Type II Course Journal by CarolineC

Art 338: Typography II

type II Course Journal

Caroline Craig

Winter 2018, California Polytechnic State University

Art 338: Typography II

type II Course Journal

Caroline Craig

Winter 2018, California Polytechnic State University

COLOPHON

CONTENTS

This journal was created by Caroline Craig at California Polytechnic State University, in March 2016. It was designed in Adobe InDesign CC, using the typefaces Memphis LT Std and Bodoni Std.

lecture notes page 8

readings page 30

projects page 42

INTRODUCTION Looking back through the quarter, I’ve noticed my typography skills have increased. This is a journal in which I’ve compiled my personal notes from lectures, key points from assigned readings, and my process with critique comments to show this improvement. My understanding of the principles, theories, and history have grown. I’ve refined my technical skills for type compositions including the use of Paragraph Styles and Character Styles. I was also introduced to the importance of font management.

POINTS AND PICAS French type designer named Pierre Simon Fournier Le Jeune introduced the point system in 1737. Traditional metal type has a range of text and display sizes in increments from 5 points to 72 points. While 12 points is equal to 1 pica, 6 picas equals 1 inch. So, 1 pica and 6 points is equal to 1p6 picas. How do you choose a point size?

lecture notes

Some factors to consider are the typeface; proportions and weight, the length of text, the format for viewing if it will be printed on paper or if it will be viewed on screen or both. Also consider the audience and the content of the text. Screen vs. Print In general, body text point size should be larger when the text will be read on screen (laptop, tablet, e-reader, etc.). Body text sizes in print will typically range from 9pt to 12pt. Comparatively, body text on screen should be 14pt or larger. Obviously, phones are a different typographic challenge entirely

8 lectures

Type II Journal | Art 338 | Caroline Craig

HARD WORKING TYPEFACE? A workhorse typeface has: • A good regular weight. •

Robust proportions.

•

At least one bold weight, with noticeable

• contrast to complement the text weight. •

An italic version.

•

Very legible numerals.

•

Economy: it should be narrow enough

• to fit large amounts of copy into the available space.

lecture notes

MAKE YOUR TYPE LOOK BETTER. Kern type at display sizes. Customize leading. It should be 120–145% of the point size. Pay attention to line length. Too wide — hard time focusing on the text. Too narrow — if a line is too short the eye will have to travel back too often, breaking the reader’s rhythm. Optimal line length. 45–90 characters per line, or 2–3 lowercase alphabets ( about 8–13 words per line ). Letterspacing matters. If letters are too close together, the text is hard to read. Type set in small caps or all caps can handle more letterspacing than type set in upper and lowercase. Adjust tracking with care. Only use small caps if the typeface has an actual small caps style

10 lectures

Type II Journal | Art 338 | Caroline Craig

- Hyphen: used if a word is too long for the column length. The red death had long devastated the country. – En Dash: used to indicate duration. The red death had devastated the country from 1892–1893. — Em Dash: used to express a break in the flow of a sentence. The fourth was furnished and lighted with orange—the fifth with white— the sixth with violet.

lecture notes

Customize hyphenation: avoid tiny word fragments and too many consecutive hyphens. You may hyphenate words with at least 6 letters, after the 3rd letter with a limit of 2. “ ‘ ’ ” Smart quotation " ' ' " Prime marks Rags: use discretionary hyphens, line breaks, or tracking to adjust rags. Widows and orphans: the last line of a paragraph is called a widow if it is too short. While orphans are short segments of paragraphs stranded at the top or bottom of a column. Do not adjust tracking any tighter than -10. Spelling: always check spelling: command + i, or turn on Dynamic Spelling in InDesign.

12 lectures

Type II Journal | Art 338 | Caroline Craig

KEY POINTS FROM PRACTICAL TYPOGRAPHY Bad typography can have real world consequences. the Butterfly Ballot

lecture notes

The visual component of the written word. Typography performs a utilitarian function. Who is typography for? Typography is for the reader. The reader has a short attention span Why does typography matter? Good typography can help your reader devote less attention to the mechanics of reading and more attention to your message What is good typography? Good typography reinforces the meaning of the text. Typography is not a science. There are many potential typographic solutions for a given text.

14 lectures

Type II Journal | Art 338 | Caroline Craig

CHOOSING TYPEFACES AND UNDERSTANDING FONTS Design factors to consider • Content How long is the text? What is it about? • Audience What is the age of the reader? What is the • demographic of the reader? • Format/Context What is the size of the page/screen? Is the size set or will it vary? At what distance will the text be read?

lecture notes

Technical factors to consider • Does the font have a full character set, including all punctuation and glyphs necessary for the job? • Does the font have foreign accented characters and glyphs? • Does the font have multiple weights and styles? • Does the font have small caps? • Does the font have lining and • old style numerals? • What is the format of the font? OpenType fonts are cross-platform. • Does the font have a Web Font version? Where do you get fonts and why are they so expensive? Well crafted typefaces can take years to develop, and often require huge teams. Contemporary fonts are software applications that handle many conditional states, such as swapping out ligatures and swashes throughout the text.

16 lectures

Type II Journal | Art 338 | Caroline Craig

WHEN YOU BUY A FONT, YOU PURCHASE A LICENSE. A font license grants the owner the right to use a typeface in a specific manner as outlined in the license. As a designer, you need to ask: • Can I use this font for commercial work?

lecture notes

•

How much does this cost?

•

Can I use it online, or just in print?

•

What about apps, and ebooks?

SOME PLACES TO BUY FONTS… Google Fonts: has free fonts for print and web. Some are good and some are not so good. Lost Type Co-op: is a Pay-What-You-Want type foundry. League of Moveable Type: is a type movement that provides wellmade, free, open-source, @font-face ready fonts. Font Squirrel: has free fonts for commercial use. Fontspring: fonts have very similar licenses. All of the fonts can be used for commercial projects. House Industries: font collections draw attention to under-appreciated art genres and the American vernacular. My Fonts: has a wide range of fonts and an excellent newsletter on font trends and design. Fonts.com: has an extensive collection of fonts and a nice blog.

18 lectures

Type II Journal | Art 338 | Caroline Craig

“ Love your fonts.

Know where they came from.

Take care of them.”

WHAT IS A FONT MANAGER? You can activate fonts by placing them into any of the Fonts folders on your hard drive and removing them when you want those fonts closed. It’s slow and fonts can be damaged if you frequently move them around. Font Book is an option. It’s free and pretty easy to use. In general, you want to have the minimum number of fonts installed. Use sets to keep fonts organized and categorized.

lecture notes

PROS CONS • Different library sets can • Can create font sets. contain the same fonts, but • Resolves font conflicts. they must be linked from • Can deactivate fonts in the / exactly the same location in Library/Fonts/ and ~/Library/ order to activate them. Fonts/ folders to prevent any application from seeing • Must remove all fonts from existing font software. them. • The conflict resolution func• Can create Library sets to tion, whether using automatopen fonts in place. ic or manual, can and will • Has an automatic remove fonts from the main activation feature. Library folder. Other font managers: • FontExplorer X Pro • Suitcase Fusion 6

20 lectures

Type II Journal | Art 338 | Caroline Craig

HOW TO: PRINT BOOKLET Tips for using InDesign’s Print Booklet feature. This was a new feature I learned in which Print Booklet automates imposition. Pages are rearranged in order to simplify binding. For example in a saddle-stitched book, pages must be divisible by 4 for the last page will to be positioned next to the first page. InDesign:

lecture notes

• Before printing, output your file as a Postscript file. • Then output your file using Print Booklet. • In order to make a PDF, you have to first save the file as a Postscript file. • Click print if the preview of the file looks correct. • If you have blank pages, put a small object somewhere on the page and change the opacity to 1%. • Once you have your Postscript file, you need to convert it to a PDF. Adobe Acrobat: • File > Create > PDF from File • Print using the settings double-sided and flip on short edge. It is a good idea to print the cover separately, then use a bone tool to fold all the pages carefully. Staple in the middle and ¾ inch from the top and bottom.

