SEMESTER DOC 1_final

Should
Would
C ould

Did
SEMESTER 1

Bijal J Parekh

This is a compilation of learning and experiences
of Bijal J Parekh during her rst semester at

Contents

Introduction to Design
SLA-1
Fundamentals to Design
Typo-1
Design Process
Image Making
Production Process

Acknowledgements

My First semester at NID has been an
exciting journey throughout. All the courses
that I was a part of were an amazing learning
experience both in and outside the class.

I would like to thank the institution for such a well
planned and systematic curriculum, which allows
us to gradually move from one thing to other. The
Division of assignments and how to deal with each
one of them is different and interesting.

I would like to thank all the faculty who were involved
in making each module engaging and interactive with
endless feedback on the work we did.

Special Thanks to Mr. Tarundeep Girdhar who guided us
not only thru the admission phase but also gave us
a warm welcome making us feel comfortable throughout the
Introduction to Design Module .

I would also like to thank Mr Kaushik Chakroborty for anchoring
the Fundemantals to Design Course introducing us to super
energetic faculty Ms.Bela Raval and Mr.Parthiv Shah who taught
us the basics of color. The drawing module taken by Vijaypaul Punia,
Rajesh Thakare and Mahan J Datta also bought about the term
YES U CAN DRAW!

Coming to Graphic Design as Student I would like to thank
Ms.Tridha Gajjar for welcoming us to the department and taking
our major courses, compositing ,image making and also anchoring
production process. Each one made me carry foreword into the other
making more sense of what I design.

Special Thanks to Mr.Jagdish and Mr. Pradeep Chokhsi for the endless
feedback on the compositions done.

Last but not the least I would like to thank Rajan and My Family
for the endless support without whom being into NID wouldn’t have
been possible.

Introduction to Design
SLA-1
Fundamentals to Design
Typo-1
Design Process
Image Making
Production Process

The Introduction to Design Module
was conducted over a period of one week.
Anchored by Tarun Deep Girdher and
supported by numerous other prestigious people
from the design world. The course comprised of
lectures and assignments simultaneously

“Design is a profession, an attitude and
way of life”

Tarun Deep Giridher
Course Anchor faculty

Introduction to Design was the rst module of the rst semester
anchored by Mr. Tarundeep Girdhar. The course extended
for a period of one week which included lectures and assignments.
Prestigious people from the design world had come to deliver the
lectures, they shared their work with us and told us what design is to
them and how design works and talks. Their wise words cleared the
shadow of doubt looming over what is design. Design is difficult to
de ne as it is an individualistic perception about how to solve a problem,
communicate and many other reasons for its existence. We understood
how design is different from art as it deals with the users who we design
for, it Involves a process to come up with the best possible solution.
The various lectures given to us during the course talked
about design thinking. Design is both the act and outcome
of an unique and intentional approach to things. It cache
approached from both ends. The complex fuzzy end of the
'problem state' and seemingly Innocent end of creating a
product. Both the journeys can help us nd the structure
of the problem state and bring about a signi cant transformation.
We then witnessed three documentary by Gary Huswit
called 'helvetica' , 'urbanized' and 'objecti ed'.

The following people had delivered the lectures:

“we do not call them problems, we call them
opportunities”- Ashoke Chatterjee

“do not use culture as a motive, grow and
evolve it”- Sudhir Sharma

“design is not about a product, but about a
system and about people”- Praveen Nahar

“design makes you do, it makes you act, makes
you navigate and it simpli es”-Tridha Gajjar

“co–ompetition, that is the way forward”- Amit Gulati

“design prepares you to boldly go where no
man has gone before”-Pravinsinh Solanki

“Design is nothing but an abstraction, so is
everything else”-Dhiman Sengupta

“design enables people to empowe-r them
selves”- Gayatri Menon

“design is studying different sensibilities and
building your own identity”- Sakthivel

“its not where you take things from, its where
you take them to”-Suresh Eriyat

“material teaches you discipline”-Neelima Hasija

“you cannot sell to a pro, they know more than
you do”-Rajesh Dahiya

“designing is like walking – you have to strive till
you learn, then it becomes second nature”-Arun Gupta

“that which exists may be transformed, that
which is non-existence has numerous uses”-Vijai Singh Katiyar

ASSIGNMENT 1:
After the week lled with a lot of learning and
experience we were given an assignment to design
a poster representing what is design to us.

