338.01 Type Journal by Anh-Thu Luu

Typography

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journal Winderter 2017 1

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Introduction

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The following journal contains a reflection of the Typography II class for California Polytechnic State University. The book highlights the key points from the lectures and articles. In addition it will show the exercises and projects created during the course of the class.

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Lecture Notes

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Lecture Notes

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REFINING TYPOGRAPY

POINT SIZE: Consist if 2 basic units: points and picas 12 points : 1 pica 6 picas : 1 inch 1p6 (means 1pica + 6 points) PRINT VS SCREEN

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Point sizes:

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print usually ranges from 9pt to 12pt

screen ranges 14pt or larger

KERN Kern type manually by holding option and clicking the arrow keys Always set to ‘metric’ LEADING Should be 120% to 145% of point size LINE LENGTH 45–90 characters per line 2–3 lowercase alphabets 8–13 words per line TRACKING LETTTERSPACING Small caps and all caps

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can handle more letterspacing

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REFINING TYPOGRAPY (cont

DASHES AND HYPHENATION Hyphen if a word is too long for the columnlength.

En Dash to indicate duration.

Em Dash expresses a break in the flow of a sentence.

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HYPHENATION SET UP:

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Words with at least:

6 letters

After first:

3 letters

Before last:

3 letters

Hyphen limit

2

t.)

PARAGRAPH CONTROL Always check rags Avoid widows are less than 3 words end of paragraph can solve by setting tracking to -10 Avoid orphans are less than 3 lines on new page by adjusting columns height ALWAYS CHECK SPELLING

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(command +i) or turn on “dynamic spelling”

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CHOOSING TYPEFACES

HOW TO CHOOSE RIGHT TYPEFACE/FONT Content length text, what is text about Audience age or demographic of reader Format/context size of page/screen, distance text is read Technical factors: font has full character sets and all punctuation/glyphs needed for the job font have foreign accented characters/ glyphs font have multiple weights and styles font have small caps font have lining and old style numerals font’s format

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if font has a Web Font version

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BUY FONTS: Purchasing a license grants the owner the right to use a typeface how the license lets you, so should look for these things: can font be used for commercial work? cost of font can it be use online or only print can it be for apps? ebooks?

Always read license Places to buy it: Google Fonts: Lost Type Co-op: League of Moveable Type Font Squirrel Fontspring House Industries My Fonts

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Fonts.com

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TYPESETTING IN INDESIGN

PARAGRAPH STYLES Affect paragraph level attributes leading tabs indents space before and after hyphenation and justification settings rules above and below CHARACTER STYLES Are used for styling text within a paragraph, for things like bold text italic text, run-in subheads

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custom bullets or numbers

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TABLE STYLES Used for styling multiple tables within a document. The style defines the outside border of the table the dividing lines in the table the space above and below the table the fills of fields in the table

CELL STYLES Used for styling individual cells, or rectangular divisions of the table. The cell style defines the borders around the cell how the text is positioned within the cell the style of the text within the cell

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the fill color of the cell, if the cell is x-ed out

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TYPOGRAPHY ON SCREEN

TWO TYPE DESIGNED FOR ON SCREEN “Georgia” and “Verdana” for the screen STRATEGIES FOR PAIRING TYPEFACES Look for distinction don’t want typefaces that are too similar Pair display and text faces take advantage of display type Want harmony that the typefaces will have vusual relationship in their structure, such as similar width of stroke or height in x-height Has a large family typefaces that ove serif and sans serif Build outward

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select one typefaces, and branch out from it, and try something different

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CHARACTERISTICS TO CONSIDER FOR TYPE ON SCREEN Typeface contrast thick and thins strokes that affects legibility higher contrast should be used for small amounts of text or headlines X-height typeface for text, tall x-height is best however not too tall, (n vs. h) or (a vs. d) Character distinction: legibility between characters (1, I, l) Special characters correct punctuation, special characters, different types of numbers, and different languages Finding alternatives

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classic typefaces can be overused and look to generic, so you can find similar ones that have a little bit more character

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Article Notes

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Article Notes

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Butterick’s Practical Typography

SUMMARY OF KEY RULES, Don’t use multiple word spaces or other whitespace char­ac­ters in a row.

Never use underlining, unless it’s a hyperlink.

All caps are fine for less than one line of text.

Use 5–12% extra letterspacing with all caps and small caps.

Use first-line in­dents that are one to four times the point size of the text, or use 4–10 points of space between paragraphs. But don’t use both.

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In a document longer than three pages, one exclamation point is plenty (see ques­tion marks and exclamation points).

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WHY TYPOGRAPHY MATTERS Typography is a visual component of written text on any meduim or plattform.

The point is to catch the reader’s attention.

Good typography should not be distracting and should help convey the message.

A reader has shorter attnetion span, and lower interest in the text than the writer.

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Typography should not be about looking beauitful, but instead of how useful it is being used. So ugly type can be sucessfully affective.

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Butterick’s Practical Typography: Shortcuts

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paragraph mark

option + 7

¶

section mark

option + 6

§

hardline break

shift + return

opening single quote

option + ]

‘

closing single quote

option + shift + ]

’

opening double quote

option + [

“

closing double quote

option + shift + [

”

-

-

en dash

option + hyphen

–

em dash

option + shift + hyphen

—

trade mark

option + 2

™

registered tragemark

option + r

®

copyright

option + g

©

ellipsis

option + ;

…

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hyphen

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“Eric Gill got it wrong; a reevaluation of Gill Sans”

by Ben Archer

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Gill San is the equivalent of Helvetica for England; however this author claims that it is not as good as it really is. He compared Gills Sans to Johnston.