22 lectures

Type II Journal | Art 338 | Caroline Craig

“Evaluate typefaces critically. Learn to trust your instincts. Experiment. Look and see.”

ON SCREEN TYPOGRAPHY Some attributes to consider when choosing type for the screen: Typeface contrast: is the amount of contrast between the thick and thin strokes of characters in a typeface impacts legibility. Higher contrast typefaces can be useful in small amounts or as headlines. X-height: is important when choosing a typeface. You should use a high x-height when using text in interfaces or on wayfinding. Don’t use typefaces with too high of a x-heights. Some letters will become difficult to distinguish.

lecture notes

Character distinction: is essential for on screen legibility. Special characters: is something to keep in mind when using typefaces, especially if your text is to be set in a variety of languages. Small Caps and Ligatures: should always be the real option, never use fake small caps or ligatures. Optical sizes: is a typeface with individual design for different types of content. Finding Alternatives: is a good idea because classic typefaces are sometimes overused that they look too generic. Strategies for pairing typefaces: look for a distinction to avoid pairing typefaces that are too similar. Take advantage of display type by pairing display and text faces. Find visual relationships in the structure of the typefaces to create harmony. You can never go wrong when using a family. Some typefaces will have both serifs and sans serif versions.

24 lectures

Type II Journal | Art 338 | Caroline Craig

GRIDS: HOW TO USE THEM. Grids can be used to create: • control

• movement

• organization

• balance

• rhythm

• direction

• unity

• contrast

• dynamism

• interaction

• readability

• order

Grids can allow diverse visual elements to coexist in page layout. It provides unlimited creative opportunities and aid in communicating cohesive messages.

lecture notes

Margins are defined by the active area of the page. Smaller margins increase usable surface area, while larger margins create an open visual space. Columns are vertical divisions of space that are used to align and organize elements. The number of columns depends on the quantity and the complexity of the information. Column widths vary according to the function of the design. Gutters create spatial divisions between columns, the width is based on the width of the column. Gutters also prevent collisions of textual and visual information. Flow lines divide the page into horizontal spatial divisions, these create additional alignment points for placement of elements. Modules are a way to create spatial fields that contain textual and visual content. The position of modules can be varied to create a sense of consistency.

26 lectures

Type II Journal | Art 338 | Caroline Craig

TYPES OF GRIDS: Manuscript Grid is structurally the simplest type of grid. The structure is a large rectangular area that takes up most of the page. It should be used in continuous text.

lecture notes

Column grid is when multiple columns are used to organize discontinuous information. Columns can be dependent on each other for running text, independent for small blocks of text, or crossed over to make wider columns. Modular Grid is a column grid with a large number of horizontal flowlines that subdivide the columns into rows, creating a matrix of cells, or, modules. Each module defines a small chunk of informational space. Grouped together, these modules define areas to which specific roles may be assigned. Using grids will: • Help organize elements in your layouts. • Establish consistency throughout a publication. • Provide unity and rhythm in a wide range of formats and applications.

28 lectures

Type II Journal | Art 338 | Caroline Craig

TYPOGRAPHY IN TEN MINUTES This reading covers three important rules to follow in typography. RULE 1: The typographic quality of your document is determined largely by how the body text looks. RULE 2: The appearance of the body text is determined primarily by these four typographic point size, line spacing, line length and page margins RULE 3: Buy professional fonts. A professional font gives you the benefit of a professional designer’s skills without having to hire one.

readings

SUMMARY OF KEY RULES • Check point size.

BUTTERICK’S PRACTICAL TYPOGRAPHY:

•

TYPOGRAPHY IN TEN MINUTES

•

SUMMARY OF KEY RULES FORWARD

•

• Use centered text, ampersands, bold, and or italics Pay attention to line spacing. sparingly. Count your line length. • Using all caps is good for less Make sure you choose good than one line of text. Stay typefaces and avoid crappy away from fake small caps. ones. • Kerning should always be on. Use the correct quotation marks when quoting, prime • Use a first-line indent or a half of a return between paramarks for foot and inches, graphs, never do both. and the proper ellipses. • When using justified text, Don’t use multiple make sure hyphenation is on. whitespace characters or spaces in a row.

• Only underline hyperlinks.

30 readings

Type II Journal | Art 338 | Caroline Craig

WHY TYPOGRAPHY MATTERS What is typography? Typography is the visual component of the written world. Who is typography for? Typography is for the benefit of the reader, not the writer. The visual component should reinforce the meaning. Why does typography matter? Typography matters because it helps conserve the most valuable resource you have as a writer.

readings BUTTERICK’S PRACTICAL TYPOGRAPHY: WHY TYPOGRAPHY MATTERS

What is good typography? Good typography reinforces the meaning of the text. Professional writers should hold their docum ents to the same standards as any professionally published material, like books, newspapers, and magazines. There is no academic typography, nor legal typography, nor business typography. There is only typography. Beatrice Wards’s essay “The Crystal Goblet” Beatrice Ward claims that good typography is invisible and should just blend into society. While Butterick is indifferent due to his belief of the text being invisible, but typography is what gives the text visibility. Typography evokes the emotion of the meaning of the text.

32 readings

Type II Journal | Art 338 | Caroline Craig

TYPE COMPOSITION, TYPE FORMATTING, AND PAGE LAYOUT. Every character is a tool and it is our goal to use the right tool for the job. Theses sections of the book show examples and what the rights and wrongs of the usage of the character. Composition

readings BUTTERICK’S PRACTICAL TYPOGRAPHY:

• straight and curly quotes • one space between sentences • question marks • exclamation points • semicolons and colons • paragraph and section marks • parentheses, brackets, and braces • hyphens and dashes • trademark & copyright symbols • ampersands • ellipses • signature lines • apostrophes

• • • • • • • • • • •

accented characters foot and inch marks white-space characters word spaces nonbreaking spaces tabs and tab stops hard line breaks carriage returns hard page breaks optional hyphens math symbols

• ligatures

TYPE COMPOSITION TYPE FORM ATT ING

Formatting • • • • • • • • •

34 readings

underlining goofy fonts monospaced fonts system fonts bold or italic all caps point size headings letterspacing

• • • • • • • • •

kerning color alternate figures ordinals web & email addresses small caps hierarchical headings mixing fonts opentype features

Type II Journal | Art 338 | Caroline Craig

Page Layout • centered text • justified text • first-line indents • space between paragraphs • line spacing line length • page margins • body text • hyphenation • block quotations • bulleted and numbered lists

