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Credentials to access these lynda videos (burn after reading):Username: margo.halversonPassword: meca09

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Chose a variable font to pair with Expo Serif or Sans as your body copy.

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Chose a variable font to pair with Expo Serif or Sans as your body copy.

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A simple resource for finding and trying variable fonts.

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Great place to start, connects directly to adobe suite.

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Adobe Fonts partners with the world's leading type foundries to bring thousands of beautiful fonts to designers every day. No need to worry about licensing, and you can use fonts from Adobe Fonts on the web or in desktop applications.

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I highly suggest subscribing for $6 to the font of the month club. Currently taking a class with this guy.

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I highly suggest subscribing for $6 to the font of the month club. Currently taking a class with this guy.

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Join the Font of the Month Club and get a fresh new font delivered to your inbox every single month! Each font is lovingly designed and produced by me, David Jonathan Ross.

Fonts of the month include distinctive display faces, experimental designs, and exclusive previews of my upcoming retail typeface families.

By diversifying your font collection at a minimal cost, the club can push you to try new and interesting type in your work.
Become a member today!

MEGABASE OPEN

Where do I even start with this one? Megabase Open is a hollowed-out version of Megabase, a display gothic with strong horizontal stress inspired by the clunkiness of 19th-century gothics like Gothic Bold and the space-age funkiness of 1970s designs such as Aldo Novarese's Sintex and Bob Newman's Zipper. This month's issue features experiments that fill those hollow spaces with colors and gradients.

Give a gift subscription to your favorite font lover, complete with a keepsake envelope and membership card!

All Fonts of the Month

Font of the Month Club has been going strong since May 2017. Club members can order back issues at a discounted rate of $12-16 per issue, and if you catch up on all of the back issues at once, it's even cheaper than that! You can choose which ones you'd like right from the signup form, and testing licenses are available upon request.

Here are all the club fonts so far:

What's the point of this club?

In addition to creating my retail type families, I love working on small side projects that revisit an unusual typographic style or explore a particular concept. Sometimes these blossom into full-fledged families; other times they remain a standalone design. Either way, I believe that novel fonts require a novel approach to licensing, and this club is my way of sharing them with you.

Can I give a subscription to someone else?

Yes! I now offer a giftable subscription envelope which you can get using this order form. Each envelope contains a membership card and activation code, which your recipient can enter here to start getting their monthly fonts.

I usually ship these USPS First Class within 2 days of your order, but feel free to get in touch if you require a speedier solution.

Do I *really* need another subscription service in my life?

I totally hear you on that! But this isn't like other subscription services: Your license for each font is perpetual, so you can continue to use them long after your subscription ends. Plus, auto-renew is completely optional, so your membership can be a one-time purchase and you can re-up for long and as often as you'd like.

What if there's a problem?

If you choose to terminate your license within 30 days of signing up, I will issue you a full refund. If you have a problem with any font I send you, get in touch and I will try to help. If I am unable to deliver a font over the course of any month that you have subscribed for, I will naturally reimburse you for the cost of that month.

What characters will the fonts have?

Character sets for these fonts will vary. Some of the display fonts may have limited repertoires, but should be usable in all major European languages that use the Latin alphabet. Whatever they lack in completeness, they will make up for it in charisma!

Will you make stylistic variations of fonts from previous months?

Yes. My goal is to provide you with modest yet usable typefaces over time, and if I think an italic or bold or shaded style is warranted, I will make it (especially if I get requests). That being said, I will be sure to spread these out across the year, and will ensure that the differences are meaningful (no Medium weight this month, Semibold the next).

What happens to the current font of the month after the month is over?

Club members can license back issues for $12-16, depending on their subscription length. Some fonts may disappear and re-emerge as retail type families; others may remain available for private licensing upon request at my normal $25-50/style prices.

Any other interesting outlets for display fonts?

This project was inspired by The Pyte Foundry and Photo-Lettering; you should check them out!

Since launching, I learned from Florian Hardwig that Georg Salden did something like this starting in 1972...wow! Even more recently, I learned that Chank Diesel also had a program of the same name that ran in the early 2000s.

And most recently, Future Fonts launched with a bunch of in-progress display designs from talented designers.

When will this project end?

I'm not sure! Let me do a year's worth and then we will see what happens.

EDIT: Having too much fun to stop. On to year #2!

EDIT: Having too much fun to stop. On to year #3!

Can you tell me what next month's font will be?

No! Half of the fun is that you don't know exactly what you're signing up for!

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Join the Font of the Month Club and get a fresh new font delivered to your inbox every single month! Each font is lovingly designed and produced by me, David Jonathan Ross. Fonts of the month include distinctive display faces, experimental designs, and exclusive previews of my upcoming retail typeface families.

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Hear an explanation of the difference between paragraph styles and character styles.

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Instructor] It's time to talk about...threading text frames together....Now, I've opened up this magazine file...from the exercise files folder,...and I can see that I have two frames,...one that has text in it,...and one over here that's empty....Now, down here in the lower right corner...of the frame that has text in it,...I can see a little plus sign....It's a little hard to see,...because it's overlapping the margin guide....But, that red plus sign is an indicator...that this text frame on the left is overset....There's more text in this story...that can fit into this frame....

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- [Instructor] In this movie I'll show how to incorporate a drop cap character into a paragraph style definition. This is a particular type of nested style. Command spacebar, click and drag to zoom in on the text. Drop caps are useful for chapter openers, article openers, and major section breaks. I'll double click to insert my cursor into the text, and on the Paragraph Styles panel, we see that I have a paragraph style called body first. This is made up of a large drop cap character.

This sinks three lines into the paragraph and sticks above it. It's in a different color, a different font style, and is followed by four words in small caps. To recreate this style, I'm going to begin by setting the opening paragraph back to it's parent style, which is body no indent. If I'll be reusing this treatment for opening paragraphs of other feature articles or in subsequent issues of the publication, then it's worth creating a paragraph style so that I can apply these formats with a single click.

So let me point out that the components have already been created on the Character Style panel. There is a drop cap style and a smallcaps style. I now just need to incorporate them, or nest them, into a paragraph style. Returning to my Paragraph Styles panel, and I'm just going to scroll my page to the left to give me some room to create a new paragraph style based on the body no indent style. I'm going to hold down option or alt and click on create new style.

