TYPE JOURNAL
INTRODUCTION What a quarter it has been for me, not only in class but outside of this class. Aside from the obvious fact that I was incapacitated for a better half of the quarter, I actually did enjoy this class. All of the outside reading was insanely important and lead to better typorgaphical decisions when it came to projects. Which leads me to the projects. All of the projects, I thought were very strong and are definetly a step in the right direction. Although I am not personally satisfied with my projects, I improved a lot about the art of typography. Hopefully I can showcase here in this journal all of the things I learned and all of the progress I plan to make in the future, moving into Type three.
TABLE OF C
0
LECTURE
Pg
0
READING Pg.
0
PROJ Pg.
CONTENTS
01
E NOTES
g. 8
02
G NOTES 22
03
JECTS 38
Lecture
01
e Notes
1
TYPOGRAPHIC REFINEMENT: The Details Basic Type Terms Point size: originally for handset metal type Point size: letter + space below Face: printing surface Nick: indicates bottom of letter Set width: width of letter Points & picas: 12 points in 1 pica; 6 picas in 1 inch 1p6 = 1 pica + 6 points For picking a point size consider: • Typeface proportions and weight • Length of text • Format for viewing (printed, screen, both) • Audience/reader of text • Content of text • Screen vs. print • Body text should be larger for screen (14pt+) than print (9-12pt)
Hard working typeface • Good regular weight • Robust proportions - large x height • At least one bold weight with noticeable contrast from regular weight
• Italic version • Very legible numerals • Economy: should be narrow enough to fit large amounts of copy into space
• Sentinal (Clarendon) Making type look better: • Kern type at display sizes (set at metrics - kerning set by type designer/foundry) • Customize the leading: 120-145% of point size (10 pt body = 12-14.5 pt leading)
• Line length: too wide - hard to find beginning, too narrow - too much back and forth (optimal line length: 45-90 characters or 2-3 lowercase alphabets or 8-13 words • Letterspacing: small/all caps can do more letterspacing than upper+lowercase • Adjust tracking with care: usually fine at 0, usually must adjust for all caps • Avoid fake small caps - only use if they come with the typeface
• Know your dashes: hyphens = used if a word is too long for column length; en dash = indicates duration; em dash = express break in flow of sentence • Hyphenation: at least 6, after first 3 before last 3, limit 2, uncheck everything • Smart quotation marks: smart quotes (curly), dumb (up&down), prime • Fix rags when possible: aiming for even back and forth, no awk negative spaces • Avoid widows (fragment at end of paragraph) and orphans (short segments stranded at the top of columns) • Spell check: cmd+i
TYPE COMPOSITION: What to do + keyboard shortcuts Type Shortcuts Open Quote: (opt + [ ), Closed Quote: (opt + shift + [ ) Smart Quotes: Preferences ( cmd + k ) > type > ‘use typographer’s quotes’ Find and Replace: (cmd + f ) to find and replace in a document (use for fixing bad quotes) Paragraph mark: (opt + 7 ) Section Mark: ( opt + 6 ) Hyphen: ( - ) En dash: ( – ; opt + - ) Em dash: ( — ; opt + shift + - ) Trademark ™: (opt + 2 ) Registered trademark ®: (opt + r ) Copyright ©: (opt + g ) Nonbreaking Space: (opt + shift + space ) Ampersand: Use when part of a proper name, otherwise sparingly especially in formal writing Ellipsis: (opt + ; ) If a sentence ends with an ellipsis, add an extra period at the end.
