338.01 Type Journal by Daniel Blenkinship by Daniel Blenkinship

Art 338

Journal DANIEL BLENKINSHIP

Intro

January 2

This journal is a reference manual for understanding the usage of typography with all its minutia, layouts, and history. Also enclosed in these coming pages are some tips and tricks of Adobe InDesign CC along with critique notes from the projects done in this course.

January

January 7, 2016 Lecture Typographic Refinement: The Detailsâ&#x20AC;Ś 5

In-class Assignment Legibility and Readability Studyâ&#x20AC;Ś 8

January 4

TYPOGRAPHIC REFINEMENT: THE DETAILS ·A measuring system for typography was developed in metal type by Johann Gutenberg around 1450. ·There are 12 points in 1 pica. 6 picas in 1 inch. Measurements are written as for example 1p6 (means 1 pica + 6 points) ·Traditional metal type had a range of text and display sizes in increments from 5 point to 72 point.

·How do you pick a point size?

-Factors to consider:

-Typeface proportions and weight

-Length of text

-Format for viewing (printed on paper or viewed on screen or both)

-Audience/reader of the text

-Content of the text

Screen vs Print ·In general, body text pint size should be larger when the text will be read on screen. Body text sizes in print will range from 9pt to 12pt. Comparatively, body text on screen should be 14pt or larger. OBVIOUSLY phones are a different typographic challenge entirely. ·A workhorse typeface has:

-A good regular weight

-Robust proportions

-Least one bold weight, with noticeable contrast to compliment the text weight.

-An italic version. January

-Very legible numerals

-Economy: it should be narrow enough to fit large amounts of copy into the available space.

·EXAMPLE: Centinal? ·Kern type at display sizes (metrics means that the default kerning is set to what the designer who created the typeface used)

-Be sure to check letters in which angled letters (AWV) are next to curved letters (oeac)

-Kern at final production stage.

·Leading Should e 120-145% of the point size. There is no science to this, and is a bit subjective. Some people like it looser and others tight text. When squinting should be an even gray with now lines or black

·Line Length

-If text is too wide, reader will have hard time focusing on text — difficult to gauge where the line starts and ends

- Not too narrow either.

·Optimal line length

-45-90 characters

-2-3 lowercase alphabets

On average about 8-13 words per line

·Letters pacing matters

January 6

-If letters are too close together, the text is hard to read.

-Type set in small caps or all caps can handle more letter spacing than type set in upper and lowercase.

-Typically, in body text, no tracking is required no more than maybe -10 tracking

·Avoid Fake Small Caps

-Do not style text as “Small Caps” in programs, not real small caps and has bad proportions and computer generated.

Only use small caps if the typeface has an actual small caps style in typeface family!

·Know Your Dashes

- Hyphen: used if a word is too long for the column length.

–En Dash: used to indicate duration.

— Em Dash: used to express a break in the flow of a sentence.

·Customize hyphenation

-Default hyphenation does it after two characters.

-Can customize by opening paragraph window options, hyphenation,

-Words with at least 6 characters, after first: 3 letters before last 3 letters, Hyphen limit: 2

·Use Smart quotations Marks

-Smart quotes: “ ‘ ’ ”

-Dumb quotes:” “ ‘ ‘

-Prime marks: slanted dumb quotes “ ‘ ‘ “

·Avoid Orphans and Widows

-Orphans are short segments of paragraphs stranded at the top or bottom of a column.

-A widow is the last line of a paragraph is too short.

January

IN-CLASS ASSIGNMENT: LEGIBILITY AND READABILITY STUDY In doing this assignment, I learned how the leading, tracking and kerning of type really can be changed by the changing of the point size of text and the leading with the point size. I think in Adobe Garamond Pro the most legible combination for the typeface is that of 9/13. In the Sans serif typeface, Avenir, my favored typeface size combinations were the 9/12 and 8/13. There was enough letting to make the words easily read and also be visually appealing and easy on the eyes. In-class Assignment: Legibility and

Readability Study

January 8

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. ADOBE GARAMOND PRO , 9/13

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. AVENIR, 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. ADOBE GARAMOND PRO , 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. ADOBE GARAMOND PRO , 9/14

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

AVENIR, 9/14

heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication —“one cannot not

Without typography, one could argue, messages will

communicate”— puts it very succinctly. If you fail to consider the

still be legible, but if one really wants to communicate

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

rather than simply display a heap of alphanumeric data,

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

some consideration would be helpful. Paul Watzlawick’s

ADOBE GARAMOND PRO , 9/15

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. AVENIR, 9/15

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. ADOBE GARAMOND PRO , 8/13

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. AVENIR, 8/13

Daniel Blenkinship

January

January 12, 2016 Discussion Crystal Goblet… 11 Practical Typography… 11

Project 1 Process First layout attempt of project 1… 12

January 10

DISCUSSION Today we talked about various articles and the use typography being an invisible vessel in comparison to type being an expressive form and art in itself. This relates to the article the “Crystal Goblet.” We also discussed the good and bad of typography in the use of resumes and how to use hierarchy to effectively show information. We then discussed from Butterick’s Practical Typography the butterfly ballot and its layout and type. In this talk we determined how spacing and the placement of the type and its orientation can either be the difference between legibility and usability and not. The butterfly ballot was not effective and led to much confusion in the voting demographic because the layout of the typography was poorly done.

