TYPOGRAPHY
TYPE 2 FINAL JOURNAL WINTER 2017 | ANNAMARI JAAKSI
TYPOGRAPHY
TYPE 2 FINAL JOURNAL WINTER 2017 | ANNAMARI JAAKSI
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INTRO This journal is a summary of lectures, readings, and projects from Typography 2, a course offered at California Polytechnic State University. The journal is divided up week by week, so it is easy to follow the progress of content and projects throughout the quarter. From grid layouts to tips on how to pair different typefaces, this journal is a helpful reminder and reference to myself and hopefully others as well. 5
WEEK 1
TABLE OF C WEEK 1 WEEK 2 WEEK 3 WEEK 4 WEEK 5 WEEK 6 WEEK 7 WEEK 8 WEEK 9 TYPE JOURNAL
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CONTENTS PAGE 8 PAGE 14 PAGE 20 PAGE 28 PAGE 36 PAGE 42 PAGE 46 PAGE 52 PAGE 56 7
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WEEK 1
EXERCISE | LEGIBILITY Different typefaces have varying legibility. A decorative type might be legible when used sparingly and made large enough, but reading long blocks of text would get exhausting. However, even typefaces considered good for body text have individual components, of which a designer should always be conscious. In the legibility exercise, there is a distinct feel with both the serif and sans serif typeface. The serif feels more professional, since serif typefaces have been around for longer and are used in our society on many formal documents. The sans serif feels more modern and progressive. In addition, there are changes that can be made within each typeface to make it more — or less — legible. Adding a little bit more leading than what is automatically set with the point size helps make the text more pleasant to read. The auto-leading makes the text seem crammed, and not inviting to the eye. However, adding too much leading makes the text block seem loose, which in turn makes it harder to read it as one continuous paragraph. Each of the point sized used — 8pt, 9pt and 10pt — could be considered appropriate for the column width. The average number of words on each line was 8–13, which makes the line-length good for legibility. However, 9pt was the most consistent, with each line falling right in the middle of the recommended 8–10 words. The best typeface was Baskerville, set in 9pt with 13pt leading. The text was large enough to read, with enough leading to make the spacing comfortable, and linelength that made it easy to follow the text. The hardest to read was Brandon Grotesque, set in 8pt with 13pt leading. Brandon Grotesque already has a small x-height, and setting the point size to such a small number makes it very hard to read. In addition, the 13pt leading separates the lines of text too much.
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BEST 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. BASKERVILLE, 9/13
WORST 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. BRANDON GROTESQUE, 10/13
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WEEK 1
READING | TYPE REFINEMENT BUTTERICK’S PRACTICAL TYPOGRAPHY TYPE SIZING • point
size is our measuring system for typography • originally developed for handset metal type • the contemporary American measurement system (adopted in 1870s) has points and picas • 12 points are in 1 pica, and 6 picas in one inch • 1p6 = 1 pica and 6 points • traditional sizes for the metal type were from 5point to 72 point • body text plays a large role in how your document looks, because there is so much of it HOW TO CHOOSE POINT SIZE • consider
typeface proportions and weight • consider length of text • consider format for viewing (printed on paper or viewed on screen) • in general, body text point size should be larger on screen • print range 9pt to 12pt • screen range 14pt or larger • consider audience,reader, and the context of the text HARDWORKING TYPEFACE • good,
regular weight • robust proportions • at least one bold weight, with noticeable contrast to compliment the text weight • italic number • very legible numerals • consider economy — should be narrow enough to fit arge amounts of copy into the available space TYPE JOURNAL
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THINGS TO DO • kern
display sizes • customize leading • should be 120%-145% • auto is too tight • line length • avoid too long (loose beginning) or too short (too much back forth) • 8–13 words per line • letter spacing • if letters are too close, it is hard to read • small/all caps can handle more letter spacing • never track more than -10 • no fake small caps • know your dashes • dash, en-dash, em-dash • know the difference between an em-dash and a semicolon • customize hyphenation • words w/ at least 6 letters • after first 3 letters • before last 3 letters • hyphen limit 2 • use smart quotation marks • avoid widows and orphans • spell check
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READING | WHY TYPOGRAPHY MATTERS BUTTERICK’S PRACTICAL TYPOGRAPHY • Typography
— the visual component of the written word • For the reader, helps conserve reader attention • Good typography will help you reader devote less attention to the mechanics of reading, and more to your message • Good type makes the text more effective • good type is measured by how well it reinforces the meaning of the text • or a give text, there are many typographic situations that could be equally good • your ability to produce good type depends on how well you understand the goals of your text
LECTURE | READING RECAP CRYSTAL GOBLET typography shouldn’t be invisible • substance and presentation shouldn’t be two separate things • typography is a valuable tool that helps emphasize what the text is saying •
BUTTERFLY BALLOT • controversial
voting ballot due to confusing design • the biggest problems were the sans serif, condensed, bold, all caps type, that had no tracking • weird alignment with titles and subtitles • dots align with left and right text, not in order • proves that type does really matter, has an effect
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RESUMES shapes aren’t needed — Violets resume makes the titles almost too emphasized and the rest is small • bullet points overly decorative in Violet’s • Trixie’s had better spacing with margins, better things emphasized, better layout •
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WEEK 2
PROJECT 1 | TYPE QUOTES PROCESS After finding five quotes, I started playing around with layouts. I ended up submitting the horizontal layout below, with each letter from “Words” forming columns for the quotes.
