338.03 Type Journal by Daniel Kammerer by Daniel Kammerer

X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

ABCDEFGHIJKLMNOPQRSTUVW

X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

ABCDEFGHIJKLMNOPQRSTUVW

X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

ABCDEFGHIJKLMNOPQRSTUVW

X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

ABCDEFGHIJKLMNOPQRSTUVW

X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

ABCDEFGHIJKLMNOPQRSTUVW

X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

ABCDEFGHIJKLMNOPQRSTUVW

X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

ABCDEFGHIJKLMNOPQRSTUVW

X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

ABCDEFGHIJKLMNOPQRSTUVW

X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

ABCDEFGHIJKLMNOPQRSTUVW

X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

ABCDEFGHIJKLMNOPQRSTUVWXYZ01 ABCDEFGHIJKLMNOPQRSTUVWXYZ01

P Q R S T U V W X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

ABCDEFGHIJKLMNOPQRSTUVW

TYPOGRAPHER’S HANDBOOK « SECTION LABEL

ABCDEFGHIJKLMNOPQRSTUVWXYZ01

P Q R S T U V W X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

ABCDEFGHIJKLMNOPQRSTUVWXYZ01

P Q R S T U V W X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

ABCDEFGHIJKLMNOPQRSTUVWXYZ01

P Q R S T U V W X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

ABCDEFGHIJKLMNOPQRSTUVWXYZ01

P Q R S T U V W X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

ABCDEFGHIJKLMNOPQRSTUVWXYZ01

P Q R S T U V W X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

ABCDEFGHIJKLMNOPQRSTUVWXYZ01

P Q R S T U V W X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

ABCDEFGHIJKLMNOPQRSTUVWXYZ01

P Q R S T U V W X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

ABCDEFGHIJKLMNOPQRSTUVWXYZ01

P Q R S T U V W X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

ABCDEFGHIJKLMNOPQRSTUVWXYZ01

P Q R S T U V W X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

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P Q R S T U V W X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

TYPE

QUEST

TYPOGRAPHY II NOTES AND JOURNAL

INTRO

DUCTION

SECTION LABEL » TYPOGRAPHER’S HANDBOOK

The complexity of the current era is matched only by its casual absurdIty. Tiny quadrucopters with cameras fly overhead while a governmentally inept TVshow host storms through the white house. On the bright side, SNL and John Oliver will have plenty to chew on for the next four to eight years, and the chaos made it easy to find inspiration for projects that encouraged us to explore these topics. This volume is my culminating work of Typography II, taught by Charmaine Martinez, Spring Quarter 2017 at Cal Poly San Luis Obispo. Inside are reflections and summaries of

myriad typographic concepts, as well as a journal of my findings working through the process of each assignment. In this turbulent era, wielding information effectively is of paramount importance, and in both the battles of the past and those to come, typography is the designer’s weapon of choice. Like a green soldier, the prospect of fighting to make positive changes for humanity both excites and frightens me. (I still have a backup plan to become a welder if this all falls apart at some point.)

Daniel Kammerer TYPOGRAPHER’S HANDBOOK « SECTION LABEL

READINGS

and

RULES 4

SECTION LABEL » TYPOGRAPHER’S HANDBOOK

“

TYPOGRAPHY

the visual component of the written word.

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F G H I J K L M N O P Q R S T U V W X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( ) A B C D E F G H I J K L M N O P Q R S T U V W X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $

STOP SUCKING

WITH FIVE EASY TIPS

Body text is (usually) the biggest part of a design. Start your projects by making the body text look good.

10–12pt. for print; 15–25pt. for web. It may be necessary to adjust specifically for certain typefaces.

READINGS & RULES » TYPOGRAPHER’S HANDBOOK

Keep body text line spacing around 120– 145% of the text size. Typefaces with taller x-heights tend to require more leading; those with lower x-heights usually require less.

Line length should range from 45–90 characters per line. Page margins can achieve this in traditional word processing software.

