Starts in 7 days
This exclusive course is part of the program:The Complete Typographer
Starts in 7 days
This exclusive course is part of the program:
Would you like to enroll?
Enrollment for this course has closed. But you can enroll in a future offering (please select)
Enrollment has closed
Enrollment for this course is currently closed, but the next offering will be available shortly. Check back soon!
Typography in Graphic Design covers the role of typefaces as cultural artifacts and how the influences and concerns of the day are reflected in type vernaculars. Very fine detail on font characteristics will also be explored (stroke widths, x-heights, serif qualities, etc.) and how these affect usage and emotional impact. Choosing the right typeface for a project and mixing typefaces in a design will be explained in depth.
This course is in adaptive mode and is open for enrollment. Learn more about adaptive courses here.
Session 1: Adapting the Typographic Vernacular (December 25, 2018)
This session begins with a type tour of lower Manhattan, where we'll get a glimpse of the role of lettering in the history of the city. This discussion will continue in Tobias Frere Jones' Brooklyn studio, where Tobias will share some special items from his collection of type specimens and other type artifacts. We'll discuss the historical intersection of type and technology and the importance of a strong foundation in type history for contemporary designers.
1. Type Tour of Lower Manhattan
2. Type as City History
3. Hand-Lettering & Sign-Painting
4. Sign Painters' Alphabets
5. Sign Painters' Resources
6. Gold Leaf & Decals
7. Metal & Wood
9. Glass & Beyond
10. Informed by History
11. From Historical to Contemporary
12. Assignment: Lettering in Your Public Spaces
Session 2: Don't Be Afraid of Type (January 1, 2019)
In this session we'll begin by reviewing the main typeface styles and discussing their strengths and weaknesses in various applications. We'll also talk with typeface designer and Creative Director Stéphane Elbaz about why we look to history in order to make design decisions today, why typeface designers still find the need to revive classical typefaces and how he, as a Creative Director, chooses the right typeface for his projects.
2. The Humanists: Venetians
3. The Humanists: Garaldes
4. The Humanists: Glyphic
6. The Moderns
7. Slab Serifs
8. Sans Serifs: Humanist & Transitional
9. Sans Serifs: American Gothic & Geometric
11. Assignment: Learning How to Look
12. A Conversation with Stéphane Elbaz
Session 3: Nuances of Typography in Use (January 8, 2019)
In today’s session, we are going to take it one step forward, and instead of looking at typefaces as objects and abstract shapes, we are going to start looking at type in the context of words, sentences, and paragraphs and dealing with composition. And seeing how the shape of a letterform, its width and weight, or spacing between letters or words can be used as important design tools. We will also be hearing from designers Jessica Svendsen and Zipeng Zhu on how they adapt the typographic vernacular and how the world around them influences their work.
2. Expressive Typography
3. Typeface Families
4. Width & Scale
5. Alignment & Spacing
6. Distortion & Customization
7. Creating a Postcard in InDesign
8. Creating a Feature Opener in InDesign
9. Creating a Badge in InDesign
11. Assignment: Word Cards
12. A Conversation with Jessica Svendsen
13. A Conversation with Zipeng Zhu
Session 4: How to Combine Typefaces (January 15, 2019)
It’s time to start putting it all together. So far you have learned how to navigate the options of typefaces available to you, how to consider and select typefaces for your project and how to compose with them. Today we will talk about working with multiple typefaces. In this session we will also be talking with Kevin Brainard, partner at Areas of Practice, a design firm in New York, and Raul Aguila, an Art Director at Esquire Magazine.
2. Combining Typefaces
3. Typographic Hierarchy
4. Case Study: Real Simple Magazine Redesign
5. Case Study: Typefaces and Grids
6. Case Study: Colors
8. Assignment: Six-Word Memoir
9. A Conversation with Kevin Brainard
10. A Conversation with Raul Aguila
Below you will find an overview of the Learning Outcomes you will achieve as you complete this course.
Type, Culture, and History
• Ability to explore the diversity of type in public spaces and type's role in the history of those spaces. • Ability to review the history and development of the main typeface classifications.
