338.03 Type Journal by Emily Jean Payne

California Polytechnic State University Typography II | Winter 2017

Things Emily Jean should engrave in her brain.

Memorization has never been difficult for me as a student, but are memorization and learning the same thing? There are so many different variables within design and typography, that my ