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.
Some personal thoughts on contemporary trends in designing experiences related to public space.
A masterclass for "Navigating the city: Wayfinding in the digital age" 2013 summer course. Elisava (BCN) - Central Saint Martins (London)
In this presentation deck, created for a talk by Column Five CEO, Jason Lankow, we start out with some fundamentals from our book, Infographics: The Power of Visual Storytelling, and then discuss three important trends defining the future of infographics. These slides were talking points for the most part, but there are some really helpful examples and we would also be happy to walk through this content with you anytime if you would like to understand the details at a more granular level and to discuss ways these trends impact your organization.
Tesi di Laurea in Grafica "Progettare l'identità"Daniela Verona
These are the slides that I used to discuss my thesis in Graphic Design in the 2008 at the RUFA Rome University of Fine Arts.
Queste sono le slide che ho utilizzato per discutere la mia tesi in Grafica presso la RUFA Libera Accademai di Belle Arti di Roma nel 2008.
UX Discovery_Metaverse_RightBrain_Seminar_수정1RightBrain inc.
라이트브레인의 UX 트렌드 리포트 ‘UX Discovery - Metaverse’ 요약본 공개
Metaverse is Coming
다가올 새로운 미래상, 현실과 디지털화된 가상세계가 공존하는 세상인 메타버스를 라이트브레인 CX 컨설팅 그룹에서 분야별 주요 사례와 주목할만한 사례들을 세분류로 나누어 소개해 드립니다.
해당 자료는 세미나용으로 제작된 요약 버전이며 Rightbrain lab 독자분들 대상으로 별도의 다운로드 과정 없이 바로 보실 수 있도록 슬라이드쉐어를 통해 공개합니다.
1. 가상정보를 통해 사용자에게 새로운 경험 가치를 제안
- 시공간을 초월하는 상호작용하는 몰입감 높은 엔터테인먼트
- 현장에 있는 것처럼 실재감 높은 안전한 교육/훈련
- Tech + 실재감, 몰입감 경험
2. 가상 세계의 초월성에 기반해 새로운 삶의 방식을 제안
- 무한한 공간에서 제약 없이 모이고, 교류하고, 살아가는 사회
- Tech + 사용자 트래킹, 상호작용, 프라이버시
3. 기존 현실의 삶과 새로운 가상세계의 연결로 새로운 가치를 창출
- 현실과 가상세계를 부드럽게 연결해주는 Physital Retail & Digital Twin
- Tech + Digital Twin, 현실과 가상의 상호작용 기술
---------------------------------
* 공개해드린 자료는 요약 버전으로 메타버스 관련 아래 본 자료는 유료 판매 예정입니다.
- Metaverse commerce
- Metaverse tech 시청 촉각 기술
- Metaverse tech 트래킹 기술
-----------------------------------
* UX 트렌드 리포트 구독 문의 : jkl@rightbrain.co.kr
* UX 디자인 및 CX 컨설팅 프로젝트 문의 : support@rightbrain.co.kr
* 라이트브레인 ‘UX Discovery’는 라이트브레인의 등록상표입니다.
Some personal thoughts on contemporary trends in designing experiences related to public space.
A masterclass for "Navigating the city: Wayfinding in the digital age" 2013 summer course. Elisava (BCN) - Central Saint Martins (London)
In this presentation deck, created for a talk by Column Five CEO, Jason Lankow, we start out with some fundamentals from our book, Infographics: The Power of Visual Storytelling, and then discuss three important trends defining the future of infographics. These slides were talking points for the most part, but there are some really helpful examples and we would also be happy to walk through this content with you anytime if you would like to understand the details at a more granular level and to discuss ways these trends impact your organization.
Tesi di Laurea in Grafica "Progettare l'identità"Daniela Verona
These are the slides that I used to discuss my thesis in Graphic Design in the 2008 at the RUFA Rome University of Fine Arts.
Queste sono le slide che ho utilizzato per discutere la mia tesi in Grafica presso la RUFA Libera Accademai di Belle Arti di Roma nel 2008.
UX Discovery_Metaverse_RightBrain_Seminar_수정1RightBrain inc.
라이트브레인의 UX 트렌드 리포트 ‘UX Discovery - Metaverse’ 요약본 공개
Metaverse is Coming
다가올 새로운 미래상, 현실과 디지털화된 가상세계가 공존하는 세상인 메타버스를 라이트브레인 CX 컨설팅 그룹에서 분야별 주요 사례와 주목할만한 사례들을 세분류로 나누어 소개해 드립니다.
해당 자료는 세미나용으로 제작된 요약 버전이며 Rightbrain lab 독자분들 대상으로 별도의 다운로드 과정 없이 바로 보실 수 있도록 슬라이드쉐어를 통해 공개합니다.
1. 가상정보를 통해 사용자에게 새로운 경험 가치를 제안
- 시공간을 초월하는 상호작용하는 몰입감 높은 엔터테인먼트
- 현장에 있는 것처럼 실재감 높은 안전한 교육/훈련
- Tech + 실재감, 몰입감 경험
2. 가상 세계의 초월성에 기반해 새로운 삶의 방식을 제안
- 무한한 공간에서 제약 없이 모이고, 교류하고, 살아가는 사회
- Tech + 사용자 트래킹, 상호작용, 프라이버시
3. 기존 현실의 삶과 새로운 가상세계의 연결로 새로운 가치를 창출
- 현실과 가상세계를 부드럽게 연결해주는 Physital Retail & Digital Twin
- Tech + Digital Twin, 현실과 가상의 상호작용 기술
---------------------------------
* 공개해드린 자료는 요약 버전으로 메타버스 관련 아래 본 자료는 유료 판매 예정입니다.
- Metaverse commerce
- Metaverse tech 시청 촉각 기술
- Metaverse tech 트래킹 기술
-----------------------------------
* UX 트렌드 리포트 구독 문의 : jkl@rightbrain.co.kr
* UX 디자인 및 CX 컨설팅 프로젝트 문의 : support@rightbrain.co.kr
* 라이트브레인 ‘UX Discovery’는 라이트브레인의 등록상표입니다.
Those who don't learn from history are doomed to NOT repeat it.
We know the old adage, but the other reality is that there's nothing new under the sun. The same goes for the practice of User Experience (UX) and it goes back further than you might think.
History can be fun – especially when we see how it relates to our ever-expanding and shifting industry of today. This presentation is geared to new practitioners who want to understand the foundations of our field and veterans who would like to see a different perspective on our profession. Let's look at the practice of UX through a historical lens at some of man's most creative pursuits and demonstrate the parallels between the past and today's design trends.
10 Principles of Design by Dieter Rams for Data VisualizationMika Aldaba
Guest Lecture for the Data Visualization class at Ateneo de Manila University. Basic design principles for Computer Science students. For educational purposes only, no copyright infringement intended.
In 2014, BBDO Belgium was awarded with the title Agency of the Year by Media Marketing. For the first time in the history of the competition, a jury of advertisers and agencies choose the winner based on a entry document.
This is a resume of our entry document.
This is our story of 2014.
This is why we are Agency of the Year.
This is why we are #BBDOproud
Grid Systems: Building Blocks to a Better User ExperienceDustin DiTommaso
A structural design method benefitting both the designer and the end-user, grid systems have been used for generations in print design, architecture and urban planning to lay out and optimize spaces for readability and comprehension, wayfinding and navigation, utility and usability.
As a framework for screen-based design, grids enable efficiencies in the planning, execution and presentation of UIs and content and imparts a refined aesthetic and sense of order improving perceived usability and intuitive behavior.
"From Design Thinking to Design Doing" Suzanne Pellican's presentation from the O'Reilly Design conference on January 21, 2016 at Fort Mason in San Francisco, CA.
TreataBit (www.treatabit.com, il progetto di supporto per startup digitali di I3P, Incubatore di Imprese Innovative del Politecnico di Torino) ospita Piero Casaluci, consulente in comunicazione e nuovo marketing di Sharp Consulting Comunicazione, per descrivere il processo di costruzione dell'identità visiva di una Startup.
L'evento si è svolto il 29 Gennaio 2013, h. 17.30 Agorà @ I3P, via Pier Carlo Boggio 59, Torino.
If you are interested in UX Writing, we have something special for you - a webinar on the subject "'What is UX writing and why should I care?"
Making Waves' Content Services team have many years' experience of creating and translating content, including UX writing which is becoming an interesting and important part of digital business.
Pieterjan and Anja talk about:
- How UX writing can improve the usability of your digital products
- How UX writing can create a better user experience
- How UX writing strengthens your brand
- How UX writing can increase conversions.