• • • • • • •

tablesrule, s & borders space above & below widow and orphan control keep lines together keep with next paragraph page break before columns

• line numbers • paragraph & character styles • maxims of page layout

readings BUTTERICK’S PRACTICAL TYPOGRAPHY: PAGE LAYOUT

36 readings

Type II Journal | Art 338 | Caroline Craig

UNETHICAL DOWNLOADING Steven Heller’s “Typographica Mea Culpa, Unethical Downloading” is about the ethics of downloading typeface software licenses and the call to action that we must respect type designers and give them credit. It is a good idea to be wary of the rules and laws of the typeface licenses and not to over look how you can and suppose to use the fonts when we download them. MY DESIGN PHILOSOPHY

readings “TYPOGRAPHICA MEA CULPA, UNETHICAL DOWNLOADING” BY STEVEN HELLER

This article by Martin Majoor who is the designer of Scala and Seria is a guide with historical facts of type design. It is important to be interested in type and know where it originally formed from. To be a good designer it is a good idea to know how type works in body text, how type looks on paper, and different printing processes. TYPE AND THE WORLD

“MY TYPE DESIGN PHILOSOPHY” BY MARTIN MAJOOR A VIEW OF LATIN TYPOGRAPHY IN RELATIONSHIP TO THE WORLD BY PETER BIL’AK

38 readings

The European area gets most credit for creating type. In this article by Peter Bil’ak gives insight oh how much misconception there is. It is surprising to learn that the type terminology we are taught are inappropriate for non Western Europe typefaces. Meaning when using “Roman” and “Italic” in Greek typefaces, it mixes two totally opposite histories. There is a uprising of Arabic, Cyrillic, Greek, or Indic scripts.

Type II Journal | Art 338 | Caroline Craig

LAVA THE TYPEFACE Lava, a typeface designed to connect the digital and print editions of a newly designed magazine called Works That Works. With the plan of stretching across multiple platforms, the name Lava came to mind because it must be extremely versatile and relaxed. It delivers what other typefaces lack. Which is refined details, finely tuned proportions and spacing that lets the reader forget see through the typeface so they can focus on the text. This goes back to the type rules where he mentions type must show the meaning of the text and not distract from it. It’s important to consider all the platforms the fonts will be on before settling for what is the most visually appealing.

readings “LAVA — VOICE OF A MAGAZINE” BY PETER BIL’AK “ERIC GILL GOT IT WRONG; A RE-EVALUATION OF GILL SANS” BY BEN ARCHER “BEAUTY AND UGLINESS IN TYPE DESIGN” BY PETER BIL’AK

40 readings

HELVETICA OF ENGLAND This article is basically a critique of the Gill Sans typeface. It is one of the most commonly used typefaces of British Establishments, also known as the Helvetica of England. A huge issue in legibility with this typeface is that the i, l, and number 1 are all seen as the same character. There isn’t any distinguishing features to tell them apart. There isn’t any consistency in the typeface either. This is a good article to help students realize that typefaces aren’t always perfect. PROCESS OF THE KARLOFF TYPEFACE The author believes that there is a close connection between beauty and ugliness. He was interested in the idea of extreme differences and how they could be combined into a coherent whole. He drew inspiration from the most beautiful typefaces: Bodoni and Didot, and the ugliest: Italian.

Type II Journal | Art 338 | Caroline Craig

AGELESS TYPEFACE

readings

What was a graduation project for the Author’s BA in graphic design, turned into a creation of the typeface Neutral. The Author knew there wasn’t anything as total neutrality, but they designed a typeface that explores the absence of stylistic association help the reader to engage with the meaning of the text. The project consisted of a book full of the process and a website recording e-mail discussions of the project. The author questioned various art movements and the relation of typefaces. DIGITAL WOOD

“AN IDEA OF A TYPEFACE” BY KAI BERNAU “MAKING THE WOODKIT TYPEFACE SYSTEM” BY ONDREJ JÓB

42 readings

Wood Type typefaces consist of three families solid, print, and reprint. The Author of this article describes their process of designing a Woodkit fixed-width display series of typefaces. To the author this was a quick and simple project. They were able to design six styles in each of the three Woodkit families: Letterpress, Alphabet A and B, Blocks, Figures and Ornaments.

Type II Journal | Art 338 | Caroline Craig

Chez Panisse Café Menu

Dinner, Thursday, January 4, 2018 Butter lettuce, orange, and fennel salad with citrus vinaigrette, $13 Sheep’s-milk ricotta with grilled bread, cardoons, and black truffle oil, $16 Marinated beet and cauliflower romanesco salad with mustard dressing, $12 Baked Andante Dairy goat cheese with garden lettuces, $14 Garden lettuces, $10 Pizzetta with tomato sauce, anchovy, capers, and hot pepper, $21 French lentil soup with sorrel, lemon, and crème fraîche, $10

Menu du Jour

projects PROJECT 1: MENU DESIGN

$32 Garden lettuces Paralleled verdi with wild mushroom ragù alla chiantigiana Candied orange, cardamom, and pistachio ice cream bombe and pain d’amande Pappardelle verdi with wild mushroom ragù alla chiantigiana, $23 Fish and Dungeness crab cakes with chicories salad, Meyer lemon, potatoes, and aïoli, $34 Grilled chicken paillard with fried onions, carrots, lime, and curry butter, $27 Wood oven-roasted duck breast with butternut squash gratin, rocket, and sage, $31 Roasted pork loin with rosemary and fennel seed; with polenta, scarlet turnips, and salsa di oliva, $30 Pizza with wild nettles and ricotta, $22

Side orders:

A plate of olives or Spanish anchovies, $5 each A bowl of Churchill Orchards Kishu tangerines and Flying Disc Ranch dates, $10 Niloufer’s cardamom cake with poached pear, pomegranate caramel and crème Chantilly, $12 Apple and candied Meyer lemon galette with huckleberry ice cream, $12 Mocha custard with crème Chantilly and walnut cookies, $12 Tangerine sherbet meringata with passionfruit coulis and Page mandarin, $12

Design round 1

44 projects

Chez Panisse Restaurant Menu Downstairs dinner menus for the week of December 31, 2017–January 6, 2018

Sunday, December 31 .......$175 Réveillon Provençal Champagne et olives frites Pissaladière et mesclun Bourride à la Lulu Agneau grillé aux truffes noires Soufflé glacé au citron Bonbons Panisse

Monday, January 1 and Tuesday, January 2 Chez Panisse Restaurant & Café will be closed for the New Years Holiday.

