Typography: Visual connections to art and architecture ...
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Rochester Institute of Technology Rochester Institute of Technology
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Theses
5-1-1997
Typography: Visual connections to art and architecture through Typography: Visual connections to art and architecture through
the ages the ages
Andrea Haveman
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Rochester Institute of Technology
A Thesis Submitted to the Faculty of the College of
Imaging Arts and Sciences in Candidacy for the
degree of Master of Fine Arts
Typography:
Visual Connections
To Art and Architecture
Through The Ages
ByAndrea Haveman
May 1 997
Approvals
Chief Advisor: Deborah Beardslee
Date 2(0 JIUU 199f
Associate Advisor: Bruce Meader
Date
Associate Advisor: Heinz Klinkon
Department Chairperson: Mary Ann Begland
1/ Andrea Haveman , prefer to be contacted
each time a request for production is made. I can be reached at the
following address:
214 Andrews Streett Apt. 1D
Rochester, New York 14604or
3 1 1 West Sunset Court
Madison, Wisconsin 53705
Thank You
/ would like to thank Deborah Beardslee especially, for her advice,
encouragement, and time spent overseeing this project as my chief
advisor. I would also like to acknowledge the other members of my
committee, Professors Bruce Meader and Heinz Klinkon for their
assistance, advice and encouragement throughout this project.
Thank you to Professor R. Roger Remington for his knowledge of
graphic design.
I would also like to thank my new friends from the Graduate
Graphic Design program, whose creativity, positive spirit and work
ethic provided me with a motivating, and supportive environment
thoughout the program.
I would also like to thank my parents, Sally Haveman and Robert
Haveman whose love and guidance have always led me to pursue
my dreams. And to the rest of the Haveman and Wolfe families for
their love and support.
Table of Contents
Thesis Project Definition 2
Research and Analysis 1 4
Synthesis 1 7
Ideation 22
Evaluation 31
Implementation 34
Dissemination 35
Retrospective Evaluation 36
Conclusion 37
Glossary 40
Bibliography 42
Appendices 43
Thesis Project Definition
Imitation of Historical Styles
Preliminary Proposal
In the fall of 1996 another idea was explored for the thesis study
after reviewing a booklet about Bradbury Thompson and some of
his work. Of particular interest was a section on the importance of
understanding the history of type, particularly when integrating it
with historical imagery. He stressed that mere imitation of past styles
was both tedious for a designer and unoriginal for the audience.
This kind of imitation fails to contribute anything new and original
to graphic design. Without the understanding of historical idioms a
designer is forced to'parrot'
or imitate the styles of the past. By
understanding this historical information, a graphic designer could
convey a particular time in history in an original way. In addition,
it would free the designer from the task of accurate imitation and
allow a designer to contribute more of a personal style. So, as
a graphic designer's understanding of history develops, and
particularly the history of typography, producing design that imitates
past styles or design that inappropriately integrates type with
historical imagery is greatly reduced. This was the initial direction of
the thesis-providing graphic design students with a tool that would
provide useful historical information for combining type with
historical imagery.
By the end of the fall quarter, a preliminary proposal was written;
however, the final thesis topic would change quite a bit from this
original'pre'
proposal. As the thesis planning report began, theproposal was still very basic and lacked detail. Slowly, it started
becoming more defined as intentions were clarified accordingto comments received from various people. Based on feedback
received from Professor Remington and peers in the graduate
graphic design program, necessary details were added while
unnecessary or unclear concepts were removed from the thesis
statement.
Thesis Project Definition continued
Visual Diagram During the thesis planning, designing a visual representation of
the thesis topic was suggested by Professor Remington. This visual
representation was a diagram showing the specific thesis topic and
what it included. Creating this diagram was crucial. It was not until
going through the process of diagramming, that a direction became
evident. The diagram was a very effective tool for clarifying the
ideas for this thesis topic. Having to verbally articulate and explain
the diagram helped clarify the final thesis topic.
see appendix A for the Thesis Planning Report
see appendix 8 for the diagram
Type and Image Integration At this point, the idea of type and image integration was still the
main concept for the thesis project. After refining and clarifying the
concept, receiving feedback, and numerous revisions, the proposal
was finalized. This document was submitted to the chair of the
graphic design department, Mary Ann Begland.
see appendix C
Type History and Visual Arts History After some preliminary research and discussions with both professors
of graphic design, Roger Remington and Deborah Beardslee, the
topic evolved in a somewhat different, but related direction to the
submitted proposal. It seemed that, to understand this history in
a way that would be useful to design students, it would have to
include something about the visual arts of the times as well the
history of type. Therefore, in addition to the history of type, the
history of the visual arts became more important to the thesis topic.
The first question wasis there a visual relationship between type
and the various forms of visual art throughout history? The next
questionwasif type did relate to various art forms throughout
history, exactly how did they relate to each other? These questions
provided the basis for the final thesis concept. And because of
my BA in studio art, this final thesis topic had evolved into one of
personal significance.
Thesis Project Definition continued
The previous topic idea of how to integrate type and image
became less of a focus, but still would be covered indirectly with
this new concept. For example, the more information a student
learns about the visual relationships between type to various forms
of visual art through history (the new thesis topic), the more that
person will be able to use type in an informed manner. This
awareness would be reflected in their work with type and image
integration (the goal of the previous thesis topic).
Setting Parameters
Defining Terms
Eventually, there arose a question of what information to include and
what to exclude from this project. The potential for this thesis to be
too expansive was evident early in the research. Certain parameters
had to be set in place before a focused study could continue.
At this point, the thesis began as a comparison between the form of
type design and the forms of the visual arts through history. This was
too broad an area to cover for the thesis project. How could this
topic be contained without changing the study completely? In order
to compare forms of type to forms of visual art, the term'form'
had
to be defined and had to be used consistently for both subjects.
Different definitions for'form'
were explored. The best definition
for this study was from H. Gardner's, Art Through the Ages.
Form that of total organic structure, of a synthesis of all the elements
of that structure and of a manner in which these elements are
related and united to create its distinctive character.
For the purposes of this study, the definition of'form'
was applied to
type as follows:
Type form The synthesis of all the elements of the letters including physical
shapes, contours and proportions of the letterform shapes, and
the manner in which these elements are related and united to
create its distinctive character
The definition of form that will be used throughout this document will
be applied to the visual arts as well.
Visual art form The synthesis of all the elements of a particular work and of a
manner in which the elements within the work are related and
united to create its distinctive character.
Thesis Project Definition continued
In other words, what visual qualities separate the forms of letters or
of visual art of one period, from the forms observed of other periods
throughout history. Limiting the topic to include only the study of
physical forms throughout history was the first parameter determined
for this thesis project. This parameter would allow for a focused
study of the relationships of type and visual art through history.
Different definitions for 'visualart'
were explored as well, so that
perhaps it too could be simplified in some way. What exactly does
'visualart'
include? The definition used for 'visual throughout this
thesis project is from Helen Gardner's, Art Through the Ages.
Visual art The selective communication of human experience in tangible
forms existing as matter in space.
In order to simplify 'visual into a manageable subject for the
limited time of the thesis project, two disciplines were selected that
met the criteria of the definition of 'visual art'. The two disciplines
were architecture and painting. Limiting the thesis to these two
disciplines was the second parameter of the project. The reason
for the selection of these two disciplines as opposed to sculpture,
woodcarvings or other forms of two or three dimensional visual art
forms, was that architecture and painting offered the richest and
most representative examples for comparison. In addition, both of
these disciplines appeared consistently throughout history, while
other forms such as woodcarvings or engraving may have been
more popular during specific time periods.
Selecting Historical Periods A third necessary parameter was to determine which periods
from history to include. The Gothic period appeared to be an
appropriate starting place. Although the Gothic lettering is a hand-
generated form of calligraphy and not the mechanically-generated,
mass-produced typography, it was an appropriate introduction to the
printed word. It was Gothic lettering called"textura"
that was used
as a model byjohann Gutenberg in 1450 when he invented
movable metal type. Depending on the source, the breakdown
of art history is usually divided as follows: Medieval or Gothic,
Renaissance, Baroque and Rococo, and Modern.
Thesis Project Definition continued
Some of the fine art references included Baroque and Rococo
periods into the Renaissance era, and added the Neoclassic
period as a division to the Modern era. The periods were chosen
according to the organization of information found in the references
on art history. This was because these terms were more common
than the terminology used for the categorization of type. The
following is the list of the periods to be researched:
Gothic
Renaissance
Baroque
Neoclassic
Modern
Visual Arts Limited to Painting Another questionwascould painting be expanded to include other
forms of two dimensional pictorial expression such as woodcuts,
lithographic prints, stained glass, or textiles? It made sense that, to
give the project continuity, it should be limited to painting only
unless an exception could be justified. The one exception was for
the Gothic period. Stained glass was used in place of painting
because it was so popular during the period that it has been
considered the hallmark of the entire period. In effect, stained
glass was more representative of the Gothic style than painting.
Establishing Visual Variables for Comparisons Next, a consistent method for comparison of the five periods was
needed. Many descriptive terms were used in the research materials
of the three disciplines. For example, descriptive words such as
direction, geometry, movement, and direction, were all adjectives
used in describing typefaces, as well as architecture, and painting.