Bijal Parekh

Masters in Graphic Design

DESIGN

LA CONCEPTION

‘Kala’- Design-La conception - Kubuni - talk about the way design is said in
Hindi- English - French - Swahili . The elephant at the bottom represents me
as a beginner who reaches the Top - Kala the greatest. Coming from a different
country and exploring other places I always feel our experiences and culture
play an important role in adding a meaning to the design .

ASSIGNMENT 2:

The second assignment that we were given was
to take up a product which is made in India and
show why we like it through another poster.

Bijal Parekh

Masters in Graphic Design

My Design Idol

Sujata Keshavan, born in 1961 was a

science student who also had an abiding interest in art; looking for a eld that combined
both of her interests, she chose to become a graphic designer.
Sujata graduated from the National Institute of Design in 1984. After her graduation she got
married but that did not stop her in fullling her dreams.
She went furthermore and graduated from the School of Art, Yale University
with a Master of Fine Arts in Graphic Design in 1987.

The Masters degree that she obtained from Yale University was a prestigious one for she had the opportunity to study
with the greatest designers of that time, including Paul Rand, the legendary designer of corporate identity.

Bradbury Thompson, When it came to the blending of photography,
typography and color, nobody did it better than him. Iconic Swiss teachers Armin Hoffmann and Wolfgang Weingart and the font
designer Matthew Carter. Each of them inspired her to look more critically on her work.

For Her, Paul Rand was a real inspiration because he made her understand the importance of intelligence in design.
Sujata was awarded the Eastern Press Award and the Schickle-Collingwood Prize for outstanding work.
When Sujata returned to India after studying and working in the United States, she found that the advertising industry was well developed but
there were no signicant employers in the industry. She believed in working with high professional standards and to continue with her belief she
went on and founded Ray and Keshavan in 1989 along with her old boss Ram Ray.

Personally, following her career choice was not a challenge, She insists. Married to historian Ramachandra Guha, with two children, she was
already a mother in R+K's early days. Her parents — her mother an artist and father an engineer with an eye for design — had always supported
her educational choices. The challenge, according to her, is in convincing customers to step out of their comfort zone.

Sujata is the only Indian Graphic Designer to be honored twice as the Graphic Designer of the year at the Annual Advertising and Marketing
Awards. Sujata has been an invited speaker at many international conferences including Design Indaba in South Africa and the International
Design Center at Nagoya, Japan. She has also been a Jury member at many awards and festivals including ReBrand 100 at the Rhode Island
School of Design and Cannes lions International Advertising Festival. She was the Chairperson of the jury at the Business World Awards for Design
Excellence and Chairperson of the Design Yatra Awards for Excellence in South Asian Design.

Sujata Keshavan was named among one of India's 30 Most Powerful Women by India Today in 2007. In 2011 she was named the 18th Most
Powerful Women in Business on Fortune India's list. Sujata was awarded the Outstanding Woman Professional of the Year, 2007 by FICCI. She is a
member of the World Economic Forum Global Agenda Council on Design and Innovation.

Nothing less to get inspired about her work, To mention one:CHHATRAPATI SHIVAJI INTERNATIONAL AIRPORT

How Interestingly she incorporated the letters (c.s.i.a) in the peacock feathers by simplifying it. The Type being used giving a ow to the element
used giving it a feel of movement, which would be the greatest Keyword one would focus on when working with an airport branding. Her
principles yet being rated at a very modern prospect as many would say, She always trys to incorporate and give her work an Indian look or feel to
it . At a whole each work shows how Dedication, Discipline, Time and Positive Attitude is so important in bringing out the best in what one decides
to do.