I'm going to call this Body DC. Then I'm going to come to Drop Caps and Nested Styles, and for my drop caps I want it to go three lines into the paragraph, one character to be effected, and then I'll choose the character style I've already created, dropcap. Note I have a line left edge checked. That's just going to keep my dropcap character flush with the left edge of the text frame. Now I'll come to the Nested Style section.

New nested style, and I'll choose my smallcaps character style. Let's imagine that I didn't already have this created. I could come to new character style, and I'll just call it SC in this case. Then come to basic character formats, where I will change it's case to open type or smallcaps, assuming that is that I'm working with an open type font. Click okay, and I now want to apply this through, in my case, four words.

Note if I want the whole line effected, I would instead choose a nested line style, and I have a movie about that coming up, and this will apply smallcaps to the whole line regardless of how many words there are on that line. But that's how we can set up a drop cap nested style, so that in the future, to apply that style, all I need to do is just click on that style, and we get three levels of format, the paragraph, the drop cap, and the small caps, which follow the drop cap, all with a single click.

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Learn about embedding a character style as a drop cap.

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Released

Take the guesswork out of your InDesign layouts. Whether it's a business card, a poster, a digital magazine, or a printed book, your design will look better if you use a grid. Join designer Nigel French as he takes you through a brief history of grids-why you should use them and when you should break them. He shows you how to establish margins and columns, set up a modular grid, and how to fit text to a baseline grid. Plus, learn how to use the powerful Gridify tool and break the grid for graphic effect using images.

Topics include:

Why grids matter

Setting up a modular grid

Determining margins, page size, and aspect ratio

Creating a baseline grid

Creating a cap height grid

Text wraps and grids

Object styles and grid

Using the Gridify feature

Breaking your grid with images

Shaping text frames

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Discover how to ensure that the last baseline of type sits exactly on the bottom margin in InDesign.

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”Systems can create good—or bad—outcomes for design, people, and organizations. We all have the power to influence systems. But how can we design good ones?“

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Typographics 2020: It’s Not the Apple, It’s the Tree with Cybele Grandjean

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This talk took place on July 26, 2020 as part of Typographics Conference. The live-streaming, recording and archiving of the event was made possible by generous support from Google Fonts. 

This talk will explore how typography and hierarchy are at the root of all systems. Systems can create good—or bad—outcomes for design, people, and organizations. We all have the power to influence systems. But how can we design good ones? I’ll talk about some of the typographic systems I’ve created and how I’m thinking about using systems for change going forward.

Cybele Grandjean is a designer and educator specializing in branding, visual design, user experience, typography, and art direction. She has created websites, apps, and design systems for companies as diverse as Frog, The New York Times, Brown University, and Apple.
Cybele is currently Design Director: Content Experience at Hearst where she serves as a liaison between the digital and product teams. She is a partner and co-founder of Area of Practice—a design and branding consultancy based in New York City.
Cybele teaches Core 1: Interaction at Parsons School of Design, and has given guest lectures at Rutgers, SVA, and Keane University.
She has spoken at local and international design events from New York City to Copenhagen.
Her work has been recognized by The Art Directors Club, The Type Directors Club, The Society of Publication Designers, and others. She has produced and moderated talks on politics and media for the Society of Publication Designers.

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Within graphic design, the concept of systems is profoundly rooted in form. When a term such as system is invoked, it is normally related to macro and micro-typography, involving book design and typesetting, but also addressing type design or parametric typefaces. Branding and signage are the two other domains which nearly claim exclusivity of the use of the word 'systems' in relation to graphic design. A key example of this is the influential book Grid Systems in Graphic Design (1981) by Swiss designer Josef Müller-Brockmann. More than structures of organisation of form, this books shapes a mathematical, delusional and purist way of thinking. With the use of the grid as an ordering system, Müller-Brockmann argues that a "design which is objective, committed to the common weal, well composed and refined constitutes the basis of democratic behaviour." (Müller-Brockmann, 1981, p. 10) He makes a case for the universal validity of grid systems, claiming that the systematic use of strict formal principles produces directness and intelligibility, which he suggests are vital in sociopolitical life. This position is a political choice. One that is driven and enforced by form, rapidly reproducible and scalable, and with damaging consequences by his reductive definition of democracy. By letting mathematical form define democracy as a controlling system, Müller-Brockmann strives for neutrality and a common good. Such sweeping levelling overlooks privilege, under-representation, marginalisation, difference. It excludes plurality. Political theorist Chantal Mouffe (2009) argues that a pluralist democracy should legitimise conflict, division, and antagonism. And for such democracy to exist, "no social agent should be able to claim any mastery of the foundation of society" (Mouffe, 2009, p. 21). In other words, Müller-Brockmann's system of organisation of form shapes a way of thinking-a consistent formal system at the cost of difference. His definition of systemic form reproduces a limited definition of democracy. The illusion of universality and objectivity coming from a specific historic and geopolitical context is exported worldwide to the present day and still applied with the same conviction, or simply as eternally marketable style, with multiple reincarnations. These are not design systems of universal validity. They are systems of oppressive deception.

Display Systems
Rita González, a design lecturer from Colombia, had only been teaching for three years when a series of circumstances, and some openness from senior management, promoted her to head of department. Despite likely finding structural opposition, she didn't lose time, unhappy with design education in the country and a toxic system that feeds an industry that invariably invests all the time polishing and displaying the surface. Rita knows social media hasn't radically changed designers' lives. But Instagram has changed graphic design forever. Launched in 2010, after Facebook and Twitter, Instagram developed and further potentiated a culture of display. For graphic design, it was love at first sight: an opportunity to merge the personal-even the intimate-with the professional and public through relentless, seductive, profitable, addictive, self-branding normality. What initially appeared to be a platform to share photos, revealed itself as a form of life, providing data and ad revenue to thousands of corporations, while designing designers before they even enter design education.

Through repetition and imposed fear of exclusion, branding is automatically taught to children from a young age, maximised by the use of mobile devices. Before reaching high school, students have formed a conception of branding, particularly self-branding, influencing and shaping also all definitions of identity. It's all just a game. Playful. Enjoyable. Totalising. A never-ending cycle of branding, advertising and revenue-generation. Branding is gamification. Like the popular videogame Fortnite, Instagram is not a matter of sharing, displaying or gloating, but of survival.

