Category Archives: Resources

Kinetic Typography

Kinetic Typography Resources


Pintrest samples

Related Videos

Word as Image

Vimeo Type

Kinetic type Channel

Art of the Movie Title

Kinetic Type Examples

Day O Kinetic


Animation InDesign

InDesign basics

InDesign: Creating Animations


Animated GIF  Photoshop

Fade in/out GIF
fadein out animated GIF

Animated Loading GIFs

Animated GIF  Tween


play list  animation  Brooklyn Public Library


Fibonacci Sequence

Fibonacci type proportions
Type sizes series you could use for balance with sense of proportion


A series of numbers with the pattern of each number being the sum of the previous two.
The sequence:
0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144…

Fibonacci type proportions
Type sizes series you could use for balance with sense of proportion
5 ‚ÄĘ 8 ‚ÄĘ 13 ‚ÄĘ 21 ‚ÄĘ 34 ‚ÄĘ 55 ‚ÄĘ 89 …
6 ‚ÄĘ 10 ‚ÄĘ 16 ‚ÄĘ 26 ‚ÄĘ 42 ‚ÄĘ 68 ‚ÄĘ 110 ……


In mathematics, the Fibonacci numbers are the numbers in the following integer sequence, called the Fibonacci sequence, and characterized by the fact that every number after the first two is the sum of the two preceding ones:

1 , 1 , 2 , 3 , 5 , 8 , 13 , 21 , 34 , 55 , 89 , 144 , …  {\displaystyle 1,\;1,\;2,\;3,\;5,\;8,\;13,\;21,\;34,\;55,\;89,\;144,\;\ldots }

Often, especially in modern usage, the sequence is extended by one more initial term:

0 , 1 , 1 , 2 , 3 , 5 , 8 , 13 , 21 , 34 , 55 , 89 , 144 , …} {\displaystyle 0,\;1,\;1,\;2,\;3,\;5,\;8,\;13,\;21,\;34,\;55,\;89,\;144,\;\ldots }.

 Type Proportion Tool Online

illustrate how these systems were used.

The golden rectangle featuring Fibonacci numbers (Credit:¬†ŚÖčŚčěś££¬†CC-BY-SA 4.0)
The Fibonnacci Spiral (CC0)
"Fibonacci number" by is licensed under CC BY-SA 4.0

"Canons of page construction" by is licensed under CC BY-SA 4.0

The Grid/Golden Ratio


Golden Ratio

The golden ratio is also called the golden mean or golden section (Latin: sectio aurea).[3][4][5] Other names include extreme and mean ratio,[6] medial section, divine proportion, divine section (Latin: sectio divina), golden proportion, golden cut,[7] and golden number.[8][9][10]

Some twentieth-century¬†artists¬†and¬†architects, including¬†Le Corbusier¬†and¬†Dal√≠, have proportioned their works to approximate the golden ratio‚ÄĒespecially in the form of the¬†golden rectangle, in which the ratio of the longer side to the shorter is the golden ratio‚ÄĒbelieving this proportion to be¬†aesthetically¬†pleasing. The golden ratio appears in some¬†patterns in nature, including the¬†spiral arrangement of leaves¬†and other plant parts.

Mathematicians since Euclid have studied the properties of the golden ratio, including its appearance in the dimensions of a regular pentagon and in a golden rectangle, which may be cut into a square and a smaller rectangle with the same aspect ratio. The golden ratio has also been used to analyze the proportions of natural objects as well as man-made systems such as financial markets, in some cases based on dubious fits to data.[11]


In graphic design, a grid is a structure (usually two-dimensional) made up of a series of intersecting straight (vertical,horizontal, and angular) or curved guide lines used to structure content. The grid serves as an armature or framework on which a designer can organize graphic elements (images, glyphs, paragraphs, etc.) in a rational, easy-to-absorb manner. A grid can be used to organize graphic elements in relation to a page, in relation to other graphic elements on the page, or relation to other parts of the same graphic element or shape.

The less-common printing term “reference grid,” is an unrelated system with roots in the early days of printing.