Use well-designed typeface families. Avoid system fonts like Arial, Times New Roman, or Calibri. These are typically pale imitations of better-resolved typefaces. Purchase professional fonts.

TYPOGRAPHER’S HANDBOOK « READINGS & RULES

HOW TO AVOID

EMBARASSING

F*CK-UPS Four factors control the style of your body text:

Point size, line spacing, line length, and font determine how body text will look. Here are some key tips to achieve a good-looking body of text:

READINGS & RULES » TYPOGRAPHER’S HANDBOOK

»»

Stray away from sillylooking fonts and system fonts. Use curly quotes, not straight quotes.

»»

For foot and inch marks, use straight quotes.

»»

Only ever use one space between sentences and words.

»»

Only use underlining for hyperlinks.

»»

Don’t overuse centered text.

»»

Restrict all-caps usage to one line of text at most.

»»

Don’t use small caps unless the typeface includes them. (Don’t use system-

generated small caps.) »»

All caps and small caps require 5–12% additional letterspacing.

»»

First-line indents should be 1–4 times the point size of the text. Instead of indents, 4–10 points of space between paragraphs. can also be used.

»»

Use ampersands only when necessary in titles.

»»

Don’t overuse explanationp= points.

»»

Always use a line break after paragraphs and section marks.

Don’t overuse centered text.

TYPOGRAPHER’S HANDBOOK « READINGS & RULES

COMPOSING

WITH W£I®D CHARACTERS Knowing how to use these (properly) will make your stuff look better. Don’t confuse colons with semicolons.

»»

The semicolon (;) has two main uses. It can be used instead of a conjunction to join two sentences as well as to separate items in a list with internal commas.

»»

The colon (:) connects the introduction and resolution of a two part idea.

READINGS & RULES » TYPOGRAPHER’S HANDBOOK

»»

Paragraph marks (¶) are used to indicate numbered paragraphs. The section mark (§) is used to indicate numbered or lettered sections.

»»

Parentheses separate asides or citations from the main body text. Brackets indicate an edit within quoted phrases.

Don’t confuse hyphens and dashes. »»

The hyphen (-) is the shortest of these. It’s to be used to hyphenate text, in multipart words, and when a noun is used as an adjective (such as listener-supported radio).

»»

The en dash (–) has two uses: to indicate a range and to denote a contrast or relationship between word pairs (Conservative–liberal split, Sarbanes–Oxley Act).

»»

The em dash (—) makes a break between parts of a sentence. It’s best used when a comma would lack emphasis but a colon, semicolon, or parentheses would be too divisive.

TYPOGRAPHER’S HANDBOOK « READINGS & RULES

Use the correct symbol for © and ™.

»»

Use the proper symbol for trademarks and copyrights (©, ™). Don’t approximate them.

»»

Don’t use ampersands unless they’re part of a proper name.

»»

Use an ellipsis (…) to indicate omissions in quotes, not periods.

READINGS & RULES » TYPOGRAPHER’S HANDBOOK

ALL IN THE FAMILY

USING FAMILIES OF TYPE

Type families are a fairly recent innovation. »»

Multiple weights of the same typeface were first developed in the 20th century by Adrian Frutiger.

»»

The creation of type superfamilies were possible due to technological innovations in metallurgy and manufacturing.

»»

Type was originally set using multiple sets of moveable metal type, each drawn, cut and cast separately.

TYPOGRAPHER’S HANDBOOK « READINGS & RULES

LAYING OUT THE PAGE SOURCED FROM BUTTERICK Relationships and positioning of elements define a page’s layout.

»»

Centered text is safe but overused; “the typographic equivalent of vanilla ice cream.” It’s best used for short phrases or titles.

»»

Try to only use hyphens if your text is justified. Ragged text with shorter line lengths will require hyphenation, however.

»»

To indicate new paragraphs, use space between paragraphs OR an indent, never both.

»»

Space between paragraphs should be .5–1 times the size of the body text.

»»

Don’t manually create numbered and bulleted lists.

READINGS & RULES » TYPOGRAPHER’S HANDBOOK

If you forget everything else, at least stick to these maxims of type. 1.