One of the things Gill Sans feel flat on was the lowercase ‘l’ the uppercase ‘I’ and the numeral 1 were all the same in Gill Sans, that they are not distinguishable. Some comparisons are debatable, and Gill Sans different weights sometimes changes a bit too much.

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“Typographica Mea Culpa, Unethical Downloading�

by Steven Heller

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This day in age, it is easier for people to have access to different typefaces; however designers today do not read the type licenses and would accidently engage in copyright infringement.

Designers would do this by sharing typefaces with others or use in in future projects that do not fit the license. In addition violating the license is also unfair for the designers of the typeface. Overall we should adhere to the licenses to not put others in financial jeopardy and be more ethical.

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“Family planning, or how type families work”

by Peter Bil’ak

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Type families has changed and increased in size and complexity recently. Each type family needs to different, yet should still be consistent with each other. Sometimes a large typeface system can be impractical. Claude Gararmond’s type had 15 versions, with each individually cut and sized separately for printed text.

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“A View of Latin Typography in Relationship to the World”

by Peter Bil’ak

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Typography today has been centered around typography generated in Western Europe and focused on Latin typography. However, there is more than just Latin type. Especially with native English speakers being less than the native Hindi and Arabic speakers, and Chinese speakers. Overall the design should be opened up, and we should look at other type and just focus on Latin type, such as Greece, Middle East, India, and more.

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“My Type Design Philosophy�

by Martin Majoor

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To be a good type designer you need to be a book typographer because it gives you the skills to understand about text type, type on different paper, typeface affected by different printing techniques. Mixing serif with sans is the best when the two typefaces are designed from the same basis or same skeleton. This influenced the formation of Scala and Seria. The article covers some history of type design as well.

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“Lava — Voice of a Magazine”

by Peter Bil’ak

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Lava’s purpose was to be the typeface and voice for “Works That Work” magazine. It was supposed to be the identity the magazine throughout it’s different platforms and mediums, so it had to work well with both high- and low- resolution environments. Then they go Susana Carvalho and Kai Bernau to designed the magazine with the only rule to using Lava.

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“Beauty and Ugliness in Type design”

by Peter Bil’ak

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The point of the project was to take the most beautiful and ugliest typefaces and mesh them together, and how closely related they actually are. The most beautiful was Giambattista Bodoni and the Didot clan, while the ugliest was the ‘Italian’ from the middle of the Industrial Revolution.

The combined typeface was called Karloff, which was the pseudo name of British actor William Henry Pratt who play sinister characters, but was actually a kind and polite man.

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“An Idea of a typeface”

by Kai Bernau

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He defines a truly neutral typeface is to “describes things and events what appear free of connotation to a specific social and cultural group at a specific point in time.” He looked through typefaces checking for things such as which ones was used more, which was closer to archetype, or are the shapes plainer or simpler? Each time the typeface was drawn out or used, there would be small changes and re-evaluate steps each time. The idea of the neutral typeface was to become invisible and not distracting to the reader; however, it does depend the group of people’s expectations and society.

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Exercises

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Exercises

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Exercise 1

ASSIGNMENT: This exercise was to follow a set of instructions to create an InDesign document that will be comparing the same paragraphs with two different sets of typefaces (one serif and the other one san serif) with different point size/leading.

ANALYSIS

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I found that for the minion pro that the 9/14 was the most legible out of the options, and that 8/13 was really close, but it felt a little spacious the size of the text. For proxima nova i follow 9/13 and 8/13 workign the best. It seems that since proxima nova is a sans serif, it needs less leading than minion pro. It also needs less leading because proxima nova as a taller x-height than minion pro.

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Serif

Sans Serif

Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received.

Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received.

MINION PRO, 9/13

PROXIMA NOVA, 9/13

Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication— “one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received.

Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received.

MINION PRO, 9/12

PROXIMA NOVA, 9/12

Without typography, one could argue, messages will still be legi-

Without typography, one could argue, messages will still be

ble, but if one really wants to communicate rather than simply

legible, but if one really wants to communicate rather than

display a heap of alphanumeric data, some consideration would

simply display a heap of alphanumeric data, some consid-

be helpful. Paul Watzlawick’s first axiom of communication—

eration would be helpful. Paul Watzlawick’s first axiom of

“one cannot not communicate”—puts it very succinctly. If you

communication—“one cannot not communicate”—puts it

fail to consider the effect of your message on the recipient, you

very succinctly. If you fail to consider the effect of your mes-

may inadvertently communicate that you do not care how your

sage on the recipient, you may inadvertently communicate

message may be received.

that you do not care how your message may be received.

MINION PRO, 9/14

PROXIMA NOVA, 9/14

Without typography, one could argue, messages will still be legi-

Without typography, one could argue, messages will still be

ble, but if one really wants to communicate rather than simply

legible, but if one really wants to communicate rather than

display a heap of alphanumeric data, some consideration would

simply display a heap of alphanumeric data, some consid-

be helpful. Paul Watzlawick’s first axiom of communication—

eration would be helpful. Paul Watzlawick’s first axiom of

“one cannot not communicate”—puts it very succinctly. If you

communication—“one cannot not communicate”—puts it

fail to consider the effect of your message on the recipient, you

very succinctly. If you fail to consider the effect of your mes-

may inadvertently communicate that you do not care how your

sage on the recipient, you may inadvertently communicate

message may be received.

that you do not care how your message may be received.

