Portfolio TYPE COMPOSITION

Language, in any of its many forms, is a self-contained system of interactive signs that com-
municates ideas. Just as elocution and diction enhance and clarify the meaning of our spoken
words, typographic signs can be manipulated by a designer to achieve more lucid and expressive
typographic communication.
Signs operate in two dimensions: syntactic and semantic. When the mind is concerned with the
form of a sign, it is involved with typographic syntax. When it associates a particular meaning
with a sign, it is operating in the semantic dimension.
All objects in the environment can potentially function as signs, representing any number
of concepts. A smog-filled city signifying pollution, a beached whale representing extinction,
and confetti implying a celebration—each functions as a sign relating a specific concept.
Signs may exist at various levels of abstraction. A simple example will illustrate this point. Let us
consider something as elemental as a red dot. It is a sign only if it carries a particular meaning.
It can represent any number of things: balloon, ball, or Japanese flag. The red dot can become
a cherry, for example, as the mind is cued by forms more familiar to its experience.
The particular syntactic qualities associated with typographic signs determine a specific meaning.
A series of repeated letters, for example, may signify motion or speed, while a small letter in
a large void may signify isolation. These qualities, derived from the operating principles of visual
hierarchy and ABA form, function as cues, permitting the mind to form concepts. Simple syntac-
tic manipulations, such as the repetition of letters, or the weight change of certain letters, enable
words visually to mimic verbal meaning.
In language, signs are joined together to create messages. Words as verbal sign, grouped together
in a linear fashion, attain their value vis-à-vis other words through opposition and contrast.
Words can also evoke meaning through mental association. These associative relations are
semantically derived. Since typography is both visual and verbal, it operates in a linear fashion,
with words following each other in a specific sequence, or in a nonlinear manner, with elements
existing in many syntactic combinations.
Tanyawan Norachit 8 / 11 Garamond

Type composition / Fall 2010 +8 Tracking
Exploration 1 • Paragraph indicators Space between 5 Pt.
Language, in any of its many forms, is a self-contained system of interac-
tive signs that communicates ideas. Just as elocution and diction
enhance and clarify the meaning of our spoken words, typographic
signs can be manipulated by a designer to achieve more lucid and
expressive typographic communication.
Signs operate in two dimensions: syntactic and semantic. When the mind
is concerned with the form of a sign, it is involved with typographic
syntax. When it associates a particular meaning with a sign, it is oper-
ating in the semantic dimension.
The particular syntactic qualities associated with typographic signs de-
termine a specific meaning. A series of repeated letters, for example,
may signify motion or speed, while a small letter in a large void may
signify isolation. These qualities, derived from the operating prin-
ciples of visual hierarchy and ABA form, function as cues, permitting
the mind to form concepts. Simple syntactic manipulations, such
as the repetition of letters, or the weight change of certain letters,
enable words visually to mimic verbal meaning.
All objects in the environment can potentially function as signs, represent-
ing any number of concepts. A smog-filled city signifying pollution,a
beached whale representing extinction, and confetti implying
a celebration—each functions as a sign relating a specific concept.
In language, signs are joined together to create messages. Words as
verbal sign, grouped together in a linear fashion, attain their value
vis-à-vis other words through opposition and contrast. Words can
also evoke meaning through mental association. These associative
relations are semantically derived. Since typography is both visual and
verbal, it operates in a linear fashion, with words following each other
in a specific sequence, or in a nonlinear manner, with elements
Tanyawan Norachit 8 / 12 Avenir

