one number negative. In some

compositions, the numbers will all be either positive or negative,

and the shape and volume of the spaces will create a contrast in

figure and ground.

Work involving all of the contrasts begins with Figure-Ground as

these compositions are in black and white, which focuses work

solely on composition. A square format is used for all composi-

tions as the proportions of the format are accepted by the eye

and attention is on the composition and numbers. Figure-Ground

is a highly interesting contrast, and the compositions developed

for this contrast are revisited and revised later for developing all

of the other contrasts.* Typography: A Manual of Design, Emil Ruder, 1967, Arthur Niggli Ltd.,

17

Nathan Hardy

Figure-Ground

Erin Weiffenbach

Felicia Koloc

Ben Buysse

Erin Weiffenbach

18

Figure-Ground

Yan Yan

Ben Kowalski

Ben Kowalski

5Ben Kowalski

Edward Prendergast

19

Figure-Ground

Jamie Hernandez

Ojai Mitchell

Jamie Williams

Cassandre Gilray

Li Mei Tan

20

62

Figure-Ground

Kyra Odi

1Marcus Negron

Marcus Negron

Marcus Negron

Ojai Mitchell

21

62

620Lauren Pritchard

Lauren Pritchard

Lauren Pritchard

Figure-Ground

Sara Mantle

Sara Mantle

22

Melike Turgut

Figure-Ground

Nicole Moffre

Joshua Power

Joshua Power

Azure Harper

23

Figure-Ground

Ellen OReilly

Kathryn Grigsby

Kathryn Grigsby

25Marcos Roman

24

Figure-Ground

Mike Munger

Mike Munger

Yuri Priamo-Canales

Kathy Jones

Mike Plymale

25

Figure-Ground

Kathy Jones

Olivia Posani

Jesse PenicoHelvetica, BaskervilleContrast in Figure/Ground

941

Olivia Posani

Jesse Penico

26

Contrast in Scale, Large to Small

55In its simplest form, contrast is a juxtaposition of elements through

which differences are revealed. Contrast in scale is a powerful vi-

sual force that is readily communicated with letter forms. Although

the concept is simple, the resulting compositions have a complex

series of interactions. As well as the scale contrast, there will be

other visual forces at work such as contrast in shape, color, posi-

tion, and direction. If the work is to be coherent the composition

of the elements must be focused toward the communication of

the contrast of size.

It is possible to solve the contrast in scale problem with only small

changes in size. However, the goal in all of the contrasts is to solve

the problem in such a way that the contrast in scale becomes the

most important visual force on the page. In the example below left,

the composition has a very modest change in scale. The contrast

in scale becomes more exaggerated and clear below right. The

use of cropping, especially the 2, gives the illusion of being even

larger as the viewer mentally completes the missing portions of

the number.

Without Contrast in ScaleAll three numbers are about the same size.

With Contrast in ScaleNumbers vary greatly in scale and visual interest is achieved with overlapping and cropping.

27

0


Loni Diep246 BarbadosGoudy

Casey Diehl305 MiamiGaramond

Regina Gallant305 MiamiCaslon, Helvetica

Sarah Alwassia515 Des MoinesBodoni

28

Amanda Clark602, PhoenixHelvetica


Jamie Hernandez216, TunisiaHelvetica

Benjamin Kowalski358, FinlandHelvetica

Amanda Clark602, PhoenixGill Sans

29

Amanda Clark602, PhoenixBodoni

Phillip Clark702, Las VegasHelvetica

Phillip Clark702, Las VegasBodoni

Phillip Clark702, Las VegasCentury Old Style


30

Ryan Meis907, MaineHelvetica

Sara Coburn612, MinneapolisBodoni

Wendy Ellen Gingerich701, North DakotaGill Sans, Univers

Wendy Ellen Gingerich701, North DakotaGoudy, Gill Sans, Univers


31

Dominic Stoffels206, SeattleHelvetica

Jennifer Leverault207, MaineGill Sans

Chean Wei Law212, New York CityBodoni

Lawrie Talansky212, New York CityHelvetica


32

Felicia Koloc345, Cayman IslandsCentury Old Style, Helvetica

Felicia Koloc345, Cayman IslandsNew Century Schoolbook, Helvetica

Felicia Koloc345, Cayman IslandsFutura

Fernando Perez602, PhoenixGaramond, Helvetica


33

Zach Hunt818, Los AngelesFutura

Zach Hunt818, Los AngelesFutura

Audri Triabassi907, AlaskaKnstler Script

Pushpita Saha212, New York CityKnstler Script, Bodoni


34

Contrast in Weight, Thick to Thin

55Contrast in weight is one of the more subtle contrasts, as the

change in the thickness of the stroke needs to be dramatic in order

to communicate clearly. Fonts that work best are those with a full

and complete family of cuts and for this purpose Helvetica and

Univers are standouts. Other fonts such as Gill Sans Ultra Bold

have exceptionally bold strokes and also work well for contrast

in weight.