“Let the winds of the world waft in through the windows of your house,
but don't be blown away by any of them.”-Rabindranath Tagore

Sources:rayandkeshavan.com , poolmagazine.in:no10 | Image : www.desicreative.com/sujata-keshavan-interview/
You Tube:Sujata Keshavan at Conversations with Namu Kini & Design and the Indian Identity: Sujata Keshavan

The redesign of the same poster after I completed Typography-1 course.
Going back after each module and trying to see how I apply my Learning has helped me improve.



Introduction to Design
SLA-1
Fundamentals to Design
Typo-1
Design Process
Image Making
Production Process

The Science and Liberal Arts Module was
for a period of one week anchored by
Ms. Shipla Das and Dr. Deepak Kannal.
The course compromised of
lectures and assignments silutaneously.

Introduction to the term aesthetics and learning
the gravity of the term from various cultural and
philosophical aspects was an important event
in this semester. The varied interpretations of
aesthetics and the way people perceive it made me
realize how much the contribution of the viewer or
the user matters in the conception of a design.
Art and design are different from each other in
the sense of their functionality, but the aesthetic
qualities of both of them remain consistent. The
Rasa theory when talks about the aesthetic attitude
and the basis of dream fabrication speaks of Dream
symbolization. they indicate the involvement of the
viewer in the process.

This module taught me to go beyond the written
lines and poured out colours on the paper and try
to nd the meaning and intention. It is not about
what the writer was meaning it is about the way
you perceive It.

The assignment was to select any piece of art
and connect it to the theories taught during the course.

I choose to connect the poem by William Cowper (1731–1800)
Between The Nose and the Eyes

(Depicted with Rass theory and Formlism )

Between Nose and Eyes a strange contest arose;
The spectacles set them, unhappily, wrong;

The point in dispute was, as all the world knows,
To whom the said spectacles ought to belong.

So Tongue was the lawyer, and argued the cause, 5
With a great deal of skill, and a wig full of learning,

While chief baron Ear sat to balance the laws,—
So famed for his talent in nicely discerning.

“In behalf of the Nose, it will quickly appear
(And your lordship,” he said, “will undoubtedly nd) 10

That the Nose has the spectacles always to wear,
Which amounts to possession, time out of mind.”

Then, holding the spectacles up to the court,
“Your lordship observes, they are made with a straddle,

As wide as the ridge of the Nose is; in short, 15
Designed to sit close to it, just like a saddle.

“Again, would your lordship a moment suppose
('T is a case that has happened, and may happen again)

That the visage or countenance had not a Nose,
Pray, who would, or who could, wear spectacles then? 20

“On the whole, it appears, and my argument shows,
With a reasoning the court will never condemn,

That the spectacles, plainly, were made for the Nose,
And the Nose was, as plainly, intended for them.”

Then shifting his side (as a lawyer knows how), 25
He pleaded again in behalf of the Eyes:

But what were his arguments, few people know,
For the court did not think them equally wise.

So his lordship decreed, with a grave, solemn tone,
Decisive and clear, without one if or but, 30

That whenever the Nose put his spectacles on,
By daylight or candlelight,—Eyes should be shut

The Depiction :

The writer talks about what element made the contest arise
between the nose and the eyes . He also goes onto talking
about how the relationship of the eyes and the nose residing so
close to each other would never want the spectacles to come
between. We can relate the eyes and nose to be a form of nature
and the spectacles a man made element . To take this further in
Today's scenario we always see there to a different feeling when
we reside within nature and manmade objects.

The Writer here gives the element tongue a property - to be the
lawyer which here I would relate to the theory of formalism - he
talks about how a lawyer argues for a cause which requires a lot of
learning and skill. By adding another spectator the ear - Baron to
the entire scenario not only gives you a larger picture of the face
but also makes one feel the expression on the face. At this stage
we get a note of there being alot of anger or turbulence which
can be related to the navrass theory the second expression
Raudram which means Fury expression on the face .

As we read along the writer begins to make one feel of how
serious this issue became.
The Phase Time out of mind denotes infinite time . Its seems
exaggerated ! however humorous it may end up . by using simile
As wide as the ridge of the Nose & just like a saddle. Compares the
object / form of element to one another to broaden the
imagination of the reading as to why the spectacles became an
irritating factor between them .

The interrogation mark questions the auxiliary verbs would and
could to the reader making the scenarios intense to really think
about.
The lawyer justifies the entire argument happening against the
nose saying the nose was intended to be the rest for the
spectacles.

Although he tries to be in favor of the eyes nobody really know
what he said . therefore the came up to a conclusion and win-
win situation where in whichever case the spectacles worn the
eyes must be shut. to this part it can be taken a humor for some
it may be a lame in justice to the object to be countered for.
however I felt it could be connect to the second navras Hāsyam
which would mean Laughter, mirth, comedy.

Fundamentals of Design was a course
extended for 6 week comprising of Color,
Drawing and Composition. The course was
anchored by Mr. Kaushik Chakraborty.
The separate courses were taken by
our group speci c teachers.

Introduction to Design
SLA-1
Fundamentals to Design
Typo-1
Design Process
Image Making
Production Process

The Drawing module of Fundamentals of Visual Design Course extended
for 1 weeks held by Mr. Vijaypaul Punia, Mr. Rajesh Thakare and Mr. Mahan J Dutta
It was a gradual progression of hand drawn exercises which started with basic lines
moving on to shapes and structures. We worked onperspective sketches
(one point and two point respectively). We then moved on to nature study which was
followed by human study focusing on postures and gestures. The course throughly
improved our drawing skills helping us to get our perspectives right.



The Drawing module of Fundamentals of Visual Design Course extended
for 2 weeks. It was a gradual progression of hand drawn exercises which
started with basic lines.
We worked on perspective sketches (one point and two point respectively).
We then moved on to nature study which was followed by human study
focusing on postures and gestures. We also has fun sessions of
learning how to use different mediums such as Ink and Charcoal
The course throughly improved our drawing skills helping us to get
our perspectives right.

Many dots form a line, many lines form an image.

Nature study

Human
study

Human Nature and Perspective study

perspective study

The nal assignment was to do a story board with a minimum of 8 frames.
I choose to depict the way pani puri was eaten.
I walked down to the favorite pani puri stall observed the way
he severed various avors, how he set up his stall and yes ofcourse
how he ate the pani puri.



The color module was for a period of 2 weeks. it
was headed by Mrs. Bela Raval and Mr. Parthiv Shah
The course comprised of lectures and assignments
simultaneously.



The Color module of fundamentals of Visual Design Course extended
for 2 weeks. It was a gradual progression of understanding of color
psychology through lectures and assignments simultaneously. We
started with understanding the importance of color in the associations
they have with different cultures. We then moved to understanding the
different kinds of color wheels( high chroma, tints and saturation).
We moved to the color relations after that, analogous, complimentary
and split complimentary. We had done fun exercise on the theory of
pointillism.

The Color wheel:

Analogous Colors:
Analogous colors are groups of three colors that are next to each other on the
color wheel, with one being the dominant color, which tends to be a primary or
secondary color, and one on either side of the color. Red, red•orange, and red.
violet are examples.

Complimentary Colors:
Complementary colors are pairs of colors which, when combined, cancel each
other out. When placed next to each other, they create the strongest contrast
for those particular two colors. Due to this striking color clash, the term opposite
colors is often considered more appropriate than "complementary color".