Exploration 1 • Paragraph indicators Exdent 15 Pt.
Language, in any of its many forms, is a self-contained system of interactive signs that
communicates ideas. Just as elocution and diction enhance and clarify the meaning of our
spoken words, typographic signs can be manipulated by a designer to achieve more lucid and
All objects in the environment can potetially function as signs, representing any number of
concepts. A smog-filled city signifying pollution, a beached whale representing extinction, and
confetti implying a celebration—each functions as a sign relating a specific concept.
Signs may exist at various levels of abstraction. A simple example will illustrate this point.
Let us consider something as elemental as a red dot. It is a sign only if it carries a particular
meaning. It can represent any number of things: balloon, ball, or Japanese flag. The red dot can
become a cherry, for example, as the mind is cued by forms more familiar to its experience.
The particular syntactic qualities associated with typographic signs determine a specific
meaning. A series of repeated letters, for example, may signify motion or speed, while a small
letter in a large void may signify isolation. These qualities, derived from the operating principles
of visual hierarchy and ABA form, function as cues, permitting the mind to form concepts.
Simple syntactic manipulations, such as the repetition of letters, or the weight change of cer-
tain letters, enable words visually to mimic verbal meaning.
In language, signs are joined together to create messages. Words as verbal sign, grouped
together in a linear fashion, attain their value vis-à-vis other words through opposition and
contrast. Words can also evoke meaning through mental association. These associative rela-
tions are semantically derived. Since typography is both visual and verbal, it operates in a linear
fashion, with words following each other in a specific sequence, or in a nonlinear manner, with
elements existing in many syntactic combinations.
Tanyawan Norachit 8 / 12 Din

Exploration 1 • Paragraph indicators Indent 20 Pt.
In language, signs are joined together to create messages. Words as verbal
sign, grouped together in a linear fashion, attain their value vis-à-vis
other words through opposition and contrast. Words can also evoke
meaning through mental association. These associative relations are
semantically derived. Since typography is both visual and verbal,
it operates in a linear fashion, with words following each other in a
specific sequence, or in a nonlinear manner, with elements existing in
T he particular syntactic qualities associated with typographic
many syntactic combinations.
signs determine a specific meaning. A series of repeated letters, The particular syntactic qualities associated with typographic signs de-
for example, may signify motion or speed, while a small termine a specific meaning. A series of repeated letters, for example, may
letter in a large void may signify isolation. These qualities, de- signify motion or speed, while a small letter in a large void may signify
rived from the operating principles of visual hierarchy and ABA isolation. These qualities, derived from the operating principles of
form, function as cues, permitting the mind to form concepts. visual hierarchy and ABA form, function as cues, permitting the mind
Simple syntactic manipulations, such as the repetition of letters, to form concepts. Simple syntactic manipulations, such as the repetition
or the weight change of certain letters, enable words visually to of letters, or the weight change of certain letters, enable words visually to
mimic verbal meaning. mimic verbal meaning.
All objects in the environment can potentially function as All objects in the environment can potentially function as signs,
signs, representing any number of concepts. A smog-filled city representing any number of concepts. A smog-filled city signifying pol-
signifying pollution, a beached whale representing extinction, lution, a beached whale representing extinction, and confetti implying a
and confetti implying a celebration—each functions as a sign celebration—each functions as a sign relating a specific concept.
relating a specific concept.
Language, in any of its many forms, is a self-contained system of
interactive signs that communicates ideas. Just as elocution and diction
enhance and clarify the meaning of our spoken words, typographic
signs can be manipulated by a designer to achieve more lucid and expres-
sive typographic communication.
Tanyawan Norachit 7/ 10 Garamond

Exploration 2 • Paragraph indicators Intitial Cap
S igns operate in two dimensions: syntactic and semantic. When the mind is concerned
with the form of a sign, it is involved with typographic syntax. When it associates a
particular meaning with a sign, it is operating in the semantic dimension.
All objects in the environment can potentially function as signs, representing any number of
concepts. A smog-filled city signifying pollution, a beached whale representing extinction
and confetti implying a celebration—each functions as a sign relating a specific concept.
Let us consider something as elemental as a red dot. It is a sign only if it carries a particu-
lar meaning. It can represent any number of things: balloon, ball, or Japanese flag. The red
dot can become a cherry, for example, as the mind is cued by forms more familiar to
its experience.
meaning. A series of repeated letters, for example, may signify motion or speed, while a
small letter in a large void may signify isolation. These qualities, derived from the operating
principles of visual hierarchy and ABA form, function as cues, permitting the mind to form
concepts. Simple syntactic manipulations, such as the repetition of letters, or the weight
change of certain letters, enable words visually to mimic verbal meaning.
In language, signs are joined together to create messages. Words as verbal sign, grouped
contrast. Words can also evoke meaning through mental association. These associative
relations are semantically derived. Since typography is both visual and verbal, it operates
in a linear fashion, with words following each other in a specific sequence, or in a nonlinear
manner, with elements existing in many syntactic combinations.
Tanyawan Norachit 8 / 13 Rockwell

