Tuesday, 30 October 2012

Type Classification// Task

Selected Typeface; Eurostile.
Font Family; SanSerif

Utilise what was discussed in 'Type workshop 1' and develop a body of investigation to solve the problem: 'What 3 characteristics make this font unique when compared to Helvetica'. I'll be presenting my findings in A4 format in a pdf document. (Using Quarkxpress).


  • A Geometric sans-serif typeface
  • Designer: Aldo Novarese in 1962
  • Originally made for one of the best-known Italian foundries, Nebiolo, in Turin
Novarese developed Eurostile because although it was similar to another typeface he designed: Microgramma, it had only upper-case letters. He remedied this flaw with his design of Eurostile, which added lower-case letters, a bold condensed variant, and an ultra narrow design he called Eurostile Compact, for a total of seven fonts.


Characteristics of Eurostile...

"Super-curve" Hermann Zapf. It has a squared quality to its design. Many of the letters look as if they began life by tracing the frames of old television screens. There is a symmetry and implied mathematical quality to the design. Hermann Zapf dubbed this the “super curve,”

While many individual letters distinguish Eurostile, some of the most interesting are the K and k, which have diagonals that do not touch the vertical stroke or the lowercase t, where the crossbar is long on the right and the long tail curves all the way back to vertical. A, M, N, V, and W all have flat apexes, and the Q has the odd distinction of a tail longer on the inside of the character than on the outside.

Characteristics of Helvetica...

  • two-storied a (with curves of bowl and of stem)
  • narrow t and f
  • square-looking s
  • bracketed top serif of 1
  • rounded off square tail of R

Serif fonts//  These typefaces have letters with serifs that have a straighter and sharper feel and have fewer or smaller brackets. The letter­forms have a slightly biased or vertical stress and medium contrast between the main strokes and hairline strokes of the letterform—more contrast than Old Style. The x-height tends to be tall in rela­tion to the cap height. The ascenders of the lowercase letters can be taller than the cap height.

SanSerif fonts//  The strokes end in square, rounded, angled or cupped termi­nals. The letterforms generally have a vertical stress and no contrast in the strokes of the letterform. The strokes tend to be uniform throughout the entire letter, also giving it a mono-line look. The x-height tends to be tall in relation to the cap height.

Typographic matchmaking - Visualising the typeface in design when placed with a Serif typeface; Didot...


Knowing the ten rules of type means your able to break and utilise them. Pt size predicts an effect on the communication of your type. A font is a spoken voice inside your head which shouldn't be highlighted using colour.

Why do we need A-sizes?...Because they provide us with a universal code.

Quark Xpress - 'The Original', Similar programme to 'Indesign', alot more effective when your working for print based type. Provides the core elements to do what you need.


What 3 characteristics make this font unique when compared to Helvetica?...

Solid letters = 'Eurostile'
lowercase & UPPERCASE.
As you can see the 'W' shares similarities to Helvetica, they both have flat apexes and are uniform throughout the whole letter. However the ascenders of 'Eurostile' are slightly smaller, as well as thinner, giving Helvetica a larger weight an overall bolder aesthetic quality.
In the lowercase 't' of 'Eurostile' the crossbar is horizontal and long on the right, the long tail curves all the way back to vertical giving the impression that its 'sitting on' the baseline. The ascenders of all 'Uppercase Eurostile' are all equal to the cap-height.
When looking at the diagonals of Helvetica, you can see that they interact with the vertical stroke whereas 'Eurostile' is a bit more interesting & distinguishable, the diagonals do not touch the vertical stroke! On review there's no transition between the letterforms of 'Eurostile' gradual, no abrupt and no instant. The proportions of Helvetica appear to be 'expanded' as oppose to medium.


Useful source of S/R;



Sunday, 28 October 2012

OUGD504/ Design Production, Software Workshop

Creating a booklet & Printing it according to the way your going to bind it;
-Saddle stitch binding
-Perfect bound. (Single pages that you would bind down the top edge, that would just be multiples of two)

Pages have got to be a multiple of FOUR/ 4. This is so you have a working sequence of double page spreads including the front and back cover...

Readers Spread; This is the primary view option within Indesign, it basically displays the finished product in the order that the reader would view.

On the other hand you can view the document in a 'Printers spread' displaying the pages in an arranged format to print, this means the set-up of pages will be different to the readers spread. If you plan your booklet beforehand using folded A4 sheets you'll be able to determine what goes where. Another method of doing this is...

Creating a table with two columns, Zig-zag down the table until you reach the half-way mark of your booklet. Once you've done this, make your way back up the zig-zag line, filling in the gaps with the relevant numbers.