MINION PRO, 9/15

PROXIMA NOVA, 9/15

Without typography, one could argue, messages will still be legible,

Without typography, one could argue, messages will still be

but if one really wants to communicate rather than simply display a

legible, but if one really wants to communicate rather than simply

heap of alphanumeric data, some consideration would be helpful. Paul

display a heap of alphanumeric data, some consideration would be

Watzlawick’s first axiom of communication—“one cannot not commu-

helpful. Paul Watzlawick’s first axiom of communication—“one

nicate”—puts it very succinctly. If you fail to consider the effect of your

cannot not communicate”—puts it very succinctly. If you fail to

message on the recipient, you may inadvertently communicate that you

consider the effect of your message on the recipient, you may in-

do not care how your message may be received.

advertently communicate that you do not care how your message

MINION PRO, 8/13

may be received.

PROXIMA NOVA, 8/13

MINION PRO, 10/13

Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received.

PROXIMA NOVA, 10/13

Anh-Thu Luu

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Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”— puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received.

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Exercise 2

ASSIGNMENT: This exercises was a group project in which we had to analysis a couple magazine spread for their grid and how they place the text and images. Then we would analyze the magazines by answering the set of questions provided.

ANALYSIS

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It was interesting to see a magazine have one type of column grid, but create multiple different columns for different spreads. This shows how much flexibility there really is in the grid. It was interesting how they still would consistent with each other in some areas, such as having the images break the grid and follow the grid at the same time.

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Grid Analysis

An article called Love Letters in a spread layout on page 60–61 follows a two column grid, while The Month in Fashion, on page 28 has 3 column grids. The two column is being used for bigger and longer body text, compared to the three column where there are shorter body texts separated into several topics and headings. Though the headings also differ in that Love Letters is center aligned, and The Month in Fashion is left aligned, both titles follow the same space below and above. The footer aligns with the column grids. The header are both in the same area and have similar spacing, but page 60 is in the center.

Is there a mathematical relationship between the different columns on the page?

For page 28, the columns have a consistent width close to 65mm, the gutters are consistent throughout the page with 5 mm. The gutter even continues through the text that are broken into two columns on the bottom red box. The width of the box is equivalent to width of two columns, and the text inside have a slightly shorter line width than body texts outside of the box. An image of a figure breaks the grid on the far right, and the width of the body text next to the image is about shorter than the rest.

On page 60-61, the two columns have the same width. Except for the one column on the bottom of page 60 that has the width of the two columns. The gutter is also consistent on the spread. The outer margin is slightly bigger than the gutter.

Do you think the grid is comprised of columns or modules?

Page 28 has a 3 column grid, while pages 60 and 61 follow a 2 column grid.

How do images relate to the grid?

Most images relate to the grid by how a few of the images would line up with the columns. On page 28,the images of “Wynn’s Stephan Weiss sculpture” is the only image that follows the grid. Majority of the other images would at least line up with the grid on at least one side of the image. Overall majority of the images on both sides end up break out of the grid.

Do any elements break the grid?

Many of the images in both layouts break the grid, such as both having irregular objects breaking into the grid such as the books and Sean Combs. In addition in page 28, a few regular images break out of the columns such as “A look from Naum” and Bill Blass. On page 60 and 61 all the other images other than the books would break the grid by going the edge of the page. In page 28 there is a small section “In the Naum of Fashion” section on pg. 28 that breaks out of the grid a little bit because the text does not line up with the text, but more of the box lines up with the grid; however it does follow the same gutter at the center. The text at the bottom of page 60 breaks the 2 column grid by going through both columns after the text pasts the image.

In addition they have a subheader runs along the side of the left page that breaks from the grid.

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Is there a relationship between the grids of the two different layouts?

pg. 28

pg. 60 to 61

Jessica Mock and Anh-Thu Luu

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Projects

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Projects

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Project 1

ASSIGNMENT We need to find at least 5 rules, ideas, or principles about typography from different books and scholarly articles. In addition to the quotes, they need to be credited to the author and the source with a page number and year of publication. The size requirement is 8.5" X 11", portrait or landscape.

The colors limited to black and white with 1 accent color. There is also a restriction on the maximum of 2 typefaces, and no imagery other than text and typographic elements only.

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CRITIQUE

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This one, I had to revise my final. It was due to overall the composition was not dynamic or eye catching enough. Also I have to make sure that the orange highlighted are emphasizing the correct words. In addition the title is too small, and is placed safely. So revised my compositon by playing around with the title, since I liked how my text was treated. If i were to revise, I might play around with the text more.

TIPOGRAPHY (2014) pg. 262

Advice on typography

“The appearance of each typeface, no matter how well designed, can be destroyed through the wrong sentence parameters. To put it differently: in order to make a typeface sing, all parameters need to be harmonized.”

—Osterer, Heidrun and Stamm, Philipp

(2012) pg. 14

Adrian Frutiger Typefaces: The Complete Works

“Here’s a quick tip. Unless you’re absolutely sure you won’t need them, never choose a typeface for body text that doesn’t have at least a roman, semi-bold, and bold weight.”

—Paul Burgess and Tony Seddon

(2009) pg. 192

Design Type: A Seductive Collection of Alluring Type Designs

“Sometimes we crave structure; other times, we want nothing more than to break free from that very structure. As long as the designer’s intention is clear, either approach may work well— or, in some cases, both can work together, playing off one another.”

—Ina Saltz

“The first rule is to break your own rules. Another is to leave enough space. Another important rule for us is to start with black and white.”

—Patrizia Kommerell Type Form and Function: A Handbook on the Fundamentals of Typography

“I’m straying from the subject slightly, but this is relevant because sometimes the typeface is simply not as important as the way you use it. If you see the typeface first before you understand what the layout is saying to you, you could be on the wrong track.”

—Paul Burgess and Tony Seddon Design Type: A Seductive Collection of Alluring Type Designs

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(2012) pg. 13

(2011) pg. 118

Typography Essentials: 100 Design Principles for Working with Type

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Project 1 (REVISION)

DIFFERENT REVISIONS

TIP TIPOGRAPHY

Type Designs

“Here’s a quick tip. Unless you’re absolutely sure you won’t need them, never choose a typeface for body text that doesn’t have at least a roman, semi-bold, and bold weight.”

“The appearance of each typeface, no matter how well designed, can be destroyed through the wrong sentence parameters. To put it differently: in order to make a typeface sing, all parameters need to be harmonized.”

Design Type: A Seductive Collection of Alluring

—Heidrun Osterer and Philipp Stamm

Type Designs

Adrian Frutiger Typefaces: The Complete Works

“The first rule is to break your own rules. Another is to leave enough space. Another important rule for us is to start with black and white.”

—Patrizia Kommerell

(2014) pg. 262

Design Type: A Seductive Collection of Alluring

Working with Type

“The appearance of each typeface, no matter how well designed, can be destroyed through the wrong sentence parameters. To put it differently: in order to make a typeface sing, all parameters need to be harmonized.”

—Osterer, Heidrun and Stamm, Philipp Adrian Frutiger Typefaces: The Complete Works

(2012) pg. 14

—Paul Burgess and Tony Seddon

Typography Essentials: 100 Design Principles for

“Here’s a quick tip. Unless you’re absolutely sure you won’t need them, never choose a typeface for body text that doesn’t have at least a roman, semi-bold, and bold weight.”

—Paul Burgess and Tony Seddon Design Type: A Seductive Collection of Alluring Type Designs

(2009) pg. 192

“I’m straying from the subject slightly, but this is relevant because sometimes the typeface is simply not as important as the way you use it. If you see the typeface first before you understand what the layout is saying to you, you could be on the wrong track.”

—Ina Saltz

—Paul Burgess and Tony Seddon

(2011) pg. 118

(2012) pg. 13

“Sometimes we crave structure; other times, we want nothing more than to break free from that very structure. As long as the designer’s intention is clear, either approach may work well— or, in some cases, both can work together, playing off one another.”

(2014) pg. 262

(2012) pg. 14

(2009) pg. 192

Advice on typography

“Sometimes we crave structure; other times, we want nothing more than to break free from that very structure. As long as the designer’s intention is clear, either approach may work well— or, in some cases, both can work together, playing off one another.”

—Ina Saltz Typography Essentials: 100 Design Principles for Working with Type

Type Form and Function: A Handbook on the

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Advice on typography

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(2012) pg. 13

TIPOGRAPHY

(2011) pg. 118

Fundamentals of Typography

“The first rule is to break your own rules. Another is to leave enough space. Another important rule for us is to start with black and white.”

—Patrizia Kommerell Type Form and Function: A Handbook on the Fundamentals of Typography

“I’m straying from the subject slightly, but this is relevant because sometimes the typeface is simply not as important as the way you use it. If you see the typeface first before you understand what the layout is saying to you, you could be on the wrong track.”

—Paul Burgess and Tony Seddon Design Type: A Seductive Collection of Alluring Type Designs

(2014) pg. 262

“The appearance of each typeface, no matter how well designed, can be destroyed through the wrong sentence parameters. To put it differently: in order to make a typeface sing, all parameters need to be harmonized.”

—Heidrun Osterer and Philipp Stamm

(2012) pg. 14

Adrian Frutiger Typefaces: The Complete Works

“Here’s a quick tip. Unless you’re absolutely sure you won’t need them, never choose a typeface for body text that doesn’t have at least a roman, semi-bold, and bold weight.”

—Paul Burgess and Tony Seddon

(2009) pg. 192

Design Type: A Seductive Collection of Alluring Type Designs

“Sometimes we crave structure; other times, we want nothing more than to break free from that very structure. As long as the designer’s intention is clear, either approach may work well— or, in some cases, both can work together, playing off one another.”

—Ina Saltz

(2011) pg. 118

Typography Essentials: 100 Design Principles for Working with Type

“The first rule is to break your own rules. Another is to leave enough space. Another important rule for us is to start with black and white.”

—Patrizia Kommerell Type Form and Function: A Handbook on the Fundamentals of

(2012) pg. 13

Typography

“I’m straying from the subject slightly, but this is relevant because sometimes the typeface is simply not as important as the way you use it. If you see the typeface first before you understand what the layout is saying to you, you could be on the wrong track.”

—Paul Burgess and Tony Seddon Design Type: A Seductive Collection of Alluring Type Designs

TIPOGRAPHY type II

Advice on typography

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Project 2

FIND YOUR JOURNEY

MOYERS AND CAMPBELL

M: Why are there so many stories of the hero in mythology?

C: Because that’s what’s worth writing about. Even in popular novels, the main character is a hero or heroine who has found or done something beyond the normal range of achievement and experience. A hero is someone who has given his or her life to something bigger than oneself.

M: So in all of these cultures, whatever the local costume the hero might be wearing, what is the deed?

C: Well, there are two types of deed. One is the physical deed, in which the hero performs a courageous act in battle or saves a life. The other kind is the spiritual deed, in which the hero learns to experience the supernormal range of human spiritual life and then comes back with a message.

M: Does your study of mythology lead you to conclude that a single human quest, a standard pattern of human aspiration and thought, constitutes for all mankind something that we have in common, whether we lived a million years ago or will live a thousand years from now?

