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Graphic Designer's Essential Reference by Timothy Samara

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TYPOGRAPHIC STYLINGS
GRAPHIC ELEMENTS
As a more concrete approach, try manipula-
tions such as these, whereby the typographic
form assumes a pictorial quality
becoming
a real-world object, participating in physical
action, or suggesting three-dimensional
environments. The immediacy and literalism
of these manipulations lend themselves to
type-only solutions, packing the visual power
of image into the verbal structure of words.
Artifi cial
34025
Explode
34033
Arid
34041
Radiation
34026
Drive
34034
Burning
34042
Lust
34027
Luxury
34035
Poverty
34043
Rough
34028
Vague
34036
Trash
34044
Death
34029
Archaic
34037
Theatrical
34045
Weather
34030
Diversity
34038
Anxious
34046
Biology
34031
Cold
34039
Insect
34047
Chemical
34032
Ocean
34040
Progressive
34048
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GRAPHIC DESIGNER’S ESSENTIAL REFERENCE
{}
350 01 35007 35013 35019
Prehistoric: Mesozoic Antiquity: Roman Empire Late Medieval: French Gothic Industrial Revolution
Prehistoric: African Early Medieval: Irish Late Medieval: Germanic G othic American Wild West
Prehistoric: European Early Medieval: Merovingian Early Renaissance Victorian: Romantic
Prehistoric: Asia Minor Medieval: Italianate Renaissance: Cinquecento Victorian: Stylized
Antiquity: Greece Medieval: Carolingian Late Renaissance Arts & Crafts
Antiquity: Egypt Medieval: Lombardic Baroque Art Nouveau: French
35002 350 08 35014 35020
35003 350 09 35015 35021
35004 35010 35016 35022
35005 35011 35017 35023
35006 35012 35018 35024
TYPEFACE SELECTIONS Historical
35
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TYPOGRAPHIC STYLINGS
GRAPHIC ELEMENTS
35025 35031 35037 35043
Jugendstil Constructivist Baby Boomer: Entertainment Counterculture: Punk
Art Nouveau: Belgian Dada/Futurism Baby Boomer: Lounge Counterculture: Glam/New Wave
Art Nouveau: Scottish De Stijl Counterculture: Folk Global Branding
Plakatstil Art Deco: Display Counterculture: Psychedelic Postmodern
Early Viennese Secession Art Deco: Book Counterculture: Pop/Beatnik New Age Spiritualism
Late Viennese Secession/Werkstätte Postwar International Style Counterculture: Groove Internet Age
35026 35032 35038 35044
35027 35033 35039 35045
35028 35034 35040 35046
35029 35035 35041 35047
35030 35036 35042 35048
For projects embodying signifi cant historical
content or metaphorical allusion to a time
period, look to period faces to provide that
context. The selections shown here fi t general
historical categories; each shows two charac-
teristic display faces. To avoid an overly historical
avor, exchange one of the members in a given
combination with a more contemporary face, or
use the period combination for accents alongside
one or more decidedly modern faces.
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GRAPHIC DESIGNER’S ESSENTIAL REFERENCE
{}
360 01 36007 36013 36019
Dangerous Sinister Aggressive Experimental
Friendly Sporty Extreme Fantasy
Comical Fragile Powerful Musical
Technological Exotic Progressive Artifi cial
Soft Intuitive Classical Organic
Dynamic Psychotic Elegant Urban
36002 360 08 36014 36020
36003 360 09 36015 36021
36004 36010 36016 36022
36005 36011 36017 36023
36006 36012 36018 36024
TYPEFACE SELECTIONS Moods and Concepts
36
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TYPOGRAPHIC STYLINGS
GRAPHIC ELEMENTS
36025 36031 36037 36043
Financial Services Industrial: Heavy Manufacturing Nature Conservancy Cultural Institution: Visual Arts
Legal Services Industrial: High-Tech Energy Utilities Entertainment: Pop
Health Care Education: Public Telecommunications Entertainment: Hip-Hop
Life Sciences Education: Higher Learning Mass-Market Hotel Consumer Products: Bed and Bath
Pharmaceutical Architectural Design Boutique or Luxury Hotel Home Furnishing: Traditional
Industrial: Chemical Construction or Hardware Cultural Institution: Performing Arts Home Furnishing: Contemporary
36026 36032 36038 36044
36027 36033 36039 36045
36028 36034 36040 36046
36029 36035 36041 36047
36030 36036 36042 36048
These specimens offer quick, reliable formulas
for conveying the specifi c tone or voice of a
given project
both through the visual quali-
ties of the faces’ rhythm, movement, contrast,
and detailing, as well as through cultural or
historical associations. By no means exhaustive,
the stylistic examples shown here may be used
as is, mixed for more complex tonal shading,
or their members substituted with similar styles
as seems appropriate.
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