338.01 Type Journal by Chelsea Navarro

Typography JOURNAL Typography II Winter 2016

Table of Contents Week 1: Typography Review.......................................... 4 Week 2: Type Setting Basics.......................................... 12 Week 3: Using Type to Create a Voice...................... 18 Week 4: Styles + Structure...........................................30 Week 5: Grid Basics.. .......................................................... 42 Week 6: Collaboration + Compromise................... 50 Week 7: Planning a Zine. . ................................................ 56 Week 8: Using grids to Organize Content. . ..........60 Week 9: The Grid in Use....................................................64 Week 10: Refinement and Details.............................. 72

Introduction This journal mainly contains lessons and reviews about typography. This journal spans out around a ten week period where I write and learn about lessons from my Typography II class. The purpose of this journal is to remind me of the lessons and readings I have taken learned.

Week 1 Typography Review Lectures Typographic Refinement

Exercises Legibility Exercise

Typography Journal: Typography II

Lectures

Typographic Refinement: The Details Point size A measuring system that was originally developed for handset metal type.

Point size includes additional spaces like the ascender and descender height.

Measurement two basic units: points and picas 72 points in 1 inch 6 picas = 72 points 1p6 = 1 pica and 6 points Traditional Sizes: Traditional metal type started at 5 points to 72 points

How do you choose a point size?

Factors to Consider: Typeface proportions and weight Week 1

5

Typography Journal: Typography II

Length of text Format for viewing (paper or web) Audience/Reader of text Content of the text Typeface choice

Screen vs Print Body text on print 9pt to 12 pt Body text on screen should be 14pt or larger.

Looking for a workhorse typeface?

A working typeface has: A good regular weight Robust proportions Good x-height Noticeable bold contrast 6

Week 1

Typography Journal: Typography II

Has an italic version Legible numerals (ex: 1 and l)

Some things you can do to make your type better Kern type at display sizes. Paired letters such as WO and VA extra space in betweentypical problem area. Do kerning at the final production stage and despite having a ton of text in a document, focus on the major issues.

Customize leading It should be 120–145% of point size. Too loose is okay for emphasis like in the beginning of a text.

Pay Attention to Line Length Having too wide line length is hard to read cause it will make the reader have a harder time going to the next line. While too narrow of a line length makes the eye travel back too often and breaks the reader’s rhythm.

Optimal line length 8–13 words per line on average Letter spacing/tracking Too tight or too close hard to read Text in all caps require more tracking compared to upper and lowercase.

Avoid Fake Small Caps Do not style text as “Small Caps” Use true small caps - find a font that provides small caps Fake small caps- distorts the stroke weight of the capitalize letters

Week 1

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Typography Journal: Typography II

Know Your Dashes Hyphen - used if a word is too long for the column length En dash use to indicate duration Em dash use to express a break in the flow of a sentence

Customize Hyphenation Avoid tiny words fragments and too many hyphenation.

Hyphenation It is best to do hyphenation before you style your text Words with at least: 6 letters After first: 3 letters Before last: 3 letters Hyphen limit: 2

Use Smart quotation marks Smart quotes (", ') are vertical lined quotes that usually mean a unit of inches or feet.

Though not a lot of types have prime marks or smart quotes.

Fix Rags When Practical Use discretionary hyphens, line breaks, or tracking to adjust rags 8

Week 1

Typography Journal: Typography II

Avoid widows To avoid widows by tracking any tighter than -10 or force something down

Avoid orphans too Orphans are short segments of paragraphs stranded at the top of bottom of a column

Avoid misspellings!

Always spell check (CMD+i or turn on dynamic spelling in InDesign)

Week 1

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Typography Journal: Typography II

Exercises

Sans Serif

Legibility Exercise

Without typography, one could argue, messages will ges will still be still be legible, but if one really wants to communiate rather than The two type layouts worked most for meaisheap the Sabon LT 9/13 and the Fruticate that rather than the simply display of alphanumeric some considSabonsome LT I think there is just enough leadingPaul for the ascenders and consideration would be helpful. first axiomger of 9/14. For the data, Watzlawick’s first axiom of communication — “one create a good icate” — puts it descenders to balance properly. The spacing of the lines and tracking not communicate” — puts it very ect of your balance mesof white cannot space. Though, I found it hard to try to getsuccinctly. rid of the Ifhyphenation you fail to consider the effect of your message on the communicate when I played around with the hyphenation. As for Frutiger, since it has a larger recipient, you may inadvertently communicate that be received. x-height, I preferyou a larger leading it.your I hadmessage to adjustmay some the tracking for indo not care for how beofreceived.

Serif

Sans Se

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If you fail to consider the effect of your mesthe of your message on the recipient, you may sage on the recipient, you maythat inadvertently communicate inadvertently communicate you do not care how that you do notmay carebe how your message may be received. your message received.

Without typogra still be legible, b cate rather than data, some consi Watzlawick’s firs cannot not comm you fail to consid recipient, you m you do not care

dividual lines to prevent some hyphenation. In addition, I also chose these layouts FRUTIGER LT STD 9/13 because their rags are not too jagged and they are easier to read to me.

ages will still be ate rather than , some considfirst axiom of icate” — puts it fect of your mesy communicate y be received.

SABON LTLT STD FRUTIGER STD9/13 9/12

FRUTIGER LT STD 9

ages will still be

ate rather than

, some considfirst axiom of

icate” — puts it

fect of your mes-

y communicate

y be received.

ges will still be

te rather than

some consider-

st axiom of 10 com- Week 1

” — puts it very

Without one could argue, messages will still Withouttypography, typography, one could argue, messages will be legible, but if one really wants to communicate rather than still be legible, but if one really wants to communicate simply display a heap of alphanumeric data, some considrather than simply display a heap of alphanumeric data, eration would be helpful. Paul Watzlawick’s first axiom of some consideration would benot helpful.

Paul Watzlawick’s communication — “one cannot communicate” — puts it first of communication — “one comvery axiom succinctly.

If you fail to consider thecannot effect ofnot your message on the — recipient, you may inadvertently puts it very succinctly.

If you communicate fail to consider municate” that effect you doofnot caremessage how your may be you received. the your onmessage the recipient, may inadvertently that you do not care how SABON LT STDcommunicate 9/12 your message may be received.

FRUTIGER LT STD 9/14

Without typogra still be legible, b rather than simp some considerati first axiom of com municate” — puts the effect of you inadvertently com your message ma

FRUTIGER LT STD 9

Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some considWithout typography, one could argue, messages will eration would be helpful. Paul Watzlawick’s first axiom of still be legible, but if one really wants to communicate communication — “one cannot not communicate” — puts it rather than simply display a heap of alphanumeric data,

Without typogra

still be legible, bu

rather than simp

Typography Journal: Typography II

Serif

Sans Serif

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

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

SABON LT STD 9/13

FRUTIGER LT STD 9/13

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

SABON LT STD 9/12

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

FRUTIGER LT STD 9/12

Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consid-

Without typography, one could argue, messages will

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

still be legible, but if one really wants to communicate

communication — “one cannot not communicate” — puts it

rather than simply display a heap of alphanumeric data,

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

some consideration would be helpful. Paul Watzlawick’s

sage on the recipient, you may inadvertently communicate

first axiom of communication — “one cannot not com-

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

SABON LT STD 9/14

municate” — puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received.

Without typography, one could argue, messages will still be

FRUTIGER LT STD 9/14

legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication — “one cannot not communicate” — puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received.

SABON LT STD 9/15

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

Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful.

your message may be received.

FRUTIGER LT STD 9/15

Paul Watzlawick’s first axiom of communication — “one cannot not communicate” — puts it very succinctly. If you fail to consider the

Without typography, one could argue, messages will still be

effect of your message on the recipient, you may inadvertently com-

legible, but if one really wants to communicate rather than

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

simply display a heap of alphanumeric data, some consider-

SABON LT STD 8/13

ation would be helpful. Paul Watzlawick’s first axiom of communication — “one cannot not communicate” — puts it very succinctly. If you fail to consider the effect of your mes-

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

SABON LT STD 10/13

sage on the recipient, you may inadvertently communicate that you do not care how your message may be received.

FRUTIGER LT STD 8/13

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

FRUTIGER LT STD 10/13

Chelsea Navarro

Week 1

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Week 2 Type setting basics Readings Why Typography Matters

Critiques Type Setting: Rules and Principles of Typography

Typography Journal: Typography II

Readings

Why Typography Matters Typography is a visual idea of a word or letter. It is something that we see and use everyday. The layout and visual language in typography is very important as it relates to people’s learnability and their thought process. Good typography helps people understand quickly what they read while bad typography can leave people confuse and bothered. Some of the negative consequences of bad typography occurred when the “butterfly ballot” of the Palm Beach County, Florida was released. The ballot was confusing to read that voters were not sure if they were voting the right candidate.

In designing with typography, designers need to also focus on the audience. They need to be aware that there are different people out their with different ideas and wants. Typography has to be oriented to actual readers not the idealized ones. Hence, designers should research more about their audience and be aware of what interests them.

Designing with good typography is not very straightforward. Good typography needs to reinforce the meaning of the text. Not all of a designer’s type treatment for one text can apply to another. Thus, there are different typographic solutions that are good.

There is really not more than one right way in laying out type.

Week 2

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Typography Journal: Typography II

Critiques

Type Setting: Rules and Principles of Typography Minor Issues Leading slightly tight or too loose Typos in the quotes Lack of hierarchy/separation of info in the attribution Minor spacing issues

Major Issues Legibility problems due to : typeface choice, type size, background color Headline/title lacks weight Name of person who said the quote lacks emphasis Hierarchy of text is confusing parallel info is treated differently Spatial arrangement of elements lacks organization negative space are awkward Layout is organize but a little boring

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Typography Journal: Typography II

Drafts

“Discover the outer logic of the typography in the inner logic of the text.”

Robert Bringhurst, The Elements of Typographic Style, 2004, Page 20

“When mixing typefaces, choose two that present some contrast with each other.”

James Craig, Designing with Type: The Essential Guide to Typography, 2006, Page 77

Typography Insight “Discover the outer logic of the typography in the inner logic of the text.”

the rules of

Typography “Text may be legible, but if the reader is unable to read smoothly and easily and becomes quickly tired and bored, the designer has not achieved readability.”

Betty Binns, Designer’s Guide to Typography, 1991, Page 18

Robert Bringhurst, The Elements of Typographic Style, 2004, Page 20

“White spaces, rules, colours, large and bold type faces are used to emphasize the most important texts, which are also arranged under special headings or on special pages according to the subject.”

Emil Ruder, Typographie: A Manual of Design, 1967, Page 82

“Text may be legible, but if the reader is unable to read smoothly and easily and becomes quickly tired and bored, the designer has not achieved readability.”

Betty Binns, Designer’s Guide to Typography, 1991, Page 18

“Italic body type causes no more difficulty for readers than roman body type.”

Colin Wheildon, Type & Layout, 1995, Page 105

“When mixing typefaces, choose two that present some contrast with each other.”

James Craig, Designing with Type: The Essential Guide to Typography, 2006, Page 77

“Italic body type causes no more difficulty for readers than roman body type.”

Colin Wheildon, Type & Layout, 1995, Page 105

“White spaces, rules, colours, large and bold type faces are used to emphasize the most important texts, which are also arranged under special headings or on special pages according to the subject.”

Emil Ruder, Typographie: A Manual of Design, 1967, Page 82

Typography Insight “Discover the outer logic of the typography in the inner logic of the text.”

— Robert Bringhurst, The Elements of Typographic Style, 2004, Page 20

“White spaces, rules, colours, large and bold type faces are used to emphasize the most important texts, which are also arranged under special headings or on special pages according to the subject.”

the rules of

TYPOGRAPHY Betty Binns Designer’s Guide to Typography, 1991 Page 18

— Emil Ruder, Typographie: A Manual of Design, 1967, Page 82

“Text may be legible, but if the reader is unable to read smoothly and easily and becomes quickly tired and bored, the designer has not achieved readability.”

— Betty Binns, Designer’s Guide to Typography, 1991 Page 18

Robert Bringhurst, The Elements of Typographic Style, 2004, Page 20

“Italic body type causes no more difficulty for readers than roman body type.”

Colin Wheildon

— Colin Wheildon, Type & Layout, 1995, Page 105

Type & Layout, 1995, Page 105

“When mixing typefaces, choose two that present some contrast with each other.”

— James Craig, Designing with Type: The Essential Guide to Typography, 2006, Page 77

James Craig Designing with Type: The Essential Guide to

“Text may be legible, but if the reader is unable to read smoothly and easily and becomes quickly tired and bored, the designer has not achieved readability.”

“Discover the outer logic of the typography in the inner logic of the text.”

“Italic body type causes no more difficulty for readers than roman body type.”

“When mixing typefaces, choose two that present some contrast with each other.”

Typography, 2006, Page 77

Emil Ruder Typographie: A Manual of Design, 1967, Page 82

“White spaces, rules, colours, large and bold type faces are used to emphasize the most important texts, which are also arranged under special headings or on special pages according to the subject.”

Week 2

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Typography Journal: Typography II

Robert Bringhurst

Colin Wheildon

The Elements of Typographic Style, 2004,

Type & Layout, 1995, Page 105

Page 20

“Italic body type causes no more difficulty for readers than roman body type.”

“Discover the outer logic of the typography in the inner logic of the text.”

the rules of

TYPOGRAPHY Betty Binns

James Craig

Emil Ruder

Designer’s Guide to Typography, 1991 Page 18

Designing with Type: The Essential Guide to

Typographie: A Manual of Design, 1967, Page 82

“Text may be legible, but if the reader is unable to read smoothly and easily and becomes quickly tired and bored, the designer has not achieved readability.

Typography, 2006, Page 77

“When mixing typefaces, choose two that present some contrast with each other.”

“White spaces, rules, colours, large and bold type faces are used to emphasize the most important texts, which are also arranged under special headings or on special pages according to the subject.”

the rules of

TYPOGRAPHY BETTY BINNS “Text may be legible, but if the reader is unable to read smoothly and easily and becomes quickly tired and bored, the designer has not achieved readability.”

ROBERT BRINGHURST “Discover the outer logic of the typography in the inner logic of the text.”

The Elements of Typographic Style, 2004, Page 20

Designer’s Guide to Typography, 1991 Page 18

JAMES CRAIG “When mixing typefaces, choose two that present some contrast with each other.”

Designing with Type: The Essential Guide to Typography, 2006, Page 77

EMIL RUDER “White spaces, rules, colours, large and bold type faces are used to emphasize the most important texts, which are also arranged under special headings or on special pages according to the subject.”

Typographie: A Manual of Design, 1967, Page 82

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Week 2

COLIN WHEILDON “Italic body type causes no more difficulty for readers than roman body type.”

Type & Layout, 1995, Page 105

Typography Journal: Typography II

Final

the rules of

TYPOGRAPHY BETTY BINNS “Text may be legible, but if the reader is unable to read smoothly and easily and becomes quickly tired and bored, the designer has not achieved readability.”

ROBERT BRINGHURST “Discover the outer logic of the typography in the inner logic of the text.”

The Elements of Typographic Style, 2004, Page 20

COLIN WHEILDON “Italic body type causes no more difficulty for readers than roman body type.”

Type & Layout, 1995, Page 105

Designer’s Guide to Typography, 1991, Page 18

JAMES CRAIG “When mixing typefaces, choose two that present some contrast with each other.”

Designing with Type: The Essential Guide to Typography, 2006, Page 77

EMIL RUDER “White spaces, rules, colours, large and bold type faces are used to emphasize the most important texts, which are also arranged under special headings or on special pages according to the subject.”

Typographie: A Manual of Design, 1967, Page 82

JAMES FELLICI “Typefaces with large x-heights are apt to need more leading, as the horizontal spaces between lines are eroded by the larger lowercase letters.”

The Complete Manual Typography: A Guide to Setting Perfect Type, 2012, Page 132

Week 2

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Week 3 Using type to create a voice Readings Type Composition Text Formatting

Lectures Choosing Typefaces and Understanding Fonts

Typography Journal: Typography II

Readings

Type Composition Good typography starts with good typing. The computer keyboard has many different characters such as accent characters, math symbols and white spaces characters. Learning about the non-alphabetic characters on the computer or keyboard are great tools in knowing more how typography can be laid out.

Straight and Curly Quotes Straight quotes are usually vertical quotation marks. They orignally derived from the typewriter because for inconvenience having an ambidextrous straight quote made easy typing. Curly quotes have curled into the word/s it emphasizes. There are four quote characters : ‘ “ ” ’. They tend to be more legible compared to straight quotes.

One Space Between Sentences Al­ways put ex­actly one space be­tween sentences. This creates a sense of unity and it balanced the white spaces on paper.

Question marks and exclamation points Budget use of exclamation for any document, and choose wisely the placement and style . Back in traditional print shops, exclamation point was also known as a bang.

Never use more than one exclamation in a row.

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Typography Journal: Typography II

Interrobang Interrobang (?!) is a combination of question mark and exclamation mark.

Semicolon vs Colon A Semicolon (;) is a conjuction to combine two sentences. It is also used to separate list of elements with internal commas. Colon (:) is used to connect the introduction of an idea and its completion.

Paragraph Mark and Section Mark A paragraph mark is used when citing documents with sequential numbered paragraphs (¶). The section mark (§) is used when cit­ing doc­u­ments with num­bered or let­ tered sections. Either of the symbols must be followed by a non breaking space. These marks are used most frequently by legal and academic writers.

Parentheses, Brackets, and Braces Paren­the­ses () are used for separating citations and additional body text information.

Brackets [] indicate a change withing a quoted material. Lastly, braces {} are typically used as separators in coding and mathematical writing.

Hyphens and Dashes Hyphens appear at the end of a line when a word breaks to the next line appears in some multipart words such as tug-o-war or cost-effective used in a phrasy adjectives for clarity ex: high-school, low-cost 20

Week 3

Typography Journal: Typography II

En Dash Indicates a range of values Denotes a constrast between a pair of words Em dash Dash used to make a break between parts of a sentence. It creates a pause in a text and it is inderused in professional writing.

Shortcuts – —

En dash Em dash

option + hyphen (Mac) option+shift + hyphen (Mac)

Trademark & copyright symbols It is recommended to use a non-breaking space between the copyright symbol and text with it to prevent them from going into different lines of pages.

Shortcuts

™

Registered Trademark option + r (Mac)

©

copyright

®

Trademark

option + 2(Mac)

option + g (Mac)

Ampersands The am­per­sand (&) is the short hand version of the word “and.” The am­per­sand is halfway be­tween a lig­a­ture and a con­trac­tion. It’s a styl­ized de­pic­tion of the Latin word et. Am­per­sands are also found in proper names (Fro­mage & Cra­cotte Inc.).

Ellipses Avoid using spaces or periods in making an ellipses (…) . Use the actual ellipses symbol provided by the font. Anyways, an ellipses is a sequence of three dots that indicates an omission in quoted material.

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Typography Journal: Typography II

Apostrophes An apos­tro­phe (') indicates that something or someone is in possessive. In contractions, it can replace the letters or numbers that have been removed (Patent No. 5,269,211 be­comes '211). Moreover, an apostrophe always downward.

Carriage returns A carriage return was originally a cylinder that held paper in typewriters. After the end of the line, a lever is pushed to go to the next line. Basically a carriage return key allows users to go to the next line after the end of the line.

Math symbols Math symbols, which are usually used for creating mathematical problems, can be found in typefaces' special symbols. Use the plus sign (+) and equals sign (=) as usual.

Use the en dash as a mi­nus sign (–).

Ligatures Lig­a­tures were in­vented to solve a prac­ti­cal type­set­ting prob­lem. Certain characters had physical features that would collide with one another. Hence, font makers created ligatures with their fonts in case there are troubling characters that collide.

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Typography Journal: Typography II

Readings

Text Formatting Underlining Avoid underlining as much as possible. Use italic or bold instead of underlining text for emphasis. As for special cases for headings, try using small caps or all caps or a change in point size.

Goofy Fonts It is not recommended to use goofy fonts, especially do not use goofy fonts for professional writing. Some are not designed well.

