2 October 2013 1
Typography Workshop
PURPOSE OF WORKSHOP
Modernist typography
and the swiss grid
TYPOGRAPHY WORKSHOP 1
+61...
2 October 2013 2
Typography Workshop
MY BACKGROUND
1982 – 1985
BA Degree Visual Communication at Sydney College of the Art...
2 October 2013 3
Typography Workshop
PURPOSE OF WORKSHOP
To provide some insights
into the basics of
modernist typography
...
2 October 2013 4
Typography Workshop
The letter
2 October 2013 5
Typography Workshop 1
THE ORIGINS OF OUR ALPHABET
THE PHOENICIANS
c.1050 BCE – The first phonetic alphabet
2 October 2013 6
Typography Workshop 1
THE ORIGINS OF OUR ALPHABET
THE ANCIENT GREEK ALPHABET
c.800 BCE
2 October 2013 7
Typography Workshop 1
THE ORIGINS OF OUR ALPHABET
ROMAN ALPHABET
c.700 BCE
2 October 2013 8
Typography Workshop
LETTER CONSTRUCTION GRID
EMPLOYING CLASSIC PROPORTIONS
2 October 2013 9
Typography Workshop
LETTER CONSTRUCTION GRID
EMPLOYING CLASSIC PROPORTIONS
2 October 2013 10
Typography Workshop 1
GUTENBURG’S BIBLE
c.1450 – The first major book printed with movable type in the W...
2 October 2013 11
Typography Workshop
THE ANATOMY OF A TYPEFACE
Cap Height
X Height
Baseline
Meanline
AscenderCrossbar
Ste...
2 October 2013 12
Typography Workshop
UNITY OF DESIGN IN THE TYPE FONT
2 October 2013 13
Typography Workshop
TYPE STYLES
Serif Times New Roman
Sans Serif Akzidenz Grotesk
SlabSerifArcher
Displa...
2 October 2013 14
Typography Workshop
HOW TO SELECT A TYPEFACE
http://inspirationlab.wordpress.com/2010/04/16/so-you-need-...
2 October 2013 15
Typography Workshop
MODERNISTS PREFER
SANS SERIF TYPE STYLES
Grotesques Akzidenz Grotesk
Neo Grotesques ...
2 October 2013 16
Typography Workshop
WHAT IS MODERNIST TYPOGRAPHY?
– Is a ideological approach to typography that had its...
2 October 2013 17
Typography Workshop
THE MODERNIST TYPOGRAPHIC MOVEMENT
WAS A REVOLT AGAINST THE OVERLY DECORATIVE
19TH C...
2 October 2013 18
Typography Workshop
CHARACTERISTICS OF MODERNIST TYPOGRAPHY
– Priority is to be given to function
– Rati...
2 October 2013 19
Typography Workshop
WHERE DID IT ALL START?
ITALIAN FUTURISM 1909–1916
FILIPPO MARINETTI
“I call for a t...
2 October 2013 20
Typography Workshop
WHERE DID IT ALL START?
DUTCH DE STIJL
1917–1931
2 October 2013 21
Typography Workshop
WHERE DID IT ALL START?
RUSSIAN CONSTRUCTIVISM
1919-1922
El Lissitzky
Alexander Rodc...
2 October 2013 22
Typography Workshop
WHERE DID IT ALL START?
THE BAUHAUS
1919-1933
Herbert BayerLászló Moholy-Nagy
LÁSZLÓ...
2 October 2013 23
Typography Workshop
WHERE DID IT ALL START?
JAN TSCHICHOLD
“The essence of the New
Typography is clarity...
2 October 2013 24
Typography Workshop
THE PIONEERS OF MODERNIST TYPOGRAPHY
(also called the International Typographic Styl...
2 October 2013 25
Typography Workshop
JOSEF MÜLLER-BROCKMANN
JOSEF MÜLLER-
BROCKMANN
“Reduction of content can
make all th...