Exploration 2 • Paragraph indicators Drop Cap
Language, in any of its many forms, is a self-contained system of in-
teractive signs that communicates ideas. Just as elocution and diction
enhance and clarify the meaning of our spoken words, typographic signs can
be manipulated by a designer to achieve more lucid and expressive ty-
pographic communication. ∆ Signs operate in two dimensions: syntactic
and semantic. When the mind is concerned with the form of a sign, it is
involved with typographic syntax. When it associates a particular meaning
with a sign, it is operating in the semantic dimension. ∆ All objects in the
environment can potentially function as signs, representing any number
of concepts. A smog-filled city signifying pollution, a beached whale rep-
resenting extinction, and confetti implying a celebration—each functions
as a sign relating a specific concept. ∆ Signs may exist at various levels
of abstraction. A simple example will illustrate this point. Let us consider
something as elemental as a red dot. It is a sign only if it carries a particular
meaning. It can represent any number of things: balloon, ball, or Japa-
nese flag. The red dot can become a cherry, for example, as the mind
is cued by forms more familiar to its experience. ∆ All objects in the en-
vironment can potentially function as signs, representing any number of
concepts. A smog-filled city signifying pollution, a beached whale repre-
senting extinction, and confetti implying a celebration—each functions as a
sign relating a specific concept. ∆ Signs operate in two dimensions: syntac-
tic and semantic. When the mind is concerned with the form of a sign, it is
involved with typographic syntax. When it associates a particular meaning
with a sign, it is operating in the semantic dimension. ∆ All objects in the
environment can potentially function as signs, representing any number
of concepts. A smog-filled city signifying pollution, a beached whale repre-
senting extinction, and confetti implying a celebration—each functions as
a sign relating a specific concept. ∆
Tanyawan Norachit 8/ 11 Baskerville

Exploration 2 • Paragraph indicators Graphic Element
Signs operate in two dimensions: syntactic and semantic. When the mind is
concerned with the form of a sign, it is involved with typographic syntax.
When it associates a particular meaning with a sign, it is operating in the
semantic dimension.
All objects in the environment can potentially function as signs, representing any
number of concepts. A smog-filled city signifying pollution, a beached whale
representing extinction, and confetti implying a celebration—each functions
as a sign relating a specific concept.
Language, in any of its many forms, is a self-contained system of interactive signs
that communicates ideas. Just as elocution and diction enhance and clarify
the meaning of our spoken words, typographic signs can be manipulated by
a designer to achieve more lucid and expressive typographic communication.
The particular syntactic qualities associated with typographic signs determine a
specific meaning. A series of repeated letters, for example, may signify
motion or speed, while a small letter in a large void may signify isolation.
These qualities, derived from the operating principles of visual hierarchy and
ABA form, function as cues, permitting the mind to form concepts. Simple
syntactic manipulations, such as the repetition of letters, or the weight
In language, signs are joined together to create messages. Words as verbal sign,
grouped together in a linear fashion, attain their value vis-à-vis other words
through opposition and contrast. Words can also evoke meaning through
mental association. These associative relations are semantically derived.
Since typography is both visual and verbal, it operates in a linear fashion,
with words following each other in a specific sequence, or in a nonlinear
Tanyawan Norachit 8/11 Din