The golden rectangle featuring Fibonacci numbers (Credit:¬†ŚÖčŚčěś££¬†CC-BY-SA 4.0)
The Fibonnacci Spiral (CC0)


Tondreau, Beth. Layout Essentials : 100 Design Principles for Using Grids, Rockport Publishers, 2008. ProQuest Ebook Central, Page: 26


Grid section of Ellen Lupton’s book

Thinking with Type


Golden Ratio in use

How to Use the Golden Ratio to Create Gorgeous Graphic Designs


Canons of Page Construction


Image By jossi [Public domain], via Wikimedia Commons

The canons of page construction are historical reconstructions, based on careful measurement of extant books and what is known of the mathematics and engineering methods of the time, of manuscript-framework methods that may have been used in Medieval- or Renaissance-era book design to divide a page into pleasing proportions. Since their popularization in the 20th century, these canons have influenced modern-day book design in the ways that page proportions, margins and type areas (print spaces) of books are constructed.

Van de Graaf Canon

The Van de Graaf canon is a historical reconstruction of a method that may have been used in book design to divide a page in pleasing proportions.[5] This canon is also known as the “secret canon” used in many medieval manuscripts and incunabula.

PDF Sample Files

Sample page grids PDF

Golden Rectangle Sample PDF

Fibonacci Sequence

“Grid (graphic design)” by is licensed under CC BY-SA 4.0

“Golden ratio”¬†by¬†Wikepedia¬†is licensed under¬†CC BY-SA 4.0

“Canons of page construction”¬†by¬†Wikipedia¬†is licensed under¬†CC BY-SA 4.0




Type Portals

Type Design Portals

Showcasing outstanding typographic works from around the globe

Typography community and inspiration.


Typography inspiration.

Type Connection curated type resources


Type Token

Typography Guru

Type for You

Linotype ‚ÄėFont‚ÄĚ Magazine

General Type Information

Grain Edit
Blog on classic design work 1950s-1970s

Incredible Types
Curated collection of nice typography,  mostly print work.

Hand lettering inspiration.

The Book Cover Archive

Typeface Select/ID Tools

Typeface Selection/ID Tools

Free Fonts

Font Identification

Upload an image and it magically tells you the name of the font

Type Sample
Install this bookmark let to identify and save samples of web fonts.

Typeface Selection Tools


Typeface Glossary

The Font Shop Glosssary

Typedecon Glossary Glossary 1 Glossary 2 Glossary 3

Univers vs Helvetica

Univers/Helvetica: A Tale of Two Typefaces

AZ-Helvetica_Univers Full Alphabet Comparison

Adrian Frutiger – Schriften : The Complete Works, edited by Heidrun Osterer, et al., Walter de Gruyter GmbH, 2012.

Chapter Univers pgs.-88-117

“Univers vs Helvetica” is licensed under CC BY-SA 4.0

How to Use OpenLab

Adding a Post:
1. In the  WordPress Dashboard, click on the tab Posts > Add New to create a new post
2. Add a title in the title box at the top.
3. Add an image (Add > Media) or formatted written content using the Post Editor.
4. Add the relevant Category  (choose from the existing list).
5. Click Save Draft for later or click Publish to publish immediately.

Public Domain Review


The Public Domain Review

Pinterest Public Domain Review

Online journal and not-for-profit project dedicated to the exploration of curious and compelling works from the history of art, typography, literature, and ideas.

The focus is on works into the public domain, that vast commons of out-of-copyright material that everyone is free to enjoy, share, and build upon without restriction.


“Public Domain Review” is in the Public Domain




Depero Futurista Publication Design

Publication Design

 Fortunato Depero

Italian Futurist artist/designer 1892-1960

The Bolted Book (Depero Futurista)

Known as ‚ÄúThe Bolted Book‚ÄĚ because of its famous binding using two aluminum industrial bolts

“The art of the future will be largely advertising.” Fortunato Depero

All pages can be viewed at link below

The book itself is an interesting and unusual design object.
The bolts that hold the book together at can be unscrewed, and the pages taken out;
It is one of the rarest collectable art books around.

The bolted bind let Depero unscrew the book and display pages as a mobile art gallery.

The bolts also did not let book lay flat and if was placed in a “traditional” bookshelf or library the bolts would damage¬† other books or “disrupt the status quo.”¬† The bolt represents¬† the machinery of the “future” used as symbolism for the Futurist Movement.

The Bolted Book was  a  ground breaking typographic experiment and bold exploration in nearly every art and design medium.

The Book was a portfolio, business card, and portable museum (when the bolts were removed, the pages could be pinned up on a wall, exhibition style).

He was the only Futurist ever to live in New York City.
He produced graphic design and covers for Vogue, Vanity Fair, The New Yorker and even pillow designs for Macy’s.
Depero  urged artists to market themselves to potential clients.