CHOOSING A TYPEFACE: What to Consider and know What to Look for in a Typeface: • Consider content, audience, format/context • Technical factors • Full character set with punctuation, glyphs, accented characters? • Multiple weights and styles? • Small caps, lining and old style characters? • What is the format—OpenType? Does it have a Web Font version? Creating a font is complex + buying a font means purchasing the license Where to Buy Fonts: • Art Server, Google Fonts (free; web and print), Lost Type Co-op (pay what you want), League of Moveable Type (free; open source; well designed), Font Squirrel (free for commercial use), Fontspring (groups fonts by license types), House Industries (not cheap but unique/retro), My Fonts (wide range; good newsletter), Fonts.com (tons of fonts + blog) Installing Fonts: • They live in either user ( ~/Library/Fonts ), local ( /Library/Fonts ), network ( /Network/Library/ Fonts ), or system ( /System/Library/Fonts )
Managing Fonts: • Font Book (create font sets, library sets, resolve conflicts, deactivate fonts) • In general, you want minimum number of fonts installed • Use sets to keep fonts organized and categorized • FontExplorer X Pro & Suitcase Fusion 6 (both: create font sets with fonts in multiple sets, can deactivate fonts to prevent any application from seeing them)
TYPESETTING IN INDESIGN: Tools and Techniques Paragraph Styles: Affect paragraph level attributes General Settings: Overview of style settings + if the style was based on existing style Basic Character Formats: Font, style, size, leading, kerning, tracking, case Advanced Character Formats: Type bastardization warning—only use baseline shift Indents and Spacing: Alignment, indents, space before/after returns Tabs: Shows all tabs and leaders (character that fills negative space before tab) Paragraph Rules: Shows rules (lines) that can appear above or below the paragraph Keep Options: Keep all or certain number of lines together in paragraph Hyphenation: Turns on/off and customizes word hyphenation settings (6/3/3/2/x) Span Columns: Switch from a single to multiple columns in the same text box (& back)
GREP Style: (Globally search a regular expression and print) allows you to use code to find and edit/style text via find/change or paragraph styles OpenType Features: Choose tilting and/or swash alt figures. specify figure style Strikethrough Options: You never know Export Tagging: Turns styles into css—for epubs and websites created in InDesign Character Styles: Styling text within a paragraph General: Shows style name and if style was based on existing style Basic Character Formats: Font, font style, size, kerning, tracking, case Advanced Character Formats: Only use baseline shift Character Color: Color of text, % of tint, stroke alignment Table Styles: Styling multiple tables within a document Table Setup: Border of table and spacing around table within paragraph Row Strokes: Horizontal dividing lines in table Column Strokes: Vertical dividing lines of table
Fills: Color/s of fields within table Cell Styles: Styling individual cells/rectangular divisions of table Text: Alignment and text insets Strokes and Fills: Stroke around the cell and fill color of the cell Object Styles: Work the same way
TYPOGRAPHY ON SCREEN: Tips and Considerations Typeface Contrast • Thick-thin contrast impacts legibility • Higher contrast good in small amounts or as headlines • Bodoni vs. Chapparal X-height • High x-height is ideal for on screen • Mrs. Eaves vs. Officina Serif; Futura vs. Core Rhino • Proportions: don’t want too high of an x-height (ITC Garamond; Century Gothic) Character Distinction • Differentiating between different characters • I, l, 1 vs. I, l, 1 Special Characters • Make sure face supports different types of numbers, correct punctuation, and special characters (esp. if your text could be set in variety of languages • Small caps & ligatures: use the real stuff • Optical sizes: face with individual designs for different types of content Finding Alternatives
• Take note of classic typefaces being overused; start to look like generic defaults • Helvetica vs. Museo Sans; Georgia vs. Droid Serif Strategies for Pairing Typefaces • Look for distinction: avoid pairings that are too similar • Pair display and text faces: ITC Century Ultra; Woodkit Print • Look for harmony: visual relationships in structure (Helvetica Neue + Bauer Bodoni) • Use a family: some typefaces have sans + serif version (Officina Serif, Officina Sans) • Build outward: lock in one typeface and build upon it
Reading
02
g Notes
2
Typography in 10 Minutes: Summary of Key Rules, Foreword - Butterick’s Practical Typography:
1.The typographic quality of your docum ent is
determined largely by how the body text looks. Why? Because there’s more body text than anything else. So start every project by making the body text look good, then worry about the rest.
2. Point size is the size of the letters. In print,
the most comfortable range for body text is 10–12 point. On the web, the range is 15–25 pixels. Not every font appears equally large at a given point size, so be prepared to adjust as necessary.
3. Line spacing is the vertical distance between
lines. It should be 120–145% of the point size. The default single-line option is too tight; the 1½-line option is too loose. In CSS, use line-height.
4. line length is the horizontal width of the text
block. Line length should be an average of 45–90 characters per line (use your word-count function) or 2–3 lowercase alphabets, like so: dajsl;fjsdklds
5. In a printed document, this usually means
page margins larger than the traditional one inch. On a web page, it usually means not allowing the text to flow to the edges of the browser window.
