The document appears to be a student design project portfolio containing 12 sections showcasing typographic experiments and exercises done by Minh Do for their GR.617 Typeforms class in fall 2014. The sections include projects on type anatomy, basic typesetting, kerning, type hierarchy, grid systems, and common typographic disorders. Each section contains formatted text set in different typefaces to demonstrate typographic concepts.

1. MINH
DO
GR.617TYPEFORMS
ProjectCollection
01FALL2014

2. MINH
DO
GR.617TYPEFORMS
ProjectOne
Prototypeface
02FALL2014
No 5

3. Baskerville MT Std 90pt & 5pt
MINH
DO
GR.617TYPEFORMS
ProjectTwo
TypeAnatomy
03FALL2014
BLOck
Minh Do
Project Two // Type Anatomy
The parts of the letters (Baskerville)
lowercase
leg
axiscross bar
bracket
counter
uppercase ascendersmall capital stress
graphicSerif
bowl
link/neck
terminal
loop
shoulderear
FAncystem
œysecross bar ligature spinetail
descender
finial
apexhairlinearm serif
italic
x-height
baseline
cap height

4. Left Alignment
8/10 Adobe Garamond
+20 Tracking MINH
DO
GR.617TYPEFORMS
ProjectThree
BasicTypesetting
04FALL2014
LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN
Letterforms that honor and elucidate what humans see and say deserve to be
honored in their turn. Well-chosen words deserve well-chosen letters; these
in their turn deserve to be set with affection, intelligence, knowledge and
skill. Typography is a link, and it ought, as a matter of honor, courtesy and
pure delight, to be as strong as others in the chain.
Typography is just that: idealized writing. Writers themselves now rarely
have the calligraphic skill of earlier scribes, but they evoke countless version
of ideal script by their varying voices and literary styles. To these blind and
often invisible visions, the typographer must responds in visible terms.
In a badly designed book, the letters mill and stand like starving horses in a
field. In a book designed by rote, they sit like stale bread and mutton on the
page. In a well-made book, where designer, compositor and printer have
all done their jobs, no matter how many thousands of lines and pages they
must occupy, the letters are alive. They dance in their seats. Sometimes they
rise and dance in the margins and aisles.
Simple as it may sound, the task of creative non-interference with letters is
a rewarding and difficult calling. In ideal conditions, it is all that typogra-
phers are really asked to do—and it is enough.
—Robert Bringhurst, The Elements of Typographic Style

5. Right Alignment
8/10 Adobe Garamond
+20 Tracking MINH
DO
GR.617TYPEFORMS
ProjectThree
BasicTypesetting
05FALL2014
LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN
Letterforms that honor and elucidate what humans see and say deserve to
be honored in their turn. Well-chosen words deserve well-chosen letters;
these in their turn deserve to be set with affection, intelligence, knowledge
and skill. Typography is a link, and it ought, as a matter of honor, courtesy
and pure delight, to be as strong as others in the chain.
Typography is just that: idealized writing. Writers themselves now rarely have
the calligraphic skill of earlier scribes, but they evoke countless version of
ideal script by their varying voices and literary styles. To these blind and often
invisible visions, the typographer must responds in visible terms.
In a badly designed book, the letters mill and stand like starving horses in
a field. In a book designed by rote, they sit like stale bread and mutton on
the page. In a well-made book, where designer, compositor and printer have
all done their jobs, no matter how many thousands of lines and pages they
must occupy, the letters are alive. They dance in their seats. Sometimes they
rise and dance in the margins and aisles.
Simple as it may sound, the task of creative non-interference with letters is a
rewarding and difficult calling. In ideal conditions, it is all that typogra-
phers are really asked to do—and it is enough.
—Robert Bringhurst, The Elements of Typographic Style

6. Justified Alignment
8/10 Adobe Garamond
+20 Tracking
85/95/105
MINH
DO
GR.617TYPEFORMS
ProjectThree
BasicTypesetting
06FALL2014
LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN
Letterforms that honor and elucidate what humans see and say deserve to be
honored in their turn. Well-chosen words deserve well-chosen letters; these
in their turn deserve to be set with affection, intelligence, knowledge and skill.
Typographyis a link, and it ought, as a matter of honor, courtesy and pure delight,
to be as strong as others in the chain.
Typography is just that: idealized writing.Writers themselves now rarely have
the calligraphic skill of earlier scribes,but they evoke countless version of ideal
script by their varying voices and literary styles.To these blind and often
invisible visions, the typographer must responds in visible terms.
In a badly designed book, the letters mill and stand like starving horses in a
field. In a book designed by rote,they sit like stale bread and mutton on the page.
In a well-made book, where designer, compositor and printer have all done
their jobs, no matter how many thousands of lines and pages they must occupy,
the letters are alive. They dance in their seats. Sometimes they rise and dance
in the margins and aisles.
Simple as it may sound, the task of creative non-interference with letters is a
rewarding and difficult calling. In ideal conditions, it is all that typographers
are really asked to do—and it is enough.
—Robert Bringhurst, The Elements of Typographic Style

