The presentation for Gyaan Adda 46: Introduction to Typography by Hafsah Parkar (@hufflo) On FB: http://on.fb.me/TWFQ7a On Tumblr: http://bit.ly/ZkGijF

1. 46
A: y
D ph
ADpogra
N o Ty
A nt
YA ctio
G du
tro RE
In r kar, D
ah Pa
Hafs

2. On creating a typeface:
Most people think that typography is
about fonts.
Most designers think typography is about
fonts.
Typography is more than that, it’s
expressing language through type.
Placement, composition & typechoice.
~ Mark Boulton
Introduction to Typography Gyaan Adda: 46 | Hafsah Parkar | 13 December 2012

3. SOME POINTERS TO START WITH:
Choosing a typeface is not
1
typography. Information
2 3
Typography has one plain design is not about the
duty before it and that is use of good typefaces, it
to convey information in is about the use of good
writing. No argument or typography. Which is a
consideration can absolve The argument that huge difference. Anyone
typography from this duty. we do not have can use typefaces,
A printed work which enough fonts at some can choose good
cannot be read becomes a our disposition is as typefaces, but only few
product without purpose. good as irrelevant. master typography.
Introduction to Typography Gyaan Adda: 46 | Hafsah Parkar | 13 December 2012

4. - strict geometric - derived from - incremental - more geometric, - contrasting thick - very specific -
forms handwriting development of our sharp than the Old and thin strokes and yet often quite
- strokes that are all - have more detail, calligraphic forms style period - Attributes: contradictory -
the same width less consistency - the curved letter - Attributes: strong, stylish, associations
- Attributes: clear, - Attributes: forms tend to tilt to strong, stylish, dynamic - sense of authority,
objective, modern, modern yet the left dynamic quite friendly, rural,
universal human, clear yet - Attributes: classic, - Ex: Bodoni, Didot vernacular signage.
empathetic traditional, readable - Ex: Times New
- Ex: Helvetica, Roman, Baskerville - Ex: Clarendon,
Univers, Futura, - Ex: Gill Sans, - Ex: Jenson, Rockwell, Courier,
Avant Garde, Frutiger, Myriad, Bembo, Palatino, Lubalin Graph,
Akzidenz Grotesk, Optima, Verdana Garamond Archer
Franklin Gothic,
Gotham
Introduction to Typography Gyaan Adda: 46 | Hafsah Parkar | 13 December 2012

5. keep it exactly
the same, or
change it a lot!!
avoid wimpy, incremental
variations
Two typefaces work well
together if they have one
thing in common but are
otherwise greatly different.
- can be visual (similar
x-height or stroke weight)
- same period of time
- designed by the same
designer
Introduction to Typography Gyaan Adda: 46 | Hafsah Parkar | 13 December 2012

6. There are only
conventions, no
ironclad rules...
Do what you feel will work, but remember its purpose.
Source: http://www.smashingmagazine.com/2010/12/14/what-font-should-i-use-five-principles-
for-choosing-and-using-typefaces/
Introduction to Typography Gyaan Adda: 46 | Hafsah Parkar | 13 December 2012

7. CONSTRUCTION OF ‘PERsonas’:
The verticals are all of the same width
rather the same thickness. The curves are
not exactly circular. All the strokes except
for the curvilinear lines are geometric
in nature. The entire family has a mix
of curvilinear and vertical / horizontal
strokes.
Stroke
The weight of the font is regular.
Introduction to Typography Gyaan Adda: 46 | Hafsah Parkar | 13 December 2012

8. PERSONAS
Cap Height
x Height
Tracking Kerning: Optical Leading
72 pt
36 pt
Introduction to Typography Gyaan Adda: 46 | Hafsah Parkar | 13 December 2012

9. TYPe Knowledge
Alignment:
Left Aligned Right Aligned
Centre Aligned Justified
Introduction to Typography Gyaan Adda: 46 | Hafsah Parkar | 13 December 2012

10. TYPe Knowledge
Leading: Tracking:
Kerning:
Introduction to Typography Gyaan Adda: 46 | Hafsah Parkar | 13 December 2012

11. TYPe Knowledge
Heirarchy: With simple
use of tabs and the use
of upper and lower case,
heirachy in information
can be achieved.
Source: http://www.thinkingwithtype.com
Introduction to Typography Gyaan Adda: 46 | Hafsah Parkar | 13 December 2012

12. g
Exploring a letter form:
GG
COMPOSITION
In a space of 1”, compositions were
GG Gg
g
created, so as to show interesting facets
of the letter form while still giving the
G
idea of the original letter form.
G
G
This exercise made us use the laws of
Gestalts to the fullest, especially the law
of closure.
g
Two styles were explored, one which had
G
g
accentuated edges while the other was a
basic type face for the lowercase G.
G
g
Typefaces: Accent, Santana
G
G
G
g
g
Introduction to Typography
G
G G
Gyaan Adda: 46 | Hafsah Parkar | 13 December 2012

13. ThE LOGOTYPE Selected
from the compositions
Introduction to Typography Gyaan Adda: 46 | Hafsah Parkar | 13 December 2012

14. G
G
BANNers:
G
G
Sizes- 1:2, 1:3, 1:1
The first banner has the entire
Y
typeface combined to make
an abstract composition.
The second banner has
been created using the
compositions explored in the
previous exercise.
The hird banner has the
logo used in different angles.
G
G
Introduction to Typography
G Gyaan Adda: 46 | Hafsah Parkar | 13 December 2012

15. Layout & Grid
Size- A3 Posters
Four Column Grid
Option One:
Heirarchy -
Tagline, Incentive
Information, Body
Copy and
Venue Details
Introduction to Typography Gyaan Adda: 46 | Hafsah Parkar | 13 December 2012

16. Layout & Grid
Size- A3 Posters
Four Column Grid
Other options tried
Heirarchy -
Tagline, Incentive
Information, Body
Copy and
Venue Details
Introduction to Typography Gyaan Adda: 46 | Hafsah Parkar | 13 December 2012

17. Layout & Grid
Size- A3 Posters Body
Four Column Grid Copy
Final Selected
Heirarchy- Special
Guest, Tagline,
Body Copy and
Venue Details
Main
Title
Venue Tagline
Details
Introduction to Typography Gyaan Adda: 46 | Hafsah Parkar | 13 December 2012

18. THANKYOU!