Split Complimentary Colors:
The split complementary color scheme is a variation of the complementary color
scheme. In addition to the base color, it uses the two "Analogous" colors adjacent
to its complement. Split complementary color scheme has the same strong visual
contrast as the complementary color scheme, but has less pressure.

The Color Wheel

split complimentary colors

analogous colors
complimentry colors

Mixing Complementary Colors.
When you mix two opposites together anywhere on the Color Wheel,
the result becomes increasingly neutral

Shades and tints
A tint is the mixture of a color with white, which increases lightness,
and a shade is the mixture of a color with black, which reduces lightness.
A tone is produced either by the mixture of a color with gray, or by both
tinting and shading.

The Color Value Assignment was given where we rst had to make
the color version of the image and on the other side put in the gray
scale value .

Color interaction Two colors, side by side, interact with one another
and change our perception accordingly. The effect of this interaction
is called simultaneous contrast. Since we rarely see colors in isolation,
simultaneous contrast affects our sense of the color that we see.

Pointillism:
a technique of neo-impressionist painting using tiny dots of
various pure colours,which become blended in the viewer's
eye.It was developed by Seurat with the aim of producing
a greater degree of luminosity and brilliance of colour.







The color module was for a period of 2 weeks. It
was headed by Dr.Tridha Gajjar, Mr. Pradeep Choksi
and Mr. Jagdish Kumar.
The course comprised of lectures and assignments
simultaneously.

The Composition module of Fundamentals of Visual Design Course
extended for 2 weeks. It was a combination of both color and a
drawing module and it helped us understand how we can cohesively
work with both of it to create a balanced output or a composition.
We understand the Gestalts Principles and how they appear in almost
everything that we see in our everyday world.

The nal Assignment of the module was to compose in a static frame.
Where the object will move and the frame was static it could be abstract
or realistic and should depict a change in environment.

The rst day we were given 5 words .
Balance
Proportion
Rhythm
Emphasis
Unity .

The task was to depict through a composition what
each word means.

This introduced us to the Principles of Design.
The Principles are concepts used to organize or
arrange the structural elements of design. Again,
the way in which these principles are applied affects
the expressive content, or the message of the work.

Balance is the distribution of the visual weight of objects, colors, texture, and space.
If the design was a scale, these elements should be balanced to make a design feel
stable. In symmetrical balance, the elements used on one side of the design are
similar to those on the other side; in asymmetrical balance, the sides are different
but still look balanced. In radial balance, the elements are arranged around a central
point and may be similar.

Emphasis is the part of the design that catches the viewer’s attention. Usually the
artist will make one area stand out by contrasting it with other areas. The area could
be different in size, color, texture, shape, etc.

Movement is the path the viewer’s eye takes through the work of art, often to focal
areas. Such movement can be directed along lines, edges, shape, and color within the
work of art.

Pattern is the repeating of an object or symbol all over the work of art.

Repetition works with pattern to make the work of art seem active. The repetition
of elements of design creates unity within the work of art.

Proportion is the feeling of unity created when all parts (sizes, amounts, or number)
relate well with each other. When drawing the human figure, proportion can refer
to the size of the head compared to the rest of the body.

Rhythm is created when one or more elements of design are used repeatedly to
create a feeling of organized movement. Rhythm creates a mood like music or
dancing. To keep rhythm exciting and active, variety is essential.

Variety is the use of several elements of design to hold the viewer’s attention and
to guide the viewer’s eye through and around the work of art.

Unity is the feeling of harmony between all parts of the work of art, which creates
a sense of completeness.



Gestalt is a form of psychology that focuses on cognitive behaviors.
Designers are influenced by the visual perceptual aspect of this,
particularly the theory that the whole is greater than the sum of its parts.
The mind copes with the visual confusion of our everyday world by
consolidating objects into groups in order to simplify input.

Applying this theory to design creates unity within a piece.
The stronger the relationship between elements on a page, the better the
communication. This theory also helps the designer influence the viewer by
controlling how the design is viewed.