7. Center Alignment
8/10 Adobe Garamond
+20 Tracking MINH
DO
GR.617TYPEFORMS
ProjectThree
BasicTypesetting
07FALL2014
LETTERS HAVE A LIFE AND DIGNITY OF THEIR OWN
Letterforms that honor and elucidate what humans see and say
deserve to be honored in their turn. Well-chosen words deserve well-chosen
letters; these in their turns deserve to be set with affection, intelligence,
knowledge and skill. Typography is a link, and it ought, as a matter of honor,
courtesy and pure delight, to be as strong as others in the chain.
Typography is just that: idealized writing.Writers themselves now
rarely have the calligraphic skill of earlier scribes, but they evoke countless
version of ideal script by their varying voices and literary styles.To
these blind and invisible visions,thetypographer must responds in visible terms.
Ina badlydesigned book, the letters mill and stand like starving horses
in a field. In a book designed by rote, they sit like stale bread and mutton on the
page. In a well-made book, where designer, compositor and printer
have all done their jobs, no matter how many thousands of lines and pages
they must occupy, the letters are alive. They dance in their seats.
Sometimes they rise and dance in the margins and aisles.
Simple as it may sound, the task of creative non-interference with
letters is a rewarding and difficult calling. In ideal conditions, it is all that
typographers are really asked to do—and it is enough.
—Robert Bringhurst, The Elements of Typographic Style

8. Bauer Bodoni Std
60 U&Lc
+15 Tracking
60 Caps
+15 Tracking
TYPOGRAPHY
Typography
-66-15-15-18-5-25-25+25+15
+10-20-54-25+4-5+12
MINH
DO
GR.617TYPEFORMS
ProjectFour
Kerning
08FALL2014

9. Horley Old Style MT
60 U&Lc
0 Tracking
60 Caps
+15 Tracking
Minion Pro
60 U&Lc
0 Tracking
60 Caps
+15 Tracking
MINH
DO
GR.617TYPEFORMS
ProjectFour
Kerning
09FALL2014
Humanist
HUMANIST
-42 +5-7 -2-3 -2 +5
+22 +14-34 -8-22-20 -17
Garalde
GARALDE
+15 -4 -5+5 +8
+12-4 +7-10 -11

10. Janson Text LT Std
50 U&Lc
+5 Tracking
40 Caps
+15 Tracking
Didot
50 U&Lc
0 Tracking
50 Caps
0 Tracking
MINH
DO
GR.617TYPEFORMS
ProjectFour
Kerning
10FALL2014
Transitional
TRANSITIONAL
-160 -8 +5 -5 -5+7 +12+12 -2
+5+25 +25 +25+10 +6+40+30 +36
Didone
DIDONE
-10 -18 -22-7 -20
-12-21-8-7 -3

11. Clarendon LT Std
50 U&Lc
+10 Tracking
50 Caps
+15 Tracking
News Gothic Std
50 U&Lc
0 Tracking
50 Caps
+25 Tracking
MINH
DO
GR.617TYPEFORMS
ProjectFour
Kerning
11FALL2014
Slab-Serif
SLAB-SERIF
+5 +8 +11+15 +15+10 +15
+10+20 +10 +15+5+10 +10
Sans-serif
SANS-SERIF
-7 +3 -17 -10 -4 +12-5 -15
-8 -17 7 +22+3+4+11 -5