January

PROJECT 1 PROCESS This is the first attempt I made of Project 1. I thought using reversed out text would create visual interest and accent the pop color of blue.

January 12

Define typography “ Typography is what language looks like.” — Ellen Lupton Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students. 2nd ed. 2004, page 1.

“In a badly designed book, the letters mill and stand like starving horses in a field. In a book designed by rote, they sit like stale bread and mutton on the page. In a well-made book, where designer, compositor and printer have all done their jobs, no matter how many thousands of lines and pages, the letters are alive. They dance in their seats. Sometimes they rise and dance in the margins and aisles.” — Robert Bringhurst The Elements of Typographic Style. 2012, page 109.

“Moving typefaces to electronic representation brought with it the jaggies and later the vectorisation of the outlines. Given my sense of form, it was quite a painful experience. Now, though, with font creation programmes and their resolution-independent Bézier curves, and with lasersetting, it looks to me like our journey through the desert is finally over.” — Adrian Frutiger Swiss Foundation Type and Typography, and Heidrun Osterer and Philipp Stamm, eds. Adrian Frutiger - Typefaces : The Complete Works. Birkhaeuser. 2012, page 7.

“It can be helpful to begin new typographic projects by considering three primary factors: font, case (uppercase, lowercase, upperand lowercase, mixed) and weight.” — Jim Krause Idea Index. 2011, page 174.

“All typographic design revolves around reworking the parts of a system — the alphabet. In the same way that a musician can arrange seven basic pitches in limitless ways, a designer can use twenty - six elements for unlimited design options.” — Timothy Samara Typography Workbook: A Real-World Guide to Using Type in Graphic Design. 2004, page 12

January

January 14, 2016 Project 1 Critique Notes… 15

Project 1 Revision Final layout of project 1… 16

January 14

PROJECT 1: TYPOGRAPHY QUOTES From the critique today in class, a common area of improvement was in the hierarchy of information. For starters, author names should carry more weight than a quote and the source information. Whether this hierarchy be achieved through type size, color, or typeface selection, a distinction should be made. Another major issues was the reversing out of text. I did this with my project and learned quickly that it makes some text hard to read by creating a glowing effect at distances. The reversing out, especially when a page carries information to be red is not necessary and makes it difficult as a reader to gather the information at any distance. Also, using color on a reversed out page layout is tricky as colors carry different weight and appear different when placed on a black background. Another hierarchy issue was the placing of source info before a quote. The info should come after the quote, but not be entirely separated from it. Separating of information is also not a good idea for legibility and eye movement purposes. On my project I needed to improve the type size on the page if keeping the reversed out effect. Also it was brought up to change the reversed out to a non reversed out layout to see if the information could be portrayed more easily. Then due to similar sizing, the title and author names needed to be changed in size so that they did not carry the same weight and had a distinction between them. Next was a unification of the title to the text in the use of upper and lower case letters. As for type setting characteristics, the body text needed to be tightened and the title bigger. Also, some of the kerning needed to be adjusted. Once the layout was changed the whole page became more legible, through the use of background being white, title changes, accent color changes, and sizing on the page.

January

PROJECT 1 REVISION

This is the latest revision of project 1 based on the feed back I received during the critique.

January 16

PEOPLE TALK

T Y PE ELLEN LUPTON

“Typography is what language looks like.”

Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students. 2nd ed. 2004, page 1.

ROBERT BRINGHURST

The Elements of Typographic Style. 2012, page 109.

ADRIAN FRUTIGER

“Moving typefaces to electronic representation brought with it the jaggies and later the vectorisation of the outlines. Given my sense of form, it was quite a painful experience. Now, though, with font creation programmes and their resolution-independent Bézier curves, and with lasersetting, it looks to me like our journey through the desert is finally over.” Swiss Foundation Type and Typography, and Heidrun Osterer and Philipp Stamm, eds. Adrian Frutiger —Typefaces: The Complete Works. 2012, page 7.

JIM KRAUSE

“It can be helpful to begin new typographic projects by considering three primary factors: font, case (uppercase, lowercase, upper and lowercase, mixed) and weight.” Idea Index. 2011, page 174.