Wednesday, January 3 .......$100 Smoked Mendocino black cod, celery root, and Treviso salad with fried parsnips and crème fraîche Cannard Farm greens ravioli with wild mushrooms and Parmesan Spit-roasted Becker Lane Farm pork loin with juniper, sautéed Pink Lady apples, straw potato cake, and braised Belgian endive Crème caramel with Page mandarins and blood oranges

Thursday, January 4 .......$100 Bay scallops with blood orange, golden beet, fennel, and chervil salad Comté cheese pudding-soufflé with leeks and savoy spinach Grilled breast and confit leg of Sonoma County duck with warm chicories, roasted root vegetables, and sweet tooth mushrooms Tarte Tatin

Friday, January 5 .......$125 Warm vegetable and puntarelle salad with black truffle bagna cauda Manila clams and nettle risotto with crispy pancetta Paine Farm lamb roasted in the fireplace; with Béarnaise sauce, sautéed spinach and escarole, shoestring potatoes, and glazed carrots Page mandarin sherbet and candied blood orange ice cream meringata

Saturday, January 6 .......$125 Leeks vinaigrette with steelhead roe, chervil cream, and watercress Tagliatelle with Dungeness crab, Meyer lemon, and coriander Grilled Stemple Creek Ranch grass-fed beef loin with black truffle butter, wild mushrooms, chard gratin, and new onion fritters Bitersweet chocolate fondant with blood orange sherbet and blood orange caramel

My design round one was basic, I was trying to determine the hierarchy of the text and placement. I decided it was too boring so in my next design I gave it some gradients. During critique it was mentioned I did not have a good enough set of variations. For the final design, I placed the text that needed attention in a box, while the other sections were placed in groupings with the day they corType II Journal | Art 338 | Caroline Craig 45

Design round 2a

front

back

Chez Panisse

Restaurant Menu

Café Menu

Downstairs dinner menus for the week of December 31, 2017–January 6, 2018

Sunday, December 31………………$175 Réveillon Provençal…………… Champagne et olives frites…………… Pissaladière et mesclun…………… Bourride à la Lulu…………… Agneau grillé aux truffes noires…………… Soufflé glacé au citron…………… Bonbons Panisse……………

Monday, January 1 and Tuesday, January 2 Chez Panisse Restaurant & Café will be closed for the New Years Holiday.

Menu du Jour

Thursday, January 4, 2018

Dinner Butter lettuce, orange, and fennel salad with citrus vinaigrette, ……………$13 Sheep’s-milk ricotta with grilled bread, cardoons, and black truffle oil, ……………$16 Marinated beet and cauliflower romanesco salad with mustard dressing, …………$12 Baked Andante Dairy goat cheese with garden lettuces, ……………$14 Garden lettuces, ……………$10 Pizzetta with tomato sauce, anchovy, capers, and hot pepper, ……………$21 French lentil soup with sorrel, lemon, and crème fraîche, ……………$10

Wednesday, January 3………………$100 Smoked Mendocino black cod, celery root, and Treviso saladwith fried parsnips and crème fraîche…………… Cannard Farm greens ravioli with wild mushrooms and Parmesan…………… Spit-roasted Becker Lane Farm pork loin with juniper, sautéed Pink Lady apples, straw potato cake, and braised Belgian endive…………… Crème caramel with Page mandarins and blood oranges……………

Thursday, January 4………………$100 Bay scallops with blood orange, golden beet, fennel, and chervil salad…………… Comté cheese pudding-soufflé with leeks and savoy spinach…………… Grilled breast and confit leg of Sonoma County duck with warm chicories, roasted root vegetables, and sweet tooth mushrooms…………… Tarte Tatin……………

Friday, January 5………………$125 Warm vegetable and puntarelle salad with black truffle bagna cauda…………… Manila clams and nettle risotto with crispy pancetta…………… Paine Farm lamb roasted in the fireplace; with Béarnaise sauce, sautéed spinach and escarole, shoestring potatoes, and glazed carrots…………… Page mandarin sherbet and candied blood orange ice cream meringata……………

Saturday, January 6………………$125 Leeks vinaigrette with steelhead roe, chervil cream, and watercress…………… Tagliatelle with Dungeness crab, Meyer lemon, and coriander…………… Grilled Stemple Creek Ranch grass-fed beef loin with black truffle butter, wild mushrooms, chard gratin, and new onion fritters…………… Bitersweet chocolate fondant with blood orange sherbet and blood orange caramel……………

46 projects

Salads $32 Garden lettuces…… Pappardelle verdi with wild mushroom ragù alla chiantigiana………… Candied orange, cardamom, and pistachio ice cream bombe and pain d’amande

Entrées Pappardelle verdi with wild mushroom ragù alla chiantigiana, ……………$23 Fish and Dungeness crab cakes with chicories salad, Meyer lemon, potatoes, and aïoli, ……………$34 Grilled chicken paillard with fried onions, carrots, lime, and curry butter, …………$27 Wood oven-roasted duck breast with butternut squash gratin, rocket, and sage…… $31 Roasted pork loin with rosemary and fennel seed; with polenta, scarlet turnips, and salsa di oliva, ……………$30 Pizza with wild nettles and ricotta, ……………$22

Sides A plate of olives or Spanish anchovies, ……………$5 each

desserts A bowl of Churchill Orchards Kishu tangerines and Flying Disc Ranch dates, ……$10 Niloufer’s cardamom cake with poached pear, pomegranate caramel and crème Chantilly, ……………$12 Apple and candied Meyer lemon galette with huckleberry ice cream, ……………$12 Mocha custard with crème Chantilly and walnut cookies, ……………$12 Tangerine sherbet meringata with passionfruit coulis and Page mandarin, ………$12

Type II Journal | Art 338 | Caroline Craig 47

Design round 2b

front

back

Chez Panisse

Restaurant Menu

Café Menu

Downstairs dinner menus for the week of December 31, 2017–January 6, 2018

Monday, January 1 and Tuesday, January 2 Chez Panisse Restaurant & Café will be closed for the New Years Holiday.

48 projects

Menu du Jour

Thursday, January 4, 2018

Salads $32 Garden lettuces…… Pappardelle verdi with wild mushroom ragù alla chiantigiana………… Candied orange, cardamom, and pistachio ice cream bombe and pain d’amande

Sides A plate of olives or Spanish anchovies, ……………$5 each

Type II Journal | Art 338 | Caroline Craig 49

Design Final

front

back

CHEZ PANISSE

Restaurant Menu

Café Menu

Downstairs dinner menus for the week of December 31, 2017–January 6, 2018

Dinner, Thursday, January 4, 2018 Thursday, January 4

Appetizers

$100 Monday, January 1 and Tuesday, January 2 Chez Panisse Restaurant & Café will be closed for the New Years Holiday.

Sunday, December 31

Bay scallops with blood orange, golden beet, fennel, and chervil salad Comté cheese pudding-soufflé with leeks and savoy spinach Grilled breast and confit leg of Sonoma County duck with warm chicories, roasted root vegetables, and sweet tooth mushrooms

Entrées Friday, January 5

$175

$125

Pissaladière et mesclun Bourride à la Lulu Bonbons Panisse Soufflé glacé au citron Agneau grillé aux truffes noires

Warm vegetable and puntarelle salad with black truffle bagna cauda Manila clams and nettle risotto with crispy pancetta Paine Farm lamb roasted in the fireplace; with Béarnaise sauce, sautéed spinach and escarole, shoestring potatoes, and glazed carrots Page mandarin sherbet and candied blood orange ice cream meringata

Wednesday, January 3

Saturday, January 6

$100

$125

Smoked Mendocino black cod, celery root, and Treviso salad with fried parsnips and crème fraîche

Leeks vinaigrette with steelhead roe, chervil cream, and watercress

Cannard Farm greens ravioli with wild mushrooms and Parmesan

Tagliatelle with Dungeness crab, Meyer lemon, and coriander

Spit-roasted Becker Lane Farm pork loin with juniper, sautéed Pink Lady apples, straw potato cake, and braised Belgian endive

Grilled Stemple Creek Ranch grass-fed beef loin with black truffle butter, wild mushrooms, chard gratin, and new onion fritters

Crème caramel with Page mandarins and blood oranges

Bitersweet chocolate fondant with blood orange sherbet and blood orange caramel

50 projects

Marinated beet and cauliflower romanesco salad with mustard dressing ...................................................................$12 Baked Andante Dairy goat cheese with garden lettuces .........................................................................................................$14 Garden lettuces....................................................................................................................................................................................................$10 Pizzetta with tomato sauce, anchovy, capers, and hot pepper ............................................................................................$21 French lentil soup with sorrel, lemon, and crème fraîche.........................................................................................................$10

Tarte Tatin

Réveillon Provençal

Champagne et olives frites

Butter lettuce, orange, and fennel salad with citrus vinaigrette...........................................................................................$13 Sheep’s-milk ricotta with grilled bread, cardoons, and black truffle oil ..........................................................................$16

Pappardelle verdi with wild mushroom ragù alla chiantigiana .............................................................................................$23 Fish and Dungeness crab cakes with chicories salad, Meyer lemon, potatoes, and aïoli ..................................$34 Grilled chicken paillard with fried onions, carrots, lime, and curry butter .....................................................................$27 Wood oven-roasted duck breast with butternut squash gratin, rocket, and sage...................................................$31 Roasted pork loin with rosemary and fennel seed; with polenta, scarlet turnips, and salsa di oliva...........$30 Pizza with wild nettles and ricotta...........................................................................................................................................................$22

Sides A plate of olives ...................................................................................................................................................................................................$5 Spanish anchovies ............................................................................................................................................................................................$5

Desserts A bowl of Churchill Orchards Kishu tangerines and Flying Disc Ranch dates ..........................................................$10 Niloufer’s cardamom cake with poached pear, pomegranate caramel and crème Chantilly ...........................$12 Apple and candied Meyer lemon galette with huckleberry ice cream ............................................................................$12 Mocha custard with crème Chantilly and walnut cookies .......................................................................................................$12 Tangerine sherbet meringata with passionfruit coulis and Page mandarin.................................................................$12

Menu du Jour $32

Garden lettuces Pappardelle verdi with wild mushroom ragù alla chiantigiana Candied orange, cardamom, and pistachio ice cream bombe and pain d’amande

Type II Journal | Art 338 | Caroline Craig 51

The Elements Of Style projects PROJECT 3: ELEMENTS OF STYLE

Section 1

Design round 1

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For my first design of the Elements Of Style book, I designed the book with a clean blocky look, it was said that my drop shadow design on the cover, didnâ&#x20AC;&#x2122;t work very well. The design did work well with just the text in a shape.

Type II Journal | Art 338 | Caroline Craig 53

Design round 1

INTRODUCTORY This book aims to give in brief space the principal requirements of plain English style. It aims to lighten the task of instructor and student by concentrating attention (in Chapters II and III) on a few essentials, the rules of usage and principles of composition most commonly violated. In accordance with this plan it lays down three rules for the use of the comma, instead of a score or more, and one for the use of the semicolon, in the belief that these four rules provide for all the internal punctuation that is required by nineteen sentences out of twenty. Similarly, it gives in Chapter III only those principles of the paragraph and the sentence which are of the widest application. The book thus covers only a small portion of the field of English style. The experience of its writer has been that once past the essentials, students profit most by individual instruction based on the problems of their own work, and that each instructor has his own body of theory, which he may prefer to that offered by any textbook. The numbers of the sections may be used as references in correcting manuscript. The writerâ&#x20AC;&#x2122;s colleagues in the Department of English in Cornell University have greatly helped him in the preparation of his manuscript. Mr. George McLane Wood has kindly consented to the inclusion under Rule 10 of some material from his Suggestions to Authors.

Professor of English in Cornell UniversityNew York Harcourt, Brace and Company Copyright, 1918, 1919, by William Strunk, Jr. Copyright, 1920, by Hardcourt, Brace and Howe, Inc. The Maple Press York PA.

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The following books are recommended for reference or further study: in connection with Chapters II and IV, F. Howard Collins, Author and Printer (Henry Frowde); Chicago University Press, Manual of Style; T. L. De Vinne, Correct Composition (The Century Company); Horace Hart, Rules for Compositors and Printers (Oxford University Press); George McLane Wood, Extracts from the Style-Book of the Government Printing Office (United States Geological Survey); in connection with Chapters III and V, The Kingâ&#x20AC;&#x2122;s English (Oxford University Press); Sir Arthur Quiller-Couch, The Art of Writing (Putnam), especially the chapter, Interlude on Jargon; George McLane Wood, Suggestions to Authors (United States Geological Survey); John Lesslie Hall, English Usage (Scott, Foresman and Co.); James P. Kelley, Workmanship in Words (Little, Brown and Co.). In these will be found full discussions of many points here briefly treated and an abundant store of illustrations to supplement those given in this book.

Type II Journal | Art 338 | Caroline Craig 55

Design round 1 The Elements Of Style

Section 1

The Elements Of Style Section 1

tences of the type first quoted are common in easy, unstudied writing. But a writer should be careful not to construct too many of his sentences after this pattern (see Rule 14). Two-part sentences of which the second member is introduced by as (in the sense of because), for, or, nor, and while (in the sense of and at the same time) likewise require a comma before the conjunction. If the second member is introduced by an adverb, a semicolon, not a comma, is required (see Rule 5). The connectives so and yet may be used either as adverbs or as conjunctions, accordingly as the second clause is felt to be co-ordinate or subordinate; consequently either mark of punctuation may be justified. But these uses of so (equivalent to accordingly or to so that) are somewhat colloquial and should, as a rule, be avoided in writing. A simple correction, usually serviceable, is to omit the word so and begin the first clause with as or since: I had never been in the place before; so I had difficulty in finding my way about.

As I had never been in the place before, I had difficulty in finding my way about.

If a dependent clause, or an introductory phrase requiring to be set off by a comma, precedes the second independent clause, no comma is needed after the conjunction. The situation is perilous, but if we are prepared to act promptly, there is still one chance of escape. When the subject is the same for both clauses and is expressed only once, a comma is required if the connective is but. If the connective is and, the comma should be omitted if the relation between the two statements is close or immediate. I have heard his arguments, but am still unconvinced. He has had several years’ experience and is thoroughly competent.

5. Do not join independent clauses by a comma. If two or more clauses, grammatically complete and not joined by a conjunction, are to form a single compound sentence, the proper mark of punctuation is a semicolon. Stevenson’s romances are entertaining; they are full of exciting adventures. It is nearly half past five; we cannot reach town before dark. It is of course equally correct to write the above as two sentences each, replacing the semicolons by periods. Stevenson’s romances are entertaining. They are full of exciting adventures. It is nearly half past five. We cannot reach town before dark. If a conjunction is inserted the proper mark is a comma (Rule 4). Stevenson’s romances are entertaining, for they are full of exciting adventures. It is nearly half past five, and we cannot reach town before dark.