When Instagram copied Snapchat's core functionality of posting temporary images and videos-a beaming live feed of a grand narrative-it massified personal reality shows. With this functionality, which is inherently built into to the platform's business model, Instagram's true achievement is making everyone believe in the singularity and originality of each of its users' stories. Instagram (read Facebook, its owner) effectively controls and shapes the desires and expectations of consumption through data management as a business system. Designers post what they eat, crop the photos, boost the colour levels and apply the most appropriate filter to make it look 'professional'-a meaningless word in the age of instant professionalism. Designers post what they bought, where they are going, where they were and are, providing revenue to invisible shareholders. Posing as design practice is inevitable.

On the first day of term, Rita deactivated the Wi-Fi on campus-if students wanted to use internet, they would need to go to an Ethernet-connected computer in the library. A small gesture, she knows, but it would make a lot of people uncomfortable. The new 5G network had just been installed in Bogotá, despite protests against the refusal by local authorities to survey the risks to public health. Dark studio, students lit up their phone screens-there's no Wi-Fi-what's happening? With a serious tone, Rita introduced herself to the new class: "Not having Instagram is not existing. If it was not posted, it never happened. Designers must follow friends out of loyalty and like acquaintances' posts out of courtesy. And PR. Always. One like is a window of opportunity, and no window can be left untapped. Accordingly, every time a designer is mentioned is an opportunity to broadcast that mention, the equivalent of a visual echo, which only social media allows with the kind of quantity and short time intervals our desire for attention demands. Social media capital is a relevance greeting card, a decision-making factor in our limited attention-span. To make things worse, graphic design is amnesiac. Instagram accelerates this to new levels. The discipline's capacity to remember history is proportional to our patience to scroll down or swipe up. We may get to see what has been tagged, suggested or related recently-properly categorised for algorithmic exploitation. The rest is forgotten, uncategorised, lost, data-less information that is immediately ignored and classified as trifling. Instagram provides designers comfort and anxiety in equal measure. It's stunning, stressful and soothing." "Welcome everyone", she continued, "things are going to change around here!".

Ranking Systems
An Instagram video is trending: "I felt like-I just wanted a little bit of a break. I'm always on it. I feel I would wake up in the morning and I would look at it first thing. I would go to bed, and it was the last thing that I would look at. It just, I felt a little too dependent on it. I kind of wanted to take a minute; it's a detox. I'll be back! I'll come back.", said socialite Kendall Jenner to the TV Presenter Ellen DeGeneres in 2016. It's a lot of competition. And competition is synonym of design. Neri Smith, a graphic designer/ visual artist/ information architect knows this all too well.

She wakes up, barely opening her eyes and taps on Instagram: are there notifications? What's happening? It's 7am and there are already so many stories she's missing. With effort, she checks a few: some friends, some partners, some colleagues, some jealousy. Her eyes begin to focus: "They did what? Oh, that's a nice photo! He's where? Soooo lucky." She can't believe it. It's enough to make her jump out of bed and quickly eat some mango yoghurt that was left in the fridge. Phone sitting next to her bowl, she swipes up, then a bit down, up again. It feels like checking the news, but better, somewhere between pleasure, teasing and sadness of what's going on in the world-some family, too-a good mix of what she likes to see. She curated her feed well, it's a lot of work, and it pays off. It's an investment in the future. Time for a quick bit of yoga.

A suggested account brightens up the screen: @dezeen? Follow. Three more show up next to it: @designboom, @digital_archive, @swissposters. Follow, follow, follow. It's time to take a shower and get dressed. Steamed bathroom, lavender smell, but it's still possible to see that notifications are appearing on the screen. It's too far to see what it is. The tap is turned off. It was just just @biennale.design.graphique that liked one of her photos and @itsnicethat that started a live feed-"got to turn off this thing"; Neri thought she did but it keeps appearing anyway. So annoying! Someone is tinkering with this, surely!

She's on her way to work. If it wasn't for Instagram, she would be bored to death. But she still is, although it doesn't feel like it. Swipe up, swipe up, down, stop, zoom in, and up again. New follower: @newstudiostudio, nice clean type, branding studio, possible future employer. Follow back. Another account is suggested: @thedesignblacklist. She reads the bio: "Minimalist detox. A curated collection of design inspiration." Photographed work with 45° angle, a good selection of printed stuff in black and white. And inspiration is always good. We can't have enough inspiration. Follow. Is she following too many people at 2,231K? Maybe it's a bit desperate, a bit embarrassing. She should unfollow a few accounts, do a clean up of abandoned handles or things she doesn't like anymore. Below 2K would be cooler. Maybe later, not now. This constant pressure is so draining, it's like a design ranking race. We have design stars with more than 150K followers, the very famous with 20K+ followers, the established designers with 5-10K followers, the rising designers with 3-5K and all the rest with less than 1K, they're just not good enough. Seriously, who wants to succeed in design with less than 1K?

Toilet breaks are great to check Instagram. During work hours Neri is too busy to catch up with friends' stories, which drives her insane at times. And at work, it's not good to be always looking at her phone-even if discretely under the table during meetings. Wow, @jessicavwalsh just launched @andwalsh. The photos to kick-start the studio are cool, done in a photo studio and a good amount of Photoshop, polished, vivid, dramatic. Cats! @cats_of_instagram is a guilty pleasure. So is @uglydesign. Share. Send. @clippingsdesign? Why not? Follow. An email notification slides from the top down: it's from Social Digger, luring Neri into buying followers to grow her business and profile online. It's only $98 for 10K followers instead of the usual $115.99 USD. Tempting. And in her circle of friends, many are over 4K and she doesn't want to slip in their estimation. She wasn't paying attention and the meeting continued. Lunch break is here, a moment to swipe up and tap incessantly while the other hand holds the fork. The salad looks too good. A photo from the top will make sure her group of friends know she's living a healthy life and slowly enjoying her lunch break. Selects her favourite filter, increases the saturation and another 'moment' is uploaded to her story while geotagging the bar. The phone needs to be charged with just 54% battery left. Lunch is over, back to work.