TIMOTHY SAMARA

Typography Workbook: A Real-World Guide to Using Type in Graphic Design. 2004, page 12

January

January 19, 2016 Discussion Practical Typography… 19

Project 2 Process First layout attempt of project 2… 19

January 18

DISCUSSION In Butterick’s Practical Typography I learned shortcuts that were handy in InDesign. The most useful one I found was the tab creating shortcut. The shortcut is command + shift + t. Once this is opened you can customize the tabs and also do different tab alignments (such as the decimal align which would be good for doing invoices). Then we put our work out on our desks and reviewed our layouts for project 2. Things to consider when laying out text are to not break up information that seems to be together. Also avoiding wacky, decorative typefaces as headers, and just in general, and to not be to conservative with designs, its okay to have a little fun with it.

PROJECT 2 PROCESS Moyers Why are there so many stories of the hero in mythology? Campbell Because that's what's worth writing about. Even in popu-

lar 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.

Labyrinth Labyrinth Within “All “Allhe hehad hadwas wasthe thestring. string.That's That's all all you you need.” need.”

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 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

Moyers I like what you say about the old myth of

Theseus and Ariadne. Theseus says to Ariadne, "I'll love you forever if you can show me a way to come out of the labyrinth." So she gives him a ball of string, which he unwinds as he goes into the labyrinth, and then follows to find the way out. You say, "All he had was the string. That's all you need."

Campbell That's all you need—an Ariadne thread. Moyers 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.

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 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.

because you are enjoying it, that's it. But if you think, "Oh, no! I couldn't do that!" that's the dragon locking you in. "No, no, I couldn't be a writer," or "No, no, I couldn't possibly do what So-and-so is doing."

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

Joseph Campbell on The Power of Myth An Interiew segment with Bill Moyers

Campbell If you have someone who can help you, that's fine, too. But,

ultimately, the last deed has to be done by oneself. Psychologically, the dragon is one's 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.

January

January 21, 2016 Lecture Choosing Typefaces, Installing and Managing Fonts… 21

Discussion Practical Typography… 22

Project 2 Process More digital process… 23

January 20

CHOOSING TYPEFACES, INSTALLING AND MANAGING FONTS Today we learned about acquiring and selecting fonts for use. It is important to read the license to see how the fonts can be used. Some places to buy fonts are : Google fonts(print and web). Lost Type Co-OP. League of Movable Type(Free , good for web but read license). Font Squirrel( Free for commercial use, can be crappy but are some). Fontspring (Commercial license fonts, not free). House Industries (collection of Fonts that are Revivals of some pf the best old fonts, not free). My Fonts (huge range of fonts, prices range). Fonts.com (extensive collection of fonts and nice blog, not free). Font files live in different places on your computer. (user:`/Library/ Fonts/— each user has complete control over the fonts installed in their Home.) Local: /Library Fonts— Any local user of the computer can use fonts installed in this folder. Network:/network. Should get a Font Library to manage my fonts. “In general, you want to have the minimum number of fonts installed.” Organize your fonts by either job or by similar types of fonts. Some recommended font management systems are Font Explorer X Pro or Suitcase Fusion

For project 3 some reminders: ·Stay away from light typefaces ·A large family typeface can have versions that look so different that they function as two separate typefaces. ·A list of all style names and show a visual example with description, font size, leading, spacing, etc. Character and Paragraph styles ·You save time by automating you text and style formats ·Use Paragraph styles for: January

-Leading -Tabs -Indents

-Space before and after

-Hyphenation and justification settings

-Rules above and below

-Most styles in your document will be done in the paragraph styles.

-ACTUALLY NAME STYLES IN EACH DOCUMENT

·When making bullets and such, be sure to add a left indent, then add the negative equivalent of what you made the left indent ·When designing page layouts for books, it is okay to have a smaller text size as the user will be more personal with it. For body text studies use a grid and the actual text. Also determine all the styles you need and make a list of all the style names. Also be aware of the margins on the page as the top sometimes can have more breathing room. In books the first page is always on the right and so are ALL ODD pages, EVEN on the left.

DISCUSSION From Butterick’s Practical Typography I learned some tricks in kerning and also some guidelines to letter spacing and mixing fonts. As for kerning, I realized that optical is taboo and to always use metrics which is how the typeface creator intended t he spacings to be.

January 22

PROJECT 2 PROCESS Moyers Why are there so many stories of the hero in mythology? Campbell Because that's what's worth writing about. Even in popu-

Moyers I like what you say about the old myth of

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,

Campbell That's all you need—an Ariadne thread. Moyers Sometimes we look for great wealth to save

Moyers Does your study of mythology lead you to conclude that a single

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.

Labyrinth Labyrinth Within “All “Allhe hehad hadwas wasthe thestring. string.That's That's all all you you need.” need.”