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Type II Journal | Art 338 | Caroline Craig 57

The Elements Of Style projects PROJECT 3: ELEMENTS OF STYLE

Section 1

Design round 2

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For my design round 2, I eliminated the drop shadow effect on the cover. I changed the title page so it would be similar to the front cover. I also adjusted more formatting issue throughout the book.

Type II Journal | Art 338 | Caroline Craig 59

Design round 2

The Elements Of Style by William Strunk, jr. Professor of English in Cornell University

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Type II Journal | Art 338 | Caroline Craig 61

Design round 2

New York Harcourt, Brace and Company Copyright, 1918, 1919, by William Strunk, Jr. Copyright, 1920, by Hardcourt, Brace and Howe, Inc.

The numbers of the sections may be used as references in correcting manuscript. The writerâ&#x20AC;&#x2122;s colleagues in the Department of English in Cornell University have greatly helped him in the preparation of his manuscript. Mr. George McLane Wood has kindly consented to the inclusion under Rule 10 of some material from his Suggestions to Authors .

The Maple Press York PA.

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Type II Journal | Art 338 | Caroline Craig 63

Design round 2 10

The Elements Of Style

2. In a series of three or more terms with a single conjunction, use a comma after each term except the last.

The Elements Of Style

Section 1 11

Thus write, red, white, and blue gold, silver, or copper He opened the letter, read it, and made a note of its contents. This is also the usage of the Government Printing Office and of the Oxford University Press. In the names of business firms the last comma is omitted, as, Brown, Shipley & Co.

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Type II Journal | Art 338 | Caroline Craig 65

Design round 2

If two or more clauses, grammatically complete and not joined by a conjunction, are to form a single compound sentence, the proper mark of punctuation is a semicolon. Stevensonâ&#x20AC;&#x2122;s romances are entertaining; they are full of exciting adventures. It is nearly half past five; we cannot reach town before dark.

5. Do not join independent clauses by a comma.

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It is of course equally correct to write the above as two sentences each, replacing the semicolons by periods. Stevensonâ&#x20AC;&#x2122;s romances are entertaining. They are full of exciting adventures. It is nearly half past five. We cannot reach town before dark.

Type II Journal | Art 338 | Caroline Craig 67

THE ELEMENTS OF S T Y L E projects PROJECT 3: ELEMENTS OF STYLE

THE ELEMENTS OF STYLE | SECTION ONE

Group Design Round Final

68 projects

For this round our group decided to take the best of each book and merge them together with a neutral style. We had a hard time deciding on a cover, so we decided to have each book edition a different color. We included a pattern that one of our group members designed inside the cover page, changing the color based on what color we had. Type II Journal | Art 338 | Caroline Craig 69

Group Design Round Final

THE ELEMENTS OF S T Y L E Section I Elementary Rules Of Usage

William Strunk, Jr. Professor of English in Cornel University

New York Harcourt, Brace and Company Copyright, 1918, 1919, by William Strunk, Jr. Copyright, 1920, by Harcourt, Brace and Howe, Inc. The Maple Press York PA

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Type II Journal | Art 338 | Caroline Craig 71

Group Design Round Final

Introductory This book aims to give in brief space the principal requirements of plain English style. It aims to lighten the task of instructor and student by concentrating attention (in Chapters II and III) on a few essentials, the rules of usage and principles of composition most commonly violated. In accordance with this plan it lays down three rules for the use of the comma, instead of a score or more, and one for the use of the semicolon, in the belief that these four rules provide for all the internal punctuation that is required by nineteen sentences out of twenty. Similarly, it gives in Chapter III only those principles of the paragraph and the sentence which are of the widest application. The book thus covers only a small portion of the field of English style. The experience of its writer has been that once past the essentials, students profit most by individual instruction based on the problems of their own work, and that each instructor has his own body of theory, which he may prefer to that offered by any textbook. The numbers of the sections may be used as references in correcting manuscript. The writerâ&#x20AC;&#x2122;s colleagues in the Department of English in Cornell University have greatly helped him in the preparation of his manuscript. Mr. George McLane Wood has kindly consented to the inclusion under Rule 10 of some material from his Suggestions to Authors.

Collins, Author and Printer (Henry Frowde); Chicago University Press, Manual of Style; T. L. De Vinne, Correct Composition (The Century Company); Horace Hart, Rules for Compositors and Printers (Oxford University Press); George McLane Wood, Extracts from the Style-Book of the Government Printing Office (United States Geological Survey); in connection with Chapters III and V, The Kingâ&#x20AC;&#x2122;s English (Oxford University Press); Sir Arthur Quiller-Couch, The Art of Writing (Putnam), especially the chapter, Interlude on Jargon; George McLane Wood, Suggestions to Authors (United States Geological Survey); John Lesslie Hall, English Usage (Scott, Foresman and Co.); James P. Kelley, Workmanship in Words (Little, Brown and Co.). In these will be found full discussions of many points here briefly treated and an abundant store of illustrations to supplement those given in this book. It is an old observation that the best writers sometimes disregard the rules of rhetoric. When they do so, however, the reader will usually find in the sentence some compensating merit, attained at the cost of the violation. Unless he is certain of doing as well, he will probably do best to follow the rules. After he has learned, by their guidance, to write plain English adequate for everyday uses, let him look, for the secrets of style, to the study of the masters of literature.

The following books are recommended for reference or further study: in connection with Chapters II and IV, F. Howard 2

THE ELEMENTS OF STYLE | SECTION ONE

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Type II Journal | Art 338 | Caroline Craig 73

Group Design Round Final

BY AD DING 'S.

SING L E CONJ UNCT ION, USE A COMMA AF T E R E ACH

F OR M THE POS S ESSIVE SINGULAR OF NOUNS

IN A SE R IE S OF T H R E E OR MOR E T E R MS WIT H A T E R M E XCE PT T H E L AST.

Follow this rule whatever the final consonant. Thus write, Charles's friend

Thus write, red, white, and blue

Burns's poems

gold, silver, or copper

the witch's malice

He opened the letter, read it, and made a note of its contents.

This is the usage of the United States Government Printing Office and of the Oxford University Press. Exceptions are the possessive of ancient proper names in -es and -is, the possessive Jesus', and such forms as for conscience' sake, for righteousness' sake. But such forms as Achilles' heel, Moses' laws, Isis' temple are commonly replaced by

This is also the usage of the Government Printing Office and of the Oxford University Press. In the names of business firms the last comma is omitted, as, Brown, Shipley & Co.

the heel of Achilles the laws of Moses the temple of Isis

The pronominal possessives hers, its, theirs, yours, and oneself have no apostrophe.

E NCLOSE PAR E NT H E T IC E XP R E SSIONS B E T WE E N

COMMAS.

The best way to see a country, unless you are pressed for time, is to travel on foot. This rule is difficult to apply; it is frequently hard to decide whether a single word, such as however, or a brief phrase, is or is not parenthetic. If the interruption to the flow of the 6

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THE ELEMENTS OF STYLE | SECTION ONE

Type II Journal | Art 338 | Caroline Craig 75

Group Design Round Final

sentence is but slight, the writer may safely omit the commas. But whether the interruption be slight or considerable, he must never insert one comma and omit the other. Such punctuation as Marjorie's husband, Colonel Nelson paid us a visit yesterday,

or My brother you will be pleased to hear, is now in perfect health,

is indefensible. If a parenthetic expression is preceded by a conjunction, place the first comma before the conjunction, not after it. He saw us coming, and unaware that we had learned of his treachery, greeted us with a smile.