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FEEDBACK • color
background to utilize the colors more • no big pull quotes, makes it too confusing because columns are so tiny • keep point size of all points the same • mess around with quoted by vs written by REVISION After receiving feedback during the final critique, I updated the poster to what you see below.
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WEEK 3
READING | TYPE COMPOSITION BUTTERICK’S PRACTICAL TYPOGRAPHY STRAIGHT AND CURLY QUOTES • straight
quotes are the two generic vertical quotation marks ‘ “ • curly quotes are the quotation marks used in good type • ‘ (option and ]) ’ (option and shift and ]) • “ (option and [) ” (option and shift and [) • to make it easier, turn on the smart-quote feature which will automatically substitute your quotes • do find/change at the end of each project to fix everything in a quick and easy matter
SEMICOLON two primary uses • instead of a conjunction to combine two sentences, like He did the crime; he must do the time. not for Since he did the crime; he must do the time • To separate list elements with internal commas Tulsa, Oklahoma; Flint, Michigan; and Paducah, Kentucky •
COLON •
colon usually connects the intro of an idea and its completion I own three cars: a convertible, a sedan, and a minivan
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AMPERSANDS • a
stylized depiction of the word et. • always use if they’re a part of a proper name • the more formal the document, the less should be used
ELLIPSES • sequence
of three dots used to indicate an omission • don’t use dots, because not right spacing APOSTROPHES • closing
single quotes • hawaiian words have okinas — their own apostrophes FOOT AND INCH MARKS • use
straight quotes for these • foot ‘, inch “ WHITE SPACES / NON-BREAKING SPACES • white-space
characters — keyboard characters that put a blank space between point A and B • helps you predict how text will behave, even when you edit and reformat • works as a non-breaking space too, won’t let text separate on two lines
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WEEK 3
READING | TEXT FORMATTING BUTTERICK’S PRACTICAL TYPOGRAPHY MONOSPACED • every
character is the same width • hard to read SYSTEM FONTS • fonts
already installed • many are not that good, most have been optimized for screen (meaning they won’t print well), and all of them are overexposed BOLD OR ITALIC, ALL CAPS • bold
and italic are mutually exclusive • use them as little as possible • with a serif, use italic for gentle emphasis, bold for heavier • with sans serif, skip italic and just use bold, because italic isn’t distinct enough • all caps should also be used sparingly • harder to read • use all caps for headings shorter than one line, captions, footers, and labels
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HEADINGS • only
make as many different ones as you need • caps if one line of text or less • don’t center • use space above/below to emphasize • use bold, not italic • point size bigger, but not too much • only two levels of indenting, even if you have more than two levels of heading • try not to hyphenate/break apart MIXING FONTS • never
a requirement, only an option • two is okay, three is already pushing it • need to be visibly different • most successful when each font has a consistent role
COMBINE
Contrasting Typefaces
COMBINE CONTRASTING TYPEFACES
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WEEK 3
LECTURE | FONT MANAGEMENT CHOOSING A TYPEFACE • consider
the content • how long is the text • what is it about (serious, fun etc.) • audience (what is the age of the reader, what is the demographic?) • format (what is the size, is set or vary, at what distance will it be read from) • consider technical factors • are full character sets or foreign characters necessary? • do you need multiple weights/styled? • do you need small caps? • do you need lining and old style numerals? • what format (opentype?), web font version? WHY ARE TYPEFACES SO EXPENSIVE? • well
created fonts take years to develop, have both design and technology • when you buy a fonts, you buy a license • when purchasing a license, consider • can you use it for commercial work? • how much does it cost? • can i use it online,apps, and in ebooks or just in print? MANAGE YOUR FONTS • turn
off ones you don’t need, have a minimum number possible installed • use sets to keep fonts organized and categorized • try FontExplorer X Pro and Suitcase Fusion 6 if Font Book doesn’t work
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LECTURE | WHERE TO GET FONTS GOOGLE FONTS • free
typefaces, but both good and bad
LOST TYPE CO-OP LEAGUE OF MOVABLE TYPE FREE SQUIRREL • free
for commercial use, has terrible ones and ok ones
FONTSPRING HOUSE INDUSTRIES • more
expensive
MYFONTS FONTS.COM
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WEEK 4
READING 4 | PAGE LAYOUT BUTTERICK’S PRACTICAL TYPOGRAPHY • page
layout is the positioning and relationship of text and other elements on the page
CENTERED AND JUSTIFIED TEXT • centered