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

Campbell But it's got to be your way, not his. The

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 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 The place to find is within yourself. I

Campbell My general formula for my students is "Follow your bliss."

Find where it is, and don't be afraid to follow it.

Moyers Is it my work or my life? Campbell If the work that you're doing is the work that you chose to do because you are enjoying it, that's it. But if you think, "Oh, no! I couldn't do that!" that's the dragon locking you in. "No, no, I couldn't be a writer," or "No, no, I couldn't possibly do what So-and-so is doing."

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

Joseph Campbell on The Power of Myth An Interiew segment with Bill Moyers

Campbell If you have someone who can help you, that's fine, too. But,

Moyers Is it my work or my life? Campbell If the work that you're doing is the work

Moyers

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

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 Because that's what's worth writ-

ing 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 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.

Moyers So in all of these cultures, whatever

the local costume the hero might be wearing, what is the deed?

Labyrinth Within 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.

“All he had was the string. That's all you need.”

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"?

Joseph Campbell on The Power of Myth

Campbell My general formula for my students is

"Follow your bliss." Find where it is, and don't be afraid to follow it.

Moyers I like what you say about the old myth of

Campbell That's all you need—an Ariadne thread. 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.

Campbell But it's got to be your way, not his. The

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

An Interiew segment with Bill Moyers

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

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.

Labyrinth Labyrinth Within Within “All he had was the string. That's all you need.”

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

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

Moyers I like what you say about the old myth of

Campbell That's all you need—an Ariadne thread. 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.

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 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.

If the work that you're doing is the work that you chose to do because you are enjoying it, that's it. But if you think, "Oh, no! I couldn't do that!" that's the dragon locking you in. "No, no, I couldn't be a writer," or "No, no, I couldn't possibly do what So-and-so is doing."

Moyers When I take that journey and go down there and slay those drag-

Joseph Campbell on The Power of Myth An Interiew segment with Bill Moyers

ons, 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.

January

January 26, 2016 Project 2 Critique Notes, display, and editsâ&#x20AC;Ś 25

January 24

PROJECT 2: A DIALOGUE It was decided I should remove the quote from the bottom of the page because the page layout was strong enough already without it and it was unnecessary. The bottom quote becomes confusing in the reading order an acts as a false ending. Another issue was that I had too many different text styles, mainly due to there being the quote and the word “mythology” being white. Finally, the last issue was the spacing on the page with the text and quote at the bottom.

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?”

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

Labyrinth Within 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.

Joseph Campbell on The Power of Myth An Interiew segment with Bill Moyers

MOYERS Does your study of mythology lead you to con-

CAMPBELL My general formula for my students is “Fol-

low your bliss.” Find where it is, and don’t be afraid to follow it.

MOYERS Is it my work or my life? CAMPBELL If the work that you’re doing is the work that

you chose to do because you are enjoying it, that’s it. But if you think, “Oh, no! I couldn’t do that!” that’s the dragon locking you in. “No, no, I couldn’t be a writer,” or “No, no, I couldn’t possibly do what So-and-so is doing.”

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

CAMPBELL If you have someone who can help you,

that’s fine, too. But, ultimately, the last deed has to be done by oneself. Psychologically, the dragon is one’s own binding 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.

MOYERS I like what you say about the old myth of The-

seus and Ariadne. Theseus says to Ariadne, “I’ll love you forever if you can show me a way to come out of the labyrinth.” So she gives him a ball of string, which he unwinds as he goes into the labyrinth, and then follows to find the way out. You say, “All he had was the string. That’s all you need.”

CAMPBELL That’s all you need—an Ariadne thread. MOYERS 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.

clude 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?

MOYERS Like all heroes, the Buddha doesn’t show you

CAMPBELL There’s a certain type of myth which one

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.”

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.

the truth itself, he shows you the way to truth.

CAMPBELL But it’s got to be your way, not his. The

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.

I much prefer the edits, as seen above, I made to the work and am proud of it.

January

January 28, 2016 Workday Practice with paragraph and character styles… 27

Discussion Family Planning, or how type families work… 27

January 26

WORK DAY Today we submitted revised versions of project 2: A dialogue based on our critique feedback. I am very happy with how this version turned out and I think it will be a worthy portfolio piece. We also learned about the various settings and style applications we can use in InDesign to make our work more efficient and unified. ·Paragraph styles affect paragraph level attributes: Leading, tabs, indents, space before and after, hyphenation and justification settings, rules above and below, color. Most styles in the document will be done in paragraph styles. ·Character styles are used for styling text within a paragraph, for things like: Bold text, italic text, run-in subheads, custom bullets or numbers. ·Table styles can be used for styling multiple tables with a document. The style defines: The outside border of the table, the dividing lines in the table, the space above and below the table, and fills of fields in the table.