Decide on how the body text will be styled.

2. Divide the page into foreground and background. 3. Make small adjustments. 4. Use contrast to draw a reader’s attention. 5.

Loudness is effective, but so is silence.

6. Be consistent. 7. Make sure all elements are unified. 8. KISS (Keep it simple, stupid). 9. Reference design you enjoy. 10. Conquer your fear of white space. 11. Use layout grids to efficiently manage consistency throughout a document. 12. Don’t distribute typefaces illegally. Legal trouble can follow.

TYPOGRAPHER’S HANDBOOK « SECTION LABEL

BEAUTY & UGLINESS IN TYPE DESIGN

The difference between the attractive and repulsive forms lies in a single design parameter, the contrast between the thick and the thin.

READINGS & RULES » TYPOGRAPHER’S HANDBOOK

TYPOGRAPHER’S HANDBOOK « READINGS & RULES

SEARCHING

FOR NEUTRAL IS OBJECTIVE TYPE POSSIBLE?

In the end we cannot create something completely neutral.

»»

The typeface Neutral was Kai Bernau’s graduation process; an attempt to create a typeface free of tone or connotation.

»»

He observed that neutrality is a construct that describes things which seem objective to a specfic group at a specific time.

»»

The most neutral typeface category was deduced to be a grotesk with a humanist twist.

»»

Bernau concludes that since it was his investigation into neutrality, the typeface is at best completely neutral only to him.

»»

At best, we can approximate neutrality for a rough majority of viewers. READINGS & RULES » TYPOGRAPHER’S HANDBOOK

TYPOGRAPHER’S HANDBOOK « READINGS & RULES

THE FLAWS

OF GILL SANS EXAMINING THE HELVETICA OF ENGLAND

Eric Gill got it wrong.

»»

Gill Sans is the preferred typeface of Penguin Books, the Church, the Railways, and the BBC

»»

Eric Gill had a hand indeveloping the model for Gill Sans, Johnston, in 1916 for the London Underground.

»»

Gill Sans has various formal issues compared to Johnston.

READINGS & RULES » TYPOGRAPHER’S HANDBOOK

Certain characters have lost character-defining terminal stroke details in medium weights.

There are conflicts in Gill Sans’ various stroke terminations compared to the more unified Johnston.

TYPOGRAPHER’S HANDBOOK « READINGS & RULES

WHY TYPE MATTERS

THE DANGEROUS BUTTERFLY BALLOT

Clarity is king. »»

The butterfly ballot suffers from alignment issues that confuse the viewer and may have caused many voting errors. Clarity is often considered the most important principle in typography, given its core purpose in imparting information.

READINGS & RULES » TYPOGRAPHER’S HANDBOOK

Recreation of original ballot. The democratic candidate is the second item listed on the left but the third bubble. Without careful attention to the arrows, mistakes are easily made.

Revised ballot with logical bubble sequencing and organization.

TYPOGRAPHER’S HANDBOOK « READINGS & RULES

NOTES

from the

CLASS ROOM 24

SECTION LABEL » TYPOGRAPHER’S HANDBOOK

S“

SOMETIMES USUALLY

it’s a good idea to listen to the words coming out of the teacher.

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TYPOGRAPHIC

REFINEMENT NOTES FOR WEDNESDAY, JAN. 18

The devil’s in the details.

»»

Point size represents the letter and the space below it.

»»

Face is the printing surface.

»»

Nick is the bottom of a page.

»»

Set width is the width of a given letter.

»»

Points and picas 12 points in 1 pica; 6 picas to 1 inch. (1p6 = 1 pica + 6 points)

»»

When picking a pt. size, consider typeface proportion and weight, the text’s length, the viewing format, the audience, and the context of the document.

»»

When designing for screen, body text should be 14–20pt. For print, stay between 9 and 12.

CLASS NOTES » TYPOGRAPHER’S HANDBOOK

Find workhorse typefaces. They should have »»

a well-designed normal weight.

»»

Large x-heights for more flexibility.