6. Font choice; typography can be improved if
one avoids system fonts and uses professional fonts. If choosing a system font, choose wisely, avoid fonts like Times New Roman, Arial, etc. B. Summary of Key Rules
• The four most important typographic choices you make in any document are point size, line spacing, line length, and font (passim), be cause those choices determine how the body text looks. • Point size should be 10–12 points in printed documents, 15-25 pixels on the web. • Line spacing should be 120–145% of the point size. • The average line length should be 45–90 characters (including spaces). • Use curly quotation marks, not straight ones. • Only ONE space between sentences. This is not the typewriter age anymore. • Never use underlining, unless it’s a hyperlink. • Use centered text sparingly. • Use Bold and Italics and little as possible. • Use 5–12% extra letterspacing with all caps and small caps, especially at smaller sizes.
• 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. C. Foreword • Typography is the visual component of the written word. • Good typography is measured by how well it reinforces the meaning of the text, not by some abstract scale of merit. • “If your argument is easy to follow, it will be a winning one.”
Why Typography Matters: Butterick’s Practical Typography Typography isn’t just the frosting on the doughnut that is your text. Typography has consequences. Just ask the person who was responsible for the ballot used in Palm Beach County, Florida, for the 2000 presidential election. • There is a utilitarian function, but it is more about good skill than it is good taste. • Type is for the benefit of the reader, because the most valuable thing—the attention of the reader. • One can judge a book by it’s cover because people do it all the time based on the book’s typography. • People always find a reason not to read, which is why good typography is important. • If knowing that bad type has negative consequences, why not also see that good type can bring positive consequences?
Type Composition: Butterick’s Practical Typography Punctuation • “Smart quotes” vs. “dumb quotes” (“ option + [ if Typographer’s quotes aren’t on, but you should turn them on.), (” option +shift + [) • One space between sentences, otherwise you get funky looking paragraphs and even rivers. • One exclamation point is more than enough in a paragraph unless you’re an angry teenager sending text messages. • Long sections can be referred to with §, ie. standards manual, legal documents too.
(Parentheses), [Brackets] {Braces} • Hypen- en dash– (option + -) em dash— (option + shift + -) • © copyright is centered (option + g), ® registered trademark is superscript (option + r), ™ trademark is also superscript (option + 2). • Ampersand used to be for et ligature, shorthand for and. & • Avoid in formal writing (like resumes) Ellipses (...) wrong, (. . .) wrong, (…) correct, option + ;
Text Formatting: Butterick’s Practical Typography There’s much more to typography than fonts and similarly, there’s more to text formatting than what font to use. Underlining: • This makes the text hard to read. If you feel the urge to underline, use bold or italic in stead. In special situations, like headings, you can also consider using all caps, small caps, or a change in point size. Underlining looks worse than bold or italic: underlining is mechanically applied by the word processor. Bold and italic styles are specially designed to match the ba sic style of the font. • Novelty fonts, script fonts, handwriting fonts, circus fonts—these have no place in any doc ument created by a professional writer. In a document that invites the patience and atten tion of a reader, a goofy font is as subtle as a jackhammer in a library. • Monospaced fonts are harder to read because they take up horizontal space. • System fonts are optimized for screen legibility, not print.
Bold and Italics: • Use this sparingly because these are meant for emphasis; they are designed to contrast normal text. • Use all caps for short stretches of text. • For serifs, use italics for gentle emphasis, bold for more emphasis. For sans serifs, skip the italic and use bold for emphasis. • Limit yourself to three levels of heading maximum, two is better. Letterspacing: • Character spacing or tracking; affects the horizontal white space between characters or a block of text. It affects letterspacing for all pairs of letters. Kerning: • Adjustment of specific pairs to improve spacing and fit. Some typefaces come with tons of kerning pairs implemented by the designer(s). • Body text should always be printed in black for documents such as resumes, research papers, and letters. • Letterheads and business cards may use color, but use it sparingly.
Page Layout: Butterick’s Practical Typography Page Layout: • It is about the positioning and relationship of text and other elements on the page. Centered Text: • Whole paragraphs should never be centered. Centering makes paragraphs difficult to read because both edges of the paragraph are un even. Centered paragraphs are also difficult to align with other page elements. Justified Text: • Justified text is spaced so the left and right sides of the text block both have a straight edge. The usual alternative to justified text is left-aligned text. It adds white space between the words in each line so all the lines are the same length. This alters the ideal spacing of the font, but in paragraphs of reasonable width it’s usually not distracting. First-Line Indents: • First-line indent is the most common way to signal the start of a new paragraph. Firstline indents and space between paragraphs have the same relationship as belts and sus penders. You only need one to get the job done. Using both is a mistake. If you use a first-line indent on a paragraph, don’t use space between. And vice versa.