Any descriptive terms that were used frequently to describe type,
architecture, and painting, were recorded. For example, one of the
first findings was the quality of extreme verticality found in the letters
during the Gothic era. Upon further research, it was clear that this
characteristic was apparent in architecture and painting as well.
The visual comparisons for this thesis project were conducted based
on these six words:
Geometry
Complexity
Directionality
Symmetry
Rhythm
Contrast
Thesis Project Definition continued
Selecting Visual Examples The last parameter involved choosing specific visual examples to
show the forms of the three disciplines (type, architecture, and
painting) for each period. The choice of images to use was based
on which images best represented the style of each period.
For the purposes of this thesis, the definition of'style'
is:
Style a development, a coherent grouping of forms united by a
reciprocal fitness.
These examples should also clearly illustrate conclusions about the
visual connections between the three disciplines. The following are
some of the final images considered for the guidebook. The process
by which each actual example was chosen will be discussed in the
Synthesis section of this document.
Thesis Project Definition continued
Visual Examples of Type
Gothic
1 200: Textura
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Renaissance
1470: Nicolas Jenson
Jenson
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Baroque and Rococo
1734: William Caslon
Caslon
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Thesis Project Definition continued
Visual Examples of Type
Neoclassic('modern'
type) abcdefghijklmilO1884.GiambattistaBodoni
ABOEFGmjK
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Modern (sans serif type) ObcdefqHi i jH 17111000TS1 927-30: Paul Renner
vr II
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Thesis Project Definition continued
Visual Examples ofArchitecture
Gothic
1434:
St . Maclou
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Renaissance
(I) 1567: Andrea Palladio
Villa Rotunda
(r) 1420-36:
Filippo Brunelleschi
Florence Cathedral
Baroque
(I) 1638-67:
Francesco Borromini
Carlo alle Quattro Fontane
(r) 1656-75:
Carlo Rainaldi
Santa Maria in Campitelli
10
Thesis Project Definition continued
Visual Examples ofArchitecture
Neoclassic
1 8 1 6-26: Thomas Jefferson
State Capitol,
Richmond, Virginia
1 852: James Rewick
Smithsonian Institution,
Washington, D.C.
Modern
1926: Walter Gropius
Bauhaus,
Dessau, Germany
1956: Mies van der Rohe
Illinois Institute of Technology,
Chicago, Illinois
Thesis Project Definition continued
Visual Examples of Painting
Gothic
1190
Reims Cathedral
The Crucifiction
Renaissance
1495-7
Leonardo Da Vinci
The Last SupperW W%
Baroque
1617
Peter Paul Rubens
The Rape of the Daughters
of Leucippus
1635-6
Peter Paul Rubens
Village Carnival
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:
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12
Thesis Project Definition continued
Visual Examples of Painting
Neoclassic
1784
Jacques Louis David
Oath of Horati
1884-6
George Seurat
Sunday Afternoon on
Grande Jatte Island
Modern
(I) 1931: PietMondrian
Composition in Red,
Yellow, and Blue
(r) 1921-5: PietMondrian
Diamond Painting in Red,
Yellow and Blue
13
Research and Analysis
Beginning: Broad Overview
Recording Information Chronologically
The research began as a broad overview of the topic in the middle
of December. At this early stage, the parameters discussed in the
previous section had not been established. The topic still included
the overall visual comparisons between type and the visual arts.
These were the two broad topics researched at this stage:
type through history
visual art through history
By the end of January, the research had to be contained to include
the study of the three disciplines according to the parameters
defined in the previous section. This included the study of:
Forms of Type through history
Forms of Architecture through history
Forms of Painting through history
At the beginning of the research, the best method of organization
had not been determined, so the research method adopted was to
record information chronologically. This method was chosen simplybecause it was in accordance with a majority of the research
materials which were also organized chronologically. Notes were
recorded for each of the five periods in history.
The amount of information being gathered soon demanded a
form of organization. A method of organization described in
Richard Saul Wurman's Information Anxiety called 'The Five Ultimate
HatRacks'
was adopted. In this book, Wurman describes five
methods of organization: category, time, alphabet, location,and
continuum. The first method of organization used for this thesis
project was time. Time seemed to be the most direct method to
organize the information and, as mentioned above, was already in
use. The information gathered was distributed into the five periods in
history. The breakdown of historical periods was attained from
several sources on art history.
14
Research and Analysis continued
Classification Groups Depending on the source, type is classified as follows: Black Letter,
Old Style, Transitional, Modern, and Sans Serif. In order to bring
the three disciplines into one method of organization, the
chronological breakdown described for art history was used. The
reason for this choice was that the terminology used for describing
periods in art history are more familiar to non-designers and people
with no prior knowledge of type history.
The classifications of type related to the six periods as follows:
Art HistoryGothic
Renaissance
Baroque
Neoclassic
Modern
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Type History
Gothic
Old Style
Transitional
Modern
Sans Serif
This method of organization worked well with one exception. One
problem was that what is considered to be Modern type, came a
century before what is considered Modern art. This important
disparity was noted carefully and was clarified and discussed again
in the guidebook application.
Categorization Soon, another method was required to record specific information
common to the three disciplines. Another method described byWurman was use-Categorization. The six descriptive words
chosen were:
geometry
complexity
directionality
symmetry
rhythm
contrast
After these two methods of organization were established, a matrix
was designed. A matrix would offer a direct method to cross
reference the information gathered, and would facilitate analysis
of this information.
Research and Analysis continued
Image Gathering The process of image gathering was approached in the same way
as the rest of the research. The two methods of organization
described by Wurman were used: time and category. Examples
of type, architecture and painting were collected that possessed
some of the visual qualities of the descriptive categories-geometric,
complexity, directionality, symmetry, rhythm, and contrast. As each
period was studied, several images were reviewed and analyzed
and filed according to the five periods in history. One example of
type, architecture, and painting was selected for each period. The
selection was made based on how well it represented the particular
period, and how well it demonstrated the connections to the other
disciplines from that period. Each image was then interpreted in
relation to the list of visual characteristics. Different quotations from
the research materials were recorded into the appropriate boxes on
each matrix for each example chosen.
See appendix D
Synthesis
There were many relationships found between the visual
characteristics of type through history and those of architecture
and painting.The following shows a list of the images chosen and
an explanation for their selection.
Gothic
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Type form-Textura
Textura was chosen because it was the most widely used script
during the Gothic period. It possesses qualities that related to both
the architecture and painting of the period such as verticality, and a
'pointedarch'
appearance resulting from its square serifs.
Architectural form-St. Mclou
This cathedral was chosen because it exemplifies the architecture of
the Gothic period. The two main qualities that are directly related to
type are the pointed arch and the extremely exaggerated verticality
of the church.
Painting form-The Crucifiction
The example chosen to represent two dimensional visual art for the
Gothic period was a stained glass window. This was the only
exception made in the guidebook. All other examples are paintings.
In this case, the exception was made because the visual connection
between the windows and letterforms of this period were so strong.
The intricate leading of these windows created a skeletal pattern
that were similar to the woven texture of the Gothic letterforms.
17
Synthesis continued
Renaissance
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Type form Jenson
Jenson was selected because it has noticeably wider
letterforms. It represented the movement away from
verticality that was the importantdistinction from the
Gothic sense of verticality. Jenson's letters show a careful
consideration given to the shapes of the letters themselves,
as well as the space around them.
Architectural form Dome of Florence Cathedral
This example was chosen because it represents the
Renaissance concern for clarity and order. This cathedral
was constructed with pilasters, entablature and moldings
that establish a network for a rationally ordered and
geometric interior space. The exterior was also constructed
carefully, using the cube and dome and a strict proportion
of 1 to 2 throughout.
Painting form The Last Supper
This painting was selected because its structure and
geometric order are clear. This painting is the ultimate
example of the concern during this period for
mathematically accurate form. This painting also
demonstrates a careful consideration of the relationship
of interior spaces. The long table is set parallel to the
picture plane with the Christ figure centered and framed
by the central window. His figure is the focal point of all
lines in the composition, adding to the highly ordered
organization of the painting
Synthesis continued
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Baroque/Rococo
7ype form Caslon
Caslon was chosen for the Baroque era as a contrast to what was
happening in both architectural and painting styles of that period.
The increased contrast between the thick and thin strokes of Caslon
gave it a heavier texture. This was contrary to the delicate forms
seen in architecture and painting of the day. Despite its heavyappearance, Caslon was used more regularly than all other
typefaces, including being the chosen typeface for the Declaration
of Independence.
Architectural form St. Carlo alle Quattro Fontane
This church was chosen to represent the architecture of the Baroque
era. It exemplifies the complexities achieved during the period. The
architect, Francesco Borromini manipulates convex and concave
surfaces, making it difficult to distinguish the two surfaces. In
addition to these elastic surfaces, the ornamental detail adds
to its highly complex appearance.
Painting form Rape of the Daughters of Leucippus
This painting was chosen because it demonstrates the extreme
contrast indicative of the Baroque style. In particular, the soft flesh of
the women, the darker and muscular flesh of the men, the shiny satin
cloth, metal armor, and the taut skin of the horses creates strongcontrasts of textures. Its dynamic relationships, and intricate detail
also add to the complexity of the painting overall.
Synthesis continued
Neoclassic
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Type form Bodoni
This'modern'
face was chosen because of its clean, simple
appearance, achieved by constructing his letters using
interchangeable parts. This simplicity was representative of
the neoclassic rejection of intricate and complex Baroque style.