2 October 2013 26
Typography Workshop
ARMIN HOFMANN
ARMIN HOFMANN
“There should be no
separation between
spontaneous work ...
2 October 2013 27
Typography Workshop
EMIL RUDER
EMIL RUDER
“Typography has one
plain duty before it and
that is to convey...
2 October 2013 28
Typography Workshop
MAX BILL
MAX BILL
“It is possible to develop an
art largely on the basis of
mathemat...
2 October 2013 29
Typography Workshop
The word
2 October 2013 30
Typography Workshop
KERNING
By adjusting the spacing between characters in the
word, we achieve a visual...
2 October 2013 31
Typography Workshop
KERNING
By adjusting the spacing between characters in the
word, we achieve a visual...
2 October 2013 32
Typography Workshop
KERNING
By adjusting the spacing between characters in the
word, we achieve a visual...
2 October 2013 33
Typography Workshop
KERNING IS ABOUT EQUAL PERCEIVED SPACE
http://www.paper-leaf.com/blog/2012/05/how-to...
2 October 2013 34
Typography Workshop
KERN THE WORD UPSIDE DOWN
http://designshack.net/articles/typography/8-simple-and-us...
2 October 2013 35
Typography Workshop
KERN IN THREE LETTER BLOCKS
http://www.paper-leaf.com/blog/2012/05/how-to-kern-prope...
2 October 2013 36
Typography Workshop
KERNING PAIRS
Pairs of letters with the spacing already adjusted for best
visual app...
2 October 2013 37
Typography Workshop
ALWAYS KERN THE SPACE AFTER A ‘1’
Tip5
2 October 2013 38
Typography Workshop
TRACKING
The uniform spacing between all the letters in a
given selection of text.
T...
2 October 2013 39
Typography Workshop
LIGATURES
Special characters that are two letters or more combined into one.
The are...
2 October 2013 40
Typography Workshop
1984 year
OLD STYLE NUMBERS V LINING NUMBERS
Numbers that have different heights, so...
2 October 2013 41
Typography Workshop
SET NUMERALS AND GROUPS OF INITIALS AT A
SMALLER SIZE TO BETTER INTEGRATE WITH THE T...
2 October 2013 42
Typography Workshop
WHEN SETTING A MULTI-PAGE DOCUMENT, SELECT A TYPE
FAMILY WHICH HAS A LEAST 3 WEIGHTS...
2 October 2013 43
Typography Workshop 1
ADJUST WORD SPACING
Dimensionally
equal word spacing
Optical word spacing
Tip7
2 October 2013 44
Typography Workshop
ADJUST LEADING ACCORDING TO THE
SPECIFIC DESIGN OF A TYPEFACE
Helvetica is designed ...
2 October 2013 45
Typography Workshop
USE SMART APOSTROPHES
Smart
Dumb
Tip9
2 October 2013 46
Typography Workshop
USE SMART QUOTES
“Smart”
Dumb
Tip10
When using quotes
remember “66” and “99”.
2 October 2013 47
Typography Workshop
BASELINE SHIFT PARENTHESIS
Tip11
2 October 2013 48
Typography Workshop
The column
2 October 2013 49
Typography Workshop
OPTIMUM LEADING FOR GROTESQUES
CAP HEIGHT
CAP HEIGHT
CAP HEIGHT
CAP HEIGHT
CAP HEIGH...
2 October 2013 50
Typography Workshop
OPTIMUM COLUMN WIDTHS
Tip13
2 October 2013 51
Typography Workshop
HOW TO ACHIEVE VISUAL ALIGNMENT
2 October 2013 52
Typography Workshop
HANG BULLETED POINTS, PUNCTUATION AND
NUMBERED LISTS TO ACHIEVE VISUAL ALIGNMENT
Tip...
2 October 2013 53
Typography Workshop
LINE ENDINGS
Tip15
2 October 2013 54
Typography Workshop
WHAT IS A WIDOW?