text • overused, boring • whole paragraphs should never be centered, because both sides are uneven so its hard to read • ok for titles/short phases • justified text • cleaner, more formal • must have hyphenation turned on • okay if it works with your line length, but not a must • mess with space between words, not letters FIRST LINE INDENTS AND SPACE BETWEEN PARAGRAPHS • only
use one • indent should be at least the point size of the text, but no bigger than 4 times pt size • consider the space of the text box • don’t use tabs or spaces, use the right tool • with bullet points etc, you can do a hanging indent that is opposite of normal • drop caps are also an option, three or four lines, but only in decorative text • for space between 50–100% of the body text size if good HYPHENATION • optional
for left aligned text, MUST for justified • the shorter the line length, the more necessary it is
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BLOCK QUOTATIONS • reduce
point size and line spacing slightly, indent the text box between half an inch and a full inch on the left side, optionally the same on right • don’t put quotation marks BULLETED AND NUMBERED LISTS • no
manually formatted lists, use automated ones • you can edit the typeface/size to make it look good SPACE ABOVE AND BELOW • similar
to a dramatic pause when talking — great way to emphasize • headings should relate to the text that follows, not the text before MAXIMS OF PAGE LAYOUT • decide
first how the body text will look • divide page into foreground and background, and be clear of what you wanna emphasize • Make adjustments with smaller visible increments • when in doubt, try both • be consistent • relate each new element to existing ones • keep it simple • don’t fear white space
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WEEK 4
PROJECT 2 | DIALOGUE PROCESS I wanted to work with breaking a part the text into subdivisions, in order to make the interview easier for the reader to follow. I started off with a landscape layout below, but ended up submitting the portrait version on the right.
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FEEDBACK • weird
white space around quotes • quotes had weird different sizes • pattern was overused, tried to rely on it too much, awkwardly forced in shapes so it didn’t work • good separation of text • Campbell’s section indent was useless
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WEEK 4
LECTURE | TYPESETTING IN INDESIGN • use
styles • you will save a lot of time by automating your text formatting TABLES • useful
for spreadsheet-style grids of numbers/data • useful for layouts where text needs to be side-by-side or floating • cell boarders can be useful when editing, but don’t keep them once the table is full • increase the cell margins to make it more legible if it is dense • Tables are a great tool for positioning text, the table itself can be invisible TABLE STYLES • edit
the following • the outside border • the dividing line • the space above and below the table • the fills of fields in the table
CELL STYLES • edit
the following • the borders around the cell • how the text is positioned within the cell • the style of text within the cell • the fill color of the cell
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READING | TYPE FAMILIES BY PETER BIL’AK • started
with multiple sizes in movable metal type • in the mid-19th century, the idea of varying the weight of type came along • Universe was the first famous typeface with two variants: width and weight, which created a huge typeface family • serif and sans version came early 1900s to give typefaces more flexibility • with digital, there are programs and typefaces that give the user freedom to pick and later the weights and widths • to be considered a family, the type has to have several shared parameters — each style of the type must be recognizably different, but still adhere to the common principles of that typeface in order to stay consistent THINGS TO CONSIDER IN A TYPE FAMILY • optical
size
• weight • width • serif
and sans serif versions
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WEEK 5
READING | LAYOUT GRIDS AND ETHICS BY DESIGNERS INSIGHTS & STEVEN HELLER GRIDS • always
use a layout grid • helps with consistency, harmony and making everything work together • needs to also be utilized for web, where it is harder to control • your grid needs to be especially flexible for responsive websites • binding type and your grid • you need extra gutter space, to ensure that content isn’t lost into the gutter • perfect bound is about 0.25in for binding, so don’t use the first 0.5in • even bindings that do allow you to lay out your book flat, will have holes etc, so first 3/8 is not usable • you can use the rule of thirds and the golden ratio to move help you layout your composition TYPE ETHICS • read
the license on typefaces. just because someone sent you a typeface to work on their file, does not give you the right to use the typeface. similarly, just because someone needs to work on your file, you cannot send your typeface forward.