Shown, below left, is a composition with all three numbers as

medium weight. Below right, essentially the same composition

now has an extreme contrast in thick to thin with the 6 set as

Univers 85 Extra Black, the 2 as Helvetica Neue 25 Ultra Light,

and 0 as Univers 49 Light Ultra Condensed. The position of the

numbers changes only slightly but the visual interest is increased

exponentially. This is because of the contrast of the extra black

strokes of the 6 that squeeze the counter form, to the fine stroke

of the 2 that accentuates the curved stroke as it moves toward the

horizontal stroke. Contrast occurs in the weight of the numbers

and also in the shape of the counters of the 6 and 0.

Without Contrast in WeightAll three numbers are regular weight.

With Contrast in WeightExtra black is contrasted with ultra light.

35


Doreen Roy602, PhoenixFutura

Doreen Roy602, PhoenixFutura

Elizabeth Centolella212, New York CityHelvetica, Univers

Lauren Pritchard602, PhoenixHelvetica, Gill Sans

36

Mona Bagla246, BarbadosGaramond

Sara Mantle602, PhoenixHelvetica, Univers

Stephanie Rule441, BermudaFutura

Sara Mantle602, PhoenixFutura, Gill Sans


37

Sara Mantle602, PhoenixHelvetica, Univers

David Lopez612, Futura

Brandon Dziedzic441, BermudaGill Sans

Brandon Dziedzic441, BermudaHelvetica


Lauren Furey202, Washington, D. C.Helvetica, Goudy, Frutiger

38

Jamie Hernandez216, TunisiaHelvetica

Colin Bright358, FinlandHelvetica

John Lopez907, AlaskaGill Sans


39

Contrast in Space, 2D to 3D

5The use of depth cues allows the designer to be a visual magician

by creating the illusion of depth and space on the flat page. While

changes in size and overlapping create only a slight suggestion of

depth, the other depth cues of shadowing, extrusion, perspec-

tive, and bending create more dramatic and unmistakable depth.

Depth cues allow the numbers to seem to jump off of the page

or become objects that occupy space.

Without the use of depth cues, space is perceived as a flat plane,

as in the 702 composition, below left. The overlapping of the

numbers appear to merge the black strokes into a single shape.

Below right, the use of the shadow behind the 2 in the composi-

tion changes the composition dramatically by creating the illusion

of space as if the 2 was floating above the surface. By employing

depth cues, the edges of the format can be thought of as the frame

of a window, with limitless space inside.

Without Contrast in SpaceAll three numbers occupy flat space.

With Contrast in SpaceThe addition of a shadow to the 2 lifts it off of the page giving the illusion of depth.

40


0

Doreen Roy602, PhoenixFutura, Bodoni

Joshua Jasinski602, PhoenixBodoni, Fette Fraktur, Knstler Script

Sara Mantle602, PhoenixUnivers, Helvetica

Sara Mantle602, PhoenixUnivers

41

Dave Broder305, MiamiGill Sans

Kyra Odi305, MiamiFutura, Univers

Joshua Power602, PhoenixHelvetica

Kyra Odi305, MiamiFutura, Univers


42

Mona Bagla246, BarbadosBodoni

Ann Marie Rapach246, BarbadosBodoni, Univers

Ann Marie Rapach246, BarbadosHelvetica

Edward L. Prendergast354, IcelandFutura


43

Mike Munger907, AlaskaHelvetica

Li Mei Tan403 YukonSnell Roundhand

Mike Munger907, AlaskaHelvetica

Jamie Hernandez216, TunisiaBodoni, Baskerville


44

Eva Bodok612, MinneapolisGaramond




45

Lisa Martinez246, BarbadosBodoni

David Trujillo702, Las VegasUnivers, Helvetica

David Trujillo702, Las VegasUnivers

Lisa Martinez246, BarbadosBodoni


46

Noman Khan907, AlaskaGill Sans, Helvetica, Sabon

Noman Khan907, AlaskaGill Sans, Helvetica, Sabon

Jesse Penico907, AlaskaHelvetica, Snell Roundhand, Bodoni

Katryna Jones907, AlaskaBodoni


47

Ellen OReilly702, Las VegasHelvetica

Ellen OReilly702, Las VegasHelvetica

Mina Gomez702, Las VegasUnivers, Helvetica

Greg Tariff702, Las VegasSabon


48

333

Contrast in Slant, Roman to Italic

Without Contrast in SlantAll three numbers are roman.