A paragraph-ending line that falls at the beginning of the
followin...
2 October 2013 55
Typography Workshop
WHAT’S AN ORPHAN?
A paragraph-opening line that appears by itself at
the bottom of a...
2 October 2013 56
Typography Workshop
ALTERNATE THE LENGTH OF COLUMNS
As with line endings where we try to achieve
variati...
2 October 2013 57
Typography Workshop
FLUSH LEFT VS JUSTIFIED SETTING
Flush left setting
As with line endings where we try...
2 October 2013 58
Typography Workshop
Flush left setting
As with line endings where we try
to achieve variations in widths...
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 ...
2 October 2013 61
Typography Workshop
The page
2 October 2013 62
Typography Workshop
DON’T USE TOO MANY TYPEFACES IN A
DOCUMENT OR WEBSITE
Tip20
2 October 2013 63
Typography Workshop
DON’T USE MORE THAN 3 TYPE SIZES ON A PAGE !
Tip21
Heading
Stand
first
Body
copy
2 October 2013 64
Typography Workshop
WHY THE GRID?
– They are practical, particularly for multi-page documents
– Help bri...
2 October 2013 65
Typography Workshop
WHY THE GRID?
“The grid system is an aid, not a
guarantee. It permits a number
of po...
2 October 2013 66
Typography Workshop
WHY THE GRID?
GOODMAN ANNUAL REPORT
Our customer focused approach,
size and scale of...
2 October 2013 67
Typography Workshop
WHY THE GRID?
GOODMAN ANNUAL REPORT
Our customer focused approach,
size and scale of...
2 October 2013 68
Typography Workshop
Our customer focused approach,
size and scale of our quality
portfolio, active asset...
2 October 2013 69
Typography Workshop
WHY THE GRID?
GOODMAN ANNUAL REPORT
Results in 168
individual fields
2 October 2013 70
Typography Workshop
Group CEO’s report
G
oodman Group delivered a solid financial
result in the 2013 fin...
2 October 2013 71
Typography Workshop
I
n Europe, we retained our market leading position
with solid activity levels, unde...
2 October 2013 72
Typography Workshop
THE BASELINE GRID
MACQUARIE EUROPEAN INFRASTRUCTURE FUND
PROSPECTUS
Uses a 12pt
base...
2 October 2013 73
Typography Workshop
THE BASELINE GRID
MACQUARIE EUROPEAN INFRASTRUCTURE FUND
PROSPECTUS
3.1 INVESTMENT F...
2 October 2013 74
Typography Workshop
THE BASELINE GRID
MACQUARIE EUROPEAN INFRASTRUCTURE FUND
PROSPECTUS
Regardless of po...
2 October 2013 75
Typography Workshop
THE BASELINE GRID
MACQUARIE EUROPEAN INFRASTRUCTURE FUND
PROSPECTUS
Regardless of po...
2 October 2013 76
Typography Workshop
THE BASELINE GRID
MACQUARIE EUROPEAN INFRASTRUCTURE FUND
PROSPECTUS
2 October 2013 77
Typography Workshop
THE BASELINE GRID
MACQUARIE EUROPEAN INFRASTRUCTURE FUND
PROSPECTUS
2 October 2013 78
Typography Workshop
USE ODD NUMBERED GRIDS
TO ACHIEVE ASYMMETRIC LAYOUTS
Incto dis minctur ibuscid
Ellup...