Architectural form State Capital
This example was chosen for the contrast evident in its tall pilasters
(columns) and the clean crisp lines of its exterior. It also represents a
shift to simplified and mathematical form.
Painting form Oath ofHorati
This painting was chosen because it also shows great contrast. The
sharp contrast in the folds of the clothing, and the sharp lines show
a precision and simplicity of form indicative of this period.
20
Synthesis continued
Modem
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Type form Futura
Futura was chosen because it possesses many of the qualitiesthat
were representative of the Modern era. It is stripped of unessential
elements, and reduces the alphabet to basic elementary shapes.
Architectural form Bauhaus
The Bauhaus building was chosen to represent the architecture of
the modern era because it too reduces form to basic shapes. The
architect, Walter Gropius was concerned with designing
architecture that was clear, and constructed of cubic units. These
units functioned only as part of the greater whole.
Painting form Composition in Red, Yellow, and Blue
This painting by Piet Mondrian was chosen because, like the type
and architecture of this era, it too was reduced to an extremely
limited vocabulary. It included only the use of straight lines, and
reduced all shapes to squares and rectangles. In addition, only
black, white, and the primary colors-red, yellow, and blue
were used.
21
Ideation
Reference Tool for Students The concept for the guidebook was to create a reference tool for
students. Audience was an important consideration. A more distilled
version of the intricate details of type, architecture and painting was
more appropriate for providing students with a broad overview. This
satisfied the project's time limitation and would not be intimidating to
the newcomer.
Since the purpose of the guidebook was to provide information
on similar visual forms of type, architecture, and painting through
history, the visual examples had to be easily comparable. This made
the layout of the book extremely important. Different layouts were
explored in order to arrive at the most effective layout.
The sketch below shows the first idea for an effective format for the
guidebook. This layout permitted the viewer to see an example of
all three disciplines on one spread. However, the plan was not
adequate because the images were too small to recognize detail.
Being able to see detail was necessary in order for comparisons to
be clear and meaningful to the viewer.
Guidebook sketch
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22
Ideation continued
This next idea provided larger visual examples for comparison.
The three disciplines could be easily compared in this particular
spread. However, the layout did not provide enough space for
periods with vertical and horizontal images. As you can see from
the spread below, only two horizontal or two vertical images could
be placed on the right-hand page.
Guidebook sketch 2
The Baroque Era 1600-1750
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pv* the period gnfcyilt.
Mof th* dynamic and tifnlocxnt period]
in th* hinry ofw*u*m euhur*.
T..l|lfl. I-Hr.fl !. 'pB* i^rB -1""<
.The Kenan Baroque
and chenfe,of Hi
between die para of th* bviUnfin chane-
urinkAt It) b*tt th* Roman Baroque buldlRi
b comparable to that ofa fufv*.anotherof
th* fnatBaroque art formLEach b an orcan-
reveab to**ai a rightly In
Baroque palnMnf. Th* development of the
Baroque paJndryj In taly b more compUcauddan that of architecture
.Oiierinjpoint) of
view appeared at the barreling of the century.and theie wan never fut> reconciled.The two
annta who did mast to mabfch then trendi
wen Caraa(gio and CancelHowever,both
poueued th* deiiro to undentand realty not
In term* ofa rational"b*a"
of th* but rather
by artful obiemtJon of the natural world
The concept of enlarging a portion of an image was explored in
this third sketch. For example, the three boxes on the right-hand
page are details taken from the larger images. This idea remained a
possibility, while still others were explored.
Guidebook sketch 3
tUSiU
GoU.lt palntln f. Th* deweJopmant of th*
Baroque painting In Idly b more compHcitrd than
that of archlecture.Differing points ofview
appeared It the beginning of the century, ami cheie
were nm-w Uity reconciled Tin two inho who
dM moit to ntablnh the trendi war*
Canvaggio and CarraccL However, both poueued
th* dalre to uraJantand reality noth tarmi of
rationalTdt"
of the but rathar by carefulobier-
tatJon of the natural world.
23
Ideation continued
Benefits of New Layout Design In Guidebook sketch 4 (following page), two main criteria were
considered based on discoveries made from the first three sketches.
First, the visual examples should be large enough to see details
clearly. Second, the grid ultimately had to accommodate large
images that were both horizontal and vertical in orientation.
Guidebook sketch 4 meets both of these requirements. In this sketch,
more space is created by adding two shortened pages. There are
two benefits to this layout. The first is that when these shortened
pages lay flat, the visual comparisons can be made easily by the
viewer from page to page. In fact, the idea of showing a detail
from a larger image was taken from the previous Guidebook sketch
3. The second benefit is that this layout could accommodate large
images of both horizontal and vertical orientation. The large images
would be revealed as the viewer turned these shortened pages.
System of Shortened Pages The text on one of these shortened pages would describe the visual
connections to the other two disciplines. For example, the shortened
page describing Gothic script would also include a description of
how its form relates visually to Gothic architecture and painting. The
enlarged detail at the bottom of these pages would illustrate the
points being discussed. The diagram below shows how the concept
of shortened pages works.
24
Ideation continued
Guidebook sketch 4
GothicTypography. Texturawa the
dominant lettering iiyle of the gothlcperiodCnhcr termi auch at th* franch ktnr de
fame and the Engbh blocUeaci and Old
Engfahjre vague and mbleduigJDurin( ID
Ume.textura was called Wero modemo.which li
latin lor -modem kna-lnf.Thisityle wai qufte
functkwaUor all the vertical nrokm In i word
are drawn Art (.then the scribewould add the
terlfi and other strokes needed to transform
the group ofvertlcab Into a wortLRoundod
strokes an almost elknlnatwtand the letten
and the space) between them an condetuad
In an effort to ime jpwo on the predoui
parchmancTha owrall aHect b on* of a dame
black taatttlre.Rotundawai the tallanste
vento* of the textura.The letter) became
rounded,and did not end In rectangle).
)DnlmiWttDittri,IKttttulittin
Uiu.J&biliffifraqiuhuutuituuo
iflttat inuaUt raphantLlEtui
mi
Gothic architecture. The Roman Baroque
architect) toujhtoftan with great Ingenuity ano
itibtlecy, to supply the spectator with a rich
variety of iefuatlcau_Suggstloni of movement
and change,ol a fluid or organic relationthlp
between the parti of the buldaig arecharacteristic_At\a belt the Roman Baroque
building b comparable to that of a fugue.another of the great Baroque art lorms.Each a
an otganbm ofgreat complexity which In the
end reveals Kieff a a tightly integrated
Gothic painting. The davekfHnant of the
Baroque pintta ki Itar/ b mora complicatedthan that ol arrhltoctuie.Dlfferirn; point, of
view appeared it the beginning of th* century.and thrae were never fully recont.-lleti.Tht> twoartist* who didmat to tatablbn the-* utskU
were Caravagglo and CuraccLHowever, both
pouataed the desire to understand reality not
In fc-rmi of a rational"idea"
of the hut rather
by cardul obiervKloti of the natural world.
Ideation continued
Final Adjustments In Guidebook sketch 5, the final adjustments were made to the
layout for this visual comparison section of the guidebook. More
continuity was added to this layout in comparison to Guidebook
sketch 4. This was achieved by aligning the text on the three
layered pages. The comparison section on the left page was refined
to relate more to the rest of the book by keeping the large heading'Comparisons'
oriented horizontally. This heading was vertical in
Guidebook sketch 4. In addition, the box labeled'Comparisons'
on
the left-hand page of the spread was adjusted to relate in size to the
shortest of the layered pages on the right side of the spread.
26
Ideation continued
Guidebook sketch 5
H* DHUe[tatMM* cabal | can 1 19 I
_aMokabrraatai1rw*j
strata-abb rl idbUpaiTajtartirittnrraptolMatapenyiaamjaTl of lea**.
ntkakla*aiapaaeB riireaasra fa
asMftfttla. I rtjaejej,
tot*" tataa* ftfflttllanlkT
lattnaaiiejgtBltMalaailalaM^
rtssssasrihrfaeaM aflat ieW>it-ie1i<a||.Miaaj||
^atea^iM^faaaa^trp**
ifagatwfractalajijejlwtmmm*l*
MaiaMfcw**n*Mri*>aakagr.
f .* im1. ultJe, n, .,bjji,BTIH IfM aaa-aj t.aal Ht flMtf earth
27
Ideation continued
The concept of Cover I was to show a simple combination of the
logo designed in the planning stages of the thesis project and a the
grid (represented by the four squares) used for the guidebook. This
design could not be used because the title changed since the logo
was designed.
Cover 1
28
Ideation continued
The concept of Cover 2 was to simultaneously show examples of
type, architecture, and painting. The goal was for the reader to
immediately see these three elements interacting together. This would
provide a context for the reader upon first viewing of the book. This
cover was unclear, so other options were explored.
Cover 2 (front and back)
The concept of Cover 3 (following page) is similar to the previous
idea, however the three examples (type, architecture, and painting)
are all from the Modern era. The difficulty with this cover is that the
element of type is seen as a texture rather than as the most
important element in the book. This could cause a viewer to
misinterpret the objective of the guidebook.
The concept of Cover 4 uses the same concept of the
integration of imagery from the three disciplines. The letters'HIJK'
are scaled to relate structurally to the structure of the architecture.