Space Between Paragraphs: • An alternative to first line indents. A space equal to 50–100% of the body text size will usually suffi ce. The larger the point size, the more space you’ll need between paragraphs to make a visible difference. Page Margins: • Set the default territory your text occupies on the page. Page margins determine the width of the text block, and thus have the greatest effect on line length. At 12 point, about 1.5–2 inch page margins will give comfortable line length. Maxims of Page Layout: • Decide first how the body text will look. • Divide the page into foreground and background. • Make adjustments with the smallest visible increments. • Be consistent. • Relate each new element to existing ele ments. • Keep it simple. • Imitate what you like; See what’s good about other examples of typography makes it easier to solve problems in your own layouts. • Don’t fear white space; If the text looks good, the white space will take care of itself.
Family Planning: by Peter Bil’ak Typefaces started out as moveable metal type and have evolved as the art has become more accessible. Early 20th century is when type families came to be. Some typefaces are considered superfamilies and have as much as 105 different weights and styles (United) What we know as point size, came from “pounce,” which is the French version of the inch.
Using Layout Grids: By Steven Heller Grids: • Always use a layout grid for your design projects. No exceptions. • Using a grid helps maintain consistency and harmony within designs. • This system is always the first test to see if that idea will work well and be applicable to a real world application. Any high-quality design project, campaign or identity/branding system needs a strong, tested and perfected layout grid system to make it possible to split the work to many designers at one time, so that they all produce the same quality end result with consistency and visual harmony. • It is critical when you go from print, where you have total control over your layout, and apply your design to the web, where you have less control. your layout grid system is extra flexible for responsive websites, where your designs can go from four columns to one and still keep its integrity and the client’s message. • A layout grid is the invisible force that gives the visible its structure and holds everything in its proper place. • When creating a layout grid, pay special attention when choosing the type of binding to compensate for the gutter.
Unethical Downloading: By Steven Heller Design is an honorable profession. We are not the cut-throat garment industry where styles and fabrics are routinely stolen by both big and small. Designers tend to respect one another’s intellectual property lines and do not as a rule engage in extreme larceny. We have a skeweed sense of entitlement when it comes to type. Perhaps because type is the most common means of written communication we assume the license to usurp it at will and without ramification. “I reckoned that whenever I used a legitimately purchased font, it was mine to do with as I pleased and had the right to pass it along to anyone” Type sharing is akin to tapping into cable TV. “All typefaces, from almost every foundry (from Adobe to House), are automatically licensed for a specific number of output devices and CPUs at one location. It is an industry standard,” explains Rudy Vanderlans, founder of Émigré Fonts. “If you gave the font to someone else to carry through the designs, that means that they now have a free, illegally obtained copy on their computer. Most likely they will use it for another design job sometime in the future without remembering or being concerned where that font originally came from. It’s a scenario we come across nearly every single day.”
My Type Design Philosophy: By Martin Majoor A. The Headache of Mixing Type. • A type designer must know how type works in a piece of text, he must know what happens with the type on different sorts of paper, he must know how a typeface behaves with different printing techniques. B. The Origin of the Sans. • Officially, the very first sans serif typeface to be used for printing was published around 1816 by the William Caslon iv English typefoundry. It had only contained capitals. • Much more interesting is Akzidenz Grotesk, published in 1898 by the German Berthold type foundry in Berlin. • Akzidenz Grotesk was meant to be used as a display face. When the sans serif typefaces appeared in the 19th century they could only be based on the seriffed typefaces in use at that time. • In 1928 Paul Renner designed his Futura, It was the first time a sans serif typeface was not based on the watered down classicistic letterforms. Made during the Bauhaus movement, and based off of Roman inscription capitals. • In 1957 Univers, Helvetica and numerous look-alikes were published as a sort of reaction to pre-war geo-metric faces like Futura, and
were based off of Akzidenz Grotesk which meant very little new features. • Univers, designed by Adrian Frutiger, had one strong feature that was new in type design: it was made up of an Numbering system designed by Adrian Frutiger for his Univers typeface to establish the relations between typographic variants almost scientific system of 21 weights and widths that could be mixed perfectly. It was an answer to the jungle of different sans serif faces that lacked a clear system of weights and widths. Univers was completely redrawn a few years ago and now has more than 60 versions. When it was redrawn, italics became more slanted and justification is too tight; redesigning a successful typeface is something a designer should never consider. • Sans Serifs during the 19th century didn’t initially have real italics. Gill Sans. It is the first among the sans serifs that has true italic characteristics. Frutiger (1977) had real italics when it was redrawin in 2000. C. Mixing Serif and Sans • Mixing serif with sans only makes sense when the seriffed typeface and the sans are designed from the same basis, or even from the same skeleton. ex: Scala and Scala Sans.