Monospace Font Monospace font is basically a font that has an even width and even height measurement. They were invented to meet mechanical requirements of typewriters.

System Fonts Theses are the fonts that are already installed in your compute.

Some problems with System fonts: Week 3

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Typography Journal: Typography II

Many sys­tem fonts are not very good.

Many sys­tem fonts have been op­ti­mized for screen leg­i­bil­ity, not print.

All sys­tem fonts are over­ex­posed.

Bold or Italic Using bold or italic are tools for em­pha­sis. But if every­thing is em­pha­sized, then noth­ ing is em­pha­sized; hence, use them minimally. Also, be­cause bold and italic styles are de­signed to con­trast with reg­u­lar ro­man text, they’re some­what harder to read.

Headings Headings are signals for the reader that give them an idea of the structure of the text argument. It usually announces every topic, subtopic, mini-topic and every topic possible. It is recommended to have three levels of heading, anymore would make the reader confuse.

Color Color is one of the best tools to draw in people. It gives texts that contrast between the light colors from the dark colors. The intensity of the color does not only depend of the color but also the weight a size of the font.

Printing Color For documents such as resumes, research papers and letter, designers must always print the body text in black. No exceptions. Colored text in body-text size is not as readable and unless it is a really bold color against a contrasting background.

On the Web Color The less color used, the more effective. When everything is emphasized, nothing is emphasized. Consider making the body text dark gray, rather than black since screens tend to show great contrast compared to paper.

This also means too much contrast on text will tire the readers' eyes.

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Typography Journal: Typography II

Web & Email Addresses Wed addresses are identifiers to a location on the Internet. As for emails, they usually take the form of a name@companyname.com. There are some problems that designers encounter when designing with an email and web address.

The first prob­lem: Web ad­dresses can have long names. If it is a really long website, stick it in withing the footer. It's best to have a website long enough that users can type out the name in the browser.

The sec­ond prob­lem: Web ad­dresses are dif ­fi­cult to wrap onto mul­ti­ple lines. It is hard to design with a long web address without breaking it within lines. Web addresses should not be broken in the first place. Hence, it is best to put the web addresses in their own lines.

Mixing fonts Mixing fonts is an option. Designers can choose variations of typeface combinations based on point, size, smalls caps, etc. Font mixing is mostly successful when each font has a consistent role in the text. It makes things organize and signifies the reader what part of the text they are on.

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Typography Journal: Typography II

Lectures

Choosing Typefaces and Understanding Fonts Design factors to consider Content How long is the texy?

What is it about?

Audience What is the age of the reader??

What is the demographics?

Format/Context What is the size of page?

At what distance is the text being read?

Technical factors Does the font have full character set?

Does the font have accents?

Does the font have weights and styles? Does it have small caps?

Does it have lining and old style numerals?

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Typography Journal: Typography II

Where do you get fonts and why are they so expensive?

Creating a font is complex There is someone and a team that take years to develop great font work.

When you buy a font, you purchase a license? Where do you get fonts and why are they so expensive?

Once a designer buys a font, he/she is granted a license that allows the designer to use the font based on the restrictions given in the license.

Some places to buy fonts Google Fonts Lost Type Co-op League of Movable Type Font Squirrel Font Spring House Industries My Fonts

Week 3

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Typography Journal: Typography II

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Typography Journal: Typography II

Do I really need a font manager?

Technically you do not need a font manager, but it would be great to have one. Usually designers would just drag their downloaded font to the fonts folder then to a hard drive. However, this is a slow process and may damage the file.

Font Managers Font Book Suitcase Fusion 6 FontExplorer X Pro

Week 3

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Week 4 Styles + structures Readings Page Layout “Family Planning, or how type Families Work”

Lectures Typesetting in InDesign

Critiques Dialog Project

Typography Journal: Typography II

Readings

Page Layout Centered Text It's straight forward and overused. It's rare to see centered text in a book, newspaper, or magazine.

Justified Text It is spaced to the left and right sides of the text block and having no rag. If designers are to use it, use hyphenations as well to prevent any rivers of whitespace. Alternatively, most designers use left-aligned text where the left is aligned while it has a right rag.

First-line indents The first-line indent is a signifier that it is a start of a new paragraph. Typically the first indent should not be any smaller than the point size of the text. Hence, it the body text is 12pt, the first-indent should have 12-48 points.

Space Between Paragraphs Space be­tween para­graphs is an al­ter­na­tive to a first-line in­dent for sig­nal­ing the start of a new paragraph.

Page margins Page margins set the default area where the text is laid out on the paper. It determines the width of the text block which means it affects the line length. As page mar­gins in­ crease, line length de­creases, and vice versa.

In Print Most of the default page margins for an 8.5" × 11" are one inch for each side. But for proportional font, one inch margins are small. In order to Week 4

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have a better idea of the border, focus on getting the number characters per line into the right range On the Web To preserve legibility, web pages need big margins too. Each web page will have it's ow different margins depending on the content and the layout. Similarly to print, focus on the line length to find the right margins.

Block Quotations Formatting block quotations is quite straightforward. Firstly, reduce the point size and line spacing slightly. Secondly, in足dent the text block be足tween half an inch and a full inch on the left side and make sure the indent is large enough to be noticed. Lastly, do not put quo足ta足tion marks at the ends as they are redundant.

Tables They are useful for spreadsheet style grids of numbers or other data. It is also useful for layouts where the text needs to be side by side.

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Cell borders Cell borders are the line around the table's cell. They are helpful once the table is full as it presents a gridded and organized structure.

Cell margins These are margins create space between the cell borders and the text of the cell

Columns Columns are an easy way to get a shorter and more leg­i­ble line length with­out hav­ing to use large page mar­gins. On a stan­dard 8.5"× 11" page, two or three columns are fine; four is too many.

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.

When in doubt, try it both ways.

Re­late each new el­e­ment to ex­ist­ing el­e­ments.

Keep it sim­ple.

Im­i­tate what you like.

Don’t fear white space.

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Typography Journal: Typography II

Readings

Family Planning, or How Type Families Work There are typefaces such as United that have evolved for years and have a super-family — an extensive variations of the typeface’s design. Typically, in the earliest metal movable type, most typefaces have a range of variations (around 15) ranging in the size from 6 to 36 points. Each size is cut and cast separately and characters were designed optically. This allowed early typographers choose various sizes similarly how we can choose various weights for a specific typeface In the enlightenment time, Pierre Simon introduced the first standard system for producing and using type. He created the organization system of creating families with a typeface. It is said that the idea of varying the weight of a typeface existed around the mid-19th century. Heavy typefaces existed at the time but people never associated it to have a regular text weight. However, with the help of commercial pressure of the industrial revolution, this influenced the rising of different weights of typefaces. From the early 20th century it became a standard practice that typefaces would include having its various weights with it.

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Lecture

Typesetting in InDesign: Tools and Techniques Paragraph Styles Use paragraph styles to mainly design your layout of text. Usually this style affects the text's leading, tabs, indents, space before and after, hyphenation, justification settings, rules above and below and many more.

Character Styles Use the character styles in mainly designing the style of the text such as turning a body text into italicize or bold. It is also used to design subhead and make custom bullet or numbers. It is not recommended to have this be the main layout of the text design.

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Table Styles Used for styling multiple tables within a document. It designs the outside border of the table, the dividing lines and the space above and below the table.

Cell Styles Used for styling individual cells, or rectangular divisions of the table. It customizes with the borders around the cell, how the cell is position, the style of the cell, and the fill color.

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Typography Journal: Typography II

Critiques

Dialog Project Drafts 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 something bigger than oneself.

The Last Deed

That’s all you need—an Ariadne thread.

Campbell:

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

Campbell:

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.

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.

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

Moyers

Campbell

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

Campbell:

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

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

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:

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?

Moyers

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

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

Campbell

Campbell:

My general formula for my students is “Follow your bliss.” Find where it is, and don't be afraid to follow it.

Moyers

Moyers:

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

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.”

Campbell:

But it’s got to be your way, not his. The Buddha can’t tell you exactly how to get rid of your particular fears, for example. Different teachers may suggest exercises, but they may not be the ones to work for you. All a teacher can do is suggest.

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

Moyers:

Moyers

Moyers

Campbell:

Is it my work or my life?

Campbell

Hero's Deed Week 4

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

My general formula for my students is “Follow your bliss.” Find where it is, and don’t be afraid to follow it.

Campbell:

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

Moyers:

Moyers:

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

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.

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

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Campbell:

Moyers:

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

Moyers:

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

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.”

Is it my work or my life?

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.”

Typography Journal: Typography II

The Last Deed 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 something bigger than oneself.

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.

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

Campbell:

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

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

Campbell:

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

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

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

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 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.

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

Campbell:

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.”

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

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

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

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.

Campbell:

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: 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.

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

Campbell:

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

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

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 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.

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.”

Campbell:

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.”

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

Campbell:

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

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

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.

Campbell:

But it’s got to be your way, not his. The Buddha can’t tell you exactly how to get rid of your particular fears, for example. Different teachers may suggest exercises, but they may not be the ones to work for you. All a teacher can do is suggest. He is like a lighthouse that says, “There are rocks over here, steer clear. There is a channel, however, out there.”

Campbell:

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

Moyers

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

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

Moyers

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

Campbell

That’s all you need—an Ariadne thread.

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.”

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

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 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.

Campbell

Campbell

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

Moyers

Moyers

Heroe's Deed

That’s all you need—an Ariadne thread.

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.

But it's got to be your way, not his. The Buddha can't tell you exactly how to get rid of your particular fears, for example. Different teachers may suggest exercises, but they may not be the ones to work for you. All a teacher can do is suggest.

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

That's all you need—an Ariadne thread.

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Typography Journal: Typography II

Final

Hero's Deed Why are there so many stories of the hero in mythology?

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.

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

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.

“A hero is someone who has given his or her life to something bigger than oneself.”

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

There's a certain type of myth which one might call the vision quest, going in quest of a boon, a vision, which has the same form in every mythology. That is the thing that I tried to present in the first book I wrote, The Hero With a Thousand Faces. All these different mythologies give us the same essential quest. You leave the world that you’re in and go into a depth or into a distance or up to a height.