LECTURE | GRIDS • don’t
forget about composition and breaking the grid • best way to break a grid is non-rectangular shapes • grid is just architecture, the skin you put on top of it can be anything
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READING | MY TYPE DESIGN PHILOSOPHY BY MARTIN MAJOOR • when
combining typefaces, you should look at contrast • sans serif and serif are good, but not all work • look for a serif and a sans that derive directly from each other • many sans serifs don’t have real italics, because a real italic would have a different form principle from the roman • probably too much work to produce, so instead a lot of sans serifs have slanted romans instead • so, only mix serif and sans when they are from the same basis, or even same skeleton 39
WEEK 5
PROJECT 3 | ELEMENTS OF STYLE PART 1 GUIDELINES • have
clear information hierarchy • don’t go crazy with shifts in text weight, because it can be very distracting • careful about changing size, or mixing serif and sans serif within text when at the same time so it doesn’t look unintentional • be very aware of spacing between elements • make sure your text styling is consistent • use dramatic use of scale, use pagination and pace as a design tool FEEDBACK • inside
title page should have more emphasis on author, less on date and location • introduction could be more interesting • too much space between examples in the book
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WEEK 6
READING | LATIN TYPE VS. THE WORLD BY PETER BIL’AK Type history is very focused on European and western type design. The first recorded movable type system was actually most likely created in China, but the credit is most often given to Europe. Even more recently, type classification most often labels type as Latin and non-Latin, or in other biased ways. It is important to remember that English and the Latin Alphabet only account for a section of all communication happening in the world — this is just slowly being acknowledged in the type world.
PROJECT 3 | ELEMENTS OF STYLE PART 2 FEEDBACK A few minor changes with missing spaces and shift returns.
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WEEK 7
READING | LAVA BY PETER BIL’AK A typeface designed by Peter Bil’ak for his magazine. Designing a specific typeface was a way to give his magazine an individual feel and look, and keep it consistent and recognizable whether read on screen, print or just as an individual article The typeface, Lava, is good for the low resolution screen, but also has beautiful details to make it look good when printed. It is a great workhorse typeface for large amounts of text, but also works for emphasizing titles. Peter worked through problems by implementing it and using it as the magazine typeface. He refined details with the help of other designers, and together they made sure Lava is easy to read and makes you forget about the typeface, allowing readers to focus on the text itself.
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READING | THE FIRST THING I DESIGNED BY MADELEINE MORLEY Elana Schlenker designed her own magazine. She had to work through multiple problems, and she finds herself more and more happy with each issue that is published. Magazines are a great way to showcase multiple skills in one piece. When struggling through a project, gather ideas, and work through your obstacles — when y know what you want, trust yourself, and give yourself enough time to make it work.