Award Systems
Marielle Silva is a design student at the university where Rita González teaches. Every year, she has to participate in design competitions as part of the curriculum. Her tutors say it's good for students to have an experience of the real world, with real deadlines and real jurors, experienced people with awards and successful studios who spend some time looking at what they've done. And that it's a shot at professional life-a contact, a reference, a mention, an email, perhaps even a job offer? Competition brief after brief, many students spend their whole education allured by awards, targeting medals and recognition by their peers, effectively nourishing a design ethos which reverberates across the discipline, mainly through social media, producing an inward-looking industry of disposable time, work, and citizenship. The following year there's always more.

Two awards fight for hegemony in design education: D&AD and the Red Dot Awards. These are followed by ISTD (International Society of Typographic Designers) and The Design Museum. Graphis, Type Directors Club and the European Design Awards are then joined by dozens of other trying to outshine each other, attract sponsorship, raise and push profiles in galas, award ceremonies and networking cocktails. To complement these, there are elite clubs such as AGI (Alliance Graphique Internationale), which despite AGI Open (a series of mainly portfolio talks by a selection of members) promote the kind of closed, inward-looking, swanky shoulder-rubbing get-togethers that many designers aspire to as a lifetime-achievement award, a yearned ticket to eternal design stardom. With expensive, glossy tomes spread on desks in the university's studio, it is no wonder Marielle is both distant but seduced by the publications produced every year by these institutions. Departments encourage and pay for students to participate in these competitions, displaying certificates on corridor walls as badges of merit. It is the feeding of a vicious system which sees academia merge with and be subservient to the market, corporations and institutional political interests.

In 2018, Marielle's group of friends chose the D&AD brief set by the sportswear brand Adidas in collaboration with H+K Strategies. The brief talked profusely about 'change' - a catchword in early 21st century - saying that Adidas "is driven by helping athletes make a difference in their game, their lives and the world." Rita is annoyed that this is still the dominant educational model at her university. And she is furious that, predictably, a brief like this adopts the typical capitalist approach of demanding that yet another product, brand service or campaign is created. Directed at the 17-25 age group, the brief asked "What can Adidas do for or with them to improve the fabric of their city?" This brief reinforces a design system that teaches students that social and political phenomena can only be addressed through a consumable, branded product, surveillance capitalism and submission to corporations. And nearly every project at school has at least one brand attached to it in some form. "It's not design education, it's branducation ", said Rita in a recent departmental meeting. To Marielle, this is obvious in the wording of the brief: "Show how people will experience it, how it could scale and spread, and all the media, channels and touchpoints that could be relevant. What different social platforms or formats could you use, and how would content be tailored to each?" It continues: "Adidas wants to see big, bold ambition, clearly grounded in reality". The bouquet is complete with the following message: "Don't get political. Stay true to the brand tone of voice."

In that same year, Amazon equipped every classroom of her university with Alexa. The students didn't feel too comfortable with an object always listening to what they say. But it was useful to order consumables, for the games of design trivia they played every once in a while, and the design history lectures. Marielle, Andrea, Pedro and Letizia were fed up with generic information, with Wikipedia lectures and lack of representation. Always the same references, always the same authors from the same places, the same canon, always the same marginalisation. Together, they've hacked their studio's device and collectively built a new database and algorithms for the fellow students to see and edit. "What's an influencer?", they asked with a smirk. Alexa now replied: "Denomination used in the late 2010s to describe people who use social media as self-centred representation of click-capitalism, seeing every blink of an eye as an opportunity for mass consumerism." A strangely pitched sound followed: "Reminder: I'm built by schoolchildren in China" and "Attention, this product needs an official Amazon update, please return to factory settings and visit Amazon.com for details." The IT technicians would surely just ask senior management to ask for a replacement, but during any lunch break they could hack it again. However, their small but most meaningful gesture was to collectively mobilise themselves and force the school's management to remove all these devices from the classrooms.

Another group of friends chose a brief that aimed to address loneliness and elderly people. Marielle enjoyed the typographic illustrations of the campaign her friends did in response to the brief-typography that was slightly hard to read, twisted as if it was photocopied while gently moving the printed page. It was a variable font that aimed to convey depressive moods and isolation, with a coded application that allowed different parameters to generate multiple outputs. White type on black background, the large-scale posters filled metro stations in well-lit renders. They also made an app that allowed people to experience the poster in augmented reality, in which type would move, hypnotic as it was dropping out of the poster in an infinite loop and providing a phone number for people to seek help. Marielle thought it was impressive but useless. Why do posters in the first place? And an app, to elderly people? With fancy animated type? Why is design and all its typical production even needed? How much would this campaign cost? Wouldn't the money be better spent in a community centre? Which institutions and people are already working on this for decades? Did they bother to learn? The posters were on brand, a cohesive visual language rolled out to multiple media. And that's the most important for the award juries. She knows this wouldn't even be questioned by them, lacking the nuanced, in-depth knowledge that would allow them to make politically and socially-informed judgments. It's irrelevant. What matters is the gold, silver and bronze for the amazing augmented reality. It will enter in the media echo chamber until the sound slowly fades. The future of design is not being built by sharing or cooperation or solidarity, but competition. By outrunning, outshining and outburning each other.

Alternative Systems
The seduction of systematic form, constant production, social media showcasing and competition sustain the infrastructure that defines graphic design. It shapes an industry that thrives in auto-pilot towards self-destruction, surrendered to the economic system in which it operates: capitalism. They are not just cogs in the machine. They are the foundations of a system. One that capitalises on the netflixisation of design, that is, the categorisation of everything through uniformisation disguised as tailored-made content. The pressure of belonging, being accepted and innovative are merged through an empire of algorithms that flatten designers' spheres of human activity into a convincingly self-indulgent, homogeneous grand narrative. More than good or bad, happy or sad, this is presented as inevitable.

