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The Grand Design

The Grand Design

The Grand Design

The Grand Design

The Grand Design

The Grand Design

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The Grand Design

The Grand Design

The Grand Design

The Grand Design

The Grand Design

The Grand Design

The Grand Design

The Grand Design

designed and
edited by
2009
Samantha
Watson
1314.01
typography I
F
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“The
Grand
by robert
Design” bringhurst
1 frutiger
italic
Honoring
3
Content
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font sizes

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italic
Life and
4 5 frutiger
bold
Style
7
Dignity of Beyond frutiger
Letters Style vs.
other fonts

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black
Logic of
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Typography

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F frutiger italic
10/14 pt In a world rife with unsolicited messages, typography must
often draw attention to itself before it will be read. Yet in
order to be read, it must relinquish the attention it has drawn.
Typography with anything to say therefore aspires to a kind of
statuesque transparency. Its other traditional goal is
durability: not immunity to change, but a clear superiority to
fashion. Typography at its best is a visual form of language
Light Italic linking timelessness and time.
Italic The satisfactions of the craft come from elucidating, and
perhaps even ennobling, the text, not from deluding the
unwary reader by applying scents, paints and iron stays
to empty prose. But humble texts, such as classified ads
or the telephone directory, may profit as much as any-
thing else from a good typographical bath and a change
10/12 pt of clothes.
1 2
“The typographer’s task has always been to add
a somewhat...
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Letterforms that honor and elucidate what humans see 10/18 pt
and say deserve to be honored in their turn.
Well-chosen words deserve well-chosen letters; these in
their turn deserve to be set with affection, intelligence,
knowledge and skill. Typography is a link, and it ought,
as a matter of honor, courtesy and pure delight, to be as
strong as the others in the chain. Bold Italic
Simple as it may sound, the task of creative non- Black Italic
interference with letters is a rewarding and
difficult calling. In ideal conditions, it is all that
typographers are really asked to do and it
is enough. 10/14 pt
...unnatural edge, a protective shell of artificial
order, to the power of the writing hand.”
 “The original purpose of type was simply copying.”

A cubist painting in an eighteenth-century gilded frame, or a seventeenth-century still-life in 18/18 pt

a slim chrome box, will look no sillier than a nineteenth-century text from England set in types that come from 14/18 pt

Condensed seventeenth- century France, asymmetrically positioned on a German Modernist page. 12/18 pt

A cubist painting in an eighteenth-century gilded frame, or a seventeenth-century 18/18 pt

still-life in a slim chrome box, will look no sillier than a nineteenth-century text from England set in 14/18 pt

Light types that come from seventeenth- century France, asymmetrically positioned on a German Modernist page. 12/18 pt

A cubist painting in an eighteenth-century gilded frame, or a 18/18 pt

seventeenth-century still-life in a slim chrome box, will look no sillier than a 14/18 pt

nineteenth-century text from England set in types that come from seventeenth- 12/18 pt

Black century France, asymmetrically positioned on a German Modernist page. 10/18 pt

3 4
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“The typographer is to the ...the script, or the

text as the theatrical musician to
director to... the score.”
8/11 pt
Black
Condensed

Typographic style, in Typography is to Writing can be used The first task of the The typographer Letterforms have They need not
this large and literature as musical both for love letters typographer is must analyze and tone, timbre, live together
intelligent sense of the performance is to and for hate mail, therefore to read and reveal the inner character, just as contentedly
word, does not mean composition: an and love letters understand the text; order of the text, words and forever, but
any particular style my themselves can be the second task as a musician must sentences do. The they must
essential act of
style or your style, or used for is to analyze and reveal the inner moment a text and not as a
interpretation, full
Neoclassical or Baroque manipulation and map it. Only then order of the music a typeface are rule collide.
of endless
style - but the power extortion as well as can typographic he performs. But chosen, two
opportunities for Ultra
to move freely through to bring delight to interpretation begin. the reader, like the streams of Black
insight or body and soul. listener, should in thought, 8/11 pt
the whole domain of Writing merges with
typography, and to obtuseness. Much retrospect be two rhythmical
typography is far Bold Italic typography, and able to close her systems, two sets
function at every step
8/11 pt
in a way that is removed from the text becomes eyes and see of habits, or if you
graceful and vital literature, for its own illustration. what lies inside like, two
instead of banal. language has the words she personalities,
5 many uses,
Extra
Black
has been reading. intersect. 6
Bold Condensed
Condensed including packaging 8/14 pt Black Italic
Black
8/11 pt and propaganda. 8/11 pt 8/11 pt

Bold 8/12 pt
Aa AaAa Aa Aa Aa AaAa
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Roman
Arial
Regular
Helvetica
Neue
Regular
Univers
Roman Frutiger
Italic
Arial
Italic
Helvetica
Neue
Italic
Univers
Oblique

“There are always exceptions...

...always excuses for stunts and surprises.”

Aa AaAaAa AaAaAaAa
Frutiger
Bold
Arial
Bold
Helvetic
Neue
Bold
Univers
Bold Frutiger
Bold
Arial
Bold
Italic
Helvetica
Neue
Bold Italic
Univers
Bold
Oblique
Italic
7 8
 invite the Light Condensed Light clarify the
reader into Condensed Light Italic structure
the text Bold Condensed Roman and the
Black
Condensed reveal the tenor and order of Italic
Extra

meaning of the text

Black
Condensed the text Bold

Bold Italic link the text with “It should honor the text for its own sake - always
assuming that the text is worth a typographer’s
Black other existing trouble - and it should honor and contribute to its own
tradition: that of typography itself.”
elements
Black Italic

induce a state of energetic repose, which is the ideal

9 10
condition for reading
Italic
HP
5550
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