Always to be regarded as parenthetic and to be enclosed between commas (or, at the end of the sentence, between comma and period) are the following: (1) the year, when forming part of a date, and the day of the month, when following the day of the week: February to July, 1916. April 6, 1917. Monday, November 11, 1918.

(2) the abbreviations etc. and jr. 8

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(3) non-restrictive relative clauses, that is, those which do not serve to identify or define the antecedent noun, and similar clauses introduced by conjunctions indicating time or place. The audience, which had at first been indifferent, became more and more interested.

In this sentence the clause introduced by which does not serve to tell which of several possible audiences is meant; what audience is in question is supposed to be already known. The clause adds, parenthetically, a statement supplementing that in the main clause. The sentence is virtually a combination of two statements which might have been made independently: The audience had at first been indifferent. It became more and more interested.

Compare the restrictive relative clause, not set off by commas, in the sentence, The candidate who best meets these requirements will obtain the place.

Here the clause introduced by who does serve to tell which of several possible candidates is meant; the sentence cannot be split up into two independent statements. The difference in punctuation in the two sentences following is based on the same principle: Nether Stowey, where Coleridge wrote The Rime of the Ancient Mar-

The day will come when you will admit your mistake.

iner, is a few miles from Bridgewater. THE ELEMENTS OF STYLE | SECTION ONE

Type II Journal | Art 338 | Caroline Craig 77

projects PROJECT 4: TYPE BOOK

This is an image gallery of the images I collected for my font Asterisk Grotesk.

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Type II Journal | Art 338 | Caroline Craig 79

Art 338: Typography II Winter 2018 Report Title | Project 4: Typeface Book | Research Report

Report Title | Project 4: Typeface Book | Research Report

Typeface Description

Berthold in 1954 published Akzidenz Grotesk Mager (light), but was still referred to as Royal Grotesk. The name originated from Akzidenz Schrift, defined as jobbing, the German term for display type. The typeface changed with an increase in point size, but that information wasn’t showcased because of marketing reasons.according to Tyophile.com the additions of weights with not much resemblance except in the name. Also happened about that time in the 1950s, Günter Gerhard Lange unified the different inconsistencies in the typefaces and expanded them with bolder weights, a larger character set, and a new condensed variation.

Many fonts and typefaces are created from one’s imagination, but later become obsolete or just forgotten, but Akzidenz Grotesk is the real original san serif typeface. Akzidenz Grotesk is an all purpose print media typeface commonly used in advertisements, tickets, and signs.

projects

Art 338: Typography II Winter 2018

It first appeared in 1898 on an advertisement. This san serif typeface, designed by H. Berthold Berlin & Bauer & Co Stuttgart, was derived from Ferdinand Theinhardt cut Royal Grotesk Light.The intention was to use it as Image 1: Akzidenz Grotesk as a typeface book. Exhibited a commercial typeface. Akzidenz Grotesk was at the Fulton Street Collectives Connection Exhibition in extensively used in the art movements, De Stijl, Bauhaus, Dada, but largely used by the Chicago, IL (2016) Swiss designers of the International typographic style. This is the Berthold foundry’s most celebrated family of typefaces, referred to as the “mother” of all sans serifs due to the influence it has on all san serifs throughout it’s 50 years.

In 1957 Helvetica was designed to compete with Akzidenz Grotesk. In 1963. AG Medium Italic was added with AG ExtraBold following in 1996, and AG and number examples. Italic in 1967. AG Extra Bold Condensed & Italic, and AG Super, were added in 1968. Lange also helped Berthold complete the AG series, which included AG light italic, Super Italic, light condensed, condensed, medium condensed, Extra Bold italic, light extended italic, extended italic, and medium extended italic.More recently, in 2006, Berthold released Akzidenz Grotesk Next, redesigned by Bernd Möllenstädt and Dieter Hofrichter, to finally provide a fully unified version. Image 3: Akidenz-Grotesk letter weights

Research Findings HISTORY OF THE TYPEFACE

PROJECT 4: TYPE BOOK

Ferdinand Theinhardt, born in 1820 and passed away in 1906, was a specialist in cutting hieroglyphs. He later creImage 2: 20 Cicero Akzidenz Grotesk bold ated Royal Grotesk Light out of metal in made from plakadur Germany, released in 1898. Some people claim Akzidenz Grotesk is derived from this font. Theinhardt, who owned the Berlin-based foundry, also designed Al Deutsch, Schmale magere Grotesk, Enge fette Grotesk, and Fette Grotesk. There is some argument of what typeface Akzidenz Grotesk is formed from, due to the many Grotesk typefaces Theinhardt had cut. In 1885, the foundry Ferd Theinhardt Schriftgiesserei in Berlin was acquired by brothers Mosig and Oskar Mommen who later sold it to the Berthold foundry in 1908.

Image 4: Günter Gerhard Lange (1921–2008)

This is an report I wrote with the images I collected for my font Asterisk Grotesk.

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Type II Journal | Art 338 | Caroline Craig 81

Art 338: Typography II Winter 2018

Report Title | Project 4: Typeface Book | Research Report

with the loss of a lower limb. He than launched his typographic career, attended master courses at the Academy of Graphic Arts, and also studied the Book Trade in Leipzig. Some basics he studied were calligraphy, typesetting, printing, drawing, etching, and lithography, with professors Georg Belwe and Hans Theo Richter. Balancing teaching and freelancing, Lange gained many skills to be hired by his first major client, H. Berthold type foundry, where Image 5: Akzidenz Grotesk medium on the cover of Die he was promoted to artistic director from “klassische” Grotesk 1961 to 1990. A communicator and teacher, his name is associated with designing classic fonts such as Akzidenz-Grotesk, Berthold Bodoni Old Face, and Imago.The Berthold foundry allowed three designers to created extensions of this typeface; Gayaneh Bagdasaryan Panayiotis Haratzopoulos, and Vladimir Yefimov.

VISUAL ANALYSIS In this typeface family there are multiple inconsistencies throughout the different weights due to the various incorporated styles from the diverse foundries H. Berthold had acquired. The 1890’s version of Akzidenz Grotesk is similar to the mechanical structure of other NeoGrotesque typefaces. Akzidenz Grotesk contains characteristics of pen-drawn typefaces, due to the slight contrast of the thick and thin variations in strokes. Some Image 6: Type Specimen Card Set - School Project, Spring identifying characteristics are; tail of the Q 2013 Akzidenz Grotesk + Type Specimen Card Set and Glyph has a short tail that does not pass through poster. Designed by Daniel Lindqvist. into the counter. Letter J does not descend below baseline. The G has no spur and has a right-angled bar at the base, similar to Helvetica. While the lower case g contains no lower ball. The middle of the letter M descends all the way to the baseline. The dots on both i and j are square in nature and the lower part of i is just a straight line. The lowercase a is a double-story. The R has a straight leg and lacks a tail which can be seen in Helvetica. The terminals on S and C are diagonal.