Also, the angle in the letter'K'
relates to the angle of the diamond-
shaped painting by Mondrian. While an attempt was made to
emphasize the concept of type by enlarging the 'HIJK', it is still
less noticeable than the painting image.
29
Ideatlion continued
Cover 3
Cover 4
30
Evaluation
Committee Response The initial evaluation process began early on in the project
development with weekly meetings with Professor Deborah
Beardslee, as well as four full committee meetings during which the
work in progress was evaluated by Professors Deborah Beardslee,
Bruce Meader, and Heinz Klinkon. Later, as revisions were made on
the guidebook application, several colleagues offered informal
evaluations of the guidebook. These evaluations were extremely
helpful in the development of more specific content and effective
design solutions. The evaluation conducted after the -first full color
copy of the guidebook, was the first feedback received from the
target audience (graphic design students).
Evaluation Form To facilitate the evaluation process, an evaluation form was drafted,instead of questioning students verbally. The form was intended to
evaluate all the different components of the guidebook. This
included: the content of the book, the comparative matrix, the
timeline, the book cover, image use, color use, and the overall
design of the book. The first draft consisted of twelve sentences that
evaluators were asked to complete by circling a response on a
scale that was provided. For example:
1 I understand the concept of this guidebook completely- Not at all
This first draft was changed slightly by giving the evaluator a scale
that had specific choices. It was noted by Bruce Meader at a
committee meeting that without this, it would be extremely difficult
to assess the responses. For example, how could it be determined
what was meant by a mark like the one below that was not
'completely'
or 'not atall'
and not directly in the center of the
two choices.
completely-ese:
^ j^ N0talall
The scale was changed in order to provide specific choices for
the evaluator. The scales on the final evaluation form looked like the
one below.
completely Not at all
31
Evaluation continued
Participant Profile Most of these evaluation forms were given to the target audience. In
all, twenty-two evaluation forms were completed.
1 expert of graphic design
2 graduate graphic design student
6 senior graphic design students
5 junior graphic design students
2 sophomore graphic design student
0 freshman graphic design student
6 person with no experience in graphic design
22
Evaluation Feedback
see appendix E
The conclusions drawn from these evaluation forms were that 1 ), a
majority of the participants of the evaluation understood the purpose
of the book and felt it is useful and interesting, and 2) the great
majority felt that the guidebook provided a sufficient amount
of information on the topic.
The area evaluators identified as needing clarification was the
cover. Many said they could not see the type imagery clearlyenough. A possible solution to the unclear cover might be to make
the relationship between the three disciplines stronger. As the cover
is now, the element of type is very understated. This is a flaw in the
design concept that needs to be reconsidered. It is especially
important because this book is intended to emphasize type form
and its history. This concept should be evident in the cover, so the
viewer knows immediately that this is a book primarily having to do
with type. Some people commented that they did not see the type
at first. The Mondrian painting dominates the cover and the
architecture is most likely seen next. Changing the emphasis here
so that the viewer is first aware of the type in the composition is
a necessary change.
Need forMore Entries Another comment made was that the timelines needed more
information. To correct this, more entries will be included in
these sections in the final guidebook application. In particular, the
Neoclassic and the Modern sections need additional entries. The
following page shows the final evaluation form.
32
a I have no experience in graphic design
b I am a graphic design freshman sophomore junior senior graduate expert
(Circle a or b) (circle one)
1 I understand the purpose of this bookcompletely , T t
- -not at ail
2 In general, this topic is.
3 To me, this topic is
'useful
useful
interesting
agree4 I could learn about typography from this book
5 The information that the book provides issufficient
6 The organization of the book is.
7 The matrix is.
8 The timeline is.
9 The cover is.
10 The images are.
11 The colors for the different sections are.
clear
clear
helpful
interesting
clear
helpful
interesting
clear
interesting
helpful
interesting
appropriate
attractive
helpful
12 The overall design of the book is interesting
clear
Please add any additional commentsin the space below
_
- not useful
not useful
boring
- disagree
insufficient
a> unclear
> confusing
'
not helpful
boring
confusing
not helpful
boring
- unclear
_ boring
not helpful
_ boring
inappropriate
unattractive
^ not helpful
boring
_) unclear
33
Implementation
Changes Made
Col'or
Page Numbers
Cover
Content
After conducting the evaluation and assessing the responses, the
following changes were made:
First, the yellow-green color seen throughout the guidebook was
adjusted. Several comments were made that the color was
distracting. To subdue this color, a darker, less yellow green was
used. The resulting color is more in tune with the rest of the color
pallet.
Second, page numbers were added to the contents page. This will
make the different sections easier to locate.
Third, several adjustments were made to the guidebook cover,
including added emphasis on the type imagery. Small circles were
added to the letter'K'
to symbolize its geometric construction. The
diamond shaped painting by Mondrian was made more transparent
so that it receded further into the background. These changes were
made in order to place more emphasis on the concept of type.
Besides these changes, refinements were necessary in the body text
of the guidebook. Adjustments were made to some of the text
alignments and corrections were made. Several entries were added
to the timelines and further descriptions were added to various
sections throughout the book.
see appendix F
34
Dissemination
Thesis Gallery Show
Library Archives
The guidebook was displayed for two weeks in the Bevier Galleryat Rochester Institute of Technology. Here, the guidebook was
available for review. This exhibit ran from April 28 until May 24.
The display of the thesis project also included three large format
panels explaining this thesis project and representative components
of the guidebook. There was one panel dedicated to summarizing
the purpose and goals of the guidebook.
Further plans for dissemination include making a copy of this thesis
document available in the Wallace Memorial Library archives. All
RIT students have access to these archives.
Instructional Guide
Studio Resource
Another possible method of dissemination would be to assemble a
booklet comprised of the images contained in the guidebook along
with brief summaries and conclusions concerning the visual
connections between type form, architectural form, and painting
forms through each of the five historical periods. Ideally, this
instructional guide would be given to students and could be an
introduction to courses concerned with typography. Specifically, the
packet could be given to graduate students enrolled in the design
history course, as well as the typography course here at RIT.
Unfortunately, full-color reproductions of the guidebook are notcost-
effective, so only a limited number of copies will be printed. For the
last method of dissemination, a copy of the guidebook could be
made available as a reference tool for students in the graduate
graphic design studio. It would be made available to any graduate
student interested in this topic.
35
Retrospective Evaluation
Color Accuracy
Project Scheduling
Production Costs
In retrospect, the guidebook could have been improved in several
ways.
A relationship with a good printer should have been established
earlier in the process. The printing of the guidebook application was
scheduled in time for one printing to be made. This did not allow
for any margin of error. Unfortunately, this led to some flaws in the
version of the book displayed in the thesis show. The most critical
production problem was accurate color reproduction. Final color
output did not match intended color choices. Many of the colors
were faded, while the most important color (the yellow- green seen
in the title and in several locations throughout the book) appeared
as a dull, yellowish color. Although several color tests were made,
ultimately, a printer was used whose color settings were different. By
choosing the printing company ahead of time, several color tests
could have been made to prevent this.
The most important change would have been scheduling the project
earlier. The thesis topic selection should have been completed bythe start of the academic school year, and was not decided upon
until the middle of winter quarter. If the topic for the thesis had been
chosen earlier, it would have allowed more time for research and
analysis, as well as for the actual design of the book.
The cost of printing the guidebook in full-color was enormous.
Perhaps the amount of color could have been limited
to only the comparison sections (with shortened pages). Limiting the
color use to a few specific pages would have lowered the cost of
this project significantly.
36
Conclusion
The conclusions drawn here for each period have been assembled
from an analysis of the information recorded in the comparative
matrix. Two or three of the most important descriptive words from the
list of six, are listed. The paragraph below the list explains why
these words were selected.
Gothic
complexity (complex)
directionality (vertical)
The visual comparisons of letterforms to the architecture duringGothic times is clear. The verticality is the most outstanding similarity
between the three disciplines. The complete shift from rounded
forms to their virtual elimination resulted in the pointed arches in
architecture and the square serifs of textura. The intricate design
of the gothic windows was much like the intricate woven texture
created by the strong verticals and pointed serifs of the gothic script.
Renaissance
geometric
direction (horizontal)
rhythm (regular)
The emphasis during this period was on highly rational and
scientific thought based on the individual. The art from many
ancient civilizations was studied during the Renaissance. This led to
the return of life-like representation and proportions of human form
that the humanists observed in art forms of the ancient civilizations of
Greece and Rome. In addition, the invention of the printed word
was one of the most important of this period, and made books more
widely available. During the Rennaissance, there began a
movement away from the extreme verticality of the Gothic period.
This new horizontality is evident throughout the visual arts during this
time. In Jenson s typeface, this new horizontality was achieved by
creating proportionally wider letter forms. In addition, the typeface
possesses an extreme clarity and intellectual order common to both
architecture and painting of the day. The new proportion of Jenson's
typeface link it to the highly rational and scientific visual art that had
become centered around the proportion of the human form.