Exploration 3 • Paragraph indicators Exdent 20 Pt. / First word
that communicates ideas. Just as elocution and diction enhance and clarify the
meaning of our spoken words, typographic signs can be manipulated by a designer
to achieve more lucid and expressive typographic communication. e Signs operate
in two dimensions: syntactic and semantic. When the mind is concerned with the form
of a sign, it is involved with typographic syntax. When it associates a particular meaning
with a sign, it is operating in the semantic dimension. e All objects in the environment
can potentially function as signs, representing any number of concepts. A smog-filled city
signifying pollution, a beached whale representing extinction, and confetti implying a cel-
ebration—each functions as a sign relating a specific concept. e Signs may exist at various
levels of abstraction. A simple example will illustrate this point. Let us consider something
as elemental as a red dot. It is a sign only if it carries a particular meaning. It can represent
any number of things: balloon, ball, or Japanese flag. The red dot can become a cherry, for
example, as the mind is cued by forms more familiar to its experience. e The particular
syntactic qualities associated with typographic signs determine a specific meaning. A series
of repeated letters, for example, may signify motion or speed, while a small letter in a large
void may signify isolation. These qualities, derived from the operating principles of visual
hierarchy and ABA form, function as cues, permitting the mind to form concepts. Simple
syntactic manipulations, such as the repetition of letters, or the weight change of certain
letters, enable words visually to mimic verbal meaning. e All objects in the environment
signifying pollution, a beached whale representing extinction, and confetti implying a
celebration—each functions as a sign relating a specific concept. e

Exploration 3 • Paragraph indicators First Paragraph / Graphic element
Language, in any of its many forms, is a self-contained
system of interactive signs that communicates ideas. Just as elocution and diction
enhance and clarify the meaning of our spoken words, typographic signs can be
manipulated by a designer to achieve more lucid and expressive typographic com-
munication.  Signs operate in two dimensions: syntactic and semantic. When the
mind is concerned with the form of a sign, it is involved with typographic syntax.
When it associates a particular meaning with a sign, it is operating in the semantic
dimension.  All objects in the environment can potentially function as signs,
representing any number of concepts. A smog-filled city signifying pollution, a
beached whale representing extinction, and confetti implying a celebration—each
functions as a sign relating a specific concept. Signs may exist at various levels
of abstraction. A simple example will illustrate this point. Let us consider something
as elemental as a red dot. It is a sign only if it carries a particular meaning.
It can represent any number of things: balloon, ball, or Japanese flag. The red
dot can become a cherry, for example, as the mind is cued by forms more
familiar to its experience. The particular syntactic qualities associated with
typographic signs determine a specific meaning. A series of repeated letters, for
example, may signify motion or speed, while a small letter in a large void may
signify isolation. These qualities, derived from the operating principles of visual
hierarchy and ABA form, function as cues, permitting the mind to form concepts.
Simple syntactic manipulations, such as the repetition of letters, or the weight
change of certain letters, enable words visually to mimic verbal meaning. 
representing extinction, and confetti implying a celebration—each functions as
a sign relating a
specific concept.
Tanyawan Norachit 7/ 10 Futura