Working with Type
- Ability to review the features and strengths of the main typeface classifications.
- Ability to experiment with type as image and explore how compositional techniques can help amplify type's impact.
Designing with Type
• Understanding of the use of hierarchy and layout for combining different typefaces with images and other visual assets.
Instructors & Guests
Over 25 years, Tobias Frere-Jones has established himself as one of the world’s leading typeface designers, creating some of the most widely used typefaces, including Interstate, Poynter Oldstyle, Whitney, Gotham, Surveyor, Tungsten and Retina.
Tobias received a BFA in Graphic Design from the Rhode Island School of Design in 1992. He joined the faculty of the Yale University School of Art in 1996 and has lectured throughout the United States, Europe and Australia. His work is in the permanent collections of the Victoria & Albert Museum in London and the Museum of Modern Art in New York. In 2006, The Royal Academy of Visual Arts in The Hague (KABK) awarded him the Gerrit Noordzij Prijs, for his contributions to typographic design, writing and education. In 2013 he received the AIGA Medal, in recognition of exceptional achievements in the field of design.
Claudia de Almeida
Lover of all things related to design, Claudia left her home in the south of Brazil at age 18 to study design at the School of Visual Arts in New York City.
After graduation, she worked for nearly 10 years as an award-winning designer and art director at titles including T:, the New York Times style magazine; The New York Times magazine;Blender; More; New York; Domino special editions; Gourmet special editions; and Men's Health. In 2013, she headed west to serve as design director at Wired.
Inspired by her instructors at SVA, Claudia went on to teach there; and she continues to educate designers-in-training through type classes at California College of the Arts in San Francisco. She is also the education co-chair for the San Francisco chapter of AIGA.
In 2014, Claudia launched o Banquinho with the redesign of Real Simple magazine. Now she spends her time working on projects she loves; jetting between San Francisco, New York City, Seattle and anywhere great projects take her.
ZIPENG ZHU is an art director, designer, animator & illustrator in New York City who wants to make everyday a RAZZLE-DAZZLE musical. Before he ate cheese & spoke English, he was eating rice & speaking Mandarin & Cantonese in China.
Jessica Svendsen is a designer working in identity, editorial design, and illustration. She previously worked as a designer at Pentagram in New York for partner Michael Bierut and at Apple on the global communications team. Jessica teaches design as adjunct faculty at Parsons The New School and the Pratt Institute. She has been a guest critic at the California College of the Arts and the School of Visual Arts, and lectured at the AIGA, MICA, and the Type Directors Club. She received a MFA in Graphic Design from the Yale School of Art and a BA in English Literature from Yale University.
What You Need to Take This Course
- Adobe Creative Suite
- Font editing software such as Glyphs
Please note: Taking part in a Kadenze course as a Premium Member does not affirm that the learner has been enrolled or accepted for enrollment by School of Visual Arts.
If a student signs up for the Complete Typographer program, it is recommended that these courses are taken sequentially.
Peer Assessment Code of Conduct: Part of what makes Kadenze a great place to learn is our community of learners. While you are completing your Peer Assessments, we ask that you help us maintain the quality of our community. Please:
- Be Polite. Show your fellow learners courtesy. No one wants to feel attacked - ever. For this reason, insults, condescension, or abuse will not be tolerated.
- Show Respect. Kadenze is a global community. Our learners are from many different cultures and backgrounds. Please be patient, kind, and open-minded when discussing topics such as race, religion, gender, sexual orientation, or other potentially controversial subjects.
- Post Appropriate Content. We believe that expression is a human right and we would never censor our learners. With that in mind, please be sensitive of what you post in a Peer Assessment. Only post content where and when it is appropriate to do so.
Please understand that posts which violate this Code of Conduct harm our community and may be deleted or made invisible to other learners by course moderators. Learners who repeatedly break these rules may be removed from the course and/or may lose access to Kadenze.
Learners with Disabilities: Learners who have documented disabilities and who want to request accommodations should refer to the help article via the Kadenze support center. Kadenze is committed to making sure that our site is accessible to everyone. Configure your accessibility settings in your Kadenze Account Settings.