In a way it could be looked upon as the first internet portfolio of it’s day



New York Public Library Has an Original and Facsimile Version
Facsimile Version Was Published In 2017
It Can Be Read By Appointment Only

Catalog page here
AUTHOR Depero, Fortunato, 1892-1960.
TITLE Depero futurista : 1913-1927 / Dinamo-Azari.
BOOK/TEXT | Edizione della Dinamo | 1927
SASB – Print Collection Rm 308 (Spencer Coll. Ital. 1927 95-354)
SASB – Print Collection Rm 308 Spencer Coll. Ital. 1927 95-354 BY APPT ONLY

‚ÄčSpencer Collection- Regular Hours 1 PM‚Äď5:45 PM
Stephen A. Schwarzman Building
476 Fifth Avenue (42nd St and Fifth Ave), Third Floor , Room 308
(212) 930-0817




About the Bolted Book
Bolted Book Brief


Fortunato Depero at Designboom

Depero exhibition at the Center for Italian Modern Art, 2014

Depero Museum Bio



‚ÄúFortunato Depero (1892‚Äď1960): A Chronology‚ÄĚ in Futurist Depero 1913‚Äď1950, catalogue for the 2014 exhibition at the
Fundaci√≥n Juan March in Madrid (pages 437‚Äď440):















Bodoni Manual 1818-2018 200th Birthday

Giambattista Bodoni
Manuale Tipografico

A masterwork of design and typography

Complete Online Volume 1¬† ‚Äʬ†¬†Complete Online Volume 2

After 200 years Bodoni’s aesthetic sense serves as a guide to all typographers.

His fame became comparable to that of today’s rock star. Visitors flocked to his print works on the banks of the river Parma, wanting a glimpse of him working in his studio.
Benjamin Franklin, a printer himself, wrote a fan letter. In 1805, even emperor Napoleon and empress Josephine visited the city and asked to see him.

The manual¬† compiles Bodoni’s lifetime of work and his¬† first successful modern typefaces.¬† Bodoni‚Äôs typefaces emanate warmth and humanity; they are still used to evoke elegance and strength.

Margherita Dall’Aglio Bodoni five years after Bodoni died, published the Manuale typografico of 1818, the specimen book to end all specimen books.

Published in two volumes, it was over 600 pages long and contained 265 pages of roman characters, “imperceptibly declining in size, romans, italics, and script types, and the series of 125 capital letters; 181 pages of Greek and Oriental characters; 1036 decorations and 31 borders; followed in the last 20 pages by symbols, ciphers, numerals, and musical examples


“Manuale-Tipografico1.jpg” by Giambattista Bodoni is in the Public Domain

Giambattista Bodoni  February 16, 1740 [1813 iwas an Italian typographer, type-designer, compositor, printer and publisher in Parma.

He first took the type-designs of Pierre Simon Fournier as his exemplars, but afterwards became an admirer of the more modelled types of John Baskerville; and he and Firmin Didot evolved a style of type called ‘New Face’, in which the letters are cut in such a way as to produce a strong contrast between the thick and thin parts of their body. Bodoni designed many type-faces, each one in a large range of type sizes.

There have been several modern revivals of his type-faces, all called Bodoni. They are often used as display faces.

His fame became comparable to that of today’s rock star. Visitors flocked to his print works on the banks of the river Parma, wanting a glimpse of him working in his studio.[9] Benjamin Franklin, a printer himself, wrote a fan letter. In 1805, even the emperor Napoleon and empress Josephine visited the city and asked to see him; alas, that very day Bodoni was confined to bed with a disastrous attack of gout, a disease that was to plague him until the end of his life.


Giambattista Bodoni
Manuale Tipografico Bicentennial
Parma, 1818. 13 1/8 inches x 9 inches, 2 volumes:



Princeton University Collection

The Morgan Library
Stanford University  Library


“Giambattista Bodoni” is licensed under CC BY-SA 4.0










Video Resources

Video Resources

Brooklyn Public Library access

The New York Public Library Card access


Design Videos


Digital Type

Pronounce typefaces

Bolted Book

Story of Futura

John Baskerville

Most Beautiful Type

Bierut think design

Art and copy

Milton Glaser

Why Man Creates, 1968

bass on titles

Design is One



Two Minutes

Dieter ram

Design and thinking

Videos You Should Watch

10 Design related videos

Golden Ratio

No logo

Design Thinking
Design & Thinking
PBS Graphic Design
Graphic means

Type Guru Video list
Exit through the gift shop


The Art of Design