Proje
03
ects
3
Project 1 Typesetting: Rules of Typography Project Description Research and document as many rules, ideas, or principles about typography as possible. Findings must be typeset on one side of an 8.5”× 11” piece of paper. A minimum of five examples must be presented on the page. Each entry must come from a different source, and should be a unique entries. You must credit the author as well as the source, including the page number on which it appeared and the year it was published.
Specifications Size: 8.5” x 11”, portrait or landscape Colors: B/W + 1 accent color Required Text: At least five quotes about typography: each should include the author, the source, the page number, and the year it was published / a title of your choice Typeface Restriction: You may use no more than two typeface families Imagery: Text and typographic elements only
Rough Draft
“The purpose of typography is to get your point across. While documents can be beautiful or ugly, most of us aren’t creating great art – we’re trying to convince someone or present information.” drink, Guidelines for Typogra p s H en
—Charles Hendrink, Guidelines for Typography,
hy, 2 le har 003 —C “Ever since the first scribes lettered , Pa ge 24 books by hand centuries ago, the first goal of
2003, Page 13
typography was readability. If the typography makes the information on the page harder to read, it does not matter how “pretty” a page layout is or how “unique” a font selection is, the page has failed in its main duty: to transfer information to the reader in an efficient manner.”
“Beautiful type comes from attention to myriad tiny details. It’s built up a fraction of an em at a time, through hundreds of decisions whose geometry belies their gravity. It requires, as a colleague once wrote, a heart hardened against accusations of being too fussy.” —James Felici, The Complete Manual of Typography, 2000, Page 2
“The typographer must take the greatest care to study how his work is read and ought to be read. It is true that we usually read from top left to bottom right- but this is not a law.” —Jan Tschichold, The Principles of the New Typography, 1933, Page.117
is measured by how well it reinforces the meaning of the text, not by some abstract scale of merit. Typographic choices that work for one text won’t necessarily work for another.” —Matthew Butterick, Butterick’s Practical Typography: Why Typography Matters, 1978, Page 34
Final
“The typographer must take the greatest care to study how his work is read and ought to be read. It is true that we usually read from top left to bottom rightbut this is not a law.”
“BEAUTIFUL TYPE
—Jan Tschichold, The Principles of the New Typography, 1933, Page 117
comes from attention to myriad tinydetails. It’s built up a fraction
of an em at a time, through hundreds of decisions whose geometry belies their gravity. It requires, as
a colleague once wrote, a heart hardened against accusations of being too fussy.” —James Felici, The Complete Manual of Typography, 2000, Page 2
“GOOD TYPOGRAPHY
is
measured by how well it reinforces the meaning of the text, not by some abstract scale of merit. Typographic choices that work for one text won’t necessarily work for another.” —Matthew Butterick, Butterick’s Practical Typography: Why Typography Matters, 2013, Page 34
“The purpose of typography is to get your point across. While documents can be beautiful or ugly, most of us aren’t creating great art — we’re trying to convince someone or present information.” —Charles Hendrink, Guidelines for Typography, 2003, Page 13
“Ever since the first scribes lettered books by hand centuries ago, the first goal of typography was readability. If the typography makes the information on the page harder to read, it does not matter how “pretty” a page layout is or how “unique” a font selection is, the page has failed in its main duty: to transfer information to the reader in an efficient manner.” —David Creamer, I.D.E.A.S. - Computer Typography Basics, 2003, Page 4
Critique/Looking Back Experimentation was key in this first quick project. Manipulation of type and form was something I tried to play with in this design and in my first interation because I know I have a habit of using safe design choices. Since this is the first project, I wanted to try and experiment and see what would happen. Luckily, the final was an improvement of my rough draft, but I know it could have been much better from a lot of different angles.