DISCUSSION In the article “Family Planning, or how type families work” by Peter Bil’ak, we learned about the early creation of type families. Type families have been around since the earliest use of movable metal type. For example Claude Garamond’s type from the 1530s known as characters de l’Universite had 15 versions ranging in size from 6 points to 36. A key factor in type family creation is the weight of the typeface. Not only point size but the thinness and thickness of strokes of the typeface constitute the family too.

January

February 2, 2016 Lecture Grids… 29

Discussion Typographica Mea Culpa, Unethical Downloading… 30

Project 3 Process Project 3 process… 30

February

GRIDS ·Baseline grids help keep unified and a-lined. You always have an even space relationship. To create a true and useful grid you need to do math to figure out how many lines are needed based on how many lines will be on the pages. The spacing of the grid is derived from the letting. The golden rule is essential to setting typography. It is what creates interest and balance in a layouts and occurs in nature as well. The formula for the golden section is a : b = b : (a+b). This means that the smaller of two elements (such as the shorter side of a rectangle) relates to the larger element in the same way that the larger element relates to the two parts combined. ·While single-column grids work well for simple documents, multicolumn grids provide flexible formats for publications that have a complex hierarchy or that integrate text and illustrations. The more columns you create, the more flexible your grid becomes. You can use the grid to articulate the hierarchy of the publication by creating zones for different kinds of content. ·A modular grid has consistent horizontal divisions from top to bottom in addition to vertical divisions from left to right. ·Modular grids are created by positioning horizontal guidelines in relation to a baseline grid that governs the whole document. Baseline grids serve to anchor all (or nearly all) layout elements to a common rhythm. Create a baseline grid by choosing the type size and leading of your text, such as 10-pt Scala Pro with 12 pts leading (10/12). Avoid auto leading so that you can work with whole numbers that multiply and divide cleanly. Use this line space increment to set the baseline grid in your document preferences. ·The “grid is the invisible force that gives the visible its structure and holds everything in its proper place.”

February

DISCUSSION In the article “Typographica Mea Culpa, Unethical Downloading” by Steven Heller, he talks about the respect for copyrights and type designers. Essentially, typefaces, due to the computer have been spread widespread illegally both intentionally and unintentionally. When a design or document is sent using a particular typeface, the typeface is transferred but the license isn’t. This makes it illegal trading of the typeface, and illegal use when the person receiving it uses it consciously or unconsciously.

PROJECT 3 PROCESS We also were to have comps of our Elements of Style booklets for project 3.

February

THE ELEMENTS OF

STYLE

3&4 SECTIONS

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.

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.).

A Few Matters of Form Headings Leave a blank line, or its equivalent in space, after the title or heading of a manuscript. On succeeding pages, if using ruled paper, begin on the first line. Numerals. Do not spell out dates or other serial numbers. Write them in figures or in Roman notation, as may be appropriate.

August 9, 1918

Chapter XII

Rule 3

352d Infantry

Parentheses A sentence containing an expression in parenthesis is punctuated, outside of the marks of parenthesis, exactly as if the expression in parenthesis were absent. The expression within is punctuated as if it stood by itself, except that the final stop is omitted unless it is a question mark or an exclamation point.

I went to his house yesterday (my third attempt to see him), but he had left town. He declares (and why should we doubt his good faith?) that he is now certain of success.

(When a wholly detached expression or sentence is parenthesized, the final stop comes before the last mark of parenthesis.)

February

February 4, 2016 Workday Project 3… 33

Discussion My Type Design Philosophy… 33

February

WORK DAY Today we turned in our personal versions of our booklets for project three: the elements of style. My book was okay, there were things I still wanted to play with and could revise upon seeing it printed. After the critique, I went back to my booklet and found what was wrong based on the group findings and my own findings and began fixing it. I made a book in the end that I was much happier with and submitted my updated version. We in class then began collaborating on what we would do for our group booklet series. We settled on using my table styles and agreeing on the font styles and paragraph styles. For body text we chose 10 pt Chaparral Pro with 13pt leading. We also decided on a 9pt after rule between text paragraphs and our headings would be done with Helvetica Neue. We also decided on trying to incorporate the title into the graphic of the cover. In playing into the word style and the content of the books, an old-style quill in an ink bottle was chosen to show the stylish side of writing and expression of text.

DISCUSSION In the article â&#x20AC;&#x153;My Type Design Philosophyâ&#x20AC;? by Martin Majoor it essentially describes when mixing a sans serif typeface with a serif typeface, the two should have a similar structure, skeleton. It is easiest to start with the serifed typeface first then pair the sans to it.

