Module 12

“Type is a beautiful group of letters, not a

group of beautiful letters.”
– Matthew Carter

ERIKA CARDON ART 130 | INTRODUCTION TO GRAPHIC DESIGN | 1

P R O J E C T | P O S T E R S: V I SUA L E X PE R I M E N T R E FI N E M E N T S

ERIKA CARDON ART 130 | INTRODUCTION TO GRAPHIC DESIGN | 2

P R O J E C T | P O S T E R S: T Y PE I N A R T I S T ’ S WO R K

ERIKA CARDON ART 130 | INTRODUCTION TO GRAPHIC DESIGN | 3

P R O J E C T 4 | T Y PE C H O I C E : T Y PE F O R T H E A R T I S T

DISPLAY FONT OPTIONS (FOR THE LARGE WORDS ON YOUR POSTERS)

P22 ALBERS KLINT STD NEUE HAAS GROTESK

ABCDEFGHIJKLMNOPQRSTUVWX ABCDEFGHIJKLMNOPQRSTU ABCDEFGHIJKLMNOPQRSTUV

YZabcdefghijklmnopqrstuvwx VWXYZabcdefghijklmnopq WXYZabcdefghijklmnopqrstuvw
yz rstuvwxyz xyz

The quick brown fox jumps over the lazy The quick brown fox jumps over the lazy The quick brown fox jumps over the lazy
dog. dog. dog.

P22 is a freeware font that was created to be similar I like Klint because it is clean and bold. This font is a little more rounded than some of the others,
to the font that Josef Albers created. I would call it a but still simple and clean.
decorative font. It is fun, but become increasingly harder
to read the smaller it gets.

BODY COPY FONT OPTIONS (FOR THE SMALLER WORDS ON YOUR POSTERS)

KLINT STD BODONI MT BASKERVILLE

ABCDEFGHIJKLMNOPQRSTU ABCDEFGHIJKLMNOPQRST ABCDEFGHIJKLMNOPQRS

VWXYZabcdefghijklmnopq UVWXYZabcdef ghijklmnopq TUVWXYZabcdef ghijklmno
rstuvwxyz rstuvwxyz pqrstuvwxyz

The quick brown fox jumps over the lazy The quick brown fox jumps over the lazy The quick brown fox jumps over the lazy
dog. dog. dog.

I like Klint because it is clean and simple and easy to read. Bodoni is also simple and clean, but has a little more visal A little bit of interest with the serifs, but not
interest with the serif. overwhelming.

ERIKA CARDON ART 130 | INTRODUCTION TO GRAPHIC DESIGN | 4

P R O J E C T | P O S T E R : D I G I TA L VA R I AT I O N S F O R P O S T E R 01 (CO L L AG E )

josef albers
what our eyes see

November 3 - December 31
Artist Reception Saturday, November 3, 6-9PM
RSVP for reception to 800 235 8456 or exhibits@sfmoma.com

Josef
San Francisco Museum of Modern Art
151 Third Street (between Mission and Howard Streets)
San Francisco, CA 94103

Albers
November 3 - December 31
Artist Reception
Saturday, November 3, 6-9PM
RSVP for reception to 800 235 8456 or
exhibits@sfmoma.com

November 3 - December 31
Artist Reception San Francisco Museum of Modern Art
Saturday, November 3, 6-9PM
151 Third Street
RSVP for reception to 800 235 8456 or
(between Mission and Howard Streets)

what our eyes see

exhibits@sfmoma.com
San Francisco, CA 94103
San Francisco Museum of Modern Art
151 Third Street
(between Mission and Howard Streets)

JOSEF ALBERS
San Francisco, CA 94103

ERIKA CARDON ART 130 | INTRODUCTION TO GRAPHIC DESIGN | 5

P R O J E C T | P O S T E R : D I G I TA L VA R I AT I O N S F O R P O S T E R 02 ( T Y P O G R A PH Y )
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What Our Eyes See
Do I see this as it really is?
November 3 - December 31
Artist Reception
Saturday, November 3, 6-9PM
RSVP for reception to 800 235 8456 or
exhibits@sfmoma.com