Design is production. It is inconceivable that to design can mean to undo, to dismantle, to destroy, to retreat. In Conceptual Design - A Polemic (1977), published in the context of the conference Design for Need - The Social Contribution of Design (1976), Brian Smith makes a case against design conferences and short-sighted good intentions: "We get into our planes and boats and trains full of enthusiasm - 'I'm going to Change Design'; 'I'm going Design for peoples' Needs.' And on the way back, when boredom has set in, when the weight of papers has pressed us firmly back into our comfy chairs, we see that really we went as voyeurs. The meaning of the words changed, the cube flipped, and we listened to people talking about how design was changing, and how design is for peoples' needs, which we already knew, but fooled ourselves that we had not come to be told yet again." (Smith, 1977, p. 108) This was at a time when there weren't so many flashing screens with animations, apps, tote bags, t-shirts, banners, posters, flags, badges, pencils, pens and premium notebooks for hundreds of design events per month in several points of the globe. And here we are. Again.

Within architectural practice, there are examples in which architects chose not to design as a design act. One notorious case is that of Jean Phillipe Vassal and Anne Lacaton, who in 1996, were commissioned to renovate and embellish the Square Léon Aucoc in the city of Bordeaux, France. To the architecture duo, the square was fine as it was, surrounded with sober façades of well-designed collective public housing. Apart from minor maintenance work, nothing else was done. There was no need for up-to-date benches or lamps, or a fashionable gesture that may have been common practice at the time. In design, examples like this are rare. To the question "What should designers do?", Brian Smith answers: "apart from a few special cases, they should stop designing - at least under the present terms of reference. To the people designing doorknobs, cars, hairdriers, radios, packages, chairs, beds, and tractors and bandages, we should say 'STOP - THE ONES WE'VE GOT WILL DO'. You've been so clever, such good designers, that nearly everything we make and use is just about good enough now, considering all these other problems we've got." (Smith, 1977, p. 111) In graphic design discourse, Jeffery Keedy provocatively argues in Hysteria™ (2001) that "ironically, designers can make their biggest social and political impact by not designing. After all, someone designs most of our ecological, social, and cultural nightmares before they are unleashed on the world." (Keedy, 2003, p. 208) In 2011, when the Occupy Movement started gaining international attention, a version of the logo of London's Underground was being occasionally used. Soon after people were prevented from using it, a competition to find a new one was held, with designer Jonathan Barnbrook's proposal being chosen through a public vote. Even for a progressive socio-political movement, competition and production is invariably the answer. Design, in its most immediate and unprofessional form, was already in use: hand-drawn basic signage, announcements and a variety of visual approaches to meet the needs of self-organisation and day-to-day activities. The movement didn't need a logo. In fact, the inexistence of one reflected its diversity, and made it difficult to be 'branded' and categorised, which contributed to its powerfulness.

The systems on which design operates are fundamentally and hypnotically flawed. They don't just need improvement. They don't just need resistance. They need complete change. Systemic change normally happens as an ultimatum, democracy in its multiple variations, protests and demonstrations, a directive from a global or continental institution. It usually takes place when there seems to be no other option. Designers, and the systems they sustain and validate, are in the business of future-making. They love to shine and also like to churn out stunningly attractive visions of the future on a daily basis, as if they were just another entry in their portfolio. The time for manifestos is out, and for just good intentions, too. If designers don't think about and practice design at the level of systems and put politics at the core of what they do-with climate crisis, fascism, racism, xenophobia-when we realise that we don't have any other option, there will be no future at all.

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Bibliography
Escobar, A. (2018) Designs for the Pluriverse (New Ecologies for the Twenty-First Century). Duke University Press.
Jenner, K. (2016) Chill Kendall Jenner Didn't Think People Would Care That She Deleted Her Instagram. In: Vogue.
Jurgenson, N. (2019) On Photography and Social Media. London: Verso Books.
Keedy, J. (2001) Hysteria™ - Intelligent Design, Not Clever Advertising. In: Heller, S. & Vienne, V. Eds. (2003) Citizen Designer - Perspectives on Design Responsibility. New York: Allworth Press, pp. 206-209.
Keedy, J. (1997) Greasing the Wheels of Capitalism with Style and Taste, Or, The "Professionalization" of American Graphic Design. In: Bierut, M.; Drenttel, W. & Heller, S. (2012) Looking Closer 4: Critical Writings on Graphic Design. Allworth Press, pp. 199-207.
Manzini, E. (2015) Design, When Everybody Designs: An Introduction to Design for Social Innovation. Massachusetts: MIT Press.
Meadows, D. (2008) Thinking in Systems. London: Earthscan.
Mouffe, C. (2009) The Democratic Paradox. London: Verso Books.
Mülller-Brockmann, J. (1981) Grid Systems in Graphic Design: A Handbook for Graphic Artists, Typographers, and Exhibition Designers. Niggli Verlag.
Smith, B. (1977) Conceptual Design - A Polemic. In: Bicknell, J. & McQuiston, L. Eds. (1977) ICSID, Design For Need - The Social Contribution of Design. London: Pergamon Press. pp. 108-115.

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Essay originally published inModes of Criticism 5 - Design Systems (2019)

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Graphic Design Systems, and the Systems of Graphic Design | Modes of Criticism

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Within graphic design, the concept of systems is profoundly rooted in form. When a term such as system is invoked, it is normally related to macro and micro-typography, involving book design and typesetting, but also addressing type design or parametric typefaces.

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- Magazines are where I learned design. Tabloids were my first love, and by tabloid, I mean the physical format, small newspaper. I like a tabloid for its cheap paper. I like that it's modest. It's not self-important. But at the same time, its size has real presence. You can do things on a big page that you can't do on a small one. Lotsa white, things can be very big, very graphical. And I love glossy magazines because of their gloss, and because of their resolution.

Type is perfect, images are perfect. They're deep; they're beautiful, incredible detail, super classy. They can project authority and they can bestow credibility. A magazine is hard to do. It's expensive; it's not easy to design, so you get a good one out there, and it can make a statement for you, and you want to do that. The magazine stand is an inexpensive education. When you stand at that wall of magazines at Barnes & Noble, or even the local market, there's a world of design in front of you, some of it by the best designers in the world.

Pretty sure there's more design in that one place than you can find anywhere else, including school, all in your field of view. You can see everything: Concept, imagery, typography in editorial design and in the advertising. You'll see not only how to design those things, but you'll find endless ideas that you can transfer to other venues: posters, brochures, web, everything. And it's thee place for type.