Project 2 A Dialogue Project Description Using the dialogue provided, design a diptych that utilizes all of the text and emphasizes the fact that there is more than one voice. Please consider all your choices and decisions carefully. Think about and utilize typographic hierarchy. Use color, and images to help support the design, but care must be taken to make sure your typography is intentional and refined.
Specifications Size: 11” x 15” two page diptych (each page is 11” x 15”, portrait or landscape) Colors + Typefaces: No restrictions Required Text: All text in the document titled “338_dialogue.docx” Imagery: Any imagery used (photos, illustrations, etc.) must be original
Rough Draft
A Hero’s Inner MOYERS:
A CONVERSATION BETWEEN JOSEPH CAMPBELL AND BILL MOYERS
Dragon
Why are there so many stories of the hero in mythology?
CAMPBELL: 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.
MOYERS:
CAMPBELL: 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
So in all of these cultures, whatever the local costume the hero might be
own binding of oneself to one's ego. We're captured in our own dragon
wearing, what is the deed?
cage. The problem of the psychiatrist is to disintegrate that dragon, break
CAMPBELL:
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.
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.
MOYERS: 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
MOYERS:
way out. You say, "All he had was the string. That's all you need."
Does your study of mythology lead you to conclude that a single human quest, a standard pattern of human aspiration and thought,
CAMPBELL:
constitutes for all mankind something that we have in common,
That's all you need—an Ariadne thread.
whether we lived a million years ago or will live a thousand years from now?
MOYERS: Sometimes we look for great wealth to save us, a great power to
CAMPBELL:
save us, or great ideas to save us, when all we need is that piece
There's a certain type of myth which one might call the vision
of string.
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
CAMPBELL:
book I wrote, The Hero With a Thousand Faces. All these different
That's not always easy to find. But it's nice to have someone who
mythologies give us the same essential quest. You leave the world
can give you a clue. That's the teacher's job, to help you find your
that you're in and go into a depth or into a distance or up to a height.
Ariadne thread.
There you come to what was missing in your consciousness in the world you formerly inhabited. Then comes the problem either
MOYERS:
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
Like all heroes, the Buddha doesn't show you the truth itself, he shows you the way to truth.
social world again.
CAMPBELL:
CAMPBELL: But it's got to be your way, not his. The Buddha can't tell you exactly how to
How do I slay that dragon in me? What's the journey each of us has to
get rid of your particular fears, for example. Different teachers may suggest
make, what you call "the soul's high adventure"?
exercises, but they may not be the ones to work for you. All a teacher can
CAMPBELL:
do is suggest. He is like a lighthouse that says, "There are rocks over here, steer clear. There is a channel, however, out there".
My general formula for my students is "Follow your bliss." Find where it is, and don't be afraid to follow it.
MOYERS:
MOYERS:
find. The Buddhists talk of Nirvana, and Jesus talks of peace, of the mansion
Is it my work or my life?
with many rooms. Is that typical of the hero's journey - that there's a place
In all of these journeys of mythology, there's a place everyone wishes to
to find?
Campbell: 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."
MOYERS: When I take that journey and go down there and slay those dragons, do I have to go alone?
CAMPBELL: 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.
OUR
Y J
OUR OURNEY
JOSEPH CAMPBELL & BILL MOYERS AND THE POWER OF MYTH MOYERS: Why are there so many stories of the hero in mythology? CAMPBELL: 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
- MOYERS
something bigger than oneself.
ARE THERE SO MANY STORIES OF THE HERO IN
WHY
Final
MYTHOLOGY?
MOYERS: So in all of these cultures, whatever the local costume the hero might be wearing, what is the deed? CAMPBELL: 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.
CAMPBELL:There’s a certain type of myth which
MOYERS: Does your study of mythology lead
one might call the vision quest, going in quest
you to conclude that a single human quest,
of a boon, a vision, which has the same form in
a standard pattern of human aspiration
every mythology. That is the thing that I tried to
and thought, constitutes for all mankind
present in the first book I wrote, The Hero With a
something that we have in common, whether
Thousand Faces. All these different mythologies
we lived a million years ago or will live a
give us the same essential quest. You leave the
thousand years from now?
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.