»»

At least one bold weight that contrasts the standard weight.

»»

An italic version.

»»

Very legible numerals.

»»

Economy— For body text especially, it should be able to fit large amounts of copy.

Rubik

Georgia

ABCDEFGHIJKLM NOPQRSTUVWXYZ

abcdefghijlmn opqrstuvwxyz

ABCDEFGHIJKLM NOPQRSTUVWXYZ

abcdefghijlmn opqrstuvwxyz

1234567890

TYPOGRAPHER’S HANDBOOK « CLASS NOTES

Type should look good.

»»

Kern type at display sizes. Set it to metric; the kerning designated by the designer of the typeface.

»»

Customize leading. It should be set to 120–145% of the body text point size.

»»

Optimize line length. Keep them to 45–90 characters, or 8–13 words per line.

»»

Manage letterspacing. 0 is almost always fine for body text. Small and all caps can handle more letterspacing than sentence case.

»»

Don’t use fake small caps. Only use it if the typeface includes it.

»»

Don’t mix up dashes. - – — Hyphens are for hyphenation or compound words. En dashes indicate a range or duration. Em dashes indicate a pause in a sentence.

»»

Tighten up hyphenation settings. Uncheck everything. At least 6, after first 3 but before last 3, limit set to 2.

CLASS NOTES » TYPOGRAPHER’S HANDBOOK

»»

Fix rags as often as you can. You want the rag to be smooth and even like a rolling wave. Avoid strange gaps or peaks.

»»

Always get rid of widows. Don’t leave fragments at the end

»»

Spell check. cmnd + i.

Keyboard shortcuts add hours back to your life. »»

Quote marks are directional. open (opt + [), closed (opt + shift + [)

»»

Turn on smart quotes. preferences (cmd + k) > type > ☑ ‘use typographer’s quotes’ (also > ☑ apply leading to entire paragraph)

»»

Find and replace is your friend. ( cmd + f ) to find and replace. Especially useful for fixing up straight quotes.

»»

There are shortcuts for paragraph and section markers. (opt + 7) for ¶, (opt + 6)

TYPOGRAPHER’S HANDBOOK « CLASS NOTES

»»

Each dash has its own shortcut. En dash – (opt + -) Em dash — (opt + shift + -)

»»

Nonbreaking space: (opt + shift + space)

»»

Use Ampersands when part of a proper name. They’re otherwise best avoided in formal writing. (Aside: our department is spelled Art and Design, not Art & Design.)

»»

Ellipses (…) have a dedicated character. Don’t use periods.

CLASS NOTES » TYPOGRAPHER’S HANDBOOK

TYPOGRAPHER’S HANDBOOK « CLASS NOTES

CHOOSING

TYPEFACES NOTES FOR FRIDAY, JAN. 27

Content; Audience; Format.

»»

Consider technical details. Does this typeface have a complete character set that includes punctuation, glyphs, and accented characters?

»»

Buying fonts is expensive but worthwhile. Fonts can be bought at Art Server, Google Fonts (free!); Lost Type Co-Op (pay what you can); League of Moveable Type (open-source, well-designed and free); Font Squirrel (often free for commercial use); Fontspring (groups fonts by their license category); Fonts.com.

»»

Manage fonts with Font Book.

»»

Examples of fonts used both historically and recently: www.fontsinuse.com

CLASS NOTES » TYPOGRAPHER’S HANDBOOK

LOVE YOUR FONTS. KNOW WHERE THEY COME FROM. TAKE CARE OF THEM.

TYPOGRAPHER’S HANDBOOK « CLASS NOTES

TYPESETTING

IN INDESIGN NOTES FOR FRIDAY, FEB. 3

Get your paragraphs on point.

»»

General settings does what it says on the tin.

»»

Basic character formats cover font, style, size, leading, kerning, tracking, and case.

»»

Steer clear of advanced character formats; baseline shift can be useful with glyphs or odd characters.

»»

Uncheck hyphenation if you’re running ragged text with an optimal line length.