12. MINH
DO
GR.617TYPEFORMS
ProjectFIve
TypeHierarchy
12FALL2014
Designers around world are answering this question
by creating products, prototypes, buildings, land-
scapes, messages, and more that address social
and environmental challenges.
May 14, 2019–January 9, 2020
Cooper-Hewitt, National Design Museum
New York, New York
National Design Triennial
Why Design Now?
Why Design Now?
Designers around world are answering this question
by creating products, prototypes, buildings, land-
scapes, messages, and more that address social
and environmental challenges.
Cooper-Hewitt, National Design Museum
New York, New York
May 14, 2019–January 9, 2020
National Design Triennial
Designers around world are answering this question
by creating products, prototypes, buildings, land-
scapes, messages, and more that address social
and environmental challenges.
May 14, 2019–January 9, 2020
Cooper-Hewitt, National Design Museum
New York, New York
National Design Triennial
Why Design Now?
Why Design Now?
Designers around world are answering this question
by creating products, prototypes, buildings, land-
scapes, messages, and more that address social
and environmental challenges.
Cooper-Hewitt, National Design Museum
New York, New York
May 14, 2019–January 9, 2020
National Design Triennial
Why Design Now?
Designers around world are answering this question by cre-
ating products, prototypes, buildings, landscapes,
messages and more that address social and environmental
Cooper-Hewitt, National Design Museum
New York, New York
May 14, 2019–January 9, 2020
National Design Triennial
Why Design Now?
Designers around world are answering this question by cre-
ating products, prototypes, buildings, landscapes, messages
and more that address social and environmental challenges.
Cooper-Hewitt, National Design Museum
New York, New York
May 14, 2019–January 9, 2020
National Design Triennial
ProjectFour
Kerning

13. MINH
DO
GR.617TYPEFORMS
ProjectSix
GridSystems
13FALL2014
Typophilia
An excessive attachment to and fascination with the shape of letters,
often to the exclusion of other interests and object choices. Typophili-
acs usually die penniless and alone.
Typophobia
The irrational dislike of letterforms, often marked by a preference for
icons, dingbats, and—in fatal cases—bullets and daggers. The fears of
the typophobe can often be quieted (but not cured) by steady doses of
Helvetica and Times Roman.
Typochondria
A persistent anxiety that one has selected the wrong typeface. This
condition is often paired with OKD (optical kerning disorder), the
need to constantly adjust and readjust the spaces between letters.
Common Typographic Disorders
Various forms of dysfunction appear among populations exposed
to typography for long periods of time. Listed here are a number of
frequently observed afflictions.
Typophilia
An excessive attachment to and fascination with the shape of letters,
often to the exclusion of other interests and object choices. Typophili-
acs usually die penniless and alone.
Typophobia
The irrational dislike of letterforms, often marked by a preference for
icons, dingbats, and—in fatal cases—bullets and daggers. The fears of
the typophobe can often be quieted (but not cured) by steady doses of
Helvetica and Times Roman.
Typochondria
A persistent anxiety that one has selected the wrong typeface. This
condition is often paired with OKD (optical kerning disorder), the
need to constantly adjust and readjust the spaces between letters.
Common Typographic Disorders
Various forms of dysfunction appear among populations exposed
to typography for long periods of time. Listed here are a number of
frequently observed afflictions.
Typophilia
An excessive attachment to and fascination with the shape of letters,
often to the exclusion of other interests and object choices. Typophil-
iacs usually die penniless and alone.
Typophobia
The irrational dislike of letterforms, often marked by a preference for
icons, dingbats, and—in fatal cases—bullets and daggers. The fears of
the typophobe can often be quieted (but not cured) by steady doses of
Helvetica and Times Roman.
Typochondria
A persistent anxiety that one has selected the wrong typeface. This
condition is often paired with OKD (optical kerning disorder), the
need to constantly adjust and readjust the spaces between letters.
Common Typographic Disorders
Various forms of dysfunction appear among populations exposed
to typography for long periods of time. Listed here are a number of
frequently observed afflictions.
Typophilia
An excessive attachment to and fascination with the shape of letters,
often to the exclusion of other interests and object choices. Typophil-
iacs usually die penniless and alone.
Typophobia
The irrational dislike of letterforms, often marked by a preference
for icons, dingbats, and—in fatal cases—bullets and daggers. The
fears of the typophobe can often be quieted (but not cured) by steady
doses of Helvetica and Times Roman.
Typochondria
A persistent anxiety that one has selected the wrong typeface. This
condition is often paired with OKD (optical kerning disorder), the
need to constantly adjust and readjust the spaces between letters.
Common Typographic Disorders
Various forms of dysfunction appear among populations exposed
to typography for long periods of time. Listed here are a number of
frequently observed afflictions.
An excessive attachment to and fascination with the shape of letters,
often to the exclusion of other interests and object choices. Typophili-
acs usually die penniless and alone.
Typophilia
The irrational dislike of letterforms, often marked by a preference for
icons, dingbats, and—in fatal cases—bullets and daggers. The fears of
the typophobe can often be quieted (but not cured) by steady doses of
Helvetica and Times Roman.
Typophobia
A persistent anxiety that one has selected the wrong typeface. This
condition is often paired with OKD (optical kerning disorder), the
need to constantly adjust and readjust the spaces between letters.
Typochondria
Common Typographic Disorders
Various forms of dysfunction appear among populations exposed
to typography for long periods of time. Listed here are a number of
frequently observed afflictions.
Typophilia
An excessive attachment to and fascination with the shape of letters,
often to the exclusion of other interests and object choices. Typophil-
iacs usually die penniless and alone.
Typophobia
The irrational dislike of letterforms, often marked by a preference
for icons, dingbats, and—in fatal cases—bullets and daggers. The
fears of the typophobe can often be quieted (but not cured) by steady
doses of Helvetica and Times Roman.
Typochondria
A persistent anxiety that one has selected the wrong typeface. This
condition is often paired with OKD (optical kerning disorder), the
need to constantly adjust and readjust the spaces between letters.
Common Typographic Disorders
Various forms of dysfunction appear among populations exposed
to typography for long periods of time. Listed here are a number of
frequently observed afflictions.

14. Typophilia
An excessive attachment to and fascination with the shape of letters,
often to the exclusion of other interests and object choices. Typophili-
acs usually die penniless and alone.
Typophobia
The irrational dislike of letterforms, often marked by a preference for
icons, dingbats, and—in fatal cases—bullets and daggers. The fears of
the typophobe can often be quieted (but not cured) by steady doses of
Helvetica and Times Roman.
Typochondria
A persistent anxiety that one has selected the wrong typeface. This
condition is often paired with OKD (optical kerning disorder), the
need to constantly adjust and readjust the spaces between letters.
Common Typographic Disorders
Various forms of dysfunction appear among populations exposed
to typography for long periods of time. Listed here are a number of
frequently observed afflictions.
MINH
DO
GR.617TYPEFORMS
ProjectSix
GridSystems
14FALL2014
Typophilia
An excessive attachment to and fascination with the shape of letters,
often to the exclusion of other interests and object choices. Typophili-
acs usually die penniless and alone.
Typophobia
The irrational dislike of letterforms, often marked by a preference for
icons, dingbats, and—in fatal cases—bullets and daggers. The fears of
the typophobe can often be quieted (but not cured) by steady doses of
Helvetica and Times Roman.
Typochondria
A persistent anxiety that one has selected the wrong typeface. This
condition is often paired with OKD (optical kerning disorder), the
need to constantly adjust and readjust the spaces between letters.
Common Typographic Disorders
Various forms of dysfunction appear among populations exposed
to typography for long periods of time. Listed here are a number of
frequently observed afflictions.
Typophilia
An excessive attachment to and fascination with the shape of letters,
often to the exclusion of other interests and object choices. Typophil-
iacs usually die penniless and alone.
Typophobia
The irrational dislike of letterforms, often marked by a preference for
icons, dingbats, and—in fatal cases—bullets and daggers. The fears of
the typophobe can often be quieted (but not cured) by steady doses of
Helvetica and Times Roman.
Typochondria
A persistent anxiety that one has selected the wrong typeface. This
condition is often paired with OKD (optical kerning disorder), the
need to constantly adjust and readjust the spaces between letters.
Common Typographic Disorders
Various forms of dysfunction appear among populations exposed
to typography for long periods of time. Listed here are a number of
frequently observed afflictions.
Typophilia
An excessive attachment to and fascination with the shape of letters,
often to the exclusion of other interests and object choices. Typophil-
iacs usually die penniless and alone.
Typophobia
The irrational dislike of letterforms, often marked by a preference
for icons, dingbats, and—in fatal cases—bullets and daggers. The
fears of the typophobe can often be quieted (but not cured) by steady
doses of Helvetica and Times Roman.
Typochondria
A persistent anxiety that one has selected the wrong typeface. This
condition is often paired with OKD (optical kerning disorder), the
need to constantly adjust and readjust the spaces between letters.
Common Typographic Disorders
Various forms of dysfunction appear among populations exposed
to typography for long periods of time. Listed here are a number of
frequently observed afflictions.
An excessive attachment to and fascination with the shape of letters,
often to the exclusion of other interests and object choices. Typophil-
iacs usually die penniless and alone.
Typophilia
The irrational dislike of letterforms, often marked by a preference for
icons, dingbats, and—in fatal cases—bullets and daggers. The fears of
the typophobe can often be quieted (but not cured) by steady doses
of Helvetica and Times Roman.
Typophobia
A persistent anxiety that one has selected the wrong typeface. This
condition is often paired with OKD (optical kerning disorder), the
need to constantly adjust and readjust the spaces between letters.
Typochondria
Common Typographic Disorders
Various forms of dysfunction appear among populations exposed
to typography for long periods of time. Listed here are a number of
frequently observed afflictions.
Typophilia
An excessive attachment to and fascination with the shape of letters,
often to the exclusion of other interests and object choices. Typophil-
iacs usually die penniless and alone.
Typophobia
The irrational dislike of letterforms, often marked by a preference
for icons, dingbats, and—in fatal cases—bullets and daggers. The
fears of the typophobe can often be quieted (but not cured) by steady
doses of Helvetica and Times Roman.
Typochondria
A persistent anxiety that one has selected the wrong typeface. This
condition is often paired with OKD (optical kerning disorder), the
need to constantly adjust and readjust the spaces between letters.
Common Typographic Disorders
Various forms of dysfunction appear among populations exposed
to typography for long periods of time. Listed here are a number of
frequently observed afflictions.

15. MINH
DO
GR.617TYPEFORMS
ProjectSeven
PersonalStationery
System
15FALL2014
208 Pennsylvania, Apt.106
San Francisco, ca 94107
MinhDo
+1 415 549 6506
minh.inzaghi@gmail.com
MinhDo
208 Pennsylvania, Apt.106
San Francisco, ca 94107
208 Pennsylvania, Apt.106
San Francisco, ca 94107
MinhDo
+1 415 549 6506
minh.inzaghi@gmail.com
Graphic Designer

16. MINH
DO
GR.617TYPEFORMS
ProjectEight
Posters
16FALL2014
The typefaces of this period are called Transitional,
as they represent the initial departure from centu-
ries of Old Style tradition and immediately predate
the Modern period.Typography has always been
intrinsically linked to technology, the fact most
dramatically illustrated by the introduction of the
Transitional designs.
Baskerville is a transitional serif typeface designed
in 1757 by John Baskerville (1706–1775)in England.
Baskerville is classified as a transitional typeface
and positioned between the old style typefaces of
William Caslon, and the newer styles of Giambattista
Bodoni & Firmin Didot.
Transitional
TYPEFACETYPE CLASSIFICATIONS
Baskerville
A B C D E F G H I J K L M N
O P Q R S T U V W X Y Z
a b c d e f g h i j k l m
n o p q r s t u v w x y z
0123456789
Humanist
Garalde
Transitional
Didone
Slab serif
Lineale
Greater contrast
between the strokes
Wider, gracefully
bracketed serifs
Vertical stress
Capital’s height
matches ascenders

17. MINH
DO
GR.617TYPEFORMS
ProjectEight
Posters
17FALL2014
Didone typefaces (also referred to as Neoclassical
and Modern) enjoyed great popularity from the
late 18th through the 19th centuries. The term
Didone is a melding of Didot and Bodoni, the two
most characteristic typeface designs of this era.
Didones are characterized by extreme weight
contrast between thicks and thins, vertical stress
and serifs with little or no bracketing.
Didot typeface was drawn by Adrian Frutiger in
1991, and is based on the fonts cut by Firmin Didot
between 1799 and 1811. Frutiger also studied the
Didot types in a book printed by the Didots in 1818,
La Henriade by Voltaire. This beautifully drawn
family has three weights including old style figures,
small caps for the roman weight, as well as the
headline version.
Didone
TYPEFACETYPE CLASSIFICATIONS
Didot
A B C D E F G H I J K L M N
O P Q R S T U V W X Y Z
a b c d e f g h i j k l m
n o p q r s t u v w x y z
0123456789
Humanist
Garalde
Transitional
Didone
Slab serif
Lineale
Vertical stress
Small x-height
Extreme contrast
between the strokes
Hairline serifs
without bracketing

18. MINH
DO
GR.617TYPEFORMS
ProjectEight
Posters
18FALL2014
Garalde typefaces are an important component of
every good typeface library. Originally created between
the late 15th and mid-18th centuries, these early
roman types are characterized by curved strokes whose
axis inclines to the left, and little contrast between
thick and thins. Serifs are almost always bracketed in
old style designs, and head serifs are often angled.
Garamond is a digital interpretation of the roman types
of Claude Garamond and the italic types of Robert
Granjon. Since its release in 1989, Garamond has become
a typographic staple throughout the world of desktop
typography and design.
Garamond
TYPEFACETYPE CLASSIFICATIONS
Garalde
A B C D E F G H I J K L M
N O P Q R S T U V W X Y Z
a b c d e f g h i j k l m
n o p q r s t u v w x y z

Humanist,
Garalde
Transitional
Didone
Slab serif
Lineale
Small, coarse serifs
and concave bases
Oblique serif on
top of ascenders
Diagonal stress
Moderate differ-
ence in the strokes