There you come to what was missing in your consciousness in the world you formerly inhabited.

Then comes the problem either of staying with that, and letting the world drop off, or returning with that boon and trying to hold on to it as you move back into your social world again.

An interview of

Joseph Campbell

by Bill Moyers

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

My general formula for my students is “Follow your bliss.” Find where it is, and don't be afraid to follow it.

Is it my work or my life?

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.”

Typography Journal: Typography II

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

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

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

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

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.”

“That’s all you need — an Ariadne thread.”

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

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

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

But it's got to be your way, not his. The Buddha can't tell you exactly how to get rid of your particular fears, for example. Different teachers may suggest exercises, but they may not be the ones to work for you. All a teacher can do is suggest.

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

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?

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.

That’s all you need—an Ariadne thread.

Week 4

41

Week 5 Grid structures Readings Using Layout Grids Effectively “Typographic Mea Culpa, Unethical Downloading” “My Type Design Philosophy”

Critiques Elements of Style Individual Project

Typography Journal: Typography II

Readings

Using Layout Grids Effectively Grid layouts are essential in building the foundation and consistency of a design. The two main types of grid layouts are vertical and landscape. Each of these layouts can either have an even number of columns or an odd number of columns. Using a grid will allow a design to transfer to a different medium while keeping consistency. Grid layouts may need to be adjusted for a gutter. Any type should not be placed in the gutter due to illegibility. One of the most used professional grid layouts involves placings your subject in the line intersections created by the rule of thirds. The Golden Sprial and the Fibonacci Spiral are used as compositional tools in layouts.

Week 5

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Typography Journal: Typography II

Readings

Typographica Mea Culpa, Unethical Downloading Steven Heller mainly writes about the unethical actions of people who share font with others. Heller reminds us that fonts are licensed that we purchase and most people tend to ignore this license. People need to understand that all the fonts that they retrieve for free from others are copyrighted and someone had to create that font to earn money. Ironically, designers tend to respect one another’s intellectual properties but that’s not the case with fonts. Designers can easily package a file to another designer colleague, and that colleague will likely use that font with another project in the future, without being aware that he/she did not buy it. Heller emphasizes that we should respect the Fontographers who designed this font and purchase the font they create. This makes things fair, and prevents any copyright infringement that may occur. Moreover, Heller tells us some details how we can share files and prevent giving free fonts to other designers. The document should have embedded fonts in them in order to prevent giving the free font to people. Though it may take some time for the people to be more aware about font sharing with each other.

44 Week Week55

Typography Journal: Typography II

Readings

My Type Design Philosophy The author of the article is a type designer that tells us some information on his approach to type design. Firstly, he talks about that it is hard to mix typefaces. He advices people to usually mix sans serifs with serifs. He continues on telling us some of the history of some sans serif typefaces. Usually if a sans serif had a history it had a meaning to be created at the time and may be well worth to look at for use. He continues on discussing about how sans serif with true italic characteristics are recommended to be used.

In creating the Scala and Scala sans, he said he was influenced by the typeface Bembo.

In designing the lowercase numbers, he wanted the lowercase numbers to be part of the normal font instead being tuck in Old Style Figures. He continues on discussing about designing the italic version in which he made italic small caps, ligatures and lowercase numbers, making Scala the first family with all these features in both a serifed and a sans design and in both roman and italic. Later on, Scala was released in 1990 by FontShop International and Scala Sans was issued three years later. His typefaces became extremely popular in the process.

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Typography Journal: Typography II

Critiques

elements of style individual project Drafts

The Elements of Style Section II: Elementary Principles of Composition

II. Elementary Principles of Composition 9. Make the paragraph the unit of composition: one paragraph to each topic.

William Strunk, Jr. New York 1918

Introduction This book is intended for use in English courses in which the practice of composition is combined with the study of literature. It 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. The numbers of the sections may be used as references in correcting manuscript.

The book covers only a small portion of the field of English style, but 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 prefers to that offered by any textbook.

The writer’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 11 of some material from his Suggestions to Authors.

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, Sir Arthur Quiller-Couch, The Art of Writing (Putnams), especially the chapter, Interlude on Jargon; George McLane Wood, Suggestions to Authors (United States Geological Survey); John Leslie Hall, English Usage (Scott, Foresman and Co.); James P. Kelly, Workmanship in Words (Little, Brown and Co.).

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.

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If the subject on which you are writing is of slight extent, or if you intend to treat it very briefly, there may be no need of subdividing it into topics. Thus a brief description, a brief summary of a literary work, a brief account of a single incident, a narrative merely outlining an action, the setting forth of a single idea, any one of these is best written in a single paragraph. After the paragraph has been written, it should be examined to see whether subdivision will not improve it.

Ordinarily, however, a subject requires subdivision into topics, each of which should be made the subject of a paragraph. The object of treating each topic in a paragraph by itself is, of course, to aid the reader. The beginning of each paragraph is a signal to him that a new step in the development of the subject has been reached.

The extent of subdivision will vary with the length of the composition. For example, a short notice of a book or poem might consist of a single paragraph.

One slightly longer might consist of two paragraphs:

A. Account of the work.

B. Critical discussion.

A report on a poem, written for a class in literature, might consist of seven paragraphs: A. Facts of composition and publication.

B. Kind of poem; metrical form.

C. Subject.

D. Treatment of subject.

E. For what chiefly remarkable.

F. Wherein characteristic of the writer.

G. Relationship to other works.

Typography Journal: Typography II

17. In summaries, keep to one tense.

11. Use the active voice.

In summarizing the action of a drama, the writer should always use the present tense. In summarizing a poem, story, or novel, he should preferably use the present, though he may use the past if he prefers. If the summary is in the present tense, antecedent action should be expressed by the perfect; if in the past, by the past perfect.

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

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

An unforeseen chance prevents Friar John from delivering Friar Lawrence’s letter to Romeo. Juliet, meanwhile, owing to her father’s arbitrary change of the day set for her wedding, has been compelled to drink the potion on Tuesday night, with the result that Balthasar informs Romeo of her supposed death before Friar Lawrence learns of the nondelivery of the letter.

The latter sentence is less direct, less bold, and less concise. If the writer tries to make it more concise by omitting “by me, My first visit to Boston will always be remembered, it becomes indefinite: is it the writer, or some person undisclosed, or the world at large, that will always remember this visit?

But whichever tense be used in the summary, a past tense in indirect discourse or in indirect question remains unchanged.

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

The Legate inquires who struck the blow.

Apart from the exceptions noted, whichever tense the writer chooses, he should use throughout. Shifting from one tense to the other gives the appearance of uncertainty and irresolution (compare Rule 15).

The dramatists of the Restoration are little esteemed to-day.

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

In presenting the statements or the thought of some one else, as in summarizing an essay or reporting a speech, the writer should avoid intercalating such expressions as “he said,” “he stated,” “the speaker added,” “the speaker then went on to say,” “the author also thinks,” or the like. He should indicate clearly at the outset, once for all, that what follows is summary, and then waste no words in repeating the notification.

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

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

In notebooks, in newspapers, in handbooks of literature, summaries of one kind or another may be indispensable, and for children in primary schools it is a useful exercise to retell a story in their own words. But in the criticism or interpretation of literature the writer should be careful to avoid dropping into summary. He may find it necessary to devote one or two sentences to indicating the subject, or the opening situation, of the work he is discussing; he may cite numerous details to illustrate its qualities. But he should aim to write an orderly discussion supported by evidence, not a summary with occasional comment. Similarly, if the scope of his discussion includes a number of works, he will as a rule do better not to take them up singly in chronological order, but to aim from the beginning

16. Keep related words together.

The position of the words in a sentence is the principal means of showing their relationship. The writer must therefore, so far as possible, bring together the words, and groups of words, that are related in thought, and keep apart those which are not so related.

The subject of a sentence and the principal verb should not, as a rule, be separated by a phrase or clause that can be transferred to the beginning.

Wordsworth, in the fifth book of The Excursion, gives a minute description of this church.

In the fifth book of The Excursion, Wordsworth gives a minute description of this church.

Cast iron, when treated in a Bessemer By treatment in a Bessemer converter, is changed into steel. converter, cast iron is changed into steel.

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

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

There was a look in his eye that boded mischief.

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

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

In his eye was a look that boded mischief.

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

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

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

The Superintendent of the Chicago Division, who

There were a great number of dead leaves lying on the ground.

The sound of the falls could still be heard.

The reason that he left college was that his health became impaired.

13. Omit needless words.

Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell.

Many expressions in common use violate this principle: the question as to whether

whether (the question whether)

there is no doubt but that

no doubt (doubtless)

he is a man who

he

used for fuel purposes

in a hasty manner

this is a subject which

His story is a strange one.

used for fuel

hastily

this subject

His story is strange.

In especial the expression the fact that should be revised out of every sentence in which it occurs. owing to the fact that

since (because)

call your attention to the fact that

remind you (notify you)

in spite of the fact that

I was unaware of the fact that the fact that he had not succeeded the fact that I had arrived

though (although)

I was unaware that (did not know) his failure my arrival

See also under case, character, nature, system in Chapter V. Who is, which was, and the like are often superfluous.

His brother, who is a member of the same firm

Trafalgar, which was Nelson’s last battle

Dead leaves covered the ground.

His brother, a member of the same firm

Trafalgar, Nelson’s last battle

The sound of the falls still reached our ears.

Failing health compelled him to leave college.

3 The history of morals, of industry, of intellect, and of art; the changes that take place in manners or beliefs; the dominant ideas that prevailed in successive periods; the rise, fall, and modification of political constitutions; in a word, all the conditions of national well-being became the subjects of their works.

3 The definition expanded.

4 They sought rather to write a history of peoples than a history of kings.

4 The definition explained by contrast.

5 They looked especially in history for the chain of causes and effects.

5 The definition supplemented: another element in the new conception of history.

6 They undertook to study in the past the physiology of nations, and hoped by applying the experimental method on a large scale to deduce some lessons of real value about the conditions on which the welfare of society mainly depend. —Lecky, The Political Value of History.

6 Conclusion: an important consequence of the new conception of history.

In narration and description the paragraph sometimes begins with a concise, comprehensive statement serving to hold together the details that follow.