C: There’s a certain type of myth which one might call the vision quest, going in quest of a boon, a vision, which has the same form in every mythology. That is the thing that I tried to present in the first book I wrote, The Hero With a Thousand Faces. All these different mythologies give us the same essential quest. You leave the world that you’re in and go into a depth or into a distance or up to a height. There you come to what was missing in your consciousness in the world you formerly inhabited. Then comes the problem either of staying with that, and letting the world drop off, or returning with that boon and trying to hold on to it as you move back into your social world again.

M: How do I slay that dragon in me? What’s the journey each of us has to make, what you call “the soul’s high adventure”?

C: My general formula for my students is “Follow your bliss.”

Find where it is, and don’t be afraid to follow it.

THE ULTIMATE DRAGON IS WITHIN YOU, IT IS YOUR EGO CLAMPING YOU DOWN. M: Is it my work or my life?

C: If the work that you’re doing is the work that you chose to do because you are enjoying it, that’s it. But if you think, “Oh, no! I couldn’t do that!” that’s the dragon locking you in.

“No, no, I couldn’t be a writer,” or “No, no, I couldn’t possibly do what So-and-so is doing.”

M: When I take that journey and go down there and slay those dragons, do I have to go alone?

C: If you have someone who can help you, that’s fine, too. But, ultimately, the last deed has to be done by oneself. Psychologically, the dragon is one’s own binding of oneself to one’s ego. We’re captured in our own dragon cage. The problem of the psychiatrist is to disintegrate that dragon, break him up, so that you may expand to a larger field of relationships.

The ultimate dragon is within you, it is your ego clamping you down.

ASSIGNMENT

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The dialogue provided will be used to create a diptypch in which we have to distinguish the two different voices. We have to use hierarchy, typography, images, and color to influence the viewer to read the text. There is no restrictions to color and typefaces. The sizes of the two pages are 11" X 15" each. The imagery needs to be original.

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THAT’S ALL YOU NEED — AN ARIADNE THREAD.

M: I like what you say about the old myth of Theseus and Ariadne. Theseus says to Ariadne, “I’ll love you forever if you can show me a way to come out of the labyrinth.” So she gives him a ball of string, which he unwinds as he goes into the labyrinth, and then follows to find the way out. You say, “All he had was the string. That’s all you need.”

C: That’s all you need—an Ariadne thread.

M: Sometimes we look for great wealth to save us, a great power to save us, or great ideas to save us, when all we need is that piece of string.

C: That’s not always easy to find. But it’s nice to have someone who can give you a clue. That’s the teacher’s job, to help you find your Ariadne thread.

M: Like all heroes, the Buddha doesn’t show you the truth itself, he shows you the way to truth.

C: But it’s got to be your way, not his. The Buddha can’t tell you exactly how to get rid of your particular fears, for example.

Different teachers may suggest exercises, but they may not be the ones to work for you. All a teacher can do is suggest.

He is like a lighthouse that says, “There are rocks over here, steer clear. There is a channel, however, out there”.

M: In all of these journeys of mythology, there’s a place every -one wishes to find. The Buddhists talk of Nirvana, and Jesus talks of peace, of the mansion with many rooms. Is that typical of the hero’s journey — that there’s a place to find?

C: The place to find is within yourself. I learned a little about this in athletics. The athlete who is in top form has a quiet place within himself, and it’s around this, somehow, that his action occurs…. There’s a center of quietness within, which has to be known and held. If you lose that center, you are in tension and begin to fall apart.

I found that when I printed the document, the yellow was a lot more brighter and harder to see then, when it was on screen. The authors names should have the full name of both people. It was nice how the decorations were more natural and fluid. For most of the projects, the one that was portrait on top of portrait were the most dynamic. Overall it was interesting to play around with detailed decoration, and not being confide to a grid.

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CRITIQUE

42

FIND YO JOURNE M: Why are there so many stories of the hero in mythology?

C: Because that’s what’s worth writing about. Even in popular novels, the main character is a hero or heroine who has found or done something beyond the normal range of achievement and experience. A hero is someone who has given his or her life to something bigger than oneself.

M: So in all of these cultures, whatever the local costume the hero might be wearing, what is the deed?

C: Well, there are two types of deed. One is the physical deed, in which the hero performs a courageous act in battle or saves a life. The other kind is the spiritual deed, in which the hero learns to experience the supernormal range of human spiritual life and then comes back with a message.

M: Does your study of mytholog single human quest, a standa tion and thought, constitutes that we have in common, wh ago or will live a thousand ye

C: There’s a certain type of myth vision quest, going in quest o the same form in every mytho tried to present in the first bo Thousand Faces. All these dif same essential quest. You lea go into a depth or into a dist you come to what was missin world you formerly inhabited either of staying with that, an returning with that boon and move back into your social w

M: How do I slay that dragon in us has to make, what you cal

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C: My general formula for my st Find where it is, and don’t be

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OUR EY

h which one might call the of a boon, a vision, which has ology. That is the thing that I ook I wrote, The Hero With a fferent mythologies give us the ave the world that you’re in and tance or up to a height. There ng in your consciousness in the d. Then comes the problem nd letting the world drop off, or d trying to hold on to it as you world again.

me? What’s the journey each of ll “the soul’s high adventure”?

tudents is “Follow your bliss.” e afraid to follow it.

THE ULTIMATE DRAGON IS WITHIN YOU, IT IS YOUR EGO CLAMPING YOU DOWN. M: Is it my work or my life?

C: If the work that you’re doing is the work that you chose to do because you are enjoying it, that’s it. But if you think, “Oh, no! I couldn’t do that!” that’s the dragon locking you in.