You'll see it in type choices, the way typefaces are combined, and sized, and work together and the voices that they make. Some of them will be perfect for you. And it all waits for you. In a magazine, everything is still. There can be magic in that. Real life is always moving, and when you freeze it, something changes. It creates a stillness that can pull you in, pull you up short, confront you, make you pause and feel and think.

In a magazine there's no flashing, no blinking, no luring you somewhere else. The web for the most part is transitory. Things on the web seem to have a lifespan of about 10 minutes. A magazine counters that. It's like a book. It provides a quiet, thoughtful, contemplative place, and it's permanent; I love that. I can pull a 20 year old magazine off my shelf and still read it. You'll want to keep this in mind when you're making a magazine. Voice and stillness are its prime assets.

That space it gives you, the time to settle in, to focus, to think about your material, and you'll want to take advantage of those. Don't try to be a print version of the web. You'll probably lose that battle. You need your magazine to do what a magazine does best. It's not a news delivery vehicle. It's a place to be.

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Magazines are where I learned design. Tabloids were my first love, and by tabloid, I mean the physical format, small newspaper. I like a tabloid for its cheap paper. I like that it's modest. It's not self-important. But at the same time, its size has real presence.

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Released

Good typography can add tremendous power to your design and your message, whether it is a print- or screen-based project, a still or motion graphic, a 3D or 2D graphic. This course explains good typographic practices, so that you can develop an "eye" for type and understand how to effectively use it. Author Ina Saltz explains type classifications (serif vs. sans serif, display type vs. text type), how type is measured, sized, and organized, and how spacing and alignment affect your design. She also explains how to use kerning, tracking, leading, and line length, and covers the history and current trends in typography. The course teaches the principles of legibility, readability, and compatibility, and how they should be considered when you're selecting and designing with type.

Topics include:

What is typography?

Differentiating type characteristics

Using ornamental and decorative type

Combining typefaces

Using contrast and scale

Kerning and kerning pairs

Choosing the optimum line length

Aligning and spacing characters, words, and paragraphs

Understanding factors affecting legibility

Working with three-dimensional type

Putting type in motion

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Released Good typography can add tremendous power to your design and your message, whether it is a print- or screen-based project, a still or motion graphic, a 3D or 2D graphic. This course explains good typographic practices, so that you can develop an "eye" for type and understand how to effectively use it.

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August 1, 2008. Steven Heller talks about avant garde magazine design of the Twentieth Century.

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Talk

"Every night," says the genre-busting author of "The Sandman," now on Netflix, "we close our eyes, fall asleep and go mad."

Poem

This poem subverts expectations right away and contains a peculiarity around every corner.

Letter of Recommendation

The members of gaming's subordinate caste flicker with the humanity of their developers.

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"Every night," says the genre-busting author of "The Sandman," now on Netflix, "we close our eyes, fall asleep and go mad." This poem subverts expectations right away and contains a peculiarity around every corner. The members of gaming's subordinate caste flicker with the humanity of their developers.

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This video series goes inside the process for creating the award-winning covers of The New York Times Magazine.

This video series goes inside the process for creating the award-winning covers of The New York Times Magazine.

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This video series goes inside the process for creating the award-winning covers of The New York Times Magazine.

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Full text of "Grid Systems In Graphic Design Josef Muller Brockmann"

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Full text of "Grid Systems In Graphic Design Josef Muller Brockmann"

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Grid Systems In Graphic Design Josef Muller Brockmann : Josef Muller-Brockman : Free Download, Borrow, and Streaming : Internet Archive

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Grid Systems In Graphic Design Josef Muller Brockmann

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Holy internet are these some beautiful magazine covers:

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Holy internet are these some beautiful magazine covers:

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This website is derived from an exhaustive research on the Typographische Monatsblätter (TM) focussing on the issues from 1960 till 1990.

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One of the page elements that brings visual power to the page is the pull-quote. Pull-quote is a display element which is used to attract the reader and to break up long blocks of text. The effect of pull-quotes depend on their attractiveness, both visual and textual.
Regarding the text, pull-quotes have to be interesting, they have to provide some rich, important thoughts. They can be pulled directly out of the body text or they can be summarized, and it is the role of copy editor to find or write something interesting that will attract the reader.

If the pull-quote is copied from the main text move the pull-quote further from the place where the original text is residing.

As a visual element they have to be instantly recognizable and different from the rest of the text on the page. The size, color and texture of the pull-quotes has to be different from the surrounding text. Depending on the style and look of your publication, pull-quotes can have a calm, traditional design or you can create some extravagant looking pull-quotes.

Size and length of pull-quotes

There is no rule how long or big pull-quotes have to be. It all depends on the other elements on the page. When creating pull-quotes they should have at least several words. Few words are not enough, but more than two sentences are too long in my opinion. Pull-quote can be in one line across the whole page or even a spread or it can be arranged in several short lines. It all depends on the nature of the story and the layout that you plan to create.

The design of the pull-quotes

There are infinite possibilities how can you design your pull-quotes. Let your imagination play but don't go overboard.

You can separate your pull-quotes with quote marks (often exaggerated in size), you can use horizontal or vertical rules, you can put them in a box with background color but whatever you do make a contrast from the rest of the text so that the pull-quotes are instantly recognizable as such. The options are endless.

The size of the font is not as important but it should be at least several points bigger than the body copy. In my experience don't go below 15 pt, but it all depends on the size and the look of the font you are using. The best way is to use your judgement by the eye. If it looks too big, make it smaller and vice versa.

When placing pull-quotes inside the body copy make some room around it. Give it some space to breathe, because this will emphasize the pull-quotes even more.

Placement of pull-quotes

Most usual placement of pull-quotes are inside the body copy. This is good because you will break large chunks of body copy so it can be easily digested by the reader.

If you have body copy laid out in three columns, pull-quotes can span across two columns.

If you leave one column on the outside of the page empty you can place pull quotes there. This will create a very elegant layout. You can even cut the quotes into the columns a bit. This will create a dynamic layout and will break the vertical lines that can sometimes create a monotone layout.

You can place pull-quotes at the top or at the bottom of the page, but this will not break up the body copy. To break the body copy instead of pull-quotes use some subheads and drop caps to spice up a page a bit.

What to avoid while placing pull-quotes

If you place pull-quote between two columns don't make it too wide because this can result in too narrow space on the outsides of the columns which can affect readability. Make them thinner, or even better, make them really thin and tall. Of course do not make them too thin so that the words break up too often.