Exploration 3 • Paragraph indicators Graphic Element / First sentence
Signs operate in two dimensions: syntactic and semantic. When the mind is concerned with the
form of a sign, it is involved with typographic syntax. When it associates a particular meaning with
a sign, it is operating in the semantic dimension.
All objects in the environment can potentially func-
tion as signs, representing any number of concepts. A smog-filled city signifying pollution, a beached
whale representing extinction, and confetti implying a celebration—each functions as a sign relating
a specific concept.
that communicates ideas. Just as elocution and diction enhance and clarify the meaning of our spoken
words, typographic signs can be manipulated by a designer to achieve more lucid and expressive
typographic communication.
The particular syntactic qualities associated with typographic signs
determine a specific meaning. A series of repeated letters, for example, may signify motion or speed,
while a small letter in a large void may signify isolation. These qualities, derived from the operating
principles of visual hierarchy and ABA form, function as cues, permitting the mind to form concepts.
Simple syntactic manipulations, such as the repetition of letters, or the weight change of certain letters,
enable words visually to mimic verbal meaning.
In language, signs are joined together to create mes-
sages. Words as verbal sign, grouped together in a linear fashion, attain their value vis-à-vis other
words through opposition and contrast. Words can also evoke meaning through mental association.
These associative relations are semantically derived. Since typography is both visual and verbal,
it operates in a linear fashion, with words following each other in a specific sequence, or in a nonlin-
ear manner, with elements existing in many syntactic combinations.
Tanyawan Norachit
Type composition / Fall 2010 7.5/ 12 Futura
Exploration 4 • Variable Indents +5 Tracking
interactive signs that communicates ideas. Just as elocution and
diction enhance and clarify the meaning of our spoken words,
typographic signs can be manipulated by a designer to achieve
more lucid and expressive typographic communication.
Signs operate in two dimensions: syntactic and semantic. When
the mind is concerned with the form of a sign, it is involved
with typographic syntax. When it associates a particular mean-
ing with a sign, it is operating in the semantic dimension.
The particular syntactic qualities associated with typographic signs deter-
mine a specific meaning. A series of repeated letters, for example, may
signify motion or speed, while a small letter in a large void may signify
isolation. These qualities, derived from the operating principles of visual
hierarchy and ABA form, function as cues, permitting the mind to form
concepts. Simple syntactic manipulations, such as the repetition of letters,
or the weight change of certain letters, enable words visually to mimic
verbal meaning.
All objects in the environment can potentially function as signs, repre-
senting any number of concepts. A smog-filled city signifying pollution,
a beached whale representing extinction, and confetti implying a celebra-
tion—each functions as a sign relating a specific concept.
Language, in any of its many forms, is a self-contained system
of interactive signs that communicates ideas. Just as elocution
and diction enhance and clarify the meaning of our spoken
words, typographic signs can be manipulated by a designer to
achieve more lucid and expressive typographic communication
Tanyawan Norachit
Type composition / Fall 2010 8/ 11 Baskerville
Exploration 4 • Variable Margins +10 Tracking
Signs may exist at various levels of abstraction. A simple example All objects in the environment can potentially func-
will illustrate this point. Let us consider something as elemental as tion as signs, representing any number of concepts.
a red dot. It is a sign only if it carries a particular meaning. It can A smog-filled city signifying pollution, a beached
represent any number of things: balloon, ball, or Japanese flag. The whale represening extinction, and confetti implying
red dot can become a cherry, for example, as the mind is cued by a celebration—each functions as a sign relating a
forms more familiar to its experience. specific concept.
Signs operate in two dimensions: syntactic Language, in any of its many forms, is a self-contained
and semantic. When the mind is concerned system of interactive signs that communicates ideas. Just as
with the form of a sign, it is involved with elocution and diction enhance and clarify the meaning of
typographic syntax. When it associates a our spoken words, typographic signs can be manipulated
particular meaning with a sign, it is operat- by a designer to achieve more lucid and expressive typo-
ing in the semantic dimension. graphic communication.
In language, signs are joined together to create messages. Words as verbal sign, grouped together
in a linear fashion, attain their value vis-à-vis other words through opposition and contrast.
Words can also evoke meaning through mental association. These associative relations are
semantically derived. Since typography is both visual and verbal, it operates in a linear fashion,
with words following each other in a specific sequence, or in a nonlinear manner, with elements
Tanyawan Norachit
Type composition / Fall 2010 8/ 10 centaur
Exploration 4 • Variable Widths +10 Tracking
Verbal/Visual equations
Excerpted from Typographic Design: Form and Communication
By Rob Carter, Ben Day and Philip Meggs

The particular syntactic qualities associated with typographic signs deter-
mine a specific meaning. A series of repeated letters, for example, may
isolation. These qualities, derived from the operating principles of visual
hierarchy and ABA form, function as cues, permitting the mind to form
or the weight change of certain letters, enable words visually to mimic
verbal meaning.
All objects in the environment can potentially function as signs,
representing any number of concepts. A smog-filled city signi-
fying pollution, a beached whale representing extinction, and
confetti implying a celebration—each functions as a sign relat-
ing a specific concept.
through opposition and contrast. Words can also evoke meaning through mental
association. These associative relations are semantically derived. Since typogra-
phy is both visual and verbal, it operates in a linear fashion, with words following
each other in a specific sequence, or in a nonlinear manner, with elements exist-
ing in many syntactic combinations.
Tanyawan Norachit 8/ 11 Baskerville