»»

Span columns controls the number of columns in a text box.

»»

GREP style accesses a code format to manipulate styles.

»»

Export tagging turns InDesign styles into CSS for epubs and websites. CLASS NOTES » TYPOGRAPHER’S HANDBOOK

Characters play a big role. »»

General settings control the style’s name and if it was based on another style.

»»

Basic character formats handles font, font weight/style, size, kerning, tracking, and case.

»»

Don’t use advanced character formats other than baseline shift if necessary.

»»

Character color is self-explanatory.

Get everything on the table. »»

Table setup includes settings for border and spacing within its surrounding paragraph.

»»

Row strokes, column strokes, and fill are self-explanatory.

»»

Cell styles control the individual blocks of a table. Text settings control alignment and text inset. Strokes and fills are, again, self-explanatory.

»»

Object styles function in the same fashion as table styles.

TYPOGRAPHER’S HANDBOOK « CLASS NOTES

PROJECTS

and PROCESS and PROCESS

and PROCESS and 36

PROCESS PROCESS PROCESS SECTION LABEL » TYPOGRAPHER’S HANDBOOK

“

MOST OF THIS

took a while.

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PROJECT 1 TYPESETTING: RULES OF TYPOGRAPHY

Quotes about typography. In project 1, the objective was to first find five substantive quotes about type design, and subsequently lay them out both legibly and with clear hierarchy.

P R OJ ECT O N E » T Y P O G RA P H E R ’ S H A N D B O O K

Process Work

T Y P O G R A P H I C M E D I TAT I O N S “The proportions of a page are like an interval in music. In a given context, some are consonant, others dissonant. Some are familiar; some are also inescapable, because of their presence in the structures of the natural as well as the manmade world.” The Elements of Typographic Style, pg. 160 R O B E RT B R I N G H U R S T, 2 0 1 5 , B O O K

“Paragraphs do not occur in nature. Whereas sentences are grammatical units intrinsic to the spoken language, paragraphs are a literary convention designed to divide masses of content into appetizing portions.” Thinking With Type, pg. 64 E L L E N L U P T O N, 2 0 1 0, B O O K

“It is important to avoid excessive leading because the lines tend to drift apart, which makes the setting appear grayer and affects the pace at which the type is read.”

In shorter settings, this effect can be desirable, but is not recommended for sustained reading.

Designing with Type, pg. 34 JA M E S C R A I G, 2 0 0 6, B O O K

“Chunking Grouping units of information to make them easier to process and remember.” The Pocket Universal Principles of Design, pg. 19 W. L I DW E L L , K . H O L D E N, J. BU T L E R , 2 0 1 4 , B O O K

The original estimate of the maximum number of chunks able to be processed and recalled was 7±2. The modern estimate is 4±1.

“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 of Typography, pg. 121 JA M E S F E L I C I , 2 0 1 2 , B O O K

TYPOGRAPHIC MEDITATIONS “The proportions of a page are like an interval in music. In a given context, some are consonant, others dissonant. Some are familiar; some are also inescapable, because of their presence in the structures of the natural as well as the manmade world.” The Elements of Typographic Style, pg. 160 R O B E RT B R I N G H U R S T, 2 0 1 5 , B O O K

“It is important to avoid excessive leading because the lines tend to drift apart, In shorter settings, this effect can be desirable, but is not recommended for sustained reading.

which makes the setting appear grayer and affects the pace at which the type is read.” Designing with Type, pg. 34 JA M E S C R A I G, 2 0 0 6, B O O K

“Chunking The original estimate of the maximum number of chunks able to be processed and recalled was 7±2. The modern estimate is 4±1.

