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Wayne State University

Aim Higher

Nov 18 / Gemma Iaquinta

project 4 process work

01_sketches 02_sketches 03_sketches 04sketches 05_sketches connotations pp1_connotations pp2_connotations pp3_connotations pp4_connotations

Nov 11 / Gemma Iaquinta

another type blog

This is a blog I came across that had some inspiring typography designs.

Oct 29 / Gemma Iaquinta

expedition, graceful

expedition: a journey organized for a particular purpose; a journey taken for pleasure.

(my definition) a journey in which the traveler creates the boundaries and rules.

associated words: journey, battle, unpaved road, creation, struggle, satisfaction, sweat, challenge


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graceful: characterized by the beauty of movement, style, form, or execution.

(my definition) a movement or action performed, that gives the sense of effortlessness. The action seems so natural, it is beautiful.

associated words: feather, beauty, natural, movement, fluent, unconstrained, airy, delicate, dancer, softness, elegance

definition source:

IMG_4172 IMG_4171


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Oct 29 / Gemma Iaquinta

pattern language

photo 3 photo 2

photo 1


2013-10-29 20-15-06

2013-10-29 20-16-01


The 3 skin care items shown in the photographs all share the same pattern language. The brand name is on the top, the item name is next but in bold letters, then a brief description underneath that. The type is centered on the bottle or jar.


Oct 7 / Gemma Iaquinta

Project 2 terms

Font: A set of sorts or glyphs. In the world of metal type, this means a given alphabet, with all its accessory characters, in a given size. In relation to phototype, it usually means the assortment of standard patterns forming the glyph palette, without regard to size, or actual filmstrip or wheel on which these patterns are stored. In the world of digital type, the font is the glyph palette itself or the digital information encoding it.

Postscript: Referred to PS, T-1, PS-1.  It is a trademark used for an object-oriented computer language for describing the appearance & layout of documents, used to print high-resolution text & graphics. Uses descriptive mathematics that interprets letterforms in terms of Bezier splines (Postscript splines are cubic).  Consists of a printer font & a bitmap suitcase.

OpenType: Modern font format developed by Adobe & Microsoft to provide users with an accessible & advanced typographic toolset.  The format may offer you 4 choices: Proportional & Tabular lining (titling) figures, & proportional & tabular old-style (text figures).

Typeface: An artistic interpretation, or design, of a collection of alphanumeric symbols.  May include letters, numerals, punctuation, various symbols, & more—often for multiple languages.  Usually grouped together in a family containing individual fonts for italic, bold, & other variations of the primary design.

Glyph: An incarnation of a character.  Every character in a typeface is represented by a glyph.  One single type design may contain more than one glyph for each character.  These are usually referred to as alternates.

Connotation: An idea or feeling that a word invokes in addition to its literal or primary meaning.

Denotation: The literal or primary meaning of a word, in contrast to the feelings or ideas that the word suggests.

Modern Type: Characterized by high contrast between thick & thin strokes, & flat serifs, along with a totally vertical axis.

Transitional Type: Characterized by medium contrast between thick & thin strokes, less left-inclined Old-Style faces, & a triangular or flat tip where diagonal strokes meet.

Humanist Type: Originated among the humanists of the Italian Renaissance & persist to the present day.  They are of 2 primary kinds: Roman & Italic.  Humanist letterforms show the clear trace of a broadnib pen held by a right-handed scribe.  They have a modulated stroke & a humanist axis which is an oblique stroke axis reflecting the natural inclination of the writing hand.

Slab Serif: An abrupt or adnate serif of the same thickness as the main stroke.  Hallmark of the so-called egyptian & clarendon types: 2 groups of realist faces produced in substantial numbers since early 19th cent.

Sans Serif: Without serifs (a stroke added to the beginning or end of one of the main strokes of a letter).

Ligature: 2 or more letters tied into a single character.  Rigid definitions of the glyph set, leaving no provision for additional ligatures (such as ff, ffi, ffl, fj) are a hazard to typography. Required by the design of the individual typeface should always reside on the basic font.


Oct 1 / Gemma Iaquinta


font mannerisms_part2.1_

project2 font mannerisms_part2.1_

project2 font_mannerisms_counter_part2.2









Sep 22 / Gemma Iaquinta


Typeface notes:

Designed by Paul Renner in 1927, Futura is the classic example of a geometric sans serif type. Its original concept was based on the Bauhaus design philosophy that “form follows function.” Futura uses basic geometric proportions with no weight stresses, serifs, or frills, with long ascenders and descenders that give it more elegance than most sans serif typefaces. The wide range of weights plus condensed faces provide a variety of ways to set short text blocks and display copy with a strong, no-nonsense appearance.

Optical Size: Futura Std family is designed to be used at a text size of 12.0 points.

Designer: Paul Renner

Classifications: Sans Serif


Sep 15 / Gemma Iaquinta

Robert Bringhurst: Part 1

Bringhurst talks about type as if it were fashion on a runway. He believes that the type should attract the reader before what is being read. He explains that type should always be legible and act as “living energy to the page”. Bringhurst states that the goal of type is to compose on a page without being repetitive, trite, or obvious. He advises us to read the text before designing it and build a relationship between the text and other elements like photographs, charts, or captions.

“The first task of the typographer is therefore to read and understand the text; the second is to analyze and map it. Only then can typographic interpretation begin.”

“The typographic page is a map of the mind; it is frequently also a map of the social order from which it comes.”

In regards to text and typeface, Bringhurst states, “They need not live together contentedly forever, but they must not as a rule collide.”


  • invite the reader into the text
  • reveal the tenor and meaning of the text
  • clarify the structure and the order of the text
  • link the text with other existing elements
  • indicate a state of energetic repose, which is the ideal condition for reading
Sep 15 / Gemma Iaquinta

Type Crimes

Horizontal and Vertical Scaling: The proportion of the letters have been digitally distorted in order to create wider or narrower letters.

Pseudo Small Caps: Helvetica was never meant to include small caps. These automatically generated characters look puny and starved; they are an abomination against nature.

Commonly Abused Punctuation Marks: The hatch mark indicates inches and feet. An apostrophe signals contraction or possession. Quotation Marks set off dialogue.

Tightly Tracked Text: Letters are tracked too close for comfort.

Poorly Shaped Text Block: In most uses, centered text should be broken into phrases with a variety of long and short lines.

Full of Holes: A column that is too narrow is full of gaps.

Bad Rag: An ugly wedge shape spoils the ragged edge.

Punctuation Eats the Edge: Excessive punctuation weakens the right edge.

Vertical Baselines: Stack top to bottom. Stacked letters sometimes appear on book spines, but vertical baselines are more common.

Too Many Signals: Using paragraph spacing and indents together squanders space and gives the text block a flabby, indefinite shape.

Data Prison: The rules and boxes used in data tables should illuminate the relationships among data, not trap each entry inside a heavily guarded cell.

Two hyphens in place of an em dash.

Hyphen between numbers instead of an en dash.

En dash in a hyphenated word.

An ellipsis in place of separate points.

Prime marks in place of quotation marks.

Two spaces in between sentences.

IMG_4151 IMG_4156 IMG_4157 

Sep 15 / Gemma Iaquinta

Em, En

A hyphen is the shortest of the dashes.

Em: In linear measure, a distance equal to the type size. It mimics the distance of the letter “m”.

En: Half the distance of an Em, or the distance of the letter “n”.