The breeze served us admirably.

The campaign opened with a series of reverses.The next ten or twelve pages were filled with a curious set of entries.

But this device, if too often used, would become a mannerism. More commonly the opening sentence simply indicates by its subject with what the paragraph is to be principally concerned.

At length I thought I might return towards the stockade.

He picked up the heavy lamp from the table and began to explore.

Another flight of steps, and they emerged on the roof.

The brief paragraphs of animated narrative, however, are often without even this semblance of a topic sentence. The break between them serves the purpose of a rhetorical pause, throwing into prominence some detail of the action.

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Typography Journal: Typography II

Final The Element of Style: Section II

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2

II. Elementary Principles of Composition

D. Treatment of subject.

E. For what chiefly remarkable.

F. Wherein characteristic of the writer.

G. Relationship to other works.

9. Make the paragraph the unit of composition: one paragraph to each topic.

If the subject on which you are writing is of slight extent, or if you intend to treat it very briefly, there may be no need of subdividing it into topics. Thus a brief description, a brief summary of a literary work, a brief account of a single incident, a narrative merely outlining an action, the setting forth of a single idea, any one of these is best written in a single paragraph. After the paragraph has been written, it should be examined to see whether subdivision will not improve it.

Ordinarily, however, a subject requires subdivision into topics, each of which should be made the subject of a paragraph. The object of treating each topic in a paragraph by itself is, of course, to aid the reader. The beginning of each paragraph is a signal to him that a new step in the development of the subject has been reached.

A. Setting.

B. Plot.

C. Characters.

D. Purpose.

A. What led up to the event.

B. Account of the event.

C. What the event led up to.

In treating either of these last two subjects, the writer would probably find it necessary to subdivide one or more of the topics here given.

A. Account of the work.

B. Critical discussion.

As a rule, single sentences should not be written or printed as paragraphs. An exception may be made of sentences of transition, indicating the relation between the parts of an exposition or argument.

A report on a poem, written for a class in literature, might consist of seven paragraphs:

In dialogue, each speech, even if only a single word, is a paragraph by itself; that is, a new paragraph begins with each change of speaker. The application of this rule, when dialogue and narrative are combined, is best learned from examples in well-printed works of fiction.

A. Facts of composition and publication.

B. Kind of poem; metrical form.

C. Subject.

The Element of Style: Section II

Again, the object is to aid the reader. The practice here recommended enables him to discover the purpose of each paragraph as he begins to read it, and to retain the purpose in mind as he ends it. For this reason, the most generally useful kind of paragraph, particularly in exposition and argument, is that in which A. the topic sentence comes at or near the beginning; B. the succeeding sentences explain or establish or develop the statement made in the topic sentence; and C. the final sentence either emphasizes the thought of the topic sentence or states some important consequence.

ending with a digression, or with an unimportant detail, is particularly to be avoided.

If the paragraph forms part of a larger composition, its relation to what precedes, or its function as a part of the whole, may need to be expressed. This can sometimes be done by a mere word or phrase (again; therefore; for the same reason) in the topic sentence. Sometimes, however, it is expedient to precede the topic sentence by one or more sentences of introduction or transition. If more than one such sentence is required, it is generally better to set apart the transitional sentences as a separate paragraph.

According to the writer’s purpose, he may, as indicated above, relate the body of the paragraph to the topic sentence in one or more of several different ways. He may make the meaning of the topic sentence clearer by restating it in other forms, by defining its terms, by denying the converse, by giving illustrations or specific instances; he may establish it by proofs; or he may develop it by showing its implications and consequences. In a long paragraph, he may carry out several of these processes.

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10. As a rule, begin each paragraph with a topic sentence; end it in conformity with the beginning.

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A novel might be discussed under the heads:

A historical event might be discussed under the heads:

The extent of subdivision will vary with the length of the composition. For example, a short notice of a book or poem might consist of a single paragraph. One slightly longer might consist of two paragraphs:

The contents of paragraphs C and D would vary with the poem. Usually, paragraph C would indicate the actual or imagined circumstances of the poem (the situation), if these call for explanation, and would then state the subject and outline its development. If the poem is a narrative in the third person throughout, paragraph C need contain no more than a concise summary of the action. Paragraph D would indicate the leading ideas and show how they are made prominent, or would indicate what points in the narrative are chiefly emphasized.

1 Now, to be properly enjoyed, a walking tour should be gone upon alone.

1 Topic sentence.

2 If you go in a company, or even in pairs, it is no longer a walking tour in anything but name; it is something else and more in the nature of a picnic.

2 The meaning made clearer by denial of the contrary.

3 A walking tour should be gone upon alone, because freedom is of the essence; because you should be able to stop and go on, and follow this way or that, as the freak takes you; and because you must have your own pace, and neither trot alongside a champion walker, nor mince in time with a girl.

3 The topic sentence repeated, in abridged form, and supported by three reasons; the meaning of the third (“you must have your own pace”) made clearer by denying the converse.

4 And you must be open to all impressions and let your thoughts take colour from what you see.

4 A fourth reason, stated in two forms.

5 You should be as a pipe for any wind to play upon.

5 The same reason, stated in still another form.

6 “I cannot see the wit,” says Hazlitt, “of walking and talking at the same time.

7 When I am in the country, I wish to vegetate like the country,” which is the gist of all that can be said upon the matter.

6–7 The same reason as stated by Hazlitt.

8 There should be no cackle of voices at your elbow, to jar on the meditative silence of the morning.

8 Repetition, in paraphrase, of the quotation from Hazlitt.

9 And so long as a man is reasoning he cannot surrender himself to that fine intoxication that comes of much motion in the open air, that begins in a sort of dazzle and sluggishness of the brain, and ends in a peace that passes comprehension.—Stevenson, Walking Tours.

9 Final statement of the fourth reason, in language amplified and heightened to form a strong conclusion.

Typography Journal: Typography II

The Element of Style: Section II

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14

It was both a long ceremony and very tedious.

usually hold when the order is interrupted only by a relative clause or by an expression in apposition. Nor does it hold in periodic sentences in which the interruption is a deliberately used means of creating suspense (see examples under Rule 18).

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

The ceremony was both long and tedious.

A time not for words, but action A time not for words, but for action Either you must grant his request or incur his ill will.

You must either grant his request or incur his ill will.

My objections are, first, the My objections are, first, that the injustice of the measure; second, measure is unjust; second, that it is that it is unconstitutional. unconstitutional.

See also the third example under Rule 12 and the last under Rule 13.

It may be asked, what if a writer needs to express a very large number of similar ideas, say twenty? Must he write twenty consecutive sentences of the same pattern? On closer examination he will probably find that the difficulty is imaginary, that his twenty ideas can be classified in groups, and that he need apply the principle only within each group. Otherwise he had best avoid the difficulty by putting his statements in the form of a table.

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

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

The grandson of William Henry Harrison, who

In the fifth book of The Excursion, Wordsworth gives a minute description of this church.

You must either grant his request or incur his ill will.

My objections are, first, the My objections are, first, that the injustice of the measure; second, measure is unjust; second, that it is that it is unconstitutional. unconstitutional.

See also the third example under Rule 12 and the last under Rule 13.

It may be asked, what if a writer needs to express a very large number of similar ideas, say twenty? Must he write twenty consecutive sentences of the same pattern? On closer examination he will probably find that the difficulty is imaginary, that his twenty ideas can be classified in groups, and that he need apply the principle only within each group. Otherwise he had best avoid the difficulty by putting his statements in the form of a table.

16. Keep related words together.

The position of the words in a sentence is the principal means of showing their relationship. The writer must therefore, so far as possible, bring together the words, and groups of words, that are related in thought, and keep apart those which are not so related.

The subject of a sentence and the principal verb should not, as a rule, be separated by a phrase or clause that can be transferred to the beginning.

Wordsworth, in the fifth book of The Excursion, gives a minute description of this church.

In the fifth book of The Excursion, Wordsworth gives a minute description of this church.

Cast iron, when treated in a Bessemer By treatment in a Bessemer converter, is changed into steel. converter, cast iron is changed into steel.

The objection is that the interposed phrase or clause needlessly interrupts the natural order of the main clause. This objection, however, does not

William Henry Harrison’s grandson, Benjamin Harrison, who

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A time not for words, but action A time not for words, but for action

A proposal to amend the much-debated Sherman Act

The Duke of York, his brother, who was regarded with hostility by the Whigs

The objection is that the interposed phrase or clause needlessly interrupts the natural order of the main clause. This objection, however, does not

The ceremony was both long and tedious.

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

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

Cast iron, when treated in a Bessemer By treatment in a Bessemer converter, is changed into steel. converter, cast iron is changed into steel.

Either you must grant his request or incur his ill will.

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

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

The subject of a sentence and the principal verb should not, as a rule, be separated by a phrase or clause that can be transferred to the beginning.

It was both a long ceremony and very tedious.

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

The Superintendent of the Chicago Division, who

The position of the words in a sentence is the principal means of showing their relationship. The writer must therefore, so far as possible, bring together the words, and groups of words, that are related in thought, and keep apart those which are not so related.

The Element of Style: Section II

In his eye was a look that boded mischief.

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

16. Keep related words together.

Wordsworth, in the fifth book of The Excursion, gives a minute description of this church.

There was a look in his eye that boded mischief.

usually hold when the order is interrupted only by a relative clause or by an expression in apposition. Nor does it hold in periodic sentences in which the interruption is a deliberately used means of creating suspense (see examples under Rule 18).

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

There was a look in his eye that boded mischief.

In his eye was a look that boded mischief.