CAMPBELL: My general formula for my students is “Follow your bliss.” Find where it is, and don’t be afraid to follow it. MOYERS: Is it my work or my life? CAMPBELL: 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.” MOYERS: When I take that journey and go down there and slay those dragons, do I have to go alone? CAMPBELL: 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
HOW DO I SLAY THAT
DRAGON IN ME?
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.
WHAT’S THE JOURNEY EACH OF US HAS TO MAKE, WHAT YOU CALL “THE SOUL’S
HIGH ADVENTURE”?
MOYERS
MOYERS: 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.” CAMPBELL: That’s all you need—an Ariadne thread.
MOYERS: Like all heroes, the Buddha doesn’t show you the
MOYERS:
truth itself, he shows you the way to truth.
Sometimes we look for great
wealth to save us, a great power to save us,
CAMPBELL: But it’s got to be your way, not his. The Buddha
or great ideas to save us, when all we need is
can’t tell you exactly how to get rid of your particular fears, for
that piece of string.
example. Different teachers may suggest exercises, but they may
CAMPBELL:That’s not always easy to find. But
not be the ones to work for you. All a teacher can do is suggest.
it’s nice to have someone who can give you a
He is like a lighthouse that says, “There are rocks over here, steer
clue. That’s the teacher’s job, to help you find
clear. There is a channel, however, out there”.
your Ariadne thread.
MOYERS: In all of these journeys of mythology, there’s a place everyone 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? CAMPBELL: 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.
Critique/Looking Back This project was actually favorite one of the quarter believe it or not. I had so many different ideas that I really didn’t know where to begin but I started with Illustration, because I wanted to try to improve my digital illustrating skills. Unfortunately that didn’t really work out too well in a typography class so I ended up going back to a type centered layout. I tired to be really really experimental and go with things I usually never think of, because I thought that was what the prompt wanted, but sadly that wasn’t well received. A lot of my experimentation ended up backlashing due to a lot of careless mistakes on my end so that is something I need to really fix for the future. I am 100% going to redo this project and go with one of my other ideas, because I know I can get a really nice portfolio piece out of this assignment.
Project 3 Elements of Style Booklet Project Description Develop a design that would appeal to high school and college-aged students using the text from The Elements of Style. We will be breaking up the text into smaller sections, and each student will be assigned a portion of the text to be used in the creation of a small reference booklet. The second phaseof the project will require you to work in teams to create a single related series of booklets.
Specifications Pages: 5.5� x 8.5� / number of pages will be determined by your design, but must be divisible by four Required Copy: Assigned section of The Elements of Style and colophon Color: Interior pages: black / cover: 2 colors, cover weight paper Typeface Requirement: Use no more than two typefaces for the project Final Output: Three bound booklets
Rough Draft
Final
Critique/Looking Back I actually loved this project a great deal for many reasons. To start, group projects are always really exciting because I love working with people and the people in my group were amazing to work with. We all got along very well and worked collectively in efficient ways. The project itself was also very unique too because it really got me to explore a lot more of InDesign that I usually don’t use. A lot of these shortcuts and tricks are now second nature to me and will always be used from now on. This project ended up being a sick portfolio piece that I have already received compliments on so that is also a plus. Although the grade is not what I had hoped for, I learned a lot and thats really what matters at the end of the day.
Project 4 Type Zine Project Description In this project, you will be creating a digital magazine. The theme of the magazine is: Typography,Design, Activism and Social Justice (this is the theme, not the title). Students in the class will beresponsible for collecting and creating all the assets for the magazine, including: text, illustrations, and photographs. All found images and text (articles, interviews, etc.) must be properly credited. Include author bylines and captions for all images.
Specifications File Setup: Page Size: iPad (768 px Ă— 1024 px), Portrait Orientation, Facing Pages Colors: RGB Typefaces: No more than three type families Required Text: all student contributions Components: TBD by class
Final Draft
Final
Critique/Looking Back Man, this project was tough for me. Being sick really did hurt a lot when it came down to this project because I missed so much valuable in person critique and feedback but oh well. Learning about grids, magazine layout and practice and type for screen were all things that I took away from this project and were invaluable to say the least. Magazine layouts are pretty fun but I feel like I have still have a long way to go in terms of my attention to detail. My final critique was the first one I got so I tried to fix some of the issues I wrote down, but with all the work I had to make up, it was a little tricky to say the least. The project itself was extremely interesting and is one I may want to redo for portfolio later down the road.
Colophon Designed By Antonio Flameco Typefaces Used: Open Sans