2 October 2013 79
Typography Workshop
EXAMPLES
ZEMBLA MAGAZINE
2 October 2013 80
Typography Workshop
EXAMPLES
ZEMBLA MAGAZINE
2 October 2013 81
Typography Workshop
EXAMPLES
ZEMBLA MAGAZINE
2 October 2013 82
Typography Workshop
EXAMPLES
GATEWAY BROCHURE
2 October 2013 83
Typography Workshop
EXAMPLES
GATEWAY BROCHURE
2 October 2013 84
Typography Workshop
EXAMPLES
OZ HARVEST ANNUAL REPORT
2 October 2013 85
Typography Workshop
EXAMPLES
OZ HARVEST ANNUAL REPORT
2 October 2013 86
Typography Workshop
EXAMPLES
EYE ANNUAL
2 October 2013 87
Typography Workshop
EXAMPLES
EYE ANNUAL
2 October 2013 88
Typography Workshop
EXAMPLES
AMPERSAND MAGAZINE
2 October 2013 89
Typography Workshop
EXAMPLES
AMPERSAND MAGAZINE
2 October 2013 90
Typography Workshop
EXAMPLES
AMPERSAND MAGAZINE
2 October 2013 91
Typography Workshop
EXAMPLES
AMPERSAND MAGAZINE
2 October 2013 92
Typography Workshop
EXAMPLES
POWERHOUSE MUSEUM
2 October 2013 93
Typography Workshop
REFERENCES
WEBSITES
typetoken.net
swiss-miss.com
aisleone.net
thegridsystem.org
ilov...
2 October 2013 94
Typography Workshop
Thanks
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Modernist Typography and the Swiss grid - Carlo Giannasca

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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.

Published in: Design, Technology

Modernist Typography and the Swiss grid - Carlo Giannasca

  1. 2 October 2013 1 Typography Workshop PURPOSE 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. 2 October 2013 2 Typography Workshop MY BACKGROUND 1982 – 1985 BA Degree Visual Communication at Sydney College of the Arts 1986 Davis Madden Advertising Junior Art Director 1987 – 2003 Emery Vincent Design Junior to Senior Designer 2004 – 2005 Emery Frost Design Director November 2005 – 2012 Frost Design Partner / Design Director November 2012 – Present Frost Design Partner / Head of Environments
  3. 2 October 2013 3 Typography Workshop PURPOSE OF WORKSHOP To provide some insights into the basics of modernist typography and the effective use of the swiss grid system.
  4. 2 October 2013 4 Typography Workshop The letter
  5. 2 October 2013 5 Typography Workshop 1 THE ORIGINS OF OUR ALPHABET THE PHOENICIANS c.1050 BCE – The first phonetic alphabet
  6. 2 October 2013 6 Typography Workshop 1 THE ORIGINS OF OUR ALPHABET THE ANCIENT GREEK ALPHABET c.800 BCE
  7. 2 October 2013 7 Typography Workshop 1 THE ORIGINS OF OUR ALPHABET ROMAN ALPHABET c.700 BCE
  8. 2 October 2013 8 Typography Workshop LETTER CONSTRUCTION GRID EMPLOYING CLASSIC PROPORTIONS
  9. 2 October 2013 9 Typography Workshop LETTER CONSTRUCTION GRID EMPLOYING CLASSIC PROPORTIONS
  10. 2 October 2013 10 Typography Workshop 1 GUTENBURG’S BIBLE c.1450 – The first major book printed with movable type in the West
  11. 2 October 2013 11 Typography Workshop THE ANATOMY OF A TYPEFACE Cap Height X Height Baseline Meanline AscenderCrossbar Stem Terminal Descender Counter Link/Neck Axis TailLoop/Lobe Bracket ShoulderBowl EyeEar Overshoot Aperture
  12. 2 October 2013 12 Typography Workshop UNITY OF DESIGN IN THE TYPE FONT
  13. 2 October 2013 13 Typography Workshop TYPE STYLES Serif Times New Roman Sans Serif Akzidenz Grotesk SlabSerifArcher Display Rosewood Script Edwardian Script Monospace OCR
  14. 2 October 2013 14 Typography Workshop HOW TO SELECT A TYPEFACE http://inspirationlab.wordpress.com/2010/04/16/so-you-need-a-typeface/
  15. 2 October 2013 15 Typography Workshop MODERNISTS PREFER SANS SERIF TYPE STYLES Grotesques Akzidenz Grotesk Neo Grotesques Helvetica Geometrics Avant Garde Humanistic Meta Preferred Preferred
  16. 2 October 2013 16 Typography Workshop WHAT 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
  17. 2 October 2013 17 Typography Workshop THE MODERNIST TYPOGRAPHIC MOVEMENT WAS A REVOLT AGAINST THE OVERLY DECORATIVE 19TH CENTURY APPROACH
  18. 2 October 2013 18 Typography Workshop CHARACTERISTICS 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
  19. 2 October 2013 19 Typography Workshop WHERE 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.”