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

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

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

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

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

The Superintendent of the Chicago Division, who

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

The grandson of William Henry Harrison, who

A proposal, which has been variously judged, to amend the Sherman Act A proposal to amend the much-debated Sherman Act William Henry Harrison’s grandson, Benjamin Harrison, who

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

The Duke of York, his brother, who was regarded with hostility by the Whigs

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Week 6 Collaboration + Compromise Readings “A View of Latin Typography in Relationship to the World”

Critiques Element of Style Group Project

Typography Journal: Typography II

Reading

A View of Latin Typography in Relationship to the World Even though Gutenberg was well-known for inventing movable type printing in 1436, earlier discoveries were made before him. Bi Sheng of China most likely created the first movable type system with wood in 1040 A.D. Also, in Korea, Choe Yun-iu switched from wood to metal movable type in 1230 A.D. There have also been accounts of Laurens Janszoon Coster being the first European to invent movable type instead of Johannes Gutenberg. Even so, typography today is very Euro-centric from terminology to classification. Many books about typography talk about Latin-based typography despite its diversity. Terminology such as "Roman" is used to describe many typefaces even if the typeface itself does not have any Italian history. However, new technology such as the Unicode system and OpenType font format have encourage non-Latin exploration. This is reflected in the population of English speakers being less than Hindi, Arabic, and Chinese speakers. By exploring non-Latin typography, we can get a better grasp of type history and Latin type itself.

Week 6

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Typography Journal: Typography II

Critiques

elements of style Group project Drafts

This book is intended for use in English courses in which the practice of composition is combined with the study of literature. It 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. The numbers of the sections may be used as references in correcting manuscript.

Introduction

The book covers only a small portion of the field of English style, but 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 prefers to that offered by any textbook The writer’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 11 of some material from his Suggestions to Authors.

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, Sir Arthur Quiller-Couch, The Art of Writing (Putnams), especially the chapter, Interlude on Jargon; George McLane Wood, Suggestions to Authors (United States Geological Survey); John Leslie Hall, English Usage (Scott, Foresman and Co.); James P. Kelly, Workmanship in Words (Little, Brown and Co.).

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.

SECTION 2

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Typography Journal: Typography II

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G. Relationship to other works.

MAKE THE PARAGRAPH THE UNIT OF COMPOSITION: ONE PARAGRAPH TO EACH TOPIC.

The contents of paragraphs C and D would vary with the poem.

Usually, paragraph C would indicate the actual or imagined circumstances of the poem (the situation), if these call for explanation, and would then state the subject and outline its development. If the poem is a narrative in the third person throughout, paragraph C need contain no more than a concise summary of the action. Paragraph D would indicate the leading ideas and show how they are made prominent, or would indicate what points in the narrative are chiefly emphasized.

If the subject on which you are writing is of slight extent, or if you intend to treat it very briefly, there may be no need of subdividing it into topics. Thus a brief description, a brief summary of a literary work, a brief account of a single incident, a narrative merely outlining an action, the setting forth of a single idea, any one of these is best written in a single paragraph. After the paragraph has been written, it should be examined to see whether subdivision will not improve it.

Ordinarily, however, a subject requires subdivision into topics, each of which should be made the subject of a paragraph. The object of treating each topic in a paragraph by itself is, of course, to aid the reader. The beginning of each paragraph is a signal to him that a new step in the development of the subject has been reached.

The extent of subdivision will vary with the length of the composition. For example, a short notice of a book or poem might consist of a single paragraph. One slightly longer might consist of two paragraphs: A. Account of the work.

B. Critical discussion.

A report on a poem, written for a class in literature, might consist of seven paragraphs: A. Facts of composition and publication.

B. Kind of poem; metrical form.

C. Subject.

D. Treatment of subject.

E. For what chiefly remarkable.

F. Wherein characteristic of the writer.

2

A. Setting.

B. Plot.

C. Characters.

D. Purpose.

A historical event might be discussed under the heads: A. What led up to the event.

B. Account of the event.

C. What the event led up to.

In treating either of these last two subjects, the writer would probably find it necessary to subdivide one or more of the topics here given.

As a rule, single sentences should not be written or printed as paragraphs. An exception may be made of sentences of transition, indicating the relation between the parts of an exposition or argument.

In dialogue, each speech, even if only a single word, is a paragraph by itself; that is, a new paragraph begins with each change of speaker. The application of this rule, when dialogue and narrative are combined, is best learned from examples in well-printed works of fiction.

THE ELEMENT OF STYLE

10 As a rule, begin each paragraph with a topic sentence; end it in conformity with the beginning.

Again, the object is to aid the reader. The practice here recommended enables him to discover the purpose of each paragraph as he begins to read it, and to retain the purpose in mind as he ends it. For this reason, the most generally useful kind of paragraph, particularly in exposition and argument, is that in which A. the topic sentence comes at or near the beginning; B. the succeeding sentences explain or establish or develop the statement made in the topic sentence; and C. the final sentence either emphasizes the thought of the topic sentence or states some important consequence. ending with a digression, or with an unimportant detail, is particularly to be avoided.

If the paragraph forms part of a larger composition, its relation to what precedes, or its function as a part of the whole, may need to be expressed. This can sometimes be done by a mere word or phrase (again; therefore; for the same reason) in the topic sentence. Sometimes, however, it is expedient to precede the topic sentence by one or more sentences of introduction or transition. If more than one such sentence is required, it is generally better to set apart the transitional sentences as a separate paragraph.

According to the writer’s purpose, he may, as indicated above, relate the body of the paragraph to the topic sentence in one or more of several different ways. He may make the meaning of the topic sentence clearer by restating it in other forms, by defining its terms, by denying the converse, by giving illustrations or specific instances; he may establish it by proofs; or he may develop it by showing its implications and consequences. In a long paragraph, he may carry out several of these processes.

4

A novel might be discussed under the heads:

THE ELEMENT OF STYLE

SECTION 2

3

1 Now, to be properly enjoyed, a walking tour should be gone upon alone.

1 Topic sentence.

2 If you go in a company, or even in pairs, it is no longer a walking tour in anything but name; it is something else and more in the nature of a picnic.

2 The meaning made clearer by denial of the contrary.

3 A walking tour should be gone upon alone, because freedom is of the essence; because you should be able to stop and go on, and follow this way or that, as the freak takes you; and because you must have your own pace, and neither trot alongside a champion walker, nor mince in time with a girl.

3 The topic sentence repeated, in abridged form, and supported by three reasons; the meaning of the third (“you must have your own pace”) made clearer by denying the converse.

4 And you must be open to all impressions and let your thoughts take colour from what you see.

4 A fourth reason, stated in two forms.

5 You should be as a pipe for any wind to play upon.

5 The same reason, stated in still another form.

6 “I cannot see the wit,” says Hazlitt, “of walking and talking at the same time.

7 When I am in the country, I wish to vegetate like the country,” which is the gist of all that can be said upon the matter.

6–7 The same reason as stated

by Hazlitt.

8 There should be no cackle of voices at your elbow, to jar on the meditative silence of the morning.

8 Repetition, in paraphrase, of the quotation from Hazlitt.

9 And so long as a man is reasoning he cannot surrender himself to that fine intoxication that comes of much motion in the open air, that begins in a sort of dazzle and sluggishness of the brain, and ends in a peace that passes comprehension.—Stevenson, Walking Tours.

9 Final statement of the fourth reason, in language amplified and heightened to form a strong conclusion.

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Final

2

ELEMENTARY PRINCIPLES OF COMPOSITION

.

This book is intended for use in English courses in which the practice of composition is combined with the study of literature. It 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. The numbers of the sections may be used as references in correcting manuscript.

INTRODUCTION

The book covers only a small portion of the field of English style, but 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 prefers to that offered by any textbook.

The writer’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 11 of some material from his Suggestions to Authors.

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, Sir Arthur Quiller-Couch, The Art of Writing (Putnams), especially the chapter, Interlude on Jargon; George McLane Wood, Suggestions to Authors (United States Geological Survey); John Leslie Hall, English Usage (Scott, Foresman and Co.); James P. Kelly, Workmanship in Words (Little, Brown and Co.).

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.

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9

The contents of paragraphs C and D would vary with the poem.

Usually, paragraph C would indicate the actual or imagined circumstances of the poem (the situation), if these call for explanation, and would then state the subject and outline its development. If the poem is a narrative in the third person throughout, paragraph C need contain no more than a concise summary of the action.

Paragraph D would indicate the leading ideas and show how they are made prominent, or would indicate what points in the narrative are chiefly emphasized.

MAKE THE PARAGRAPH THE UNIT OF COMPOSITION: ONE PARAGRAPH TO EACH TOPIC. If the subject on which you are writing is of slight extent, or if you intend to treat it very briefly, there may be no need of subdividing it into topics. Thus a brief description, a brief summary of a literary work, a brief account of a single incident, a narrative merely outlining an action, the setting forth of a single idea, any one of these is best written in a single paragraph. After the paragraph has been written, it should be examined to see whether subdivision will not improve it.

A novel might be discussed under the heads: A. Setting.

B. Plot.

C. Characters.

Ordinarily, however, a subject requires subdivision into topics, each of which should be made the subject of a paragraph. The object of treating each topic in a paragraph by itself is, of course, to aid the reader. The beginning of each paragraph is a signal to him that a new step in the development of the subject has been reached.

D. Purpose.

A historical event might be discussed under the heads: A. What led up to the event.

B. Account of the event.

The extent of subdivision will vary with the length of the composition.

For example, a short notice of a book or poem might consist of a single paragraph. One slightly longer might consist of two paragraphs:

C. What the event led up to.

In treating either of these last two subjects, the writer would probably find it necessary to subdivide one or more of the topics here given.

A. Account of the work.

B. Critical discussion.

As a rule, single sentences should not be written or printed as paragraphs. An exception may be made of sentences of transition, indicating the relation between the parts of an exposition or argument.

A report on a poem, written for a class in literature, might consist of seven paragraphs: A. Facts of composition and publication.

In dialogue, each speech, even if only a single word, is a paragraph by itself; that is, a new paragraph begins with each change of speaker.

The application of this rule, when dialogue and narrative are combined, is best learned from examples in well-printed works of fiction.

B. Kind of poem; metrical form.

C. Subject.

D. Treatment of subject.

E. For what chiefly remarkable.

F. Wherein characteristic of the writer.

G. Relationship to other works.

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THE ELEMENT OF STYLE

10

AS A RULE, BEGIN EACH PARAGRAPH WITH A TOPIC SENTENCE; END IT IN CONFORMITY WITH THE BEGINNING.