LECTURE | MAGAZINES • think
about how to lay it out, where to break the grid etc. • where do you want it to be consistent, where do things differ? • how do you want to spread it out in terms of TOC • don’t have to use all images
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WEEK 8
READING | ERIC GILL GOT IT WRONG BY BEN ARCHER Gill Sans is a remake by Eric Gill of Edward Johnston’s typeface make for London Underground. Gill’s argument was that there were issues in Johnston’s letters, that Gill thought he could fix. However, many of the characters might actually be worse in the remake Gill Sans. • for
example, Gill got rid of the foot serif for the lower case l, which makes it mix with 1 and an uppercase I • terminals also lost in the b, d, p, and q except for in the light weight • added to some letters for aesthetic reasons (like uppercase Q and R), but then took away essential aspects of other letters (lowercase y) • Gill talks about overly heady typefaces being hardly recognizable, but still proceeded to create Bold and Ultra Bold • edited sizing and width of letters themselves, making L, N and T a lot larger than Johnston’s, but his M’s smaller. This results in awkward spacing and domination of some letters over others, which requires extra kerning and letter spacing • initially not claimed to be a typeface suitable for multiple purposes, but somehow turned into that
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READING | BEAUTY AND UGLINESS IN TYPE BY PETER BIL’AK • Combining
the most beautiful typeface (Bodoni) with the ugliest
(Italians) • the contrast between attractive and repulsive all lies in the contrast between thick and thin, because when those two typefaces are combined to make a neutral, low contrast, neutral typeface
LECTURE | TYPE ON SCREEN • Attributes
to consider • typeface contrast (higher contrast only for small amounts like headlines) • x-height (high x-height is ideal especially for interfaces or way finding) • beware of extremes — if x-height is too high, so you can’t distinguish between ascenders and text • character distinction to make things legible (1 I l ) • special characters • lining numerals, old style numerals, all the right quotation marks etc. • small caps and ligatures • optical sizes (Chapparall, Adobe Jenson PRO, Caslon have a display size) • build outward — pick a body text and build upon it
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WEEK 8
EXERCISE | GRID ANALYSIS 1. Is there a relationship between the grids of the two different layouts? There is not a relationship between the grids of the two layouts. The first single page has greater margins than the spread. It is also a 3-column versus a 2-column layout. 2. Is there a mathematical relationship between the different columns on the page? a. The single page has seven columns, with three balanced text columns b. The spread is divided up into 16 columns, with bodytext taking up 8 columns to create what looks like a 2 column layout. 3. Do you think the grid is comprised of columns or modules? They both have columns. 4. How do images relate to the grid? a. The single page has an image that works both as a background and as a graphic element. The image occupies the whole space, so it doesn’t break the grid. b. The images do not break the grid, but on the left page they do interfere with the text column. 5. Do any elements break the grid? a. The title and a caption both break the grid. b. Nothing breaks the grid.
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a. single page
b. spread
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WEEK 9
READING | 7 STRIKING DESIGN PAIRINGS BY PERRIN DRUMM The book Phaidon Archive of Graphic Design or the hand-held version, Graphic: 500 Designs that Matter is a great book that has “all” of the important designs. The smaller version has page spreads that feature two designs, and these designs create some really interesting similarities in designs that are made years and countries apart, but still have that same tone
READING | AN IDEA OF A TYPEFACE BY KAI BERNAU A designer’s quest to design a neutral typeface — the Platonic essential form of a typeface. Kai had to answer questions like what is neutrality, how do we consider everyone’s different backgrounds, and how does that play into everyone’s individual idea of neutrality. The goal was to design a typeface free of connotations, even though different people with different backgrounds might disagree on what has connotations. He started the process by comparing typeface genres and subgenres— first serif vs sans serif and then grotesque vs humanist sans. Kai looked at what forms are more commonly used, what shapes are more distinguishable, what is plain and simple. By blending typefaces together, making everything as average as possible. He realized that sometimes you have to step away, and then come back later to improve your project in order to enable yourself to see mistakes. Neutral is as neutral as can be to Kai himself, however maybe not for all, since we do come from different backgrounds and associate things differently.
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READING | CHEROKEE LANGUAGE TYPE Mark Jamra, a typeface designer, took up the challenge of designing a new Cherokee language typeface. Previously the Cherokee language only had a few very similar typefaces, but with the new, more playful typeface they hope to inspire the younger generation to uphold the language. Another reminder that the western alphabet is definitely not the only one out there. Designing a typeface in general requires a lot of research, but when you’re designing for a writing system that you don’t understand and a language you don’t speak, it gets even more challenging. However, as designers, and even just as humans, we have a responsibility to shine light and help out those who don’t have a platform to voice their needs.
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WEEK 9
PROJECT 4 | TYPE ZINE PROCESS The project started off with moodboards, type studies and layout sketches. After that, a few different sample spreads and a complete bookmap were due. The bookmap was incredibly helpful in terms of organizing the content, and ensuring that there was a good pace and flow. On this spread you can see some of the process, and on the next spread you’ll find the final zine.