“No, no, I couldn’t be a writer,” or “No, no, I couldn’t possibly do what So-and-so is doing.”

M: When I take that journey and go down there and slay those dragons, do I have to go alone?

C: If you have someone who can help you, that’s fine, too. But, ultimately, the last deed has to be done by oneself. Psychologically, the dragon is one’s own binding of oneself to one’s ego. We’re captured in our own dragon cage. The problem of the psychiatrist is to disintegrate that dragon, break him up, so that you may expand to a larger field of relationships.

The ultimate dragon is within you, it is your ego clamping you down.

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gy lead you to conclude that a ard pattern of human aspiras for all mankind something hether we lived a million years ears from now?

MOYERS AND CAMPBELL

44

THAT’S ALL YOU NEED— AN ARIADNE THREAD.

M: I like what you say about the Ariadne. Theseus says to Aria can show me a way to come gives him a ball of string, wh the labyrinth, and then follow “All he had was the string. Th

C: That’s all you need—an Ariad

M: Sometimes we look for great power to save us, or great ide need is that piece of string.

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C: That’s not always easy to find who can give you a clue. Tha find your Ariadne thread.

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dne thread.

wealth to save us, a great eas to save us, when all we

d. But it’s nice to have someone at’s the teacher’s job, to help you

M: Like all heroes, the Buddha doesn’t show you the truth itself, he shows you the way to truth.

C: But it’s got to be your way, not his. The Buddha can’t tell you exactly how to get rid of your particular fears, for example.

Different teachers may suggest exercises, but they may not be the ones to work for you. All a teacher can do is suggest.

He is like a lighthouse that says, “There are rocks over here, steer clear. There is a channel, however, out there”.

M: In all of these journeys of mythology, there’s a place every -one wishes to find. The Buddhists talk of Nirvana, and Jesus talks of peace, of the mansion with many rooms. Is that typical of the hero’s journey — that there’s a place to find?

C: The place to find is within yourself. I learned a little about this in athletics. The athlete who is in top form has a quiet place within himself, and it’s around this, somehow, that his action occurs…. There’s a center of quietness within, which has to be known and held. If you lose that center, you are in tension and begin to fall apart.

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old myth of Theseus and adne, “I’ll love you forever if you out of the labyrinth.” So she ich he unwinds as he goes into ws to find the way out. You say, hat’s all you need.”

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Project 3 (SOLO)

ASSIGNMENT Create a small 5.5" X 8.5" booklet of grammar book Elements of Style. We each are assigned one section, and then will form a group project at the end to combine all 3 sections into uniform set of booklets. The color is all black and white, except for the cover can be at most 2 colors.

CRITIQUE Overall this book was nicely spread out for the different chapters. The title page on the inside could use some more work, in legibility. I learned that long phrases should be broken up in how people would actually read the phrase or title. In addition I have to consider that bleeding text will cost more and have to use more paper.

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When we had to start working in groups, we found that all the sections are not really the same. So we had to choose the best design that fits every sections to make it cohesive. We also found that a bigger margin gives a lot of breathing room.

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The Elements of Style

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Se 48

The objection is that the interposed phrase or clause needlessly interrupts the natural order of the main clause. This objection, however, does not usually hold when the order is interrupted only by a relative clause or by an expression in apposition. Nor does it hold in periodic sentences in which the interruption is a deliberately used means of creating suspense (see examples under Rule 18).

The relative pronoun should come, as a rule, immediately after its antecedent.

There was a look in his eye that boded mischief.

In his eye was a look that boded mischief.

He wrote three articles about his adventures in Spain, which were published in Harper’s Magazine.

He published in Harper’s Magazine three articles about his adventures in Spain.

This is a portrait of Benjamin Harrison, grandson of William Henry Harrison, who became President in 1889.

This is a portrait of Benjamin Harrison, grandson of William Henry Harrison. He became President in 1889.

If the antecedent consists of a group of words, the relative comes at the end of the group, unless this would cause ambiguity.

The Superintendent of the Chicago Division, who

A proposal to amend the Sherman Act, which has been variously judged

The grandson of William Henry Harrison, who

William Henry Harrison’s grandson, Benjamin Harrison, who

A noun in apposition may come between antecedent and relative, because in such a combination no real ambiguity can arise.

The Duke of York, his brother, who was regarded with hostility by the Whigs Modifiers should come, if possible next to the word they modify. If several expressions modify the same word, they should be so arranged that no wrong relation is suggested.

All the members were not present.

Not all the members were present.

He only found two mistakes.

He found only two mistakes.

Major R. E. Joyce will give a lecture on Tuesday evening in Bailey Hall, to which the public is invited, on “My Experiences in Mesopotamia” at eight P. M.

On Tuesday evening at eight P. M., Major R. E. Joyce will give in Bailey Hall a lecture on “My Experiences in Mesopotamia.” The public is invited.

A proposal, which has been variously judged, to amend the Sherman Act A proposal to amend the much-debated Sherman Act

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38

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The Elements of Style Section II

39

��.

Place the emphatic words of a sentence at the end.

ďż˝ The proper place for the word, or group of words, which the writer desires to make most prominent is usually the end of the sentence.

Humanity has hardly advanced in fortitude since that time, though it has advanced in many other ways.

Humanity, since that time, has advanced in many other ways, but it has hardly advanced in fortitude.

This steel is principally used for making razors, because of its hardness.

Because of its hardness, this steel is principally used in making razors.

The word or group of words entitled to this position of prominence is usually the logical predicate, that is, the new element in the sentence, as it is in the second example.

The effectiveness of the periodic sentence arises from the prominence which it gives to the main statement.