Again, the object is to aid the reader. The practice here recommended enables him to discover the purpose of each paragraph as he begins to read it, and to retain the purpose in mind as he ends it. For this reason, the most generally useful kind of paragraph, particularly in exposition and argument, is that in which A. the topic sentence comes at or near the beginning; B. the succeeding sentences explain or establish or develop the statement made in the topic sentence; and C. the final sentence either emphasizes the thought of the topic sentence or states some important consequence. ending with a digression, or with an unimportant detail, is particularly to be avoided.

If the paragraph forms part of a larger composition, its relation to what precedes, or its function as a part of the whole, may need to be expressed. This can sometimes be done by a mere word or phrase (again; therefore; for the same reason) in the topic sentence. Sometimes, however, it is expedient to precede the topic sentence by one or more sentences of introduction or transition. If more than one such sentence is required, it is generally better to set apart the transitional sentences as a separate paragraph.

According to the writer’s purpose, he may, as indicated above, relate the body of the paragraph to the topic sentence in one or more of several different ways. He may make the meaning of the topic sentence clearer by restating it in other forms, by defining its terms, by

4

THE ELEMENT OF STYLE

SECTION 2

3

denying the converse, by giving illustrations or specific instances; he may establish it by proofs; or he may develop it by showing its implications and consequences. In a long paragraph, he may carry out several of these processes.

1 Now, to be properly enjoyed, a walking tour should be gone upon alone.

1 Topic sentence.

2 If you go in a company, or even in pairs, it is no longer a walking tour in anything but name; it is something else and more in the nature of a picnic.

2 The meaning made clearer by denial of the contrary.

3 A walking tour should be gone upon alone, because freedom is of the essence; because you should be able to stop and go on, and follow this way or that, as the freak takes you; and because you must have your own pace, and neither trot alongside a champion walker, nor mince in time with a girl.

3 The topic sentence repeated, in abridged form, and supported by three reasons; the meaning of the third (“you must have your own pace”) made clearer by denying the converse.

4 And you must be open to all impressions and let your thoughts take colour from what you see.

4 A fourth reason, stated in two forms.

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Week 7 Planning a zine Readings “Lava — Voice of a Magazine” The First Thing I Ever Designed: Elena Schenker “Gratuitous Type” Magazine

Typography Journal: Typography II

Readings

Lava — Voice of a Magazine Lava is a versatile typeface meant for reading on all types of medium. As Peter Bil'ack started working on his magazine, Works That Work, he discovered he needed a typeface to give a voice to his work. In his previous magazine, Dot Dot Dot, he and the co-founder commissioned Radim Pesko to produce a typeface called Mitim. Because of this unique typeface, Dot Dot Dot was able to establish its own voice. With this experience in mind, Bil'ack created a typeface called Lava which would handle all types of platforms in all types of settings. Teaming up with Susana Carvalho and Kai Bernau helped to improve Lava through experimentation. After two editions of Works That Work, Lava has become a versatile typeface in any reading medium.

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Readings

The First Thing I Ever Designed: Elana Schlenker and Gratuitous Type Magazine Elana Schlenker gained much recognition for her own magazine, Gratuitous Type. As a young designer, magazines are an integral part of portfolios because of the range of skills demonstrated in order to create the piece of work. When Schlenker began working on her first issue, she had the images and ideas in her mind, but executing it proved to be harder. After a few issues, she had a better grasp of what she wanted her magazine to portray. Schlenker's first issue taught her to believe in her instincts and to keeps experimenting toward her goals. Her impressive magazine created many opportunities for her career including working as an art director and senior designers.

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Week 8 Using grids to organize content Readings “Beauty and Uglinedd in Type Design�

Exercises Grid Analysis

Typography Journal: Typography II

Readings

Beauty and Ugliness in Type design The article is about how closely related beauty and ugliness are. Peter Bil'ack starts the article with his speculation on what is the true example of an conceptual typeface.

Hence, he looks for the most beautiful typeface in the history of typography and the ugliest one as well. In the Beauty section, he writes how Bodoni is one of those beautiful and elegant typeface that has its high-contrasting features, In the Ugliness section, he talks about the typeface Italian. It was a typeface made in the middle of the Industrial Revolution and this reversed contrast typeface was deliberately made to attract readers’. After researching on the beautiful and ugly typefaces, he concluded that they are related based on the contrast between the thick and thin. Hence, he and his colleague begin to experiment in making a neutral typeface in the process of combining the beautiful and the ugly. This produced in the end a surprising neutral low contrasting version.

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Exercises

grid analysis Chelsea Navarro Ruba Hamade Grid Exercise Analysis The layouts of both spreads are consistent. The grids consist of 4 columns, each separated by a gutter of 0p6. The images are placed with respect to the columns.

There is no mathematical relationship between the different columns. They are separated equally, but the numbers are not related to each other. They are not proportional.

The images are placed according to the grid. The image in the first page is placed inside three columns of the grid. Another image is found in the fourth column and spans to the end of the page, similarly, the first page in the second layout spans to the edge of the page as. Many of the images for both layouts are also placed in between the texts which divides the column making it hard to read consistently.

The elements that break the grid are the pull quotes where they are placed in between a pair of columns while the pull quote in the second page is found inside a column. In the first layout, the pull quote has a distracting and awkward negative space on top of it. In addition, the pull quotes in both pages are too close to the text. In the second layout, the pull quotes are inside a column and it breaks up the form of the text for room for it.

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Typography Journal: Typography II 0p6

0p6

42p1

60p6

20p7.5

29p6 33p8 8p10

19p4.5

8p10

72p1.5

20p7.5

0p6

22p9 22p9 18p6

18p6

24p6

18p11

22p9 29p6

25p5

23p2

21p4.5

8p10 31p4

20p7.5

8p10

20p7.5

0p6

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Week 9 The grid in use Lectures Typography on Screen

Typography Journal: Typography II

Lectures

Typography on Screen Typeface Contrast The amount of contrast between the thick and thin strokes of characters in a typeface impacts legibility.

X-height When choosing a typeface for text, a high x-height is ideal especially for use on interfaces or way finding. ex: Core Rhino.

Beware of X-height Extremes If the x-height is too high, there is less room for other distinctive characteristics. The letter n and h to a and d can become difficult to distinguish as the x-height increases Ex: ITC Garamond, Century Gothic.

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Numbers, Punctuation, Special Markers Strive to use typefaces that support different types of numbers. Correct punctuation and special characters, especially if you text will be set in a variety of languages.

Small + Ligatures Some fonts contain alternate styles or characters like small caps and ligature. Using small caps on the web usually means specifying a separate font file with just small caps.

Optical Sizes Some typefaces family members that suit a specific size range called optical sizes.

Finding Alternatives Classic typefaces are sometimes so overused that they begin to look like generic defaults. Ex Helvetica, Georgia, Museo Sans, Droid Serif.

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Look for Distinction Do not choose 2 typefaces that are too similar.

Look for Harmony Find typefaces with inherent visual relationship in their structure.

Helvetica and Bodoni can be put right on top of each other to see the difference.

Color Value of color affects readability.

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Week 10 Refinement + details Readings Type Zine Project

Typography Journal: Typography II

Critiques

Type Zine Project Typography Notes Make sure to have good leading, not too tight and not too loose Have a consistent headings format Try to stick to the grid more, but can break out of it for emphasis Try using bold font or image to lure readers in

Presentation Notes When presenting make sure to talk loud and clearly Be enthusiastic or positive when presenting

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Drafts Arabic Typography

The Arabic and Latin alphabet are two of the most widely used alphabets around the world. Though they stem from the same origin (the Phoenician alphabet), they differ considerably, visually as well as typographically. All typography originates from handwritten script. The dissimilarity in visual appearance between Latin and Arabic handwritten script has dramatically influenced the course of their typographic development.

The most basic unit of the written text in the Latin script is the letter, whereas in Arabic, the basic unit is the word. As a type designer, it is imperative to go beyond the proportions of each individual letter, taking into consideration the shape variations per letter, and the connections of letters to one another.

I. Arabic Type Anatomy and Typographic Terms The following typographic demonstrations compare the anatomy of Arabic type to that of Latin type. The diagrams show a contemporary Naskh / Sans Serif typeface, called “29LT Kaff” that comes in eight (8) weights designed by Pascal Zoghbi and Ian Party (SwissTypefaces). It was published in the Spring of 2015 at which time it became part of 29Letters commercial fonts library.

Latin type conventionally sits on a baseline, with five main vertical levels of reference: baseline, x-height, ascender, descender, and caps-height. By contrast, Arabic

type is less constrained, with more invisible typographic levels at the type designer’s disposal. A humanistic typeface inspired by the cursive Naskh scripts, such as this one, may make use of up to twelve imaginary typographic levels, whereas a typeface based on a geometric Kufic script may require only four or five levels. This means that it is essential for Arabic type designers to possess expert knowledge of Arabic calligraphic styles and systems in order to be creative and to translate the calligraphic rules into typographic guidelines for their typefaces.

For each of the cursive Arabic calligraphic styles (Naskh, Thuluth, Diwani, etc.), the proportions of the letters are governed by several systems—dot, circle and similarity— which act as guides for Arabic type designers. There is no one set of typographic levels in Arabic type anatomy as there is in Latin type anatomy. Type designers decide on the number of levels needed for the typeface they are designing, and according to the calligraphic style that the typeface is based on.

Instead of one mean-line—in Latin typefaces, the x-height—there may be several: tooth-, loop-, and eyeheights. Instead of a single ascender, there may be two, called the ‘Sky’. In place of a single descender, there may be two or three, called the ‘Earth’. In between the previously mentioned guidelines, there are two further invisible lines that define the baseline’s position and thickness.

Don’t call this ADC Young Guns winner a “letterer”

Jon Contino

The first week of ADC and Monotype‘s Typography Month has been cruising along, giving love to the type addicts and lettering geeks within the ADC community (we know there’s a lot of you!)

Just like last year’s Photography Month and Illustration Month, ADC Typography Month features a daily Typography Spotlight, highlighting ADC Members and Young Guns who love working with words and letters. Some of the names are already famous within the design community, while others will be new for you to discover, but all of them are card-carrying ADC Members from around the world. The next designer to step into the Typography Spotlight definitely falls into the “already famous within the design community”: the ‘New Yawk’ alphastructaesthetitologist and ADC Young Guns 9 winner.