Five design principles derive from the Gestalt theory: proximity, similarity,
continuity, closure and figure/ground. Each employs different methods to
create unity within the whole.

PROXIMITY

Proximity refers to objects placed close together being perceived as a
group. When spaced far apart, objects are perceived as separate. Proximity
occurs when objects are closer to each other than to any other object.
Proximity spacing can be as close objects in direct contact, or as far apart as
opposite sides of a page.The strongest proximity relationship is when
objects overlap, leaving no doubt that they belong together. Using other
design elements, such as lines or shapes to surround objects, also creates
strong proximity. Lines and shapes can also link objects by passing through
them or by underlining them.

SIMILARITY

Shared visual characteristics automatically create relationships. The more
alike objects appear, the more likely they are to be seen as a group. Note
that similarity is based upon what an object looks like, not what an object is.
Similarity can be achieved in many different ways, including size, color and
shape. Objects of a like size have similarity, illustrated by the fact that on a
page filled with big circles and little circles, the mind will see all the big
circles as belonging in one group while all the little circles are in another,
even if they are evenly dispersed on the page. Color and shape have the
same effect. On a page filled with similar-sized circles and squares in two
different colors, the mind will separate them into two groups based upon
color. However, if the circles and squares are all the same size and color, the
mind will group them according to shape.

CONTINUITY

The principle of continuity dictates that once the eye begins to follow
something, it will continue traveling in that direction until it encounters
another object. Other ways to lead the eye include a photograph or
illustration containing an eye. A common design rule is that if an image of a
person is used, make sure the person is looking toward the rest of the
design.This helps the viewer move through the information instead of
looking off the edge of the page, turning away from the information. A
designer can also create a path through the page, either literally or
figuratively. An image of a road, a path, a fence, a row of flowers or a tunnel
can all guide the eye across a page. For readers from Western cultures, the
natural inclination is to lead the viewer’s eye from left to right. Continuity
gives the designer significant control over the viewer. The mind can’t help
but follow the path.

CLOSURE

Closure is related to continuity in that it asks the eye to complete a path. As
long as enough essential information is present, the mind supplies the
missing pieces of an object. Closure works best with objects that are
recognizable. Complex objects are trickier for the mind to complete. The
designer must strike a balance between what is taken away and what
remains. The mind cannot complete the object if too much of it is missing.
Closure can be found quite often in paintings, mosaics and sculptures
through the ages. Classical artists have long recognized the ability of the
mind to fill in the blanks.

FIGURE/GROUND

The figure/ground principle is based upon the relationship between an
object and the surrounding space. Figure/ground is also referred to as
positive and negative space, the positive being the object and the negative
referring to the space around it.This principle gives the illusion of depth,
and is a fundamental principle used in almost every design. Figure/ground
can be used quite creatively when both the figure and ground form
recognizable shapes at the same time.



The nal Assignment of the module was to compose in a static frame.
Where the object will move and the frame was static it could be abstract
or realistic and should depict a change in environment.
The Change I environment I choose to work on was Urbanization.
My little niece on the day of the assignment had Facetime call with
me , she was always excited to know what I did in class when I shared
with her.
I asked her to draw me a tree and she sent me this :

I

Then asked her how many tress are there in her garden and around her place !
she told me there are many here . But in India why we don't have so many in
our ats ? NUMB*
Urbanization effects which a 5 year old kid could understand through visuals
was what I planned to work on.



Introduction to Design
SLA-1
Fundamentals to Design
Typo-1
Design Process
Image Making
Production Process

The Design process module was for a period of 2 weeks.
It was headed by Dr.Tridha Gajjar, Mr. Pradeep Choksi
and Mr. Jagdish Kumar.
The course comprised of lectures and assignments
simultaneously.