It is best to turn off the hyphenation option for pull-quotes.

Try not to place pull-quotes on top of the single column, because they can be mistaken for the headline.

When placing two pull-quotes on the page do not place them on the same horizontal line. Space them out.

Do not place pull-quotes between the paragraphs because they can be mistaken for a subhead. Always place them inside paragraphs.

Be a journalist

Although it is the role of the copy editor to choose or write pull-quotes sometimes you can do it by yourself. For this you must have some experience in magazine publishing and you must have an understanding what will attract the reader!

Someone said that the designers are visual journalists. Well, now you can be a real one. If you are on a tight time frame or your editor is not nearby, you can take some interesting (but it really has to be interesting) piece of text and use it as a pull-quote. It is not quantum physics, just take some appealing and attractive sentence from the body copy. Presumably the copy editor did not already chose some instead.

When you have placed the text in the spot intended for the pull-quote, read it. If it does not read clearly, improve it. When I say improve it, I don't mean you should rewrite it. Let me give you an example and you will understand what I mean.

If you read these two quotes you will see the difference. The left one does not have the right flow, the right one has. Always inspect (read) pull-quotes and see if the flow of the words is right. You can see how the words "copy editor" and "pull-quotes" are separated in each row while they should be together. Also the last line contains only one word, which is also not good. The right example has a natural flow and it is easier to read.

Sometimes you won't be able to do it right because awkward ragged lines may appear and you will need a help of the copy editor to adjust the text or rewrite it, but in most cases you will manage to correct the text flow.

This wraps up our topic about pull-quotes. Hope you like it and if you have any comments or questions, feel free to contribute.

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One of the page elements that brings visual power to the page is the pull-quote. Pull-quote is a display element which is used to attract the reader and to break up long blocks of text. The effect of pull-quotes depend on their attractiveness, both visual and textual. Regarding the text...

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Subheads are one of those page elements with which you will work often and you have to know how to approach them and how to lay them out. Their role is to break up the text and to give readers some clue what lies in the following paragraphs. This is why subheads should have meaning since they act like a headline for the upcoming text. This is neglected so often and I find myself so often reading the paragraphs that have no connection with the subhead.
In design sense subheads serve a purpose to break long text blocks so place them in strategically good spots. In this tutorial I will tell you which are the bad spots to place them so you will know how to avoid them.

Type selection in subheads

When setting up subheads make them consistent throughout the publication. There are magazines that want to stand out and be different and they love to break the rules but before you break them you have to know them.

Your subheads should be clearly distinctive from the main body copy. They have a purpose and they should be instantly recognizable. You can emphasize them in several ways:

You can set your subheads in the same type as your main copy but use bold version. To make it more distinctive enlarge the subheads few points.

As mentioned above you can emphasize subheads by making them larger. You can set them in the same type as body copy but make them 2 points bigger. Maybe even three, four would be too much.

One option is to set them in the same type as body copy but using italics version. I do not use it because then I have to enlarge them because italics tend to look lighter than the text set in normal font. Subheads should be easily recognizable and that's why I do not like to set them in italics. Bold italics would be better option.

Most used option for subheads is to use different type. Most obvious choice is sans-serif if you are using serif type for body copy.

You can set your subheads in all caps but I almost never use this method. It can work but in many cases it does not, especially if the subheads are long. You don't want to break the flow of the text.

If you are working on some youthful magazine you can set your subheads in underlined style or you can make that line big enough to cover the subhead and reverse its color in white.

Placing the subheads

As mentioned in my article on page elements, never place subheads three lines or less at the bottom of a column and three or above at the top of a column. Biggest mistake is to place subhead at the top of a column. This kind of subhead treatment pulls the reader's eye and reader can skip the entire column because of it since the reader will think this is the headline of another story.

Work with your copy editor and journalists to have the same length of a subhead. By that I mean the row length. Either make them two rows or one long. Three rows would be too much. Whatever is your choice make it consistent.

Always position subheads at the top of the next paragraph. Not in the middle between paragraphs, nor just below the previous paragraph.

If you align text to the left or justify it, align your subheads to the left also. Do not place them in center since the reader's flow of the eye will be disrupted because he will have to find where the subhead is. Also do not indent the subhead. First paragraph below the subhead should not be indented also.

If you want to place a rule with your subhead, place it above, because if you place it below it will break the subhead and its paragraphs below. Best option is not to use rules.

Cool way of making subheads and I like it a lot, is to make so-called "running in subheads", but your copy editor should start this paragraph with really meaningful words otherwise there is no point and you cannot call it subhead. It will only be emphasized words.

Subheads and images

Do not place the subheads just below the image. This is the same no-no rule as with the top of the column placement.

I don't need to say this but I will, do not place subheads just above the image (if you plan to break the text with image).

If you place an image on the page in a way that it makes runaround, don't place subheads within runaround text. It will look messy and it will create awkward white space around image.

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Subheads are one of those page elements with which you will work often and you have to know how to approach them and how to lay them out. Their role is to break up the text and to give readers some clue what lies in the following paragraphs.

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The element of a page that we will talk about today has many names. Some refer to it as deck, other as kicker, standfirst or intro. So many names for one single element which plays a big role in providing information and grabbing readers attention.
In this article we will call this element intro.

Intro gives to the readers a summary of what they can expect from the article. Intro should work with the headline and this is why it is almost always the best thing to place it just below the headline. In this way they form a unit. Natural flow of the article should be: 1. headline, 2. intro, 3. body copy. In this way reader can easily follow the story in its natural way.

Of course, some long feature articles have the liberty in opening spread design and it is not unusual to see headline and intro on one spread, followed by body text on another, but the order is basically the same.

Editing intros

Headline grabs readers attention and intro gives a short description what lies ahead if the reader decides to continue reading the article.

In a way, intro is more important than the headline. It sells the information to the reader and acts as a link between the headline and the rest of the story.

If it is not informative and appealing, the reader may decide to quit the story.

This is why the intro should be carefully written. It should not be too long, but it should not be too short either.

Usually written by the copy editor, intro should be around 30-50 words long. Sometimes it is ok to deviate from the norm, but the most important thing is that it should sound good and it should include the necessary information to keep the reader interested.