Those who don't learn from history are doomed to NOT repeat it.
We know the old adage, but the other reality is that there's nothing new under the sun. The same goes for the practice of User Experience (UX) and it goes back further than you might think.
History can be fun – especially when we see how it relates to our ever-expanding and shifting industry of today. This presentation is geared to new practitioners who want to understand the foundations of our field and veterans who would like to see a different perspective on our profession. Let's look at the practice of UX through a historical lens at some of man's most creative pursuits and demonstrate the parallels between the past and today's design trends.
10 Principles of Design by Dieter Rams for Data VisualizationMika Aldaba
Guest Lecture for the Data Visualization class at Ateneo de Manila University. Basic design principles for Computer Science students. For educational purposes only, no copyright infringement intended.
In 2014, BBDO Belgium was awarded with the title Agency of the Year by Media Marketing. For the first time in the history of the competition, a jury of advertisers and agencies choose the winner based on a entry document.
This is a resume of our entry document.
This is our story of 2014.
This is why we are Agency of the Year.
This is why we are #BBDOproud
Grid Systems: Building Blocks to a Better User ExperienceDustin DiTommaso
A structural design method benefitting both the designer and the end-user, grid systems have been used for generations in print design, architecture and urban planning to lay out and optimize spaces for readability and comprehension, wayfinding and navigation, utility and usability.
As a framework for screen-based design, grids enable efficiencies in the planning, execution and presentation of UIs and content and imparts a refined aesthetic and sense of order improving perceived usability and intuitive behavior.
"From Design Thinking to Design Doing" Suzanne Pellican's presentation from the O'Reilly Design conference on January 21, 2016 at Fort Mason in San Francisco, CA.
TreataBit (www.treatabit.com, il progetto di supporto per startup digitali di I3P, Incubatore di Imprese Innovative del Politecnico di Torino) ospita Piero Casaluci, consulente in comunicazione e nuovo marketing di Sharp Consulting Comunicazione, per descrivere il processo di costruzione dell'identità visiva di una Startup.
L'evento si è svolto il 29 Gennaio 2013, h. 17.30 Agorà @ I3P, via Pier Carlo Boggio 59, Torino.
If you are interested in UX Writing, we have something special for you - a webinar on the subject "'What is UX writing and why should I care?"
Making Waves' Content Services team have many years' experience of creating and translating content, including UX writing which is becoming an interesting and important part of digital business.
Pieterjan and Anja talk about:
- How UX writing can improve the usability of your digital products
- How UX writing can create a better user experience
- How UX writing strengthens your brand
- How UX writing can increase conversions.
Can AI do good? at 'offtheCanvas' India HCI preludeAlan Dix
Invited talk at 'offtheCanvas' IndiaHCI prelude, 29th June 2024.
https://www.alandix.com/academic/talks/offtheCanvas-IndiaHCI2024/
The world is being changed fundamentally by AI and we are constantly faced with newspaper headlines about its harmful effects. However, there is also the potential to both ameliorate theses harms and use the new abilities of AI to transform society for the good. Can you make the difference?
White wonder, Work developed by Eva TschoppMansi Shah
White Wonder by Eva Tschopp
A tale about our culture around the use of fertilizers and pesticides visiting small farms around Ahmedabad in Matar and Shilaj.
Dive into the innovative world of smart garages with our insightful presentation, "Exploring the Future of Smart Garages." This comprehensive guide covers the latest advancements in garage technology, including automated systems, smart security features, energy efficiency solutions, and seamless integration with smart home ecosystems. Learn how these technologies are transforming traditional garages into high-tech, efficient spaces that enhance convenience, safety, and sustainability.
Ideal for homeowners, tech enthusiasts, and industry professionals, this presentation provides valuable insights into the trends, benefits, and future developments in smart garage technology. Stay ahead of the curve with our expert analysis and practical tips on implementing smart garage solutions.
You could be a professional graphic designer and still make mistakes. There is always the possibility of human error. On the other hand if you’re not a designer, the chances of making some common graphic design mistakes are even higher. Because you don’t know what you don’t know. That’s where this blog comes in. To make your job easier and help you create better designs, we have put together a list of common graphic design mistakes that you need to avoid.
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.
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.”
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”.
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
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
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.
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.
Tip22
7 column grid 5 column grid 3 column grid
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