With Contrast in SlantThe light orange italic and transparent 3 is contrasted with the blue roman 3 and gray roman 1.

The contrast in slant is a subtle contrast between roman and italic

fonts. Unlike the other contrasts, where the numbers are free to

move and rotate in the format, this contrast is in relationship to

the baseline and the numbers almost always need to be arranged

on the horizontal baseline. Because of this relationship it is more

challenging to create a dynamic composition.

In the small example, below left, the contrast shown is a serif to

sans serif contrast as well a a contrast in space and not a contrast

in slant because all three numbers are roman. In the larger example,

below right, the transparent serif 3 takes on a different sense as

it overlaps the roman 3. The change in angle, contrast in slant, is

readily apparent as is the comparison of serif and sans serif.

55

49


Sarah Alwassia515, Des MoinesTimes, Helvetica

Azure Harper617, BostonNew Century Schoolbook

Azure Harper617, BostonNew Century Schoolbook

Loni Diep246, BarbadosBaskerville

50

Zach Hunt818, Los AngelesBaskerville, Futura

Sara Coburn612, MinneapolisUnivers, Knstler Script

Nathan Hardy305, MiamiSabon

Sara Coburn612, MinneapolisUnivers, Fette Fraktur


51

2

Michael Johnston313, DetroitGaramond, Helvetica

Michael Johnston313, DetroitBaskerville, Univers

Amanda Clark602, PhoenixTimes, Sabon

Amanda Clark602, PhoenixUnivers

02


52

Contrast in Width, Condensed to Expanded

55The contrast between condensed and expanded letter forms is

rarely seen in graphic design. Ultra compressed type is uncomfort-

able to the eye as the counters are squeezed to the point that they

are diffi cult to read and the letter spacing is tight. However, the

shapes of compressed types are very interesting because they

resemble radius rectangles that have a strong vertical stress.

In the example, below left, all three numbers are set in medium

weight and the composition feels static. Below right, the same

composition now has a dynamic contrast from Helvetica 93 Ex-

panded to Univers 39 Thin Ultra Condensed. The contrast is in

the direction the eye follows from the horizontal to vertical. Most

numbers work well in this exercise with the exception of the

number 1. No matter which font is used the number 1 reads as a

narrow condensed number.

Without Contrast in WidthAll three numbers are regular width.

With Contrast in WidthAn ultra condensed 6 is in contrast to an extra expanded 2.

Contrast in Visual StressThe horizontal stress of the 2 is contrasted with the vertical stress of the 6.

53


Ian Hoene207, MaineHelvetica, Univers

Jennifer Levreault207, MaineGill Sans

Loni Diep246, BarbadosUnivers

Kodi Mynatt702, Las VegasGill Sans, Helvetica

54

Colin Bright358, FinlandUnivers, Helvetica

Sarah Alwassia515, Des MoinesUnivers, Helvetica

Ben Kowalski358, FinlandUnivers

Ben Kowalski358, FinlandUnivers


55

Andrea Mendez353, IrelandUnivers

Willie Diaz809, Dominican RepublicUnivers, Gill Sans

Li Mei Tan403, YoukonUnivers

Kathryn Grigsby886, TaiwanBodoni, Helvetica


56

Jamie Hernandez216, TunisiaUnivers, Helvetica

Jamie Hernandez216, TunisiaUnivers, Helvetica

Mike Munger907, AlaskaUnivers, Helvetica

Mike Munger907, AlaskaUnivers, Helvetica


57

Contrast in Serif, Serif to Sans Serif

55The contrast in serif compositions are subtle because the visual

clues are often slight and the viewers eye reads and comprehends

the numbers quickly. The problem becomes more about contrast-

ing the complexity of serif fonts with the simplicity of sans serif

fonts as the intricate serifs and thick and thin strokes are juxtaposed

to the simple sans serif numbers.

In the example, below left, the small composition is composed of

three serif numbers, and is pleasing because of the angles of the

numbers and the visual interest as the yellow background flows

into the 7 and 2. The larger composition employs the same two

serif numbers, 7 and 2, with one very bold sans serif 0. This com-

position is even more dynamic because of the contrast in serif, the

increased volume of black, and small geometric counter of the 0

punctuated with the accent color, white.

Without Contrast in SerifAll three numbers are serif letter forms.

With Contrast in SerifThe serif 7 and 2 are contrasted with the sans serif black 0.