If you stray from the norm it is better for intro to be shorter than longer, since longer one can seem uninteresting to read.

Regarding the text, intros should not repeat the words from the headline and the first paragraph of body copy.

Designing intros

Like with all page elements, design and look of the intros are determined by the style of the publication.

The text size of the intro should be much smaller than the headline but bigger than the body copy. This is self-explanatory of course. Also, intros should be smaller in size than the pull quotes (if you use pull quotes on the same page).

However you style them, they should be instantly recognizable and they should be clearly different from the surrounding elements, mostly headlines and body copy.

If they are longer you can increase the leading for easier reading.

Do not justify the intros, especially if they are laid out in narrow columns. It will create awkward gaps in the text, and definitely turn off hyphenation option.

Avoid styling them in all caps, since all caps are harder to read, especially in long form. If you want to make an emphasis on certain words, set it in bold type or in italics.

Also avoid letter spacing in intros. This treatment is especially hard to read. As a matter of fact, avoid letter spacing at all. You can use is maybe for headlines or for text elements that are few words long.

There is one practice that I see a lot and it is to design intros with negative leading. Negative leading is when you set the leading of less than 100% of the type size. Default value is 120%. Negative leading is OK to be used with short headlines or subheads, especially in larger sizes, since 120% leading in those cases would create too much gap between the words. But this does not work well for intros, since they are generally long and styled with smaller sized type where negative leading produces bad readability.

If the intro is spanning few or even several rows break them for meaning, just like you would do with the pull quotes

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The element of a page that we will talk about today has many names. Some refer to it as deck, other as kicker, standfirst or intro. So many names for one single element which plays a big role in providing information and grabbing readers attention. In this article we will call this element...

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Magazines and newspapers are basically consumer goods, and, like any consumer goods they are brands and, like any other brand they got to have a logo. A magazine masthead. Masthead's role is to be recognizable. In the sea of magazines on the newsstands you want your logo to pop up.
To be instantly recognizable. This is not an easy thing to do. That's why logo is the most important element on the cover page.

When designing a logo several things should be your concern. The logo should capture the publications character, attitude, it should fit the intended readership, it should be versatile too, so that it can be used in other occasions, like marketing materials.

When working on a logo you should try tenths or even a hundred variations. When you find several that you like, you should work on its variations. First, and obvious thing is to choose the proper typography. Is your publication modern one, is it more traditional, is it urban or more conservative?

Is the name of the publication long one or a short one? If it's a short one maybe you can make the logo stand in the top left corner. If it's longer one and if it has two words maybe they can be positioned one on top of each other and placed in the top left corner.

If you ask yourself, why top left corner, it is because when magazines are stacked on the shelves on the newsstand top left position is always visible, no matter how densely stacked the magazines are on the shelves. If the name of the magazine is longer maybe you can make it in bolder type for more impact.

It is always better to use different fonts for the logo than the ones you use for the cover headlines. Although the logo is not read it should be recognizable, and that's why it should be different in type from the rest of the cover.

As you can see, the options are endless.

When you finally decide on several versions try it out on the page to see how it interacts with the images and general design of the cover. Sometimes you will see that a top left position does not work well, maybe the top centered position would be better. Once I had lots of problems with the logo which I did for one customer magazine.

TRY TO USE DIFFERENT FONTS FOR MASTHEAD AND COVER LINES

The client did not want the logo to be obscured by overlapping images. Since on each cover there was a person, the person's head was always positioned underneath the logo. This resulted in an awkward situation since the logo was always covering some parts of the head. It looked bad. Then I persuaded my client to change the position of the logo which was centered, and then we positioned it on the top left part of the page. Now when the logo was over the image it looked better.

Today you can see the logotypes in almost all forms and shapes. Some indie magazines change the place of their logo from issue to issue. Usually these kinds of magazines do not sell on the newsstands. They are distributed through other channels so they have much bigger freedom when designing cover pages.

Some magazines change their logo from issue to issue. Most known example is David Carson's magazine Raygun. The design of the cover was different in each issue so it became their trademark. He definitely believed in the saying that "rules are meant to be broken", but the rules are there to aid you in building the identity and your magazine's identity should be your number one concern.

You can make your logo in handwritten form, which will give your publication personality and emotion. Although it will not give it timelessness. That's why you should go with more traditional logos cause the modern and fashionable ones tend to last shorter.

When deciding which way to go, always have your magazine's content and style in mind. Let that be your guide because if the logo is fitting the style of the magazine, then you are on the right track to make it recognizable and memorable.

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Magazines and newspapers are basically consumer goods, and, like any consumer goods they are brands and, like any other brand they got to have a logo. A magazine masthead. Masthead's role is to be recognizable. In the sea of magazines on the newsstands you want your logo to pop up.

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Rosetta Type Foundry - exclusive high-quality retail fonts with international language support

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Our fonts support hundreds of languages and a number of scripts or writing systems of the world: Latin, Arabic, Cyrillic, Greek, Armenian, Devanagari, Gujarati, Transliterations, Hebrew. Skolar, Nassim, Aisha, Sutturah, Neacademia, Eskorte, Arek, Skolar Sans, Clone, Gitan, Avory, Corsair, Marlik, Handjet, Adapter, Adelphi, Gridlite

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Instagram: @ashworthchris

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Based in Los Angeles, I was the Art Director and Designer of California's 'Bible of music and style' for 15 issues in 1997/98. I developed a hybrid aesthetic called 'Swiss Grit', blending the original 'Swiss Style' with a more personal hand-crafted approach.

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Join Nigel French for an in-depth discussion in this video Working with pull quotes, part of Type Tips Weekly .

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Take your love of letterforms to the next level with this weekly series that explores all things, big and small, related to type and the practice of typography. These tips are aimed at people using Adobe Creative Cloud: primarily InDesign, Illustrator, and Photoshop. Some tips are specific to particular applications and some are purely conceptual and software agnostic. Tune in every Monday for another timely tip to improve your typographical skills and increase the efficiency of your design workflow.

Note: Because this is an ongoing series, viewers will not receive a certificate of completion.

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Join Nigel French for an in-depth discussion in this video Working with pull quotes, part of Type Tips Weekly