Four centuries ago, Christopher Columbus, one of the Italian mariners whom the decline of their own republics had put at the

The Elements of Style Section II

45

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44

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Project 3 (GROUP) THE ELEMENTS OF STYLE

02

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THE ELEMENTS OF STYLE

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01

THE ELEMENTS OF STYLE

03 04

TWO Elementary Principles of Composition

THE ELEMENTS OF STYLE William Strunk, Jr.

SECTION 02 Elementary Principles of Composition

New York 1918

Use the active voice.

The active voice is usually more direct and vigorous than the passive: I shall always remember my first visit to Boston.

This is much better than My first visit to Boston will always be remembered by me.

The latter sentence is less direct, less bold, and less concise. If the writer tries to make it more concise by omitting “by me,” My first visit to Boston will always be remembered,

it becomes indefinite: is it the writer, or some person undisclosed, or the world at large, that will always remember this visit?

This rule does not, of course, mean that the writer should entirely discard the passive voice, which is frequently convenient and sometimes necessary.

The dramatists of the Restoration are little esteemed today.

Modern readers have little esteem for the dramatists of the Restoration.

The first would be the right form in a paragraph on the dramatists of the Restoration; the second, in a paragraph on the tastes of modern readers. The need of making a particular word the subject of the sentence will often, as in these examples, determine which voice is to be used.

14 | The Elements of Style

There were a great number of dead leaves lying on the

Dead leaves covered the ground.

The sound of the falls could still be heard.

The sound of the falls still reached our ears.

The reason that he left college was that his health became

Failing health compelled him to leave college.

It was not long before he was very sorry that he had said what he had.

He soon repented his words.

ground.

impaired.

As a rule, avoid making one passive depend directly upon another.

Gold was not allowed to be exported.

It was forbidden to export gold (The export of gold was prohibited).

He has been proved to have been seen entering the building.

It was forbidden to export gold (The export of gold was prohibited).

In both the examples above, before correction, the word properly related to the second passive is made the subject of the first.

Section two | 15

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11

The habitual use of the active voice, however, makes for forcible writing. This is true not only in narrative principally concerned with action, but in writing of any kind. Many a tame sentence of description or exposition can be made lively and emphatic by substituting a transitive in the active voice for some such perfunctory expression as there is or could be heard.

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Project 4

ASSIGNMENT This digital magazine is about Typography, Design, Activism, and Social Justice. The students researched articles and images to put into the magazine. Then we design it ourselves with the portrait pages size of 768 px X 1024 px. We are only allowed thre typeface families.

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CRITIQUE

53

Overall this project we were able to explore girds, and trying to break it or use it to its full potentional.

I mostly focused on keeping to the grid, with slight breaking out. I should try to break out of the gird more, and also maybe try to add more color into the magazine. I might want to play around with the title pages more to make them more interesting.

The captions should not change color too much.

For this project, I needed to look at the leading and spacing from the text versus the images. I also have to remember to italics book titiles. Authors names should not be too big either. The magazine’s name should be in the footer

ISSUE 1 MARCH

SOCIAL ACTIVISM

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balance.

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1

Women’s Rights throughout the Ages

2

3

Posters have been used to advocate rights for many people over the years, women have used design to fight for their rights.

Strong imagery and message are apparent in all these posters illustrating different topics and movements such as the woman’s suffrage to fighting stereotypes.

13

WOMEN

1

Handicapped!, ASL 1909 competition winner Duncan Grant

2

Coming in with the Tide, ca. 1907-1918

3

Convicts and Lunatics Have No Vote For Parliament Should All Women Be Classed With These? ca. 1907-1918 Emily J. Harding Andrews

4

The Awakening, 1915 Henry Mayer

BALANCE BALANCE

WOMEN’S RIGHTS THROUGHOUT THE AGES

political artist Mark Bryan offered a line of anti-Trump posters. Not to mention, an exploding anti-Trump craft industry.

Kate Deciccio

ART TO MARCH WITH The expression crescendoed with the Women’s Marches.

The Missile Dick Chicks, dormant since the George W. Bush administration, resurrected for the New York and Oakland marches.

The antiwar protest group began in New York to protest the Afghanistan and Iraq invasions, attended protests dressed as

Liza Donovan

ifornia used today’s political backdrop for a timely screening and panel on Triumph of the Will, a famous Hitler propaganda film.

Yet others were just artistic outbursts.

Disney Imagineer Nikkolas Smith, an NAACP Image Award nominee who received a signed thank-you letter from Barack Obama for an Incredibles-inspired drawing of the former First Family, honored fan requests to continue the theme with Trump, who he reimagined as Incredibles’ villain Syndrome.

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The political turmoil has proven fertile ground for veteran comic writers and illustra21

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WOMEN

4

14

buffoonish war mongers with missile strapons and oversized stuffed bras (war chests).

Madefire CEO and graphic designer Ben Wolstenholme, crafted a free-use anti-Trump campaign design for the San Francisco march that could be expanded into a line of petitions to run through Trump’s tenure.

Artist Shepard Fairey, who gained notoriety for his 2008 Obama “Hope” campaign poster, created the We The People poster series with The Amplifier Foundation, featuring pictures of diverse women. Fairey gave

tors. Neil Gaiman, Amanda Palmer, David Mack, and Olga Nunes teamed for a video of Leonard Cohen’s Democracy to raise money for PEN America’s quest to defend freedom of expression. Mack also contributed writer portraits for PEN America’s Writers Resist protest.