Grouping units of information to make them easier to process and remember.” The Pocket Universal Principles of Design, pg. 19 W. L I DW E L L , K . H O L D E N, J. BU T L E R , 2 0 1 4 , B O O K

“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 of Typography, pg. 121 JA M E S F E L I C I , 2 0 1 2 , B O O K

T Y P O G RA P H E R ’ S H A N D B O O K « P R OJ ECT O N E

TYPOGRAPHIC M E D I TAT I O N S

Final-ish Draft “Paragraphs are a literary convention designed to divide masses of content into appetizing portions.” THINKING WITH TYPE PG. 64. ELLEN LUPTON. 2010. BOOK

“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 OF TYPOGRAPHY PG. 121. JAMES FELICI. 2012. BOOK

“The proportions of a page are like an interval in music. Some are consonant, others dissonant. Some are familiar; some are also inescapable, because of their presence in the natural as well as the man-made world.” THE ELEMENTS OF TYPOGRAPHIC STYLE PG. 160. ROBERT BRINGHURST. 2015. BOOK

“It is important to avoid excessive leading because the lines tend to drift apart, which makes the setting appear grayer and affects the pace at which the type is read.” DESIGNING WITH TYPE PG. 34. JAMES CRAIG. 2006. BOOK

“Chunking Grouping units of information to make them easier to process and remember.” THE POCKET UNIVERSAL PRINCIPLES OF DESIGN PG. 19. W. LIDWELL, K. HOLDEN, J. BUTLER 2014. BOOK

GRAPH

med

“The proporti an interval in

In a given context, s are familiar; some a in the structures of

The Elements of T

R O B E RT B R I N G H U

“Paragraphs do not o are grammatical un paragraphs are a lit masses of content.”

Thinking With Ty

“Paragraphs are a literary convention designed to divide masses of content into appetizing portions.” Thinking with Type pg. 64. Ellen Lupton. 2010. book “It is important to avoid excessive leading because the lines tend to drift apart, which makes the setting appear grayer and affects the pace at which the type is read.” Designing with Type pg. 34. James Craig. 2006. book “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 of Typography pg. 121. James Felici. 2012. book

E L L E N L U P T O N, 2

“It is important to av tend to drift apart, w and affects the pace

Designing with T

JA M E S C R A I G, 2 0 0

“Chunking: Groupin easier to process and The Pocket Unive W. L I DW E L L , K . H

“Chunking: Grouping units of information to make them easier to process and remember.” The Pocket Universal Principles of Design pg. 19. W. Lidwell, K. Holden, J. Butler 2014. book “The proportions of a page are like an interval in music. Some are consonant, others dissonant. Some are familiar; some are also inescapable, because of their presence in the natural as well as the man-made world.” The Elements of Typographic Style pg. 160. Robert Bringhurst. 2015. book

TYPOGRAPHIC MEDITATIONS

P R OJ ECT O N E » T Y P O G RA P H E R ’ S H A N D B O O K

“Typefaces with large as the horizontal spa lowercase letters.”

The Complete Man JA M E S F E L I C I , 2 0

Critique Notes

HIC

ditations

ions of a page are like n music.

»»

Could use more experimentation with contrasting scale and alignment

»»

be more expressive with examples rather than just setting the quote

some are consonant, others dissonant. Some are also inescapable, because of their presence the natural as well as the man-made world.”

Typographic Style, pg. 160

U R S T, 2 0 1 5 , B O O K

occur in nature. Whereas sentences nits intrinsic to the spoken language, terary convention designed to divide

ype, pg. 64

2 0 1 0, B O O K

void excessive leading because the lines which makes the setting appear grayer at which the type is read.”

Type, pg. 34

0 6, B O O K

ng units of information to make them d remember.” rsal Principles of Design, pg. 19 O L D E N, J. BU T L E R , 2 0 1 4 , B O O K

e x-heights are apt to need more leading, aces between lines are eroded by the larger

nual of Typography, pg. 121 12, BOOK

T Y P O G RA P H E R ’ S H A N D B O O K « P R OJ ECT O N E

PROJECT 2 A DIALOGUE

A diptych regarding the hero’s journey in storytelling Project 2 challenged us to use typography and imagery to present an interview between two distinct voices in an impactful way. I opted for an illustration heavy approach, playing off of the immediate subject matter and the trope of slaying a dragon. Another layer of metaphor have added more conceptual depth, and if I were to revisit the illustration I would add more textural flavor and experiment with other unconventional color schemes.

P R OJ ECT T WO » T Y P O G RA P H E R ’ S H A N D B O O K

Process Work

T Y P O G RA P H E R ’ S H A N D B O O K « P R OJ ECT T WO

(dungeons and dra 44

P R OJ ECT T WO » T Y P O G RA P H E R ’ S H A N D B O O K

agons is really fun) T Y P O G RA P H E R ’ S H A N D B O O K « P R OJ ECT T WO

P R OJ ECT T WO » T Y P O G RA P H E R ’ S H A N D B O O K

T Y P O G RA P H E R ’ S H A N D B O O K « P R OJ ECT T WO

Final-ish Draft

Bill Moyers:

Why are there so many stories

of the hero in mythology?

Joseph 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.

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

C. 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,

which the

hero learns to experience the supernormal range of human spiritual life and then comes back with a message.

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?

C. 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.

M. Does your study of mythology

P R OJ ECT T WO » T Y P O G RA P H E R ’ S H A N D B O O K

M. How do I slay that dragon in me? What’s

of your particular fears, for example. Different

the journey each of us has to make, what you

teachers may suggest exercises, but they may

call “the soul’s high adventure”?

not be the ones to work for you. All a teacher

C. My general formula for my students is “Fol-

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

afraid to follow it.

M. Is it my work or my life?

C. 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.”

M. When I take that journey and go down there

and slay those dragons, do I have to go alone?

C. If you have someone who can help you,

that’s fine, too. But, ultimately, the last deed

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.”

has to be done by oneself. Psychologically,

M. In all of these journeys of mythology,

the dragon is one’s own binding of oneself

there’s a place everyone wishes to find. The

to one’s ego. We’re captured in our own

Buddhists talk of Nirvana, and Jesus talks of

dragon cage. The problem of the psychiatrist

peace, of the mansion with many rooms. Is

is to disintegrate that dragon, break him up,

that typical of the hero’s journey—that there’s

so that you may expand to a larger field of

a place to find?

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

Critique Notes »»

the little dude could stand out more/be a more interesting symbol

»»

some of the hyphenation and rags are pretty rough

»»

the red used for their names isn’t bright enough in the smaller initial application

C. 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.

M. I like what

you

say

old

myth

about of

the

Theseus

and

Ariadne. Theseus says to Ari-

adne, “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.”

C. That’s all you need—an Ariadne thread.

M. 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.

C. 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.

M. Like all heroes, the Buddha doesn’t show

you the truth itself, he shows you the way

to truth.

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

Buddha can’t tell you exactly how to get rid

T Y P O G RA P H E R ’ S H A N D B O O K « P R OJ ECT T WO

PROJECT 3 ELEMENTS OF STYLE BOOKLETS

A 3-person collaboration in type design. The third project drilled the use of grids for consistency across a large document as well as managing the transition from the screen to print format. Working with a small group allowed us to split the raw tedium of working sifting through the text as well as creating a wellspring of ideas to draw from. The final result is elegant and tightly aligned.

P R OJ ECT T H R E E Âť T Y P O G RA P H E R â&#x20AC;&#x2122; S H A N D B O O K

Initial Draft

ELEMENTS of

STYLE SECTIONS 3 & 4 ELEMENTS OF STYLE

III. A FEW MATTERS OF FORM

WILLIAM STRUNK, JR.

ELEMENTS of

H E A D I N G S .

STYLE

Leave a blank line, or its equivalent in space, after the title or heading of a manuscript. On succeeding

N U M E RA L S .

Do not spell out dates or other serial numbers. may be appropriate.

3 A FEW MATTERS OF FORM

» August 9, 1918

» Rule 3

» Chapter XII

» 352nd Infantry

PA R E N T H ES ES .

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

4 WORDS AND EXPRESSIONS COMMONLY MISUSED

unless it is a question mark or an exclamation point.

NEW YORK, 1918

ELEMENTS OF STYLE

T Y P O G RA P H E R ’ S H A N D B O O K « P R OJ ECT T H R E E

Final Books

BODY TEXT Body text for the manuals are set in Raleway Medium, 9 pt. with 13 pt. leading. It is an old observation that the best writers sometimes disregard the rules of rhetoric. When they do so, however, the reader

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.

SUBHEADS Subheads are set in Raleway medium in all capital characters, 12 pt. size, 13 pt. leading, .1875 in space after.

style guide

NUMERALS Do not spell out dates or other serial numbers. may be appropriate.

FOOTER The top of the footer is aligned to half an inch above the bottom of the page, the left margin is half an inch.

The Elements of Style | Section

.5 in

SECTION DIVIDERS

MARGINS

Each section in a book is indicated with its own page

Left margin is half an inch. The bottom margin for content (not the footer) is 7/8 of an inch from the bottom of the page. Right margin is approximately 1.5 inches, but can be

Pl ace a comma before and or but introducing an independent cl ause.

TEXTUAL EXAMPLES Textual examples are set in the same size, weight, and leading as standard body text but with a .75 inch indent. There is also a .5 pt line set 3/16 of an inch left of the example. The provision of the Constitution is: “No tax or duty shall be laid on articles exported from any state.”

COLOPHON from the body text settings.

Designed by ART 338 – Cal Poly San Luis Obispo Art and Design Department Composed in typefaces Helvetica (Otl Aicher) and Didot (Firmin Didot) Adobe InDesign CC 2017 10 February 2016

P R OJ ECT T H R E E » T Y P O G RA P H E R ’ S H A N D B O O K

Critique Notes »»

our section divider is spicy, but my book doesn’t include them, making the pace repetitive

»»

no big issues with consistency between books

T Y P O G RA P H E R ’ S H A N D B O O K « P R OJ ECT T H R E E

PROJECT 4 ELEMENTS OF STYLE BOOKLETS

A digital magazine centered around type and activism. The fourth project had a long timeframe and an equally large amount of (fun ! ) process to iterate through. The first couple weeks were dedicated to curating content, creating mood boards, experimenting with type, and determining the most essential elements of our magazines. Picking strong typefaces and using an expressive, architectural aesthetic gave me a lot of breathing room within my grid to create high contrast type treatments to coexist with the strong imagery found for our articles.

P R OJ ECT FO U R Âť T Y P O G RA P H E R â&#x20AC;&#x2122; S H A N D B O O K

Process Work

T Y P O G RA P H E R ’ S H A N D B O O K « P R OJ ECT FO U R

P R OJ ECT FO U R » T Y P O G RA P H E R ’ S H A N D B O O K

T Y P O G RA P H E R ’ S H A N D B O O K « P R OJ ECT FO U R

P R OJ ECT FO U R » T Y P O G RA P H E R ’ S H A N D B O O K

T Y P O G RA P H E R ’ S H A N D B O O K « P R OJ ECT FO U R

P R OJ ECT FO U R » T Y P O G RA P H E R ’ S H A N D B O O K

TYPOGRAPHER’S HANDBOOK « SECTION LABEL

Final Magazine

P R OJ ECT FO U R » T Y P O G RA P H E R ’ S H A N D B O O K

T Y P O G RA P H E R ’ S H A N D B O O K « P R OJ ECT FO U R

Critiqu

P R OJ ECT FO U R » T Y P O G RA P H E R ’ S H A N D B O O K

»»

loosen up article

»»

don’t use

ue Notes

p the leading in subheads in the protest art

e red body text for the disney article

T Y P O G RA P H E R ’ S H A N D B O O K « P R OJ ECT FO U R

SECTION LABEL » TYPOGRAPHER’S HANDBOOK

TYPOGRAPHER’S HANDBOOK « SECTION LABEL

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SECTION LABEL » TYPOGRAPHER’S HANDBOOK

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P Q R S T U V W X Y Z 0 1 2 3 4 5 67 8 9 ! @ # $ % ^ & * ( )

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DANIEL KA MMERER

typefaces used: Raleway, Rubik Completed March 20, 2017