Exploration 5 • Title / Subtitle / Byline Scale / Font + Style Change
excerpted from Typographic Design: Form and Communication
Signs operate in two dimensions: syntactic and semantic. When the mind is
concerned with the form of a sign, it is involved with typographic syntax.
When it associates a particular meaning with a sign, it is operating in the
semantic dimension.
representing extinction, and confetti implying a celebration—each functions
as a sign relating a specific concept.
that communicates ideas. Just as elocution and diction enhance and clarify
the meaning of our spoken words, typographic signs can be manipulated by
a designer to achieve more lucid and expressive typographic communication.
The particular syntactic qualities associated with typographic signs determine a
specific meaning. A series of repeated letters, for example, may signify
motion or speed, while a small letter in a large void may signify isolation.
These qualities, derived from the operating principles of visual hierarchy and
ABA form, function as cues, permitting the mind to form concepts. Simple
syntactic manipulations, such as the repetition of letters, or the weight
through opposition and contrast. Words can also evoke meaning through
mental association. These associative relations are semantically derived.
Since typography is both visual and verbal, it operates in a linear fashion,
with words following each other in a specific sequence, or in a nonlinear
Tanyawan Norachit 8/11 Din

Exploration 5 • Title / Subtitle / Byline Scale change / Font Change
excerpted from Typographic Design: Form and Communication

that communicates ideas. Just as elocution and diction enhance and clarify the
meaning of our spoken words, typographic signs can be manipulated by a designer
to achieve more lucid and expressive typographic communication. e Signs operate
in two dimensions: syntactic and semantic. When the mind is concerned with the form
of a sign, it is involved with typographic syntax. When it associates a particular meaning
with a sign, it is operating in the semantic dimension. e All objects in the environment
signifying pollution, a beached whale representing extinction, and confetti implying a cel-
ebration—each functions as a sign relating a specific concept. e Signs may exist at various
levels of abstraction. A simple example will illustrate this point. Let us consider something
as elemental as a red dot. It is a sign only if it carries a particular meaning. It can represent
any number of things: balloon, ball, or Japanese flag. The red dot can become a cherry, for
example, as the mind is cued by forms more familiar to its experience. e The particular
syntactic qualities associated with typographic signs determine a specific meaning. A series
of repeated letters, for example, may signify motion or speed, while a small letter in a large
void may signify isolation. These qualities, derived from the operating principles of visual
hierarchy and ABA form, function as cues, permitting the mind to form concepts. Simple
syntactic manipulations, such as the repetition of letters, or the weight change of certain
letters, enable words visually to mimic verbal meaning. e

Exploration 5 • Title / Subtitle / Byline Scale Change
“All objects in the environment
can potentially function as
signs, representing any
number of concepts.”
All objects in the environment can potentially func-
tion as signs, representing any number of concepts.
A smog-filled city signifying pollution, a beached
whale represening extinction, and confetti implying
a celebration—each functions as a sign relating a A simple example will illustrate this point.
specific concept.
Signs may exist at various levels of abstraction. A simple example Language, in any of its many forms, is a self-contained
will illustrate this point. Let us consider something as elemental as system of interactive signs that communicates ideas. Just as
a red dot. It is a sign only if it carries a particular meaning. It can elocution and diction enhance and clarify the meaning of
represent any number of things: balloon, ball, or Japanese flag. The our spoken words, typographic signs can be manipulated
red dot can become a cherry, for example, as the mind is cued by by a designer to achieve more lucid and expressive typo-
forms more familiar to its experience. graphic communication.
Signs operate in two dimensions: syntactic Signs may exist at various levels of abstraction. A simple example will
and semantic. When the mind is concerned illustrate this point. Let us consider something as elemental as a red
with the form of a sign, it is involved with dot. It is a sign only if it carries a particular meaning. It can represent
typographic syntax. When it associates a any number of things: balloon, ball, or Japanese flag. The red dot can
particular meaning with a sign, it is operat- become a cherry, for example, as the mind is cued by forms more familiar
ing in the semantic dimension. to its experience.
Tanyawan Norachit
Type composition / Fall 2010 8/ 10 centaur
Exploration 6 • Hierarchy 2: Quotes / Captions +10 Tracking
Language, in any of its many forms, is a self-contained system of interactive signs that
communicates ideas. Just as elocution and diction enhance and clarify the meaning of our
spoken words, typographic signs can be manipulated by a designer to achieve more lucid and
“All objects in the environment can potetially

function as signs” All objects in the environment can potetially function as signs, representing any number of
concepts. A smog-filled city signifying pollution, a beached whale representing extinction, and
confetti implying a celebration—each functions as a sign relating a specific concept.
Let us consider something as elemental as a red dot. It is a sign only if it carries a particular
meaning. It can represent any number of things: balloon, ball, or Japanese flag. The red dot can
become a cherry, for example, as the mind is cued by forms more familiar to its experience.
meaning. A series of repeated letters, for example, may signify motion or speed, while a small
letter in a large void may signify isolation. These qualities, derived from the operating principles
of visual hierarchy and ABA form, function as cues, permitting the mind to form concepts.
Simple syntactic manipulations, such as the repetition of letters, or the weight change of cer-
tain letters, enable words visually to mimic verbal meaning.
When the mind is concerned with In language, signs are joined together to create messages. Words as verbal sign, grouped
the form of a sign, it is involved
with typographic syntax.
contrast. Words can also evoke meaning through mental association. These associative rela-
tions are semantically derived. Since typography is both visual and verbal, it operates in a linear
fashion, with words following each other in a specific sequence, or in a nonlinear manner, with
elements existing in many syntactic combinations.

Exploration 6 • Hierarchy 2: Quotes / Captions Indent 20 Pt.
All objects in the environment can potentially function as signs The particular syntactic qualities associated with typographic signs de-
termine a specific meaning. A series of repeated letters, for example, may
“ The particular syntactic isolation. These qualities, derived from the operating principles of visual
qualities associated with hierarchy and ABA form, function as cues, permitting the mind to form
typographic signs determine or the weight change of certain letters, enable words visually to mimic
verbal meaning.
a specific meaning.” All objects in the environment can potentially function as signs, repre-
senting any number of concepts. A smog-filled city signifying pollution, a
beached whale representing extinction, and confetti implying a celebra-
tion—each functions as a sign relating a specific concept.
Language, in any of its many forms, is a self-contained system
of interactive signs that communicates ideas. Just as elocution
and diction enhance and clarify the meaning of our spoken
words, typographic signs can be manipulated by a designer to
achieve more lucid and expressive typographic communication
Tanyawan Norachit
Type composition / Fall 2010 8/ 11 Baskerville
Exploration 6 • Hierarchy 2: Quotes / Captions +10 Tracking

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Language, in any of its many forms, is a self-contained system of interactive signs that com-

Tanyawan Norachit 8 / 11 Garamond

Tanyawan Norachit 8 / 12 Avenir

Tanyawan Norachit 8 / 12 Din

Tanyawan Norachit 7/ 10 Garamond

Tanyawan Norachit 8 / 13 Rockwell

Tanyawan Norachit 8/ 11 Baskerville

Tanyawan Norachit 8/11 Din

Tanyawan Norachit 8 / 10 Garamond

Tanyawan Norachit 7/ 10 Futura

Language, in any of its many forms, is a self-contained system of

Tanyawan Norachit 8/ 11 Baskerville

Tanyawan Norachit 8/11 Din

Language, in any of its many forms, is a self-contained system of interactive signs

Tanyawan Norachit 8 / 10 Garamond

“All objects in the environment can potetially

Tanyawan Norachit 8 / 11 Garamond

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