58


Melike Turgut679, Fiji IslandsFutura, Goudy

Melike Turgut679, Fiji IslandsFutura, Century Expanded

Kyle Hamilton679, Fiji IslandsUnivers, Goudy

Mike Munger907, AlaskaBodoni, Univers

9

59

Jerald Saddle886, TaiwanBaskerville, Helvetica

Kathryn Grigsby886, TaiwanBaskerville, Helvetica

Mike Richardson868, TrinidadCentury Old Style, Garamond, Helvetica


Lennse Garcia212, New York CitySerifa, Helvetica, Univers

60

Willie Diaz809, Dominican RepublicFutura, Baskerville

935Lucas Human935, San DiegoBodoni, Helvetica

Kim Keene907, AlaskaUnivers, Snell Roundhand

Elizabeth van Kleef941, SarasotaHelvetica, Garamond, Caslon


61

Joshua Jasinski602, AlaskaBodoni, Helvetica, Fette Fraktur

Joshua Jasinski602, AlaskaFette Fraktur, Gill Sans

Joshua Jasinski602, AlaskaFette Fraktur, Gill Sans, Knstler Script

Lennse Garcia212, New York CityBodoni, Garamond, Futura


62

David Trujillo702, Las VegasFette Fraktur, Gill Sans

David Trujillo702, Las VegasFette Fraktur, Gill Sans

David Trujillo702, Las VegasUnivers, Futura, Baskerville

Ellen ORielly702, Las VegasUnivers, Bodoni


63

Noman Khan907, AlaskaHelvetica, Minion

John Lopez907, AlaskaFette Fraktur, Futura, Bodoni

Katryna Jones907, AlaskaFette Fraktur, Futura

Jesse Penico907, AlaskaSnell Roundhand, Univers


64

Phone Book Examples

Isometric Instructions

At the conclusion of the contrast exercises,

students have 30+ works to choose from for

an application to a phone book cover. Students

select their strongest work for the cover, apply

the location name, and create a spine and dummy

pages.

In order to retain compositional unity, the font

used for the location name must be a font that

was used in the exercise. The color palette must

still be employed according to volume, and the

size and location name must be in sync with the

visual dynamics of the composition. Adjustments

are needed for the spine, and the spine width is

variable with larger locations such as NYC hav-

ing thicker spines and smaller locations such as

Alaska having narrower spines.

For fi nal presentation, a spine and dummy pages

are created and the three surfaces are trans-

formed into an isometric drawing with computer

software. Isometric is ideal for creating the illu-

sion of dimension as it corrects for distortion and

yields a visually pleasing drawing that has the

illusion of dimension.

The cover, spine, and pages are setup as shown,

left. Each surface is converted to isometric by

following the table below.

Cover Elements PositionsPositions for front cover, spine, and pages for iso-metric drawing.

Final Isometric DrawingA shadow has been added and the spine has been darkened slightly to increase the sense of three dimensional space.

30 30 Isometric Drawing

Face Vertical Scale Horizontal Sheer Rotate

Cover 86.602% 30 -30

Spine 86.602% -30 -30

Pages 86.602% 30 30

Spine Dummy Pages

Co

ver

65

Area Code 212, New York City

Elizabeth Centolella

66

Area Code 212, New York City

Thomas Cooper Werd

67

Area Code 213, Los Angeles

Forrest Moulton

68

Area Code 246, Barbados

Loni Diep

69

Area Code 305, Miami

Lara Carvalho

70


Melissa Pena

71


Nathan Russel Hardy

72


Regina Gallant

73

Area Code 313, Detroit

Michael Johnston

74

Area Code 345, Cayman Islands

Felicia Koloc

75

Area Code 403, Alberta

Johnathan Seniw

76

Area Code 441, Bermuda

Ryan Egan

77

Area Code 515, Des Moines

Sarah Al-wassia

78

Area Code 602, Phoenix

Amanda Clark

79


Doreen Roy

80

P H O E N I X

PH

OE

NI

X


Fernando Perez

81

Area Code 612, Minneapolis

David Lopez

82


Eva Bodok

1 2minneapolis2612Minneapolis

83


Sarah Coburn

84

Area Code 679, Fiji Islands

Melike Turgut

85

Area Code 702, Las Vegas

Cheryl Charming

86

Area Code 809, Trinidad

Mike Plymale

87

Area Code 809, Dominican Republic

Willie Diaz

88

Area Code 818, Los Angeles

Zach Hunt

89

Area Code 808, Trinidad & Tobago

Mike Richardson

90

Area Code 907, Juneau, Alaska

Mike Munger

Documents

[Kimberly_Elam]_Typographic_Contrast,_Color,__Com(BookFi.org).pdf