February

February 9, 2016 Project 3 Process Project 3 processâ&#x20AC;Ś 35

February

PROJECT 3 PROCESS Today was an work day on our group projects. We made good headway on our projects today and I also came up with the graphic for the cover of the books. (Show example page and graphic)

THE ELEMENTS OF STYLE

A FEW MATTERS OF FORM

HEADINGS Leave a blank line, or its equivalent in space, after the title or heading of a manuscript. On succeeding pages, if using ruled paper, begin on the first line.

NUMERALS

THE ELEMENTS OF STYLE

Do not spell out dates or other serial numbers. Write them in figures or in Roman notation, as may be appropriate. August 9, 1918

Chapter XII

Rule 3

352d Infantry

PARENTHESES A sentence containing an expression in parenthesis is punctuated, outside of the marks of parenthesis, exactly as if the expression in parenthesis were absent. The expression within is punctuated as if it stood by itself, except that the final stop is omitted unless it is a question mark or an exclamation point. I went to his house yesterday (my third attempt to see him), but he had left town. He declares (and why should we doubt his good faith?) that he is now certain of success. (When a wholly detached expression or sentence is parenthesized, the final stop comes before the last mark of parenthesis.)

THE ELEMENTS OF STYLE

3&4

QUOTATIONS Formal quotations, cited as documentary evidence, are introduced by a colon and enclosed in quotation marks. The provision of the Constitution is: “No tax or duty shall be laid on articles exported from any state.”

SECTION 3

February

February 11, 2016 Project 3 Critique Notesâ&#x20AC;Ś 37

February

PROJECT 3: ELEMENTS OF STYLE BOOK Today was the Final Critique of the books. I am proud of the work we produced on the team and the work I did personally to help this piece be successful. The graphic covers were liked and praised for their gold, hand-done accents. The layout and the concept behind the layout was also praised and worked well in regards to the audience we were designing for, high school students. HEADINGS Leave a blank line, or its equivalent in space, after the title or heading of a manuscript. On succeeding pages, if using ruled paper, begin on the first line.

NUMERALS Do not spell out dates or other serial numbers. Write them in figures or in Roman notation, as may be appropriate.

THE ELEMENTS OF STYLE

August 9, 1918

Chapter XII

Rule 3

352d Infantry

SECTION 3

February

February 18, 2016 Discussion Lava — Voice of a Magazine… 39

Art Talk Tad Carpenter…39

February

DISCUSSION Today in class we worked on our magazine project and discussed the article “Lava — Voice of a Magazine” by Peter Bil’ak. The article discussed the creation of a typeface that could be used across multiple platforms, such as Online, eBook, PDF and print. The Typeface is to be used for The magazine Works that Work. The typeface was created to be “confident enough not to need to show off, with the comfortable, relaxed manner of an engaged storyteller, ready to handle long stories, but also small captions or titles.” Lava is designed to be able to work both in high and low -resolution formats. It is similar to that of Times and Georgia, however it includes more refined details, proportions, and meticulous spacing that UI fonts usually lack. This typeface is also able to work across multiple languages, proving that it is a workhorse.

ART TALK Feb 19 On Friday there was an Designer Talk with Tad Carpenter which was very inspirational. He gave a presentation on his work and how it is in working in the Design field.

February

February 23, 2016 Discussion Eric Gill got it wrong; a re-evaluation of Gill Sans… 41

In-class Assignment Grid Analysis…42

February

DISCUSSION “Eric Gill got it wrong; a re-evaluation of Gill Sans” is an article that critiques the typeface Gill Sans and compares it to its predecessor Johnston. Gill Sans is essentially the typeface of Great Britain ranging from use in the railways, the church, BBC, and Penguin Books. A large flaw with Gill Sans is that the letters and numbers “I, l, and 1” are all the same form. This makes legibility at times a problem. There is also an issue with the lowercase g when it is in the ultra bold weight. The g, resembling a pair of spectacles instead turns into a continental g because the “fatness of the letter does not allow four strokes and two counters to fit within the allotted vertical space.” Due to inconsistencies of the weights of Gill Sans, along with the changes in proportions between capital height, stroke width, and character width, the typeface cannot be based on Roman character shapes and proportions, and it does not reject traditional forms and proportions. It was tested that many college students choose Gill Sans as a headline and text face for a publication. In the end, I as a student should use this typeface sparingly and with caution. It takes a lot of fixing to make this typeface work.

February

IN-CLASS ASSIGNMENT: GRID ANALYSIS

Daniel Blenkinship, Anna Soetaert, Ellen Fabini

February

Grid Analysis For both the spread and the page, title are indented left outwards the same amount. 4 picas for the top margin before the title. 8 picas of space for the left margin on the right side pages. Images extend to the end of the page, ignoring the margins. 10/12 size body text The general text area on the spread and the right page that weâ&#x20AC;&#x2122;ve analyzed are the same widths, however, the spread on the left splits it into two columns, and the page on the right splits it into three columns. The gutter space is the same for both. The page on the right also uses a column width that is the same as the columns on the left spread, but aligned with the titles.