  20. 2 October 2013 20 Typography Workshop WHERE DID IT ALL START? DUTCH DE STIJL 1917–1931
  21. 2 October 2013 21 Typography Workshop WHERE 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.”
  22. 2 October 2013 22 Typography Workshop WHERE DID IT ALL START? THE BAUHAUS 1919-1933 Herbert BayerLászló Moholy-Nagy LÁSZLÓ MOHOLY-NAGY “Designing is not a profession but an attitude.”
  23. 2 October 2013 23 Typography Workshop WHERE 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.
  24. 2 October 2013 24 Typography Workshop THE PIONEERS OF MODERNIST TYPOGRAPHY (also called the International Typographic Style) ARMIN HOFMANN EMIL RUDER MAX BILLJOSEF MÜLLER-BROCKMANN
  25. 2 October 2013 25 Typography Workshop JOSEF MÜLLER-BROCKMANN JOSEF MÜLLER- BROCKMANN “Reduction of content can make all the difference in the outcome of a design.”
  26. 2 October 2013 26 Typography Workshop ARMIN HOFMANN ARMIN HOFMANN “There should be no separation between spontaneous work with an emotional tone and work directed by the intellect.”
  27. 2 October 2013 27 Typography Workshop EMIL RUDER EMIL RUDER “Typography has one plain duty before it and that is to convey information in writing.”
  28. 2 October 2013 28 Typography Workshop MAX BILL MAX BILL “It is possible to develop an art largely on the basis of mathematical thinking.”
  29. 2 October 2013 29 Typography Workshop The word
  30. 2 October 2013 30 Typography Workshop KERNING By 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
  31. 2 October 2013 31 Typography Workshop KERNING By adjusting the spacing between characters in the word, we achieve a visually pleasing result. http://type.method.ac/The kerning game
  32. 2 October 2013 32 Typography Workshop KERNING By adjusting the spacing between characters in the word, we achieve a visually pleasing result. Correctly kerned word http://type.method.ac/The kerning game
  33. 2 October 2013 33 Typography Workshop KERNING 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.
  34. 2 October 2013 34 Typography Workshop KERN THE WORD UPSIDE DOWN http://designshack.net/articles/typography/8-simple-and-useful-tips-for-kerning-type/ Tip2
  35. 2 October 2013 35 Typography Workshop KERN IN THREE LETTER BLOCKS http://www.paper-leaf.com/blog/2012/05/how-to-kern-properly-essential-tips-resources/ Tip3
  36. 2 October 2013 36 Typography Workshop KERNING PAIRS Pairs 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
  37. 2 October 2013 37 Typography Workshop ALWAYS KERN THE SPACE AFTER A ‘1’ Tip5
  38. 2 October 2013 38 Typography Workshop TRACKING The uniform spacing between all the letters in a given selection of text. TRACKING Type
  39. 2 October 2013 39 Typography Workshop LIGATURES Special characters that are two letters or more combined into one. The are designed to allow letters to flow together more gracefully. Waffle Waffle With ligatures Without ligatures
  40. 2 October 2013 40 Typography Workshop 1984 year OLD STYLE NUMBERS V LINING NUMBERS Numbers 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
  41. 2 October 2013 41 Typography Workshop SET NUMERALS AND GROUPS OF INITIALS AT A SMALLER SIZE TO BETTER INTEGRATE WITH THE TEXT Tip5
  42. 2 October 2013 42 Typography Workshop WHEN SETTING A MULTI-PAGE DOCUMENT, SELECT A TYPE FAMILY WHICH HAS A LEAST 3 WEIGHTS. Tip6
  43. 2 October 2013 43 Typography Workshop 1 ADJUST WORD SPACING Dimensionally equal word spacing Optical word spacing Tip7
  44. 2 October 2013 44 Typography Workshop ADJUST LEADING ACCORDING TO THE SPECIFIC DESIGN OF A TYPEFACE Helvetica is designed to be set tightly.Proportion of ‘x’ height to Cap height is greater in Futura than Helvetica Futura has proportionately longer ascenders and decenders. Helvetica has proportionately shorter ascenders and decenders. Tip8
  45. 2 October 2013 45 Typography Workshop USE SMART APOSTROPHES Smart Dumb Tip9
  46. 2 October 2013 46 Typography Workshop USE SMART QUOTES “Smart” Dumb Tip10 When using quotes remember “66” and “99”.
  47. 2 October 2013 47 Typography Workshop BASELINE SHIFT PARENTHESIS Tip11
  48. 2 October 2013 48 Typography Workshop The column
  49. 2 October 2013 49 Typography Workshop OPTIMUM LEADING FOR GROTESQUES CAP HEIGHT CAP HEIGHT CAP HEIGHT CAP HEIGHT CAP HEIGHT CAP 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
  50. 2 October 2013 50 Typography Workshop OPTIMUM COLUMN WIDTHS Tip13
  51. 2 October 2013 51 Typography Workshop HOW TO ACHIEVE VISUAL ALIGNMENT
  52. 2 October 2013 52 Typography Workshop HANG BULLETED POINTS, PUNCTUATION AND NUMBERED LISTS TO ACHIEVE VISUAL ALIGNMENT Tip14
  53. 2 October 2013 53 Typography Workshop LINE ENDINGS Tip15
  54. 2 October 2013 54 Typography Workshop WHAT 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
  55. 2 October 2013 55 Typography Workshop WHAT’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
  56. 2 October 2013 56 Typography Workshop ALTERNATE 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
  57. 2 October 2013 57 Typography Workshop FLUSH LEFT VS JUSTIFIED SETTING Flush left setting 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. Justified setting 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 withlineendingswherewetrytoachieve variations in widths, the same applies to column lengths. Ideally the first column on a page should be shorter than the following.
  58. 2 October 2013 58 Typography Workshop Flush left setting 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. Justified setting 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 withlineendingswherewetrytoachieve 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 JUSTIFIED Modernist typographers prefer flush left setting Rivers Uneven word spaces Tip17
  59. 2 October 2013 59 Typography Workshop Tip18 FLUSH LEFT RAGGED RIGHT
  60. 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 PARAGRAPHS The first paragraph already has enough attention (it is first), so there’s no need for the special treatment. Tip19
  61. 2 October 2013 61 Typography Workshop The page
  62. 2 October 2013 62 Typography Workshop DON’T USE TOO MANY TYPEFACES IN A DOCUMENT OR WEBSITE Tip20
  63. 2 October 2013 63 Typography Workshop DON’T USE MORE THAN 3 TYPE SIZES ON A PAGE ! Tip21 Heading Stand first Body copy
  64. 2 October 2013 64 Typography Workshop WHY 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
  65. 2 October 2013 65 Typography Workshop WHY 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
  66. 2 October 2013 66 Typography Workshop WHY 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. Property investment 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 1 Goodman Group Securityholder Review 2013
  67. 2 October 2013 67 Typography Workshop WHY 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. Property investment 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 Group Securityholder Review 2013 3 Uses a 12 column grid
  68. 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. Property investment 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 Group Securityholder Review 2013 5 WHY THE GRID? GOODMAN ANNUAL REPORT Uses a 12 column grid combined with a 14 row horizontal
  69. 2 October 2013 69 Typography Workshop WHY THE GRID? GOODMAN ANNUAL REPORT Results in 168 individual fields
  70. 2 October 2013 70 Typography Workshop Group CEO’s report G oodman 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 Goodman Group Chief Executive Officer Sustainable growth earnings sourced outside Australia Goodman Group Securityholder Review 2013 9 WHY THE GRID? GOODMAN ANNUAL REPORT