Jennifer Maravillas

Meanwhile, Bill Sienkiewicz weighed in on social media with emotional farewell portraits of Obama, March illustrator Nate Powell created women’s empowerment signage art based on a concept by his wife and her friends marching in D.C., while

Jessica Sabogal

BALANCE BALANCE

WOMEN’S MARCH

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Your purchase can help fund HIV testing in Sub-Saharan Africa.Your contributions provide HIV counseling, education, and care services. Thanks to you, we’re even closer to an AIDS-free generation.

For 10 years, our partnership with (RED) has helped fight the spread of AIDS by providing counseling, testing, and most crucially, medicine that prevents the transmission of HIV from a mother to her unborn child. Every purchase brings us a step closer to an AIDS-free generation.

Please help us make a difference.

Over the last 10 years, you’ve bought (RED), played (RED), and given (RED), and collectively we’ve raised almost $120 million. But there’s still more to do.

Every (RED) purchase contributes directly to the global fund to fight aids.

One dollar can provide three days of life-saving medicine. Your support can mean fewer babies are born with HIV every day.

(reference screen shot of the red → global fund → africa)

Give life.

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VALUES

BALANCE BALANCE

TITLE

32

PATTERN STUDY: OCD The color combo for OCD is comprised of multiple yellow hues because of the color’s connotations of stress and alertness.

The arrangement of shapes in the module represents the systematic anxiety that triggers compulsions and how it shadows an OCD individual at all times. As a whole, the pattern has a rigidity and exactness that reflects the intentionality of the ritualistic actions performed by an individual living with OCD.

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PRODUCTS

BALANCE

LIVING WITH

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PATTERN STUDY: DEPRESSION The depression shirt’s color palette is made up of subdued monochromatic purples, with the deep violet being visually heavier than the red-violet. The module is designed to convey a sense of internal weight pulling down while remaining vertical as a whole shape, to signify a sense for longing for uplifting happiness. As a whole, the pattern also reinforces the feeling of being weighed down, while also portraying a layer between the inner self and the public self.

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REMEMBER EVOLVE PROTEST LIVE ON DEFEND

WOMEN 5

SECTION

BALANCE BALANCE

Eric Gulliver

Marlena Buczek

TITLE

6

online — and the poster-making urge is benefiting from the same viral meme effect seen across our entire hyper-connected culture. Anything that happens is immediately captured on camera and uploaded, and the effect of showing these images so widely and easily is to inspire viewers

as “protest signs” rather than posters. After protests, it has become common to see online news media running visual stories with titles such as “The 50 most enjoyably effective protest signs at Occupy protests.”

Websites offer school children advice on “How to make a protest sign for a school

who like what they see to do more of the same. Participation acts like an injectable hormone spurring yet more growth. Since the global Occupy protests, there seem to be more posters, or poster-like messages, used in demonstrations than ever.

project” and put across their legitimate point of view. Radical poster-making almost seems to be becoming a badge of good citizenship.

Why Activist Posters are Here to Stay

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Rick Poynor

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57

As a supposedly antiquated form of media, the poster is regularly pronounced to be on its last legs as a means of communication and of marginal relevance now. I have written pieces myself saying much the same thing. No one doubts that posters used to be highly effective as both advertising and propaganda, but from the moment people in wealthy economies started buying TVs and watching commercials, the role of the street poster began to decline (the billboards still flourishing like an infestation at the roadside are another matter). The arrival of digital communication and then social VALUES

media appeared to leave the poster spluttering for life, and when it came to the protest poster, the prognosis looked just as gloomy.

If ordinary posters aren’t much needed now, why should posters expressing dissenting views fare any better? Five or six years ago, I would have said the poster advocating a cause was barely viable.

Protest posters have never been an exclusively or even primarily professional design activity. Anyone with an urgent point to make and a measure of artistic knowhow could get out the scissors and take up a brush. This is even more the case today with the graphic placards often described

Now I’m not so sure. Digital networks are infusing posters produced to contest an outrage or support a cause with a new lease of life. This kind of message has two places to attract attention now — out in the world and BALANCE BALANCE

These DIY protest signs might be amateur (though that doesn’t stop them working as communication) but they remind us that posters remain a succinct, popular and powerfully immediate form of public speech. If someone feels strongly about an issue, it’s natural to try to express support or condemnation as persuasively as possible, and in public settings a well-crafted WHY ACTIVIST POSTERS ARE HERE TO STAY

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brian just not just guy, any guy, but some some guy guy

SECTION

BALANCE BALANCE

Brian Singer has been employed by some of the most progressive design thining companies in modern times including Apple, Facebook, and Pinterest. Most designers would cut off their right arm to work for these companies, but Singer—although grateful for the experience—walked away from his most recent gig at Pinterest to pursue personal projects.

Singer, aka someguy, has become widely lauded for his pet projects which have netted national publicity, not only in the design community, but among mainstream media outlets such as The New York Times, the Today Show, CBS News, Huffington Post, and

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SECTION

Interview by Leif Steiner and Emily Potts

BALANCE BALANCE

TITLE

64

BRIAN SINGER

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more. From inviting strangers to collaborate and share their sentiments in a blank journal and pass it on for the 1000 Journals Project, to exposing people who are driving and texting by placing their photos on billboards, to his #pileoftrump campaign, Singer has created controversy and discussion about what is and isn’t tolerable—or with the case of texting and driving—what is safe. (bio photo: Skyler Vander Molen.)

His main goal with most of his projects is to connect with strangers and to have strangers connecting with each other. Here, we ask him about his experiences, his personal projects, and what’s next.

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singer

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DESIGNER Anh-Thu Luu

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TYPOGRAPHY

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Sofia Pro Rift