37
Conclusion continued
Baroque/Rococo
complexity (complex)contrast
Neoclassic
complexity (simple)contrast
The typography of this period echoed many of the qualities seen in
both architecture and painting. The Baroque and Rococo styles
consisted of delicate C and S curves. Many of the forms were
derived from nature. Typefaces designed during this time possessed
qualities parallel to the intricate style of the visual arts. For example,
the typeface called Romain du Roi echoed the light and delicate
feel that was indicative of the Baroque period. One typeface stood
out from the rest. Caslon Old Style was in direct opposition to the
fashion of the day. Contrary to the asymmetrically balanced and
complex forms seen in architecture and painting, Caslon Old Style
possesses a feeling of symmetry. The increased contrast between the
thick and thin strokes of Caslon gives it a heavier texture than was
common at the time. But despite its heavy appearance, Caslon wasused more than all other typefaces of the day. In fact, Caslon was
used for the writing of the Declaration of Independence.
Contrast is an important characteristic present during this period.
The return to classics and rationalist thought meant a turn against
the intricacies and decadence of the Baroque period. A new
mathematical approach was taken, with little or no decoration. The'classic'
or'modern'
face is characterized by abrupt and fine serifs,
a new lighter weight, a marked contrast between the 'thicks and
thins', and narrowness of body. The Bodoni typeface possesses
contrasting features similar to the contrast evident in the tall pilasters
(columns), and the clean crisp lines of neoclassic architecture.
Contrast is seen in the paintings of the period as well. While
modern typefaces such as Bodoni, may have found inspiration in
the classic forms, they also looked ahead to the age of the machine
and mass production in that they are constructed of units that are
interchangeable.
38
Conclusion continued
Modern
geometric
complexity (simple)
The style during the Modern era centered around the cube and pure
geometry. Much of the visual art of this period has the appearance
of consisting mainly of 90 degree angles. Form was reduced to the
most basic elements and possessed no embellishment. There were
many similarities of the forms among these three disciplines duringthe Modern era. The cube was used as the basic unit for much of
the architecture and painting during this time. Type designs were
constructed with an underlying horizontal and vertical structure
as well. Like architecture and painting, it was believed that type
should be elementary in form without embellishment. Thus, sans serif
type was declared to be the modern type. Stripped of unessential
elements, sans serif type reduces the alphabet to its basic
elementary shapes. Many typefaces were designed with
interchangeable parts, which also reduced the vocabulary of
forms to a minimum.
This thesis project has proved to be extremely beneficial and self
satisfying. The topic remained interesting throughout the longprocess. It has allowed me to broaden my knowledge of
typography as well as architecture and painting.
Overall, the experience of this thesis project has provided a greater
appreciation of the design process. Following the design process
learned in this graduate program, it became evident how valuable it
is for every graphic designer. The process provides the designer with
a tool and organizational method for producing the most thouroughlyresearched, and thoughful design solutions possible.
From the research, and with the assessment of the comparative
matrix, many conclusions were made. It is important to note that
these conclusions reflect interpretations made after a year of study of
this subject matter. Undoubtedly, these conclusions may evolve and
eventually be modified as more knowledge of the subject is gained.
While a tremendous amount was learned from this project, there is
still so much more information related to this thesis topic to be
discovered.
39
Glossary of Terms
asymmetric
Baroque
complex
contrast
diagonal
directionality
form
geometry
Gothic
image
irregular
Modernism
Neoclassic
Balance in a format in which the parts are unequal on either side of
a vertical axis.
Style of art and architecture developed in Europe from 1550-1 700.
Characterized by elaborate ornamentation and a balance between
disparate parts.
Complicated form often having many parts. Contrast and ornament
present.
Ultimate differences in visual form, size, shape, weight, etc.
Movement at an angle; neither perpendicular nor parallel to
the horizon.
Implies movement, force and thrust toward a point or area in
a composition to indicate direction.
an organic structure, all the elements of that structure and the
manner in which these elements are related and united to create
its distinctive character.
Use of strict measuring instruments and mathematical principles
in construction.
Style of architecture and art prevalent in western and northern
Europe from the 1 2th to 1 5th century.
Pictures of all kinds, ranging from simple pictographs, to painting
and photography.
No elements are alike and there exists
the greatest possible contrast between elements.
The use of non-traditional innovative forms of expressionism
characteristic of many styles in the arts of the 20th century.
A revival in the 1 8th and 19th centuries in architecture and art,
characterized by order, symmetry, and simplicity of style.
40
Glossary of Terms continued
organic Form, which is derived from natural or organic sources,
rather than from mechanical ones.
regular No variation; no contrast or ornament, even increment
or proportion
Renaissance
rhythm
The humanistic revival of classical art, architecture, and
literature originating in Italy in the 14th century.
A system of frequency involved in form development or
communication. It can be regular, irregular, progressive
or a combination.
simple Elements are alike and there is little or no contrast
between elements.
symmetry A balance in a format in which the parts are equal on
either side of a vertical axis.
type The transmission and communication of the alphabet
and numerical information.
type form The selective communication of human experience in
tangible forms existing as matter in space.
vertical Perpendicular, or at a right angle to the plane of
the horizon.
unity Aesthetic cohesiveness because the form
is similar or of the same construction
type form The synthesis of all the letters of a typeface and the
manner in which these letters are related and united
to create its distinctive character
isual artvisua The selective communication of human experience in
tangible forms existing as a matter in space.
41
Bibliography
1 Blumenson, John J.G. Identifying American Architecture. New York:
W.W. Norton & Company, 1 981 .
2 Carter, Robert and Day, Ben and Meggs, Philip. Typographic Design:
Form and Communication. New York:
Van Nostrand Reinhold, 1 993.
3 Gardner, Helen. Art Through the Ages. New York:
Harcourt, Brace and Company, Inc., 1 959.
4 Hartt, Frederick. Art: A History of Painting, Sculpture, and Architecture.
New York: Harry N. Abrams, Inc., 1 976.
5 Johnson, Alfred F. Type Designs: Their History and Development.
London: Coptic House, 1959.
6 McLean, Ruari. The Thames HudsonManual of Typography.
London: Thames and Hudson, 1 980.
7 Meggs, Philip B. A History ofGraphic Design. New York:
Van Nostrand Reinhold, 1 992.
8 Mundt, Ernest. Art Forms and Civilizations. Los Angeles:
University of California Press, 1 952.
9 Nesbitt, Alexander. The History and Technique of Lettering. New York:
Dover Publications, 1 957.
10 Taylor, John F.A. Design and Expression in the VisualArts.
New York: Dover Publications, 1 964.
1 1 Updike, D.B. Printing Types: Their History, Forms and Use.
Cambridge, AAA: Harvard University Press, 1951 .
42
Appendix A
Warn
Thesis Planning Report
Designed ByAndrea Haveman
November 15, 1996
Project Title Type and Image: An Interpretive Study
Client Address Rochester Institute of Technology1 Lomb Memorial Drive
Rochester, New York 14623
Designer and Address Andrea Haveman2 1 4 Andrews Street
Rochester, New York
716.454.042514604
Situation Analysis Many students of design have come to believe that developing computer
skills is the most important element of their design education. Design
educators need to remind students that learning about the past is equally
important to graphic designers. One area that understanding the past will
help design students is type and image integration. Developing a basic
understanding of the forms and structure of type and typographic styles
through history will enable a designer to integrate type with image more
effectively. Making visual connections between typography and art
history through the ages will help students consider form when combining
type with imagery in their own work, especially work that uses images
from past art movements. A designer with an understanding of the historyof type structure and form will use type with an increased sensitivity
regardless of the subject in which type is to be integrated.
Problem Statement This thesis will emphasize to design students the importance of using
typographic form as a link for combing type with image. It will look to art
history to demonstrate this by making visual connections between letter
and typographic form through history, and changes in forms in art historyduring those same times. It will focus on several periods including Gothic,
Renaissance, Baroque, Neoclassic and Modern. The project will focus
on identifying key characteristics that best symbolize the typographicstyles of each of these periods. Representative examples of works from
the visual arts will be identified and interpreted in terms of these
characteristics. The thesis will also look at events in history andadvances in technology that directly effected typography through the
ages. The final product will be an informational guidebook for students
to use as a reference of this information. The guidebook will include a
series of panels that will use type and emphasize its form by using
images from art history that call attention to specific characteristics of
each typeface used.
Mission
StatementThis project will focus on increasing the overall awareness of the history of type and image and their
relationship throughout history. The understanding of this information by design students will lead to their
increased effectiveness as well as opening new doors for creativity.
Goals
Research To do research on the topic of
design history and its relationshipto image making.
Objectives
To do research on several
typefaces and the designer of
these faces.
Processes and Strategies
To do research from type historybooks.
To generate a list of several
typefaces and their designer.
To investigate historic images from To review fine art books.
the visual arts.
To identify the major periods in fine
art.
To collect key images from the
visual arts.
To create a database for collection To organize research into
of the information. chronological order.
Definition To assess the research gathered
and organize it into a useful bodyof content.
To present the necessaryinformation for design students to
understand.
To sort information in and
organized and rational way.
Identify the most importantinformation.
For students to recognize the need
to know and internalize this
information.
To identify reasons for students tolearn this information.
To demonstrate the application of
the information.
To evaluate this project. To evaluate feedback and modifythis project as needed.
Application To develop an informational guide
book.To organize and format information
into a quick reference book.
To construct a timeline showingthe relationship of typography to
imagery through history.
To provide a list of periods in art
history.
To identify three or four
representative pieces of art that
symbolize the style of each period.
[Image]
To identify a list of keytypographers and typefaces
through history. {Type}
To build a timeline with three
tracks:typography image, world
history and technology.
To construct a series of
informational panels.
