TYPOGRAPHY TWO
TYPE AID 2017
Calais Le Coq
TYPOGRAPHY TWO
AR T 338 2017
Calais Le Coq
INTRODUCTION Over the course of Type 338, we were asked to keep to compile reading lecture and critique notes that we have taken into a beautifuly designed journal. This Journal will be organized placeholder that I can always look back on for help or inspiration. Typography 338 pushed me to become a better designer, refine details, and become confident in my ability to design with type.
WEEK ONE
LECTURE
TYPOGRAPHIC REFINEMENT POINT SIZE • Our measuring system was originally developed for handset metal type. It was invented by Johann Gutenberg in 1450. • There are 12 points in 1 pica and 6 pica in 1 inch. Measurements are written like this: 1p6 which means 1 pica+6 points. • Traditional metal type had display sizes ranging in increments from 5 point to 72 point.
FACTORS TO CONSIDER • Typeface proportions and weight • Length of text • Format for viewing (printed on paper or viewed on screen or both) • Demographic of audience
SCREEN VS. PRINT • Body text should be larger when on screen. • Body text on print should be 9-12 point.
THE WORLD OF TREATS • Kern type at display sizes. • Optical vs Metric: Optical the program sets it for you instead of it being set by the typeface. • Leading: Customized leading should be 120%-145% of the point size.
8
OPTIMAL LINE LENGTH • 45-90 characters per line • 2-3 lower case alphabets
READING
BUTTERICK’S PRACTICAL TYPOGRAPHY
SUmmary of key Rules
This reading has several rules that I should remember and practice as a good typographer. • Don’t use multiple spaces or other white space characters • Line spacing should be 120%-145% of the point size • Don’t use dumb quotes! • The average line length should be 45-90 characters • The easiest way to make an improvement on your typography is to know your typefaces and choose accordingly to your knowledge • Avoid goofy and mono-spaced fonts • If you use justified text, also turn on hyphenation • Use proper copy-write and trade mark symbols
9
EXERCISE
LEGIBILITY
10
11
WEEK T WO
READING
THE CRYSTAL GOBLET THE CHRYSTAL GOBLET • The typography is there to serve the content but not draw attention to. Should the type be invisible? Your goal is to hook the reader to continue to read. • Butterick disagrees with the Chrystal Goblet argument because he does not belie type should be invisible
READING
BUTTERICKS PRACTICAL TYPOGRAPHY
Why Typography Matters
Being a great typographer helps you with one of the best tools of being a writer. Typography has consequences and isn’t just something to make reading look pretty THE BUTTERFLY BALLOT • There is a lack of logical hierarchy. There is room for error. Especially when thinking about who lives in Florida (Old people). • All caps is very hard to read, it is bold, and condensed as well which adds to the bad legibility • Great real world example of bad use of typography and it’s impact.
14
RESUME • You don’t need any rectangles or shapes on your resume.
• Spacial relationship is something to reference. Good hierarchy in Trixie’s.
PROJECT
TYPESETTING
Rules and Principles of Typography This was a fun project to get warmed up again using typography and typesetting. It was a great way to start of the quarter and dive into it.
CRITIQUE NOTES • I learned that it’s okay to get experimental with type and try something crazy. After learning all the rules of typography it was hard to begin to start experimenting and making a less rigid design. • I spelled typography wrong on my first layout. You’d think I’d already learn my lesson. • I should always go back and refine minor details like this.
15
FINAL OUTCOME
“By all means break the rules, and break them beautifully, deliberately and well.”
TYPOGRAPHY
ROBERT BRINGHURST, The Elements of Typographic Style (1992)
16
T
“Typography is the craft of endowing human language with a durable visual form.”
ROBERT BRINGHURST, The Elements of Typographic Style (1992)
“Readers usually ignore the typographic interface, gliding comfortably along literacy’s habitual groove. Sometimes, however, the interface should be allowed to fail. By making itself evident, typography can illuminate the construction and identity of a page, screen, place, or product.” ELLEN LUPTON, Thinking with Type (2010)
“Typography surrounds us: it adorns the building and the streets through which we pass. It is a component part of the ever expanding variety of media we consume.” GAVIN AMBROS AND PAUL HARRIS, Fundamentals of typography second edition (2011)
“One communicates meaning through the convention of words: meaning attains form through letters.” ROBIN KINROSS, Modern typography: an essay in Critical History, page 97 (2004)
READING
BUTTERICK’S PRACTICAL TYPOGRAPHY
Type Composition
• I gained an overall understanding of how important it is to use correct formatting in the initial steps of laying out a composition. • Typing the right characters while writing will save you a lot of time! • I learned the difference between parenthesis and brackets, which i will now use correctly in my writing
LECTURE
CHOOSING TYPEFACES There are always design and technical factors to consider. When choosing the correct typeface. There are so many to choose from, you just need to narrow it down!
PLACES TO BUY FONTS • Google fonts • Lost Type CO-OP • League of movable type • Font spring • house industries • Fonts.com
17
FACTORS TO CONSIDER • How long is the text? • What age group will be reading it? • Will the size vary? • At what distance will the text be read at? • Does the typeface have a large font familly? • Are glyphs necessary? • Font licensing • Can it be use online?
FONT MANAGEMENT SYSTEMS • Font explorer X pro • Suitcase
18
“ Your fonts are like your clothes as a graphic designer.
19
WEEK THREE
READING
BUTTERICK’S PRACTICAL TYPOGRAPHY
Text Formatting
• Best way to emphasize heading is using bold or italic. • Another way is to add space below and above to organize and separate
22
“When everything is
emphasized, nothing is emphasized.
23
WEEK FOUR
READING
BUTTERICK’S PRACTICAL TYPOGRAPHY
Page Layout
• Space between should be in general half the leading • To indent, only use first line indent • A leader is a character that fills the empty space of a tab. • The first line indent should be no smaller than the point size of the text, otherwise it will too hard to see.
PROJECT
A DIALOGUE
Critique
• The most important thing I took away from this critique is the fact that sometimes designers should stick to what they are good at. Of course you are supposed to push your limits and try new things but if you are crunched for time choosing something that your better at will give you an advantage. • I learned that I need to spend more time on experimentation with layout. I sometimes get stuck in a rut and realize at the end when I have put too much time into the project, that I should have tried something else.
26
PROCESS
27
FINAL OUTCOME
28
29
READING
“FAMILY PLANNING, OR HOW TYPE FAMILIES WORK” By Peter Bil’ak
• The united typeface is a massive family and very versatile. These types of font families are called superfamillies. • Ever since the earliest use of movable metal type; certain typefaces have included versions cut for specific point sizes. • When photographically scaled to the same size, it is easy to see significant differences between the different designed sizes • Optical size is just one parameter which determines the appearance of a typeface
LECTURE
TYPESETTING IN INDESIGN
Tools and techniques
CELL AND TABLE STYLES Cell and table styles work just like paragraph and character styles They take some getting used to but are very helpful and efficient!
30
31
WEEK FIVE
READING
USING LAYOUT GRIDS EFFECTIVELY
Designers Insights
• 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, that you still apply these principals by managing the number of cells, white spaces, margins, borders and padding. • It’s important, as you create your layout grid, that you pay special attention when choosing the type of binding to compensate for the gutter. • Use the rule of thirds and always think about overall composition • The golden ration can be used as a composition tool!
READING
“UNETHICAL DOWNLOADING” By Steven Heller
• Designers should respect other designers intellectual thought that goes into designs • Before the computer type was bought directly from typeshops. • you can supply your documents as EPS files or Adobe Acrobat files with fonts embedded so you don’t have to give a copy
34
“ The fact is, design is an honorable profession.
35
WEEK SIX
READING
“A VIEW OF LATIN TYPOGRAPHY IN RELATIONSHIP TO THE WORLD” By Peter Bil’ak
• The first likely movable type system was created in China around 1040 Ad • Typography continues to show biases towards wester civilizations • If any of the major typography reference books are to be believed, the development of typography has generally been limited to Western Europe. • Most of typographic classification systems also apply exclusively to Latin type
PROJECT
ELEMENTS OF STYLE
Critique
• Breathing room is very important • Style consistancy is a must • You have to get the book title page and placement right! • Choose your typefaces wisely • Always use styles! • Utilize table cells and styles
38
FINAL OUTCOME
39
WEEK SEVEN
READING
“LAVA — VOICE OF A MAGAZINE” By Peter Bil’ak
“I wanted the typeface to be the voice of WTW — confident enough not to need to show off, with the comfortable, relaxed manner of an engaged storyteller, ready to handle long stories, but also small captions or titles. I named it Lava.”
READING
THE FIRST THING I EVER DESIGNED
Elena Schenker and “Gratuitous Type” Magazine • Showing a magazine layout is a smart idea for young designers. It gives you a large range of creativity that allows you to show off your skills
42
• As a designer you have to be able to have trust in your creativity and ability • This project inspired me to want to continue to create my own magazines and showcase them on websites like hers
43
WEEK EIGHT
READING
“ERIC GILL GOT IT WRONG; A RE-EVALUATION OF GILL SANS” By Ben Archer
• Have intention when choosing your typeface • Typefaces with small x-heights are most likely not suitable for on screen viewing • This article made me realize that I need to look at each typeface more in depth before starting a project • Always consider the outcome of your text (print/on-screen)
READING
“BEAUTY AND UGLINESS IN TYPE DESIGN”
By Peter Bil’ak
• Something ugly can be much more intriguing • Beauty and ugliness can compliment each other and show contrast • Bodoni and Didot are the typefaces used. These typefaces are both high contrast • Donald Knuth, an American computer scientist identified over 60 visual parameters that control the appearance of a typeface
46
47
WEEK NINE
READING
7 STRIKING DESIGN PAIRINGS By Kai Bernau
50
READING
“AN IDEA OF A TYPEFACE” By Kai Bernau
• “attempt to create a typeface free of all connotations or associations that could distract a reader from the text, a font that delivers the character of the written material untouched by the character of the typeface design.” • “I found neutrality to be an elusive, ambiguous quality, one that I would have to explore in order to define for myself what it would mean for a typeface to be truly neutral.” • One great advantage of being both a graphic designer and type designer is that your work in one discipline feeds back into your work in the other
51
WEEK TEN
PROJECT
ZINE
Critique
This was my favorite project of the quarter. It really made me realize how much I love magazine layout and typesetting. It was so great to see everyone’s work after all their hard work. • Book maps are extremely helpful with pagination, flow, and overall layout. • Presentations can say a lot about your work • How did you approach the design in terms of layout, typography and visual style? Discuss your concepts and creative strategies. • What words would you use to describe the style of your zine (use specific, descriptive language)? • How did you use typography to create a good reading experience for your viewer?
54
55
ZINE SAMPLES
56
57
58
59
60
61
62
63
Designed by Calais Ann Le Coq Cal Poly San Luis Obispo Typefaces Used: Brandon Grotesque, Proxima Nova
64