The course took us through a journey encompassing letters, words,
sentences, paragraphs, layouts to publications as a whole. The course had us
working on both hand and digital medium giving us a balanced knowledge
and understanding of the details going into each and every design decision
that we make. The Course started with the basic terminology of a Character
anatomy.We got familiar to terms liken- height, cap height, baseline,stress,
ascenders, descenders, arm, leg, bowl, bar, etc. We understood the basic
differences between Serifs and Sans Serifs typefaces.We learnt about the
timeline of Typefaces and what sources of theirorigins. We understood the
formation of a character and how the strokes are responsible for the form of
the respective character. We learnt about kerning, leading, traps,etc.

CHARACTER ANATOMY

Cap-height Arm Ball Terminal Bowl

Counter Ear

Ampersand Crossbar Brackets
Section Sign
Hairline Descender
Italics
Ligature Ascender
Spine Link Shoulder

Serif Leg
Swash
Loop

Stem Stress

Small Capital Spur Stroke

X-height
Tail Terminal

Ampersand a ligature formed from an upper or lowercase e conjoined
with t which spells et (and in Latin).

Aperture partially enclosed space in characters such as n and C.

Arm (or Leg) a horizontal stroke that is free on one end.

Ascender the part of the lowercase letters b, d, f, h, k, l, and t, that
extends above the height of the lowercase x.

Ball Terminal or teardrop terminal, a circular end of some letter parts in
many romans and italics of the Romantic period, such as
Bodoni and Clarendon.

Bang or exclamation point (a screamer in the British typographic
and printing trades). One still occasionally hears the
term, as in “Postscript les always begin with
percent-bang” (%!).

Bar the horizontal stroke in the A, H, e, t, etcetera.

Bowl or eye, a curved stroke which makes an enclosed space.

Bracket or llet, rounds and softens perpendicular angle between
serifs and stems

Counter the fully or partially enclosed space within a character.

Descender the part of the letters g, j, p, q, y, and sometimes J, that
extends below the baseline.

Ear the small projection from the top right of the lowercase g.

Fleuron a botanical ornament, often the Hedera (ivy leaf ), used to
separate chapters and other blocks of text.

Hairline a thin stroke usually common to serif typestyles.

Italics a cursive alphabet which is matched with a roman font
and used chiey for emphasis and foreign words in text.

Ligature characters conjoined in order to avoid overlap. Common
ligatures are: , , f, and f.

Link the connection between the top and bottom of a
lowercase g.

Loop the lower portion of the lowercase g.
Old StyleFigures or text gures, lower case numbers which are valued for

their invisibly, in body copy.

Section Sign a scribal form of double S (§), chiey used in legal
documents to cite sections of codes and statutes.

Serif a stroke added as a stop to the beginning and end of the
main strokes of a character.

Shoulder the curved stroke of the h, m and n.

Small Caps upper case type designed at the lower case x height in an
extended font family. Used for acronyms, initialisms and
abbreviations (e.g., ) in bodies of text.

Spine the main curved stroke of a lowercase or capital S.

Spur a small projection off a main stroke; found on many
capital Gs.

Stem a main stroke that is more or less straight — not part of a
bowl.

Stress the direction of thickening in a curved stroke.

Stroke a straight or curved diagonal line.

Swash a ourish replacing a terminal or serif.

Tail the descender of the Q or short diagonal stroke of the R.

Terminal the end of a stroke not terminated with a serif.

X-height the height of the lowercase letters excluding ascenders
and descenders.

An exercise in spacing

We were given printouts of sans-serif and serif type and took a few
photocopies of each, as per your need.
I First, took the set of sans-serif letters.
Cut the letterforms to make a word, which spelt my surname.
Spaced them out so that there is regular and consistent spacing between
each pair of letters.

Above that word, maked a copy of the same word with tight spacing.
Below the first word, and then Maked another copy of the same word
with loose letter spacing. Checking the spacing between each pair of letters
by walking away a few feet, and comparing spaces between other pairs of letters.

Exercise 2 : Composition with a set of words.
Exercise 3: Abstract Composition with letterforms