February

February 25, 2016 Workday Project 4… 45

Discussion Beauty and Ugliness in Type design…45

Project 4 Process Project 4 example spreads…46

February

WORK DAY Today we spent the class planning the magazine.

DISCUSSION We also discussed the article “Beauty and Ugliness in Type design” by Peter Bil’ak. In the article Bil’ak discusses the idea of what a conceptual typeface might be. The beauty of a typeface is subjective, however it can be agreed upon that typefaces with hight-contrast in the stroke weights, such as Bodoni and Didot, are some of the most beautiful. As for ugly typefaces, the eccentric faces and ones that switched the traditional roles of thick and thin strokes are typically the ugliest. Essentially the difference between ugly and beautiful is the use of thick and thin strokes. When combining the ugly and beautiful typefaces together we shockingly get a neutral typeface.

February

PROJECT 4 PROCESS Case Study – Typographic Branding and Sales

THE KING’S

5 Dezine Mag

February

NEW LOOK If you can’t beat ’em, join ’em The can redesigns had gotten a fairly decent reception in 2011 and, in a way, it aimed for some of the same goals as does the new one, but it still suffered from too much designing. The new can establishes consistency with Bud Light by having the seal and legend tightly cropped on the top of the can and in this can it might even look better than it did for Bud Light (which already looked hot). The logo spans wide beyond the visible edges of the can, which is really rare as I’m sure most can-clients want everything to be visible inside the can. The logo has so much space that you could put a bunch of those Clydesdale horses to pasture around it. The “King of Beers” tag line has changed from the overused Bank Gothic to something custom and glorious. The combination of elements, the spacing, the muted colors, it’s all just absolutely great.

Anheuser-Busch InBev, the owner of Budweiser and Bud Light, said that sales of its two top beers have continued to fall “in the low single digits” in the United States in the second quarter -- despite a ton of marketing for both brands. But it’s not all bad news for the company. Overall sales were up in the quarter despite the struggles in the U.S., problems in Europe and tough comparisons in Brazil following last year’s World Cup tournament. With 2016 rolling in and bringing with it a new branding overhaul to rival designs of the growing micro brewery movement, Budweiser is drawing on a new, younger crowd while trying to maintain true to its “hard way” crafted beer and established clientele.

As has been the case with most big brands, Budweiser has stripped back all unnecessary decorations and finishes off of the logo. In this case, the process reveals an elegant and classic script word mark that looks far better than it has in decades. The letters look so crisp and curvaceous with the “B” now standing out beautifully instead of being jammed into the bow tie shape, which also looks remarkably good as a single-line stroke. From here, things just get better. All the typographic details were done by Toronto based Typographer Ian Brignell. Brignell even create a typeface for Budweiser known as Bud Bold. Dezine Mag 6

February

Case Study â&#x20AC;&#x201C; Typographic Branding and Sales

THE KINGâ&#x20AC;&#x2122;S

Found on Brand New

http://www.underconsideration.com/brandnew/archives/new_logo_ and_packaging_for_budweiser_by_jones_knowles_ritchie.php CNN Money http://money.cnn.com/2015/07/30/investing/budweiser-bud-light-sales-anheuser-busch-inbev/

5 Dezine Mag

February

Case Study – Typographic Branding and Sales

NEW LOOK The can redesigns had gotten a fairly decent reception in 2011 and, in a way, it aimed for some of the same goals as does the new one, but it still suffered from too much designing. The new can establishes consistency with Bud Light by having the seal and legend tightly cropped on the top of the can and in this can it might even look better than it did for Bud Light (which already looked hot). The logo spans wide beyond the visible edges of the can, which is really rare as I’m sure most can-clients want everything to be visible inside the can. The logo has so much space that you could put a bunch of those Clydesdale horses to pasture around it. The “King of Beers” tag line has changed from the overused Bank Gothic to something custom and glorious. The combination of elements, the spacing, the muted colors, it’s all just absolutely great. As has been the case with most big brands, Budweiser has stripped back all unnecessary decorations and finishes off of the logo. In this case, the process reveals an elegant and classic script word mark that looks far better than it has in decades. The letters look so crisp and curvaceous with the “B” now standing out beautifully instead of being jammed into the bow tie shape, which also looks remarkably good as a single-line stroke. From here, things just get better.

the United States in the second quarter -- despite a ton of marketing for both brands. But it’s not all bad news for the company. Overall sales were up in the quarter despite the struggles in the U.S., problems in Europe and tough comparisons in Brazil following last year’s World Cup tournament. With 2016 rolling in and bringing with it a new branding overhaul to rival designs of the growing micro brewery movement, Budweiser is drawing on a new, younger crowd while trying to maintain true to its “hard way” crafted beer and established clientele.