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NEW LOGO AND PACKAGING FOR
DR. BRONNER’S SPACESHIP TYPE BY ARMIN VIT
JUN. 17, 2015
Established in 1948, Dr. Bronner’s is a manufacturer of certified organic and fair trade soaps and personal care products that in 2014 had a total revenue of $80.3 million with their popular liquid soaps accounting for 67% of it. The company is well-known for treating their 130-plus employees exceptionally well and for their philanthropy, contributing up to $8 million worth in financial, in-kind, and direct action contributions.
LIVING WITH:
LIVING WITH:
Depression, Bipolar Disorder, ADHD & OCD
Depression, Bipolar Disorder, ADHD & OCD Living With: is a project dedicated to empowering anyone dealing with mental health to be confident in themselves and their approach to handling daily obstacles. It started as a college thesis and it’s grown to become a nationwide social endeavor that sparks new conversations and new perceptions about mental health. Living With: is the degree-project turned-real-project of Dani Balenson, a recent graduate of the Rhode Island School of Design and designer working in Brooklyn, New York. Each shirt in the initial Living With: collection has a design that was developed based on the common behavioral patterns of a specific mental disorder. While a single disorder can have a very broad range of characteristics and affects each person differently, there are core behavioral patterns that persons living with each disorder experience. The meaning behind each design in this series can be broken down to color, module, and pattern.
Q. YOU DO A LOT OF POP-UP/CONTROVERSIAL PROJECTS …. HOW DO YOU MAKE A LIVING
time to figure it out, but other than that, who knows?
DOING THIS?
sion making. It feels good to jump without looking.
Uh, I don’t. The same way all the best tasting foods
Scary, but good. I know I can always get work to pay
are bad for you, there’s no money to be made with
the bills, but for now, that’s not a priority.
what I do. I have fantasies of finding a patron, or financial support for my endeavors, but until then, I’m just going to keep doing things I believe in. Everything is a trade-off, and most of my ideas don’t
BRIAN SINGER, 2014. TWIT spotting billboard.
I tend to be a planner, and very methodic in my deci-
Q. WHAT PROJECT HAS BROUGHT YOU THE MOST JOY/FULFILLMENT AND WHY? This was the last question I chose to answer, which
have commercial value.
means it was the most difficult. Not because it’s too
Q. SO, IF YOU DON’T MAKE MONEY WITH THESE
ily associate personal joy/fulfillment with many of my
PROJECTS, HOW ARE YOU GOING TO KEEP THE LIGHTS ON?
projects. Not sure why, but that’s probably for a ther-
Seems like that would require a plan, which I don’t
the most fulfilling was the journal project with UCSF
have. I’ve saved up for long enough to give me some
Benioff Children’s Hospital. Seeing the journals have
hard to pick, but I think it’s because I don’t necessar-
apist to figure out. I’d say that the project that was
Q. YOU RECENTLY LEFT PINTEREST TO PURSUE YOUR SIDE PROJECTS FULL TIME. ARE YOU CRAZY? WHY? Yes to the first question. As to the second … see the
Q. YOU’VE WORKED FOR SOME HIGH PROFILE, DESIGN-DRIVEN COMPANIES. WHAT’S THE BIGGEST TAKEAWAY FROM THOSE EXPERIENCES?
first. Pinterest was probably the best job I’ve ever
Every company (design driven or not) has real, chal-
I’ve spent more and more time focused on
lenging, business problems to solve. And no matter
art and side projects. About a year and a
the company, I think it’s safe to say that design isn’t
half ago, I got a studio to work in. I began
easy. Probably the biggest takeaway is that while
spending my evenings and weekends there,
design skill is important, it’s not the only thing need-
and eventually realized that’s where I want-
ed to succeed and have an impact. You need strate-
ed to be all the time. It comes down to the
gic thinking skills, empathy, holistic problem-solving,
choices we make with how we spend our
leadership, great communication, the ability to hire
time and money. I say this now, but check
and motivate talent, and of course, you can’t be an
back in with me in a year because who
asshole. You know, all the things they don’t teach in
knows, maybe I’ll be off on some other tan-
design school.
gential pursuit.
had, and I’m really lucky and appreciative to have worked there. Over the last decade though,
BRIAN SINGER, 2005. 100 Journals exhibition.