Where did your interest in typography begin? It’s generally not something kids in kindergarten aspire to be. When did you discover that you could actually make a living out of it?

You laugh now, but in kindergarten, that is exactly what I was doing. I had an intense obsession with sports branding and movie posters from before I even started any type of schooling, and would literally sit on the floor and draw monograms and logos all day. Come to think of it, I don’t know if I even knew how to read or write yet, but I loved the shapes and was constantly tracing and trying to copy things that grabbed my attention.

My mother and grandmother got me hooked on calligraphy at a really young age as well, so I just enjoyed drawing letters. I can even remember old sketchbooks that had various stylized “alphabets” for pages and pages.

Just me drawing letters in all different ways,

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As for making a living, I’m not quite sure. When I started working professionally at 14 years old, it still didn’t dawn on me that it could be a career.

It was a part time job doing something I liked for cash. I don’t think it was until college when I realized that all of my projects could gang up and become a yearly salary.

How much of your ability is selftaught versus through schooling?

Everything I know from a technical aspect is self-taught. My mother and grandmother had a big part in supplying the tools, buying me books, and taking me to exhibits at a young age.

Everything after that was just the lack of control over my obsession with design.

How would you best describe your style? How did you foster that style?

Do you tend to lean towards one type of lettering?

I’ve always been kind of sloppy when it comes to drawing anything. I’m not

Typography Journal: Typography II

A Nod from the Art Crowd People are used to seeing graffiti art in public spaces, after all, that’s what makes it graffiti. However, after years of gaining recognition by the art community, graffiti art has been shown in various galleries in New York and London, and artists are often commissioned to do legal murals and other work for art shows.

One of the most famous graffiti artists, Banksy, has had his work shown in galleries such as Sotheby’s in London. Despite his anonymity, the British artist has gained tremendous popularity. Celebrities such as Angelina Jolie and Brad Pitt have purchased his work for a hefty price.

Recognition by the art world and inclusion in galleries and auctions is one way that graffiti art is legitimized as “real” art. In addition, this exposure has helped the graffiti movement to become launched into the rest of the world.

Aesthetics George C. Stowers wrote that based on aesthetic criteria, graffiti has to be considered an art form. He makes a distinction between simple tags and more complicated pieces, stating that tags have little aesthetic appeal and probably should not be considered art.

However, larger pieces require planning and imagination and contain artistic elements like color and composition. Stowers provides the example of wildstyle, or the calligraphic writing style of interlocking letters typical of graffiti, to show the extent of artistic elements that are present in these works.

“Wildstyle changes with each artist’s interpretation of the alphabet, but it also relies on the use of primary colors, fading, foreground and background, and the like to create these letters,” he writes. The artist’s intention is to produce a work of art, and that must be taken into account when considering street art’s legitimacy.

Stowers explains that graffiti cannot be disregarded because of its location and illegality.

The manner in which graffiti art is executed is the only obstacle it faces in being considered an art form.

A Style All Its Own Like all other artistic forms, graffiti has experienced movements or changes in style.

From the first tag scribbled on a subway train to the large, complex mural on a billboard, the movement has experienced change. The tools and the means have changed as well.

Markers were traded in for spray paint, and stencils and stickers were introduced to make pieces easier to execute in a hurry.

The messages have also evolved. Graffiti has always been somewhat political, but it has come a long way from simply tagging one’s name to parodying world leaders to make a statement.

This is further proof that graffiti is a form of art and not just a result of random acts of vandalism. The graffiti community moves in different directions and the resultant artwork moves with it.

By Noel Sanchez

Fili, who grew up in an Italian-American household in New Jersey, remembers carving letterforms into the wall above her bed at age three or four: Even then, she simply loved making letters. In high school, she taught herself calligraphy with a Speedball guide and an Osmiroid pen. She enrolled at Skidmore College to study studio art, but discovered graphic design instead.

Presciently, her senior project was a hand-lettered Italian cookbook.

In the 1970s, Fili left Skidmore for New York City and completed her final semester at the School of Visual Arts (now SVA). It was during a freelance assignment with Knopf that she first discovered her love of designing books. At 25, she was hired as a senior designer by Herb Lubalin, if only because, as Fili modestly remembers it, ‘someone had been given notice on the day I happened to walk in the door.’ Being in an atmosphere where type was paramount had a transformative effect on the development of her voice and style.

Fili joined Random House as art director for Pantheon in 1978. When

“Louise Fili designs with unmatched grace and elegant craftsmanship, unifying old and new to create contemporary forms in typography.”

her quiet cover design for Marguerite Duras’ The Lover helped make the book a runaway best seller in 1984, she was granted carte blanche. She designed nearly 2,000 book jackets, proving again and again that design doesn’t have to shout to be noticed.

Paula Scher recalls, ‘I wondered who this terrific art director was who was designing all the book jackets with exquisite typography at Pantheon and winning so many awards. I was so impressed, and I competed with her.

Then I really met her in 1982… She became my friend and has been so ever since.’

Steven Heller, design historian, writer and Fili’s now-husband and collaborator, says, ‘I noticed Louise’s work long before we met. In fact, it was the work that prompted me to write her, and later meet her. What I saw in the work was a distinctive flair. It had bits of the past, but entirely reinterpreted.… More important, in a sea of book jackets and covers…her designs stood out for their precision, humanity and

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Final

Typography in Surfing

From the start of surf culture in the 50’s with the film Gidget, to The Endless Summer, to more recent films and images, typography in surf culture has taken on many characteristics. It has followed trends such as mid century simplicity in the 50’s and 60’s, and mass production in the 2000’s. In surf culture, typography has seen trends which make it unique to each century, from 1950 to present.

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1950’s Surf culture was born with its first mainstream exposure in the movie Gidget. Surfing then becomes an exciting and fun form for the youth rebellion to invest themselves. The typography during this decade reflects the excitement and “newness” of the sport.

1960’s Surf typography is still wild and free, much like the culture. Loose Hand lettering takes hold on the scene and features scattered formations and uneven or random baselines.

Typography Culture

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LOUISE FILI 74

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Danzico, Elizabeth, AIGA, March 1, 2014.

Louise Fili Fili, who grew up in an Italian-American household in New Jersey, remembers carving letterforms into the wall above her bed at age three or four: Even then, she simply loved making letters. In high school, she taught herself calligraphy with a Speedball guide and an Osmiroid pen. She enrolled at Skidmore College to study studio art, but discovered graphic design instead. Presciently, her senior project was a hand-lettered Italian cookbook.

In the 1970s, Fili left Skidmore for New York City and completed her final semester at the School of Visual Arts (now SVA). It was during a freelance assignment with Knopf that she first discovered her love of designing books.

At 25, she was hired as a senior designer by Herb Lubalin, if only because, as Fili modestly remembers it, ‘someone had been given notice on the day I happened to walk in the door.’ Being in an atmosphere where type was paramount had a transformative effect on the development of her voice and style.

Fili joined Random House as art director

Designer Bios

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How much of your ability is self-taught versus through schooling?

Everything I know from a technical aspect is self-taught. My mother and grandmother had a big part in supplying the tools, buying me books, and taking me to exhibits at a young age. Everything after that was just the lack of control over my obsession with design.

How would you best describe your style?

How did you foster that style? Do you tend to lean towards one type of lettering?

I’ve always been kind of sloppy when it comes to drawing anything. I’m not a tight, technical artist by any means. I’ve always embraced the idea of raw concept through art, but the designer in me is dedicated to organizing and compartmentalizing all of that stuff. One of my professors in college called my style “organized chaos” and I always thought that fit me well. When you actually look at my work it might not come across that way, but in my head that’s how I see it. Clean, minimal, Swiss-style design has always been a favorite of mine, so I just kind

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of put my spin on that. I do however love a good turn-of-the-century print ad though. I can’t deny that from seeping into my work.

“I hate the term ‘letterer.’ It might as well be ‘letterererererer.’ I always thought it sounded lazy and awkward. I refuse to refer to myself with that term.”

Walk us through your usual type design process.

Everything starts on paper first. I draw rough concepts in a sketchbook, I start fine-tuning on paper, and I finalize on paper. Once I’m happy with the work, I bring it into the computer to clean it up and digitize it. Sometimes it’s vector and sometimes it’s not, but typically this is more of the icing on the cake than anything else.

What is your favorite ‘practical’ font, one for everyday use?

The funny this is that I’ve been lettering everything for so long, that I kind of stopped using fonts for everyday use. When I designed the Standard Memorandum, I had

Typography Journal: Typography II

to choose a font that I thought I could use every day and never get sick of, and that font is Columbia Titling by Typetanic Fonts. It’s the perfect amount of slab, history, and style all rolled into one insanely flexible typeface.

Do you have a favorite letter of the alphabet when it comes to experimenting with design?

That’s a great question. My initial thought is probably an uppercase R. There’s just so much you can do with it. It can get out of hand pretty quickly actually.

Who wins in a fight: serif or sans serif?

Serif. Always. So much style, so much class.

The obvious difference between an illustrator and a letter or typographer is that the latter works mainly with words and letters. Name a not-so-obvious difference between the artforms, one that certainly applies to you.

I honestly can’t tell the difference between my illustration and lettering work. I think I’m the guy that walks the line right down the middle. When I draw an object or I draw a letter, I’m approaching it in exactly the same fashion. To me, there is no difference

between lettering and illustration because the processes and goals are exactly the same.

Tell a story using pictures, and to me, an illustrated word is just as much a picture as anything else. There’s certainly another side to that argument, but from my point of view, it’s all one in the same. The second I try to separate it is the second I become someone else. I mean honestly, alphabets started as pictures of things anyway, right? How is that any different?

What other artistic passions do you have?

Where else do you find inspiration?

Anything that has to do with design in general. I’ve been designing men’s clothes for years now. I’ve also started getting into interior design with my wife and photography for her brand, Past Lives. Anything you can put a creative spin on is something I enjoy. At this point in my life, I learned that you don’t have to apply different styles to different mediums just because you’re not proficient. I’ve become really comfortable with the type of artist I am and the style I gravitate towards, so anything creative I put my hands on will generally have the same approach as something I letter or illustrate.

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Chelsea Navarro Minion Pro Lato

Winter 2016