To construct panels incorporatinghistorical typefaces with historical
imagery.
Dissemination To make project accessible to
target audience.
To view guidebook in several
locations in the school.
To make panels visible to design
students and faculty.
To deliver the guidebook to junior
and senior studios.
To disperse guidebooks to various
locations in the design
department.
To handout guidebook to design
faculty.
Display panels in key locations in
the design department.
To implement the evaluation
process.
Evaluation To define methods to indicate
success of the project.
To know approximately how much
of the information provided was
understood.
To develop a questionnaire.
To provide a space for comments
during the thesis show.
To create a sample test of the
information.
Time ImplementationPlan
November 12
Thesis Time Plan School Calendar
Last daytime class
General Calendar
15 Thesis Planning Report Due
Individual Review
28
Do research from type historybooks.
Generate a list of several
typefaces and their designer.
Thanksgiving
Review fine art books.
December 2 Identify the major periods in fine Classes Begin
art.
9
21
Collect key images from the
visual arts.
Last Day Add/Drop
Winter Break
25
January /
Organize research into
chronological order.
Sort information in and
organized an rational way.
Identify the most important
information.
Identify reasons for students tolearn this information.
Christmas
New Year's Day
Classes Resume
Committee meeting 1
February 14
17
21
March 7
Thesis Time Plan School Calendar
Identify a list of key typographersand typefaces through history.
Develop a list of periods in
art history.
Build timeline with three tracks:
typography, image, world historyand technology.
Last Day of Class
Begin construction of panels Spring Break
General Calendar
Valentine's Day
President's Day
10 Daytime Classes Begin
17 Committee meeting 2 St. Patrick's Day
30 Easter
April 7
18
25
Disperse guidebooks to various
locations in the design
department.
Committee meeting 2
May
17
24
Display panels in key locations in
the design department.
Implement the evaluation process.
Develop a questionnaire.
Provide a space for comments dur
ing the thesis show. Last Daytime Class
Mother's Day
Create a sample test of the
information.
Commencement
Appendix B
MethodologyDiagram
Technology
mage:
Key developmentsin forms and styles in
fine art through time.
image
Appendix C
Proposal
I propose an interpretive graphic design thesis on the history of
typography and its relationship to image making. I will developan informational guide book for design students that will focus
on the integration of type and image throughout history. The
study will also provide an explanation of the need for potential
designers to internalize this content. It will be an educational
reference for students that will include a contents page, a
bibliography, a glossary, maps, charts, and images with
captions. I will utilize the Cary Library and the design archives
as resources for this project.
I will also design a series of panels which integrate historic
imagery with type to supplement this guide book. These panels
will demonstrate how the knowledge of this history provides a
designer with a solid base from which to create powerful and
informed new design.
Appendix D
'
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Typography |Jbini^-^^0^^ Architecture
geometry geometric
organic
)^ complexity s/mpfe
(ornament)
compfex
directionality verca/
diagonal
horizontal
J^fc formality highly ordered
ipteTen.vM APT
X&^HiiS^--. 'it Perce.*
Symmetry symmetric
asymme/ric
_^, rhythm fene/ic
(movement)
sto/fc
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functionality functional
mass
nonfunctional
space positive
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mass positive
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organic
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(ornament)
complex
directionality vertical
diagonal
horizontal
formality highly ordered
lypograpny I Painting \Mrcnuetiuie\ Architecture
Symmetry symmetric
asymmetric
rnytnm wnefc
(movement)
r i- b/gMyfunctionality functional
non-functional
space positivemass
mass positive
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(ornament)
complex
directionality vertical
diagonal
sv
horizontal
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emotive
m*mw\
| ArchitectureTypography A Painting
Jenson Ald2 \ ^H^jVf j t**fVS V\ T
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Gothic 1200-1400
geometry geometric
organic
complexity simple
(ornament)
complex
directionality vertical
diagonal
horizontal
formality highly ordered
Symmetry symmetric
asymmetric
rhythm regular
irregular
functionality highly functional
non-functional
mass space positive
mass positive
TypographyfeiOuni
diamderizedby an almost entireabsence ofernes.
9 Duerer, ...shows how to can-
struct Texlurgeometrically. . .
9 ... lettering is used almost sole
lyos ornament, an extreme exam-
ale at letters as design.
the bestname tor Ibis particular
styles'texhn"
or'texlum,'
...
whichmeans a worn fabric or
9 ... verticalsgraduadysupplant-
. horizontals as the dominant
In outer to soaaramte horizontals
asmuch as possble, the distance
between tines was gradually
reduced...
9 fimV examples of diemost formal or the Gothicbands, die uprightandangular Jaxtura orlettrede
I ? forme ... became the standard for
die bibles and service booksprepared for die use of the church.
Wemay cad dmgroup rigid,because, given die formalityofthedesignmere cctMbe ittie scope far
9 ...farexample, die n ismere
ly tmi's, andmem Ihree 1%placed in contact, so dial die com
bination such ashm is
9 From the point ofviewoflegh
Mity all the loiters were notsub}
the n ismerely two i's, and them
three i's, placed in contact, so that
the combination such asuna is
obscure. . MlegdjStymnol
1 1 the chiefaim of the medieval
9 . . .lal letters, black face, and
shortascenders and descenders
enabledhm toprodoce a closely
packedpage with a large propor
tion ofblock to while...
Painting (pictorial art)
Giotto, Madonna and OiiU bniuwiei,St Remi Reims, Cnafklion
3b ...buteven these appear la
hove been composed around a
skeleton not ofbanes but of
abstractgeometric figures. It
seems likely thallbe designers of
stainedglass windowsproceeded
in osimiormanner.
8 ...Viepulse olits rhythm
seems tasier, its tightness inmties
an amdely. . .and inalcales die
transcendent character oldie
Gothic quest for certainty. pl99
8 ...the upflted floatplanes
make objects appear above rather
than behind one another; the
shapes aver emphasized toward
the top of die visual held, prevent
them born receding into on ilasian
.plSI
Architecture
Cathedral ofQnrtres
3b ...Ihemjaaic,
'bowing"
A Quality ol the Ugh Gothic
interior ...p327
3b...but the remaining [sur
faces] have been coveredwith a
network ofarticulating
colonettes,otches,pinnadesjosetle
sand other decoiative stonework.
p329
3b provides othytiimic,ver-
ticol repetition ofthe High Goihic
3b...drapery folds... carefully
;.p324
. . .identicalunits having been soaligned that they ore seen hi loo
rapid asequence la be discriminat
ed as individual volumes ofspace.
p327
3b ...Ihebuthess eliminates die
needierRomanesque wokand
permns die cansbuctian of a skele
talstructure that's sel-consstent
. . .permits almost complete disso
lution oldie heavymosses andthick bearingwai...p329
Renaissance 1400-1600
Typography Painting Architecture
Jenson .Aldus Leonardo Do Vinci, lustSuffer MhiohmM
geometry geometric 7 ...organic unity ofhorizontal,vertical, diagonal, and diwlnrforms. p90
3 ...organized according to rules
jk ofrationahly.p67
3 ...Simplemathematicalrela-
,. tionsbips...p313
< torganic
complexity simple
(ornament) '
i
r
:omplex
|directionality
1vertical
,diagonal
lorizonlal
i
i
5 note how the placementol
1weightwhim die old style 0
creates a diagonal am. p28
17 ...organicunity ofhorizontal,vertical, diagonal, and areolar
farms. p90
> 1 ? Iformality t
1
ighly ordered
i 18 ...Sdenlibc.p67 .m 8 ...plan, order, rational. pU4
8 ...strictprinciple ofaxis and
symmetry. p67
t 3 ... greater emphasis on reason
1 than Ifte emotion of the observer.
1 P31S
fismotive
I
symmetryi
symmetric
I1 I 8 . . .static quatty olRenaissance
space. p69
as. 3 ... dassk detail symmetricpro
portion. p3l7
Iasymmetric
<
rhythm
<
regular
[irregular
(
8 the space... foreshadowedbyrenaissance pointing. . .is statidbe
beholder need onlystandstill and
observe. p!86
This lack ofa ihythmicpattern
meats dieseb centeced,criticul
attitude a!Renaissance men, who
| wants only la observe and la
know.p20l
(
3 ...ihylhmiccoherence. p317
contrast
1high contrast
\'ow contrast
mass sf(
<
xice positive
1
I
1 r
mass positive |
Baroque 1600-1750
TypographyCaslon Old Style
PaintingPeter Paul Rubens, Village Carnival
Architecture
AAaderno-Bemini, StPeter's
geometry geometric
Iorganic
3 Fluid organic relationship
between thepans ol the buddingare characteristic. p398.
complexity simple
(ornament)
complex
9... The lower-case lebers have
_ slightly bracketed serifs thiaugb'
out.