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Art 338: Typography II Winter 2018 Report Title | Project 4: Typeface Book | Research Report

When compared to Helvetica, Akzidenz has less width of strokes in most letters except C, G, O, and Q, which contain a more geometric shape. Both have a right angle bar at the base of the G, but in Akzidenz the G does not have a rounded off square tail like Helvetica’s letter R, and the letter J points horizontally. With a small x-height, this becomes more appealing to readers when used in continuous text.

Image 7: Where fonts originated from.

Conclusion A pioneering san serif that has been perfected over the years to become more unified across Image 8: Donald Trump’s campaign logo has two all weights, and modernized. This typeface is fonts used: Akzidenz Grotesk Bold Extended for economical and has more personality than the “TRUMP” and FF Meta Bold for the slogan text, typeface that was designed to destroy Akzidenz Make America Great Again! Grotesk, called Helvetica. Although the origin of this typeface is argued over, all credit is still given to Ferdinand Theinhardt who was a specialized cutter who favored glyphs. Akzidenz is a huge influence to many art movements and a staple in the design world. In most recent times, Akzidenz Grotesk has been riding a wave of popularity and is being used in many designs today. Due to clean straight lines, Akzidenz Grotesk can be used for many projects that require legibility but also crave a bit of a personality After all it was originally created to be an all purpose print media typeface.

Image 9: The font used for the film title in the poster is Akzidenz Grotesk Bold, a grotesque sans serif typeface

Type II Journal | Art 338 | Caroline Craig 83

projects PROJECT 4: TYPE BOOK

These are the sketches showing my grid layout and my ideas for my magazine spread for the font Asterisk Grotesk.

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Type II Journal | Art 338 | Caroline Craig 85

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27

Table of contents

Akzidenz Grotesk

projects

Akzidenz Grotesk

Akzidenz Grotesk Akzidenz Grotesk Akzidenz Grotesk Akzidenz Grotesk Akzidenz Grotesk

PROJECT 4: TYPE BOOK

Akzidenz Grotesk

Design Round 1

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For this design round I implemented my sketches and included text boxes of where things would go.

Type II Journal | Art 338 | Caroline Craig 87

Design Round 1

another image from this project

Typeface Description Many fonts and typefaces are created from one’s imagination, but later become obsolete or just forgotten, but Akzidenz Grotesk is the real original san serif typeface. Akzidenz Grotesk 4. image caption

is an all purpose print media typeface commonly used in advertisements, tickets, and signs. It first appeared in 1898 on an

4. image caption

advertisement. This san serif typeface, designed by H. Berthold Berlin & Bauer & Co Stuttgart, was derived from Ferdinand Theinhardt cut Royal Grotesk Light.The intention was to use it as a commercial typeface. Akzidenz Grotesk was extensively used in the art movements, De Stijl, Bauhaus, Dada, but largely used by the Swiss designers of the International typographic style. This is the Berthold foundry’s most celebrated family of typefaces, referred to as the “mother” of all sans serifs due to the influence it has on all san 4. image caption

serifs throughout it’s 50 years.

4. image caption

2. 3. 8 Type Book

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Type Book 9

Type II Journal | Art 338 | Caroline Craig 89

Design Round 1

4. image caption

BIOGRAPHY OF THE

DESIGNER Founded in Berlin about 1859 by

Hermann Berthold. By 1918 the increase in point size, but that infor-

H. Berthod typefoundy, known for

mation wasn’t showcased because

crafting quality typefaces, became

of marketing reasons.according

the largest foundry in the world with

to Tyophile.com the additions of

offices in Stuttgart, St. Petersburg,

Ferdinand Theinhardt, born in 1820

weights with not much resemblance

Leipzig, Riga, Budapest, and Vienna.

and passed away in 1906, was a

except in the name. Also happened

In the 1960s, the foundry revealed

specialist in cutting hieroglyphs. He

about that time in the 1950s,

it’s first keyboard phototypesetting

later created Royal Grotesk Light

Günter Gerhard Lange unified the

called Diatronic. Serving in the

out of metal in Germany, released in

different inconsistencies in the

second world war, Günter Gerhard

1898. Some people claim Akzidenz

typefaces and expanded them with

Lange came home to Germany with

Grotesk is derived from this font.

bolder weights, a larger character

the loss of a lower limb. He than

Theinhardt, who owned the Berlin-

set, and a new condensed variation.

launched his typographic career,

HISTORY OF THE TYPEFACE

based foundry, also designed Al Deutsch, Schmale magere Grotesk, Enge fette Grotesk, and Fette Grotesk. There is some argument of what typeface Akzidenz Grotesk is formed from, due to the many Grotesk typefaces Theinhardt had cut. In 1885, the foundry Ferd Theinhardt Schriftgiesserei in Berlin was acquired by brothers Mosig and Oskar Mommen who later sold it to the Berthold foundry in 1908.

10 Type Book

90 projects

In 1957 Helvetica was designed to compete with Akzidenz Grotesk. In 1963. AG Medium Italic was

attended master courses at the Academy of Graphic Arts, and also studied the Book Trade in Leipzig.

added with AG ExtraBold following in 1996, and AG Italic in 1967. AG Extra Bold Condensed & Italic, and AG Super, were added in 1968. Lange also helped Berthold complete the AG series, which included AG light italic, Super Italic, light condensed, condensed, medium condensed, Extra Bold italic, light

Berthold in 1954 published

extended italic, extended italic,

Akzidenz Grotesk Mager (light),

and medium extended italic.More

but was still referred to as Royal

recently, in 2006, Berthold released

Grotesk. The name originated from

Akzidenz Grotesk Next, redesigned

Akzidenz Schrift, defined as job-

by Bernd Möllenstädt and Dieter

bing, the German term for display

Hofrichter, to finally provide a fully

type. The typeface changed with an

unified version.

Some basics he studied were calligraphy, typesetting, printing, drawing, etching, and lithography, with professors Georg Belwe and Hans Theo Richter. Balancing teaching and freelancing, Lange gained many skills to be hired by his first major client, H. Berthold type foundry, where he was promoted to artistic director from 1961 to 1990. A communicator and teacher, his name is associated with designing classic fonts such as Akzidenz-Grotesk, Berthold Bodoni Old Face, and Imago.The Berthold foundry allowed three designers to 1.

created extensions of this typeface; Gayaneh Bagdasaryan Panayiotis Haratzopoulos, and Vladimir Yefimov.

Type Book 11

Type II Journal | Art 338 | Caroline Craig 91

Design Round 1

VISUAL ANALYSIS

In this typeface family there are multiple inconsistencies throughout the different weights due to the various

lowercase a is a double-story. The R has a straight leg and lacks a tail which can be seen in Helvetica. The terminals on S and C are diagonal.

incorporated styles from the diverse

When compared to Helvetica,

foundries H. Berthold had acquired.

Akzidenz has less width of strokes

The 1890’s version of Akzidenz

in most letters except C, G, O, and

Grotesk is similar to the mechanical

Q, which contain a more geometric

structure of other Neo-Grotesque

shape. Both have a right angle bar

typefaces. Akzidenz Grotesk con-

at the base of the G, but in Akzidenz

tains characteristics of pen-drawn

the G does not have a rounded off

typefaces, due to the slight contrast

square tail like Helvetica’s letter R,

of the thick and thin variations in

and the letter J points horizontally.

strokes. Some identifying character-

With a small x-height, this becomes

istics are; tail of the Q has a short