  71. 2 October 2013 71 Typography Workshop I n 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 Group Securityholder Review 2013 11 WHY THE GRID? GOODMAN ANNUAL REPORT
  72. 2 October 2013 72 Typography Workshop THE BASELINE GRID MACQUARIE EUROPEAN INFRASTRUCTURE FUND PROSPECTUS Uses a 12pt baseline grid
  73. 2 October 2013 73 Typography Workshop THE BASELINE GRID MACQUARIE EUROPEAN INFRASTRUCTURE FUND PROSPECTUS 3.1 INVESTMENT FOCUS Tum 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 lut aliquam: — 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 FOCUS Met non el utem eui te magna 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. 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 3.1 INVESTMENT FOCUS Tum 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 lut aliquam: — 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 FOCUS Met 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. 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 3.1 INVESTMENT FOCUS Tum 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 FOCUS Met 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 CASESTUDIES Uses a 12pt baseline grid combined with a 7 column grid and a 7 row horizontal
  74. 2 October 2013 74 Typography Workshop THE BASELINE GRID MACQUARIE EUROPEAN INFRASTRUCTURE FUND PROSPECTUS Regardless of point sizes all baselines align with the grid
  75. 2 October 2013 75 Typography Workshop THE BASELINE GRID MACQUARIE EUROPEAN INFRASTRUCTURE FUND PROSPECTUS Regardless of point sizes all baselines align with the grid
  76. 2 October 2013 76 Typography Workshop THE BASELINE GRID MACQUARIE EUROPEAN INFRASTRUCTURE FUND PROSPECTUS
  77. 2 October 2013 77 Typography Workshop THE BASELINE GRID MACQUARIE EUROPEAN INFRASTRUCTURE FUND PROSPECTUS
  78. 2 October 2013 78 Typography Workshop USE ODD NUMBERED GRIDS TO ACHIEVE ASYMMETRIC LAYOUTS Incto dis minctur ibuscid Elluptatibus 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. Caborib eature dolor aut re Ovid et re, cus ne asperro ruptassum quas deris eaquossecum, venti dolut aut latur aut eumenih itatem hil molori rernatum quas as eate cusdaepra nobis mo tem volorem et invenita core ipiet, audanim corest, aceaquid esedigenihit que quiandis dolut es aut quaeper feribusa dolupta tiatio od et est am untinimus dolorio. Nam qui audis magnimp orestio nsequas simintem duntusa iderores mos doluptatquos et dolupta tempostetur, in et accus maionsecte Genecti quis denihitius. None eatur moluptam eossit, odi omniminim vellor am utem veliquam, quiditem reicili tiuntis sunt ut laudipsus ut a il et latusam quiduciis res ex eatque reicieni tem quam ressend ellores doluptassed quo volori voluptate aut re aspienet volor sequodis maximus. 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. Cienis doluptu mquost, alibea ditiati atquia veleces nienda etur molest, ut optae. Nam, quiant. Olorerores repe sequae. Sanda del ima es el magnis molores tincim nonem. El idendendam, serspis sum el illorent. 