L | R

8 | 1
2 | 7
6 | 3
4 | 5


As you can see each document has an 'A' in the corner, this represents A-Master pages, which are spread left and right. (Every Indesign document has ONE master page). ITS THIS MASTER PAGE THAT DETERMINES WHAT CONTENT YOU WANT TO APPEAR ON EVERY SINGLE PAGE OF YOUR DOCUMENT.

If you double-click the 'A-Master' page it will send you to the MASTER PAGE, this means anything you add...will appear on every page of your document.

Creating New Master pages...

(To unlock text frames, press cmd+shift & click

Using the master page, place a text box on the page and follow these steps...

This will apply the current page number to the page your currently on. To print effectively, go to; FILE: PRINT BOOKLET and select the BOOKLET TYPE that would best fit your book. Once selected, visit 'Print Settings', if you want your pages to be A4 Format, you will have to print A3 Landscape.

Setup: PAGE POSITION: Centered
Marks and bleed: CROP MARKS: click
Print to short edge binding as oppose to long. This is determined by which edge the bind will be along!!

Make sure the preview hasn't got an exclamation mark next to it and that your pages are appropriately positioned, TO PRINT A BOOKLET, DO NOT GO TO 'PRINT'. GO TO 'PRINT BOOKLET' 

Booklet type/ CONSECUTIVE - Often good if you're doing 3 fold leaflets. ('2-up' means 2 sheets per side of paper). Go to 'Print Settings' at the bottom of this dialogue box... 

Make sure you check: 'Print Blank Pages' this include any blank pages you've included in your book, it's very common that most books include at least one blank page on the inside cover. 

Make sure your 'Page Position' is 'CENTERED' this will ensure your double sided printing follows a consistent theme, this attribute can be enhanced through 'crop marks' and 'bleed's.

Selecting 'Preview' will allow you to see your booklet re-ordered in response to the selected 'binding method.

Printing Double-Sided…

'Print Booklet' doesn't work in digital print so you'll have to create a PDF to print… With 'Print Booklet' select 'PostScript file'… PostSript is what the printers use to understand our documents… PostScript language.

Adobe PDF 9.0 is a printer that allows us to create a PostScript file up to any size.

Acrobat Distiller…turning PosScript files into PDF files ready for print, Use the 'settings' to convert your file type - 'PRESS QUALITY'  - drag the postscript file into the window… once this conversion is complete, your ready to print! 

PostScript… outputting your own Separations - In the previous 'Indesign' sessions we looked at printing CMYK Separations, to do this for PostScript files it follows the exact same process… however you HAVE to select 'PostScript file' in the 'Printer' drop down menu.

Sunday, 21 October 2012

Commercial Print/ Exploring Colour


During this session we examined different examples of print, investigating how they were produced on a commercial scale...

This is an example of a Copper Plate which will be used for high volumes of prints because its more durable. Everything to be printed is engraved into the plate, including half-tones, line work and type. *Most likely produced through Embossing/ De-bossing or using a Foil tool. Rotogravure (Gravure)

Embossing...In my opinion this looks as if it would of been a high-cost project. Despite there probably being no printing plates introduced. The stock looks quite expensive due to its thickness and  soft-coated finish, and when you think about it on a commercial scale it would've cost significantly as oppose to the embossing plate.

This is an example of an aluminium plate, often used for one-off projects because once its been ran through the printers, there will be blemishes in the sheet, meaning its unlikely that you'll be able to get a sharp and clean image again. I was quite shocked at how thin the plates were, but obviously this reflects  the fact that it's one of the cheapest methods for producing commercial print. Offset Lithography (Litho)

Starbucks - Most likely produced through 'Litho' simply because of its high production, I've took into account that the product is very disposable, it's only purpose is to keep your drink warm, and once you've finished your drink...its served its purpose and will be binned. Therefore 'Starbucks' have probably used a 'Litho' approach because of its low cost.

CD artwork - Most likely a Digital print with spot colour foiling.

As you can see from the following photographs they've been produced commercially using a digital 4 colour process (CMYK) If you look closely allowing your eyes to focus, you'll notice how the colours have been overlaid to produce the photographic outcome.


Produced using a 'Spot UV Varnish', a process that applies a clear gloss of matte or satin onto specified areas. (Alternatively this can be applied onto most uncoated stocks too by firstly applying a Matte UV and then a Gloss UV, highlighting certain areas of any printed matter.)

Gold Foiling - 

Adding a distinct element of quality, developed through a printing process whereby a thin metallic foil is added to a specific area of your design.




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Leeds College of Art. Graphic Design.

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