Found on Brand New

http://www.underconsideration.com/brandnew/archives/new_logo_and_packaging_ for_budweiser_by_jones_knowles_ritchie.php CNN Money http://money.cnn.com/2015/07/30/investing/budweiser-bud-light-sales-anheuser-busch-inbev/

All the typographic details were done by Toronto based Typographer Ian Brignell. Brignell even create a typeface for Budweiser known as Bud Bold. Anheuser-Busch InBev, the owner of Budweiser and Bud Light, said that sales of its two top beers have continued to fall “in the low single digits” in

Dezine Mag 6

February

March 1, 2016 Lecture Choosing Type for the Web… 51

Discussion An Idea of a typeface…52

Project 4 Process Project 4 example spread…53

March

CHOOSING TYPE FOR THE WEB Two typefaces designed for the screen by Matthew Carter Georgia, Verdana. Have higher x height and openness to them for easy screen reading.

·Typeface contrast

-The amount of contrast between the thick and thin strokes of character in a typeface

·x height. ·A high x height is ideal, especially for use on interfaces of way finding. ·Beware of x-height extremes ·If the x-height is too high, there is less room for other distinctive characteristics. The letters n and h , or a and d, can become difficult to distinguish as the x-height increases. Such as ITC Garamond and Century Gothic

-Also ITC Garamond is a bad version of Garamond.

·Character Distinction

-Differentiating between different characters is essential for on screen legibility. Don’t use Gill Sans for example.

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

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

two or more characters to create a joined letter from. The most common ligatures solve for letter forms that unappealing crashes into on another.

·Optical sizes ·Some typefaces have 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. Look for typefaces that share some similar traits to your favorite classics. For instance: Helvetica vs Museo Sans or Georgia to Droid Serif

·Strategies for Pairing Typefaces

-Avoid pairing typefaces that are too similar. Take advantage of display type. Look for harmony, find typefaces with inherent visual relationships i their structure.

DISCUSSION In the article “An Idea of a typeface” by Kai Bemau, he describes how there is no such thing as total neutrality, even in a Neutral typeface. All typefaces possess character and what one person may consider neutral, another person will not.

March

PROJECT 4 PROCESS

NIKE & TYPE OVER THE YEARS Nike Inc. was founded on May 30, 1971 and ever since then, they have made their mark in the advertising industry. Throughout the years, Nikeâ&#x20AC;&#x2122;s marketing creatives have consistently made print ads that have fantastic typography and photography. Nike design isnâ&#x20AC;&#x2122;t subtle: it is strong, bold, and dynamic. Their typeface choices successfully evoke these words without being obvious about it. This advertising collection consists of print ads from the 1970s to the present.

Dezine Mag Culture

Culture

Dezine Mag

March

March 3, 2016 Workday Few Spreads of Project thus farâ&#x20AC;Ś 55

March

WORK DAY Today we worked on refining our magazines all class periods.

GRAFFITI TYPE

Any passerby in an urban cityscape has observed the colorful, provocative, illegal “eyesore” that is graffiti. Although many consider the spray-painted pieces a nuisance, graffiti has been gaining recognition from the art world more and more as a legitimate form of art. When most people think of graffiti, they imagine “tags,” or a stylized writing of a person’s name. While tags are probably the most popular forms, graffiti art is much more than that. It can mean a colorful mural with a message of diversity or a black and white stencil piece protesting police brutality. In each case, graffiti art makes a statement. 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.

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. 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 Marie Chrisman and Noel Sanchez

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

Culture

Dezine Mag

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Dezine Mag Culture

Culture

Dezine Mag

March

March 8, 2016 Project 4 Preliminary Critique Notesâ&#x20AC;Ś 57

March

PROJECT 4 ZINE PRELIMINARY CRITIQUE Today was a preliminary critique where we had to upload our in progress magazines to issuu. Notes from Critique Add titles, make the titles stand out against images and pop from the page, allow for white space. Only use the vertical rule when necessary and can related to the topic.

March

March 10, 2016 Project 4 Critique Notesâ&#x20AC;Ś 59

March

FINAL CRITIQUE PROJECT 4 ZINE Today was the final critique for the Zine project. I realized too late that I forgot to add a back cover. Below is a link to my Zine project.

https://issuu.com/danielblenkinship/docs/zine_layout_ v3_2b0e4a61a9c6ed

Dezine Mag

TYPOGRAPHY

AB CD WINTER 2016 EDITION

Dezine Mag

March

Daniel Blenkinship Art 338 Journal Project Winter 2016 3/14/16 Sabon LT Std Trade Gothic LT Std