San Francisco Museum of Modern Art

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ERIKA CARDON ART 130 | INTRODUCTION TO GRAPHIC DESIGN | 6

P R O J E C T | P O S T E R : D I G I TA L VA R I AT I O N S F O R P O S T E R 03 (PH OTO G R A PH)

JOSEF ALBERS
what our eyes see
November 3 - December 31

Artist Reception Saturday, November 3, 6-9pm

JOSEF
eyes see
RSVP for reception to 800 235 8456 or exhibits@sfmoma.com

ALBERS

Josef Albers
what our

November 3 -
December 31
November 3 - December 31

what our
Artist Reception
November 3 - December 31 Saturday,
Artist Reception November 3, 6-9PM

eyes see
Saturday, November 3, 6-9PM
RSVP for reception to 800 235 8456 or RSVP for reception to
exhibits@sfmoma.com 800 235 8456 or
exhibits@sfmoma.com

San Francisco Museum of Modern Art San Francisco Museum

of Modern Art San Francisco Museum of Modern Art
151 Third Street
(between Mission and Howard Streets) 151 Third Street 151 Third Street
San Francisco, CA 94103 (between Mission (Between Mission And Howard Streets)
and Howard Streets)
San Francisco, Ca 94103
San Francisco, CA 94103

ERIKA CARDON ART 130 | INTRODUCTION TO GRAPHIC DESIGN | 7

AC T I V I T Y | A D O B E PH OTO S H O P: FI X I N G I M AG E S

Directions:
1. Open the m12_Activity_Image_01.psd file in Adobe
Photoshop.
2. Remove the scar on the model’s right cheek and
the spot on his left cheek using the Healing Brush
and/or the Coning Stamp tool.
3. Save your photoshop file as m12_activity_01.psd.
4. Place your m12_activity_01.psd file inside the image
frame on the left.
5. Select this frame with the Selection Tool and
then select Object > Fitting > Fit Content
Proportionately from the drop-down menus above.

Place the m12_activity.psd file in the image frame above.

ERIKA CARDON ART 130 | INTRODUCTION TO GRAPHIC DESIGN | 8

AC T I V I T Y | A D O B E PH OTO S H O P: M O R E O N M A S K I N G

+ =

Directions:
1. Open the m12_Activity_Image_02.psd and m12_
Activity_Image_03.psd files in Adobe Photoshop.
2. Using the mask tools combine the images into a
new file that looks like the example above.
3. Save your photoshop file as m12_activity_04.psd.
4. Place your m12_activity_04.psd file inside the
image frame on the left.
5. Select this frame with the Selection Tool and
then select Object > Fitting > Fit Content
Proportionately from the drop-down menus above.

Place the m12_activity.psd file in the image frame above.

ERIKA CARDON ART 130 | INTRODUCTION TO GRAPHIC DESIGN | 9

P O N D E R | M O D U L E 12

My favorite typeface from the fonts.com
package is Klint because it is clean and
simple, but is still able to have a bit of
personality.
What is a design grid?
A design grid is an unseen grid where you line up
elements of your design. I often use the ruler feature in
Illustrator to create an actual grid, or at last parts of one,
while designing something.
Study examples of small type (body copy) on the
poster examples you’ve collected. How small is that
type usually compared to the other elements on the
posters?
The small type on the posters is usually quite a bit
smaller than the rest of the text. It is so small, in fact, that
it is often a little hard to read in the size that it is usually
displayed on the screen, since that size is much smaller
than the actual print size of the poster.
After studying your poster examples explain how
designers design the small type into their posters
(What are different ways they shape the text block,
use alignment, etc.).
I have seen posters that use alignment, text blocks,
isolation, and a number of different design methods
to pull your eye to the details once you step up to the
poster.

How do designers use grids to organize their poster

designs?
Designers use grids to line up elements on their posters
to help create unity and continuity. My example of
how small type is used uses a lot of grid work to line
everything up. The artist lined up all sizes of text using
grids going vertical and horizontally then they then
rotated a bit.

What did you learn from the shapes project that will
now help you design your poster?
Much of what we learned it the shapes project was about
grids, we just didn’t call it that. Grids are a little more
horizontal and vertical, whereas with the shapes project
we lined things up on a number of different planes - but
we still learned about lining things up. I like the use of the grid and how the small type in arranged on this poster.

A design grid is an unseen grid where you line up elements of your design.

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