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 Min et imus rem se inctendis ut late eum sime velicias aut omnihil isciendam que volore laut ipsam ipsanistem cori que nusdant orpostis sum et volor arcid ut ut ommost velentio id ut entiandam re net harum et la sequos incimolorum ut alia quia earum quam aribus quiatatem que consequi dolupid quodigeni diti il minum ius aut eaque num rae labor aut adigeni hillore sciusaperum re pel inimodi aessunt, sequam adis aboreptat untibus quat aliatemolore cumque viti di suntibust labo. Et a pratem et ea pa pelectur magnis el es pos dolendis aliquodit, cum aut la consequ aspi. Abores que eum quia qui re, sitiaspedit, ommo essequam, sitae abo. Optat facepta que verum quo eatia dolest alitist, temquid ut lisque veruptatia il intemos nis audita deritaturem laborumque reped qui consendit volor autem fugitat ionsed quias non pelique enimus, con res recusdae etur, ut volecus si omni ipid quid modis dolorrorerum Genecti quis denihitius 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 Incto dis minctur ibuscid Elluptatibus 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. Caborib eature dolor aut re Ovid et re, cus ne asperro ruptassum quas deris eaquossecum, venti dolut aut latur aut eumenih itatem hil molori rernatum quas as eate cusdaepra nobis mo tem volorem et invenita core ipiet, audanim corest, aceaquid esedigenihit que quiandis dolut es aut quaeper feribusa dolupta tiatio od et est am untinimus dolorio. Nam qui audis magnimp orestio nsequas simintem duntusa iderores mos doluptatquos et dolupta tempostetur, in et accus maionsecte doluptat. Genecti quis denihitius. None eatur moluptam eossit, odi omniminim vellor am utem veliquam, quiditem reicili tiuntis sunt ut laudipsus ut a il et latusam quiduciis res ex eatque reicieni tem quam ressend ellores doluptassed quo volori voluptate aut re aspienet volor sequodis maximus. 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. Cienis doluptu mquost, alibea ditiati atquia veleces nienda etur molest, ut optae. Nam, quiant. Olorerores repe sequae. Sanda del ima es el magnis molores tincim nonem. El idendendam, serspis sum el illorent. 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. Genecti quis denihitius 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 eum facilla ccatem untent, velias sit enimusae nuscient Incto dis minctur ibuscid Elluptatibus 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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  79. 2 October 2013 79 Typography Workshop EXAMPLES ZEMBLA MAGAZINE
  80. 2 October 2013 80 Typography Workshop EXAMPLES ZEMBLA MAGAZINE
  81. 2 October 2013 81 Typography Workshop EXAMPLES ZEMBLA MAGAZINE
  82. 2 October 2013 82 Typography Workshop EXAMPLES GATEWAY BROCHURE
  83. 2 October 2013 83 Typography Workshop EXAMPLES GATEWAY BROCHURE
  84. 2 October 2013 84 Typography Workshop EXAMPLES OZ HARVEST ANNUAL REPORT
  85. 2 October 2013 85 Typography Workshop EXAMPLES OZ HARVEST ANNUAL REPORT
  86. 2 October 2013 86 Typography Workshop EXAMPLES EYE ANNUAL
  87. 2 October 2013 87 Typography Workshop EXAMPLES EYE ANNUAL
  88. 2 October 2013 88 Typography Workshop EXAMPLES AMPERSAND MAGAZINE
  89. 2 October 2013 89 Typography Workshop EXAMPLES AMPERSAND MAGAZINE
  90. 2 October 2013 90 Typography Workshop EXAMPLES AMPERSAND MAGAZINE
  91. 2 October 2013 91 Typography Workshop EXAMPLES AMPERSAND MAGAZINE
  92. 2 October 2013 92 Typography Workshop EXAMPLES POWERHOUSE MUSEUM
  93. 2 October 2013 93 Typography Workshop REFERENCES WEBSITES typetoken.net swiss-miss.com aisleone.net thegridsystem.org ilovetypography.com thinkingform.com BOOKS The Graphic Designer and His Design Problems J.Müller-Brockmann Typographic Design: Form and Communication Carter, Day, Meggs Basic Typography Design with Letters Ruedi Rüegg The Designer and the Grid Roberts/Thrift The New Typography Jan Tschichold Typography: Formation + Transformation Willi Kunz
  94. 2 October 2013 94 Typography Workshop Thanks
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