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BETWEEN
THE LINES Issue 01
Quarterly Issue — WINTER 2017
typography, design and activism
ETHICAL DESIGN 8–9
1 0 – 15
16 – 19
Saltwater Brewery Creates
New Logo and Packaging for
Why Every Designer
Edible Six-Pack Rings
Dr. Bronner’s Spaceship Type
Needs a Code of Ethics
SOCIAL JUSTICE
4
22 – 27
28 – 39
40 – 45
Women’s Rights
The Women’s March and the
Living with:
Throughout the Ages
Art of Creative Resistance
46– 51
52– 59
60 – 67
Planned Parenthood
Culture Strike
Why the Activist Poster
5
is Here to Stay
Q&A 70 – 79 Not Just Any Guy, but Someguy—
TABLE OF
Brian Singer Interview
ISSUE 1 | SPRING 2017
BETWEEN THE LINES
CONTENTS Among the participants was Dani mourning process is still hard. I wanted Paquin, a singer/songwriter and jewelry to feel like I belonged to this country, maker, who created the Safe Tee line of even if I am not a citizen, and make decorative safety pins—a symbol pro- other people feel like we are all in this moting a safe community regardless together. I wanted to capture history of gender, sexuality, race, disability, or and I thought putting together the religion—to wear at and beyond the footage from the [Post-Election] promarches, that donates half of its pro- test would have helped me to process ceeds to Planned Parenthood, ACLU, my feelings, my rage, my despair, to rethink my American dream.”
or the SPLC.
“I do have a voice in this country”
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Another
brought
a
sobering
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but The reactions she got after posting it
hopeful message with her artform. on Facebook “made me think that I L.A.-based Italian filmmaker Vanessa do have a voice in this country,” CroCrocini shot footage of its Post-Elec- cini added. “Now, I want to interview tion (below) and Women’s marches as women and capture our different first steps in chronicling Trump’s impact voices and make a short piece that on social issues from her viewpoint as can stir up more awareness and grow “This is such a historical moment,” she said. “This past election has been BETWEEN THE LINES
a very heavy cookie to digest and the
TYPE JOURNAL
our sense of responsibility. I want the Women’s March to be the beginning of an important story. A story of resilience, a story of resistance.”
ABOVE—GETTY IMAGES, 2017.
ISSUE 1 | SPRING 2017
an immigrant and woman.
BELOW—NYT, 2017.
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NEW LOGO AND PACKAGING FOR
DR. BRONNER’S SPACESHIP TYPE BY ARMIN VIT JUN. 17, 2015
Established in 1948, Dr. Bronner’s is a manufacturer of certified organic and fair trade soaps and personal care products that in 2014 had a total revenue of $80.3 million with their popular liq-
10
uid soaps accounting for 67% of it. The company is well-known
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for treating their 130-plus employees exceptionally well and for their philanthropy, contributing up to $8 million worth in finan-
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ISSUE 1 | SPRING 2017
cial, in-kind, and direct action contributions.
LIVING WITH:
DEPRESSION, BIPOLAR DISORDER, ADHD & OCD 40
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Living With: is a project dedicated to empowering anyone dealing with mental health to be confident in themselves and their approach to handling daily obstacles. It started as a college thesis and it’s grown to become a nationwide social endeavor that sparks new conversations and new perceptions about mental health. Living With: is the degree-project turned-real-project of Dani Balenson, a recent graduate of the Rhode Island School of Design and designer working in Brooklyn, New York. Each shirt in the initial Living With: collection has a design that was developed based on the common behavioral patterns of
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a very broad range of characteristics and affects each person differently, there are core behavioral patterns that persons living with each disorder experience. The meaning behind each design in this series can be broken down to color, module, and pattern.
ISSUE 1 | SPRING 2017
a specific mental disorder. While a single disorder can have
FEEDBACK • make
sure ellipses stay on the line they’re supposed to be on • links to original articles can be shorter I want to go through and work more with utilizing the space in the gutter, since this is a digital piece and I have the freedom to do so. After the in-progress critique, I added color by dividing the magazine into sections and implementing color into the different sections. However, I would love to go in an add texture to some of those all-color spreads. 63
WEEK 9
COLOPHON DESIGNED BY ANNAMARI JAAKSI WINTER 2017 Typeface used is Museo Sans