3... typical ol die Baroque love of
camplerity
3 Planning andspatial organization readied unprecedented cam-
pksty.p398
directionality vertical
1 diagonal
horizontal
1
9 Ibis type is a rebogressive style
> to agreat extent, being based
largely an Dutch type of the last
ballol the seventeenth centuiy; in
die precision cutting and die
peipendicularity. pl30
3... solidity and repeated vertical
of the trees and the house. p407
if
3 Longitudinal at axial church
aa plan...pdOQ
formality /
<
ighly ordered
>
emotive
i
a>. 3 Marshalled bymarvelous control andprecision p400
symmetry<
i
symmetric
t
asymmetric
(
Obs. Page layouts show asym-
. metricalan.
l ?
rhythm
i
regular
irregular
l
9 One ormore of tie characters
in each fontof die larger sizes are
notweb related to the rest ol the
alphabet; this ladin then beingdistracting, gives a page ofCaslon
a certain irregularity that is inter
esting to the eye. pi32
>
l
8 Only through empodietic of
I themovements suggested by diepainter can Ibe meaning, which is
fundamentallynot a factbut a
process, be grasped. pl8i
With the beginning of IbeBaroque. . .comas a revival of
rhythmic pattern.
(
3...see also how this intricate
f array is orderedby die rhythmicrepetition...pdOO
contrast
(
ligh contrast
1
tow contrast
1
5 Ibe tellers are pleasantlylegi-
) ble...pS3
mass sp
<
<
m
ace positive
I
I
oss positive
Neoclassicism1750-1900(''modern"
type)
Typographyftoosm
Sosterafle
Painting (naturalism)
Georges Seurat,SundayAfternoon on Sronde Jatte Island
Architecture
classicism naturalism
{Smithsonian} {Marshall Fields}
geometry<
<
geometric
organic
? Ibe tendencywash approach
ass ol design problems with a fixedset olproportions andmeasure
ments.. ,p!22
3 Seurat hunsfoimed the impies-
A sionist illusion olnntutol appear
ance into a precise organizaliaa
composed olpeople and objects
dial are solid and arranged with
mathematical regularity. ..pool
3 The use of bee, asymmetrical
plans dosely related tame naturalenvironmentp773
<>
complexity
(ornament) *
4
simple
>
zomplex
7... the bardeis and tiieorno-
_ meats of the eadier decorative
style...were cast aside far a sever
economy of farm and efbdency of
fatal p!25.
directionality4
4
vertical
t
diagonal
t
Horizontal
i
5 By the 1700s, the impactol
. writing dedined, end Ibis axisbecame completely vertical in maytypefaces. p28
9... Ibis whole effect of die bnoi
dossical ormodern types is one of
compression, contrast, and vertical
ity... pl2l
3. ..die pattern is based on the
-x. verticals ofdie figures and dees,die horizontals in the
shadows. . .die diagonals in the
{ | shoreline...p667.
formality f
(
i
ighly ordered
>
emotive
(
9 The tendency was to approach
all design problems with a bxed
Iset ofproportions andmeasure
ments.. .p!22
9... die dossical revival, [intra-
ducedla sbange stiffness and
pseudoseverily. . . the result ofa
sterile, mathematical approach to
letters. pW3
3... Ibis isa calculating,inteiiectu-
_. olart.p668
3 carefully orgaaized. . . p773
fi
symmetry symmetric
I
asymmetric
4 1 4 1
4
3 Asymmetricplans... p773
>
j
4i
rhythm
(
(
regular
t
t
rreaular
(
9 This regularity- the slandanbzo-
t ban ofunits- was a concept ofdie
emerging indostiial era of the
machine. p!25.
4
3 ...each so placed in space to
? set up a ihylbmicmovement In
depdi aswed as bam side to side.
pU8.
4
3 Here the ihytimicalhcalmenl
1 of the opening voids... p773 ( >
contrast
(
(
/
nigh contrast
>ow contrast
(
9. . .here are compression,con-
bast, vertically, hairline serifs, and
1 a mastmeticulous finish, pi 93.
7 The thin strokes ol'his letter-
farms were trimmed to the same
weightas the haidine serifs, creat
ing a brilliant sharpness anda daz
zling conbosl thatbadnotbeen
seen befaie.pl25.
( I
mass sp
<
mc
ace positive
t
jss positive
4
9 Bodoniseparatedhis lines> widely, achieving a lightpage
effect. p!39.
7 lightness was increased byusing a smaller xbeigbt and
longer ascenders and descenders.
Modernism 1 900-
TypographyAdrian Frutiger, Ibiiveis
PaintingPie!Mondrian,Composition m Red, Mow, andBlue
Architecture
Walter Gropius, .Mies Von Der Rohe,Bauhaus Illinois Institute of Techm
geometry<
<
jeomelric
t
1organic
7 The geometricsanssealstyles,
mathematically cmshucted with
awfhog instalments...p336
41
3. . .sbnptidtyand geometric
m order...p709
complexity
(ornament) '
4
simple
>
zomplex
6. . .sans tend to lookmore aid-
^ larni, or featureless...andrequiremora effort to lead. p70
3...but for adits extieme simptic-
_ by the painting is'
complex...p709
/ . . . complete absence ofoma-
fment. (Bauhaus) p780 .
,
3...sbnpfdly ofMondrian. HID
p782
directionality4
4
vertical
t
diagonal
t
horizontal
I > <
<
7. . . composed ofhorizontal and
* vertical tines...p279
\
3...emphasis of vertical andhori-
a zonlul. (Iff) p782 1 1
4i
formality /
(
i
ighly ordered
t
dmolive
1
? even weight...interchangeable
1 components.(
3. ..darity and dehhitioa. . ,p708
>
3. . .anlibistorical.iBaubattsl
p780 aa
3...new order. (IID p78l
41
symmetry(
(
symmetric
t
1
asymmetric4
?. . .heroicasymmetrical balance.
1 41
3. . .unrelated,aisconlinuous
ele-
ments.(Bouhaus) p780
3...bxed andsymmetric type of
design. (IIT) p781
I
rhythm
(
(
regular
t
j
rregular
4 1
contrast
(
<
ligh contrast
t
>
cm contrast
1
I >
mass sp
<
m
ace positive
i
t
oss positive
Appendix E
Typography: Visual Connections
to Art and Architecture
Through Time
Evaluation Form
Andrea Haveman
Prof. Deborah Beardsiee
May 9, 1997
a I have no experience in graphic design
jCb )I am a graphic design frcahman sophomore junior senior graduate^xpert
\^^S'
(Circle a or b) (circle one)
1 I understand the purpose of this book completely (7^) -
2 In general, this topic is useful
\*y-
3 To me, this topic is useful /aQ.
interesting'n|( J
4 I could learn about typography from this book. &
5 The information that the book provides is sufficient /\~} r
6 The organization of the book is dear r\j ,
7 Thematrix is.. (^l?>.'. I.S) dear Q) t
helpful (^ a-
interestlng a- &
8 The timeline is - dear .Q>
dloH^li-^^.,_ s__ ^2_interesting *b-
9 The cover is dear -4a*.
interesting #.&-
10 The images are helpful Q-
interesling f^
11 The colors for the different sections are. appropriate fm/ a
attractive a C^~~
helpful JL
12 The overall design of the book is interesting /^-
&clear
-m not at all
-m not useful
-m not useful
boring
_ disagree
- insufficient
unclear
- confusing
> not helpful
-m boring
- confusing
-m not helpful
- boring
- unclear
_ boring
- not helpful
- boring
- uiappropriate
- unattractive
- not helpful
boring
.at unclear
Please add any additional comments in the space below.
fa^A/pFWV) cor- r^hsevu ^zrvufof^aO^
y-\ i /7 \
*n}o TJO *>*
A'
i, ymin:
J
Typography: Visual Connections
to Art and Architecture
Through Time
Evaluation Form
Andrea Haveman
Prof. Deborah Beardslee
May 9, 1997
a I have no experience in graphic design
b I am a graphic design freshman sophomore junior senior graduate^) expert
(Circle a or b) (circle one)-'"
1 I understand the purpose of this book.
2 In general, this topic is
3 To me, this topic is
4 I could learn about typography from this book.
5 The information that the book provides is
6 The organization of the book is
7 The matrix is
8 The timeline is.
9 The cover is.
10 The images are.
11 The colors for the different sections are.
npletely&
useful -
useful
interesting
Q-.a-
-^
sufficient *>.^
clear
clear
helpful
interesting
&
&
-&
-Q-
clear (^ *j* *
helpful m f]
interestinging f%^~
-Q-
interesting ,%.
-&
helpful
interesting f%^.
G-
appropriate f>\
attractive A V ,.-
helpful
^
12 The overall design of the book is interesting (**X
clear ^.
Please add any additional comments in the space below_
not at all
not useful
not useful
boring
- disagree
insufficient
unclear
confusing
not helpful
boring
confusing
not helpful
boring
unclear
boring
not helpful
boring
inappropriate
unattractive
not helpful
boring
unclear
Typography: Visual Connections
to Art and Architecture
Through Time
Evaluation Form
Andrea Haveman
Prof. Deborah Beardslee
May 9, 1997
a I have no experience in graphic design
b I am a graphic design fre.hman Phbmoi
(Circle a or b) (cjrele one
1 I understand the purpose of this bookcompletely (?)
2 In general, this topic is U8eful f$
3 To me , this topic is uaeful , Qinteresting&
4 I could learn about typography from this book agreeaQ1?
5 The information that the book provides is sufficient a-1-
6 The organization of the book is dear (~f\
7 Thematrix is. .{_\> ^iV.lS)
^
clear
helpful ^1&
8 The timeline is.
interesting
clear
helpful
&
interesting <*-
9 The cover is.clear
interesting
&10 The images are hdpfui _
interesting I A
11 The colors for the different sections are appropnale m
attractive I .-(-
helpful 9
12 The overall design of the book is interesting
clear
&e-
ra
&
&
o
Please add any additional comments in the space bplnw 71 ( r le\0$ . J
senior graduate J expert
not at all
- not useful
- not useful
- boring
disagree
- insufficient
unclear
- confusing
- not helpful
-^ boring
-^ confusing
- not helpful
- boring
- unclear
_ boring
-^ not helpful
boring
inappropriate
- unattractive
- not helpful
boring
unclear
f<>^Jjnmiii^auJ^
f.a<. h ind rfhvryl Lu)kt./\ ffqdkf 4Ul pn^cA
Xn hn )\,>G,k -hh&oW-
n J ij. , J -
n- J II i
Typography: Visual Connections
to Art and Architecture
Through Time
Evaluation Form
Andrea Haveman
Prof. Deborah Beardslee
May 9, 1997
a I have no experience in graphic design
S7\Dyam a graphic design freshman Bophomore juntos; senior graduate expert
(^___^-^(Circle a or b) (circle one)
1 I understand the purpose of this book.
2 In general, this topic is
3 To me, this topic is
complete!
useful
<3-
useful
interesting&
&
not at all
a not useful
not useful
boring
4 I could learn about typography from this book.
5 The information that the book provides is
6 The organization of the book is
7 The matrix is
8 The timeline is.
9 The cover is.
10 The images are.
11 The colors for the different sections are.
12 The overall design of the book is.
&
sufficient
clear o-
clear
helpful i^l
interesting f*
&
x
clear
helpful
interesting
clear
interesting
helpful
interesting
appropriate
aLlractiv
helpful
*5
interestin
clear
- disagree
insufficient
unclear
a fo a _
confusing
-* not helpful
- boring
confusing
not helpful
_ boring
m unclear
n . boring
'
not helpful
boring
inappropriate
unattractive
not helpful
boring
unclear
Please add anyadditional comments in the space hplnw. J-VWicag^ .'^...ri^AA tWo VUt oAU
f !
Typography: Visual Connections
to Art andArchitecture
Through Time
Evaluation Form
Andrea Haveman
Prof. Deborah Beardslee
May 9, 1997
[ senior ]g
a I have no experience in graphic design
b I am a graphic design freshman sophomore junior ( senior'Jgraduate expert
(Circle(a)>r b) (circle one) V^_^
1 I understand the purpose of this book
2 In general, this topic is
completely a * not at all
useful
3 To me, this topic is uaeful . 0interesting
4 I could learn about typography from this book
5 The information that the book provides is
6 The organization of the book is ciea
7 The matrix is. (fp l3:.l5.)
not useful
not useful
boring
disagree
insufficient
* confusing
not helpful
8 The timeline is ciear
helpful
interesting
9 The cover is dear
interesting
10 The images are.
11 The colors for the different sections are.
12 The overall design of the book is interesting
confusing
not helpful
not helpful
inappropriate
unattractive
not helpful
a* unclear
Please add any additional comments in the spacehftlnw. /s(jas&AJ( /A? ^y^rjL^
/g^; g^w^
Typography: Visual Connections
to Art and Architecture
Through Time
Evaluation Form
Andrea Haveman
Prof. Deborah Beardslee
May 9, 1997
a I have no experience in graphic design
b I am a graphic design freshman sophomore junior ^senior)graduate expert
iPst-nlA a \w \\\ fr*li**.laa> rsnasl'
(Circle a or b)
1 I understand the purpose of this book
(circle one)
completely C^ -
2 In general, this topic is useful (Q-
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Typography: Visual Connections
to Art and Architecture
Through Time
Evaluation Form
Andrea Haveman
Prof. Deborah Beardslee
May 9, 1997
(circle one)
a I have no experience in graphic design
(lDS I am a graphic design freshman sophomore junior /senior^graduate expert
(Circle a orb)'-:"' *
1 I understand the purpose of this book
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3 To me, this topic is useful Qi
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Typography: Visual Connections
to Art and Architecture
Through Time
Evaluation Form
Andrea Haveman
Prof. Deborah Beardslee
May 9, 1997
a I have no experience in graphic design
b I am a graphic design freshman sophomore (^junior) senior graduate
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expert
(Circle a or b) (circle one)
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Typography: Visual Connections
to Art and Architecture
Through Time
Evaluation Form
Andrea Haveman
Prof. Deborah Beardslee
May 9, 1997
a I have no experience in graphic design
D 1 am a graphic design freshman sophomore junior {jseuiorj graduate expert
(Circle a or b) (circle one)
1 I understand the purpose of this bookcompletely
2 In general, this topic is.
4 I could learn about typography from this book.
5 The information that the book provides is
8 The timeline is.
9 The cover is.
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Typography: Visual Connections
to Art and Architecture
Through Time
Evaluation Form
Andrea Haveman
Prof. Deborah Beardslee
May 9, 1997
a I have no experience in graphic design
D 1 am a graphic design freshman sophomore
junior'"
senior graduate expert
(Circle a or b) (circle one)
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Please add any additional comments in the space below..
Typography: Visual Connections
to Art and Architecture
Through Time
Evaluation Form
Andrea Haveman
Prof. Deborah Beardslee
May 9, 1997
a I have no experience in graphic design
lb) I am a graphic design freshman sophomore (junioV senior graduate expert
(Circle a or b) (circle one)
1 I understand the purpose of this book completely /T") -
2 In general, this topic is useful . (O)
3 To me, this topic is. useful
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H-
Typography: Visual Connections
to Art and Architecture
Through Time
Evaluation Form
Andrea Haveman
Prof. Deborah Beardslee
May 9, 1997
a I have no experience in graphic design
b I am a graphic design freshman sophomore (junior/ senior graduate expert
(Circle a or b) (circle one)
1 I understand the purpose of this book completely (^^}
2 In general, this topic is.
3 To me, this topic is
useful
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5 The information that the book provides is
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Typography: Visual Connections
to Art and Architecture
Through Time
Evaluation Form
Andrea Haveman
Prof. Deborah Beardslee
May 9, 1997
a I have no experience in graphic design
b I am a graphic design freshmansophomore^ junior)
senior graduate expert
(Circle a or b)
1 I understand the purpose of this book
2 In general, this topic is
3 To me, this topic is
(circle one)
completelye-
useful
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interesting *-
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agree
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5 The information that the book provides is sufficient /a^X-
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Typography: Visual Connections
to Art andArchitecture
Through Time
Evaluation Form
Andrea Haveman
Prof. Deborah Beardslee
May 9, 1997
a I have no experience in graphic design
I am a graphic design freshman sophomore /junior) senior graduate expert
(Cirde a or b) (circle one) V ^
1 I understand the purpose of this book completely ^ - a a .
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3 To me, this topic is useful a p)-
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77u hc>i)\C /note rKWnjqh \\ mas \im\ i\m osnsiimmn. Ajiri f\
Typography: Visual Connections
to Art andArchitecture
Through Time
Evaluation Form
Andrea Haveman
Prof. Deborah Beardslee
May 9, 1997
(a) I have no experience in graphic design
b I am a graphic design freshman sophomore junior senior graduate expert
(Circle a or b) (circle one)
1 I understand the purpose of this book completelyr^-
2 In general, this topic is useful /ZX-
3 To me, this topic is useful a
interesting Q-
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Typography: Visual Connections
to Art and Architecture
Through Time
Evaluation Form
Andrea Haveman
Prof. Deborah Beardslee
May 9, 1997
e
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5 The information that the book provides is
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Typography: Visual Connections
to Art and Architecture
Through Time
Evaluation Form
Andrea Haveman
Prof. Deborah Beardslee
May 9, 1997
a I have no experience in graphic design
b I am a graphic design freshman (^sophomorejjijunior senior graduate expert
(Circle a or b) (circle one)
1 I understand the purpose of this book completely ./"a^
2 In general, this topic is useful
3 To me, this topic is ful
interestinga-
4 I could learn about typography from this book. agree
5 The information that the book provides is sufficient (^5
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Typography: Visual Connections
to Art and Architecture
Through Time
Evaluation Form
Andrea Haveman
Prof. Deborah Beardslee
May 9, 1997
| .aj I have no experience in graphic design
I am a graphic design(Circle a or b)
1 I understand the purpose of this book.
2 In general, this topic is
. freshman sophomore junior senior graduate expert
(circle one)
completely &
useful
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interesting Y
agree *4 I could learn about typography from this book
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11 The colors for the different sections are. appropriate /fr
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Please add any additional comments in the space below.
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Typography: Visual Connections
to Art andArchitecture
Through Time
Evaluation Form
Andrea Haveman
Prof. Deborah Beardslee
May 9, 1997
() I have no experience in graphic design
b I am a graphic design freshman sophomore junior senior graduate expert
(Circle a or b) (circle one)
1 I understand the purpose of this book completely a *)-
2 In general, this topic is.
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Typography: Visual Connections
to Art and Architecture
Through Time
Evaluation Form
Andrea Haveman
Prof. Deborah Beardslee
May 9, 1997
Jaj I have no experience in graphic designb I am a graphic design freshman sophomore junior senior graduate expert
(Circle a or b) (circle one)
1 I understand the purpose of this book.
2 In general, this topic is
3 To me, this topic is
4 I could learn about typography from this book.
5 The information that the book provides is
7 The matrix is.
8 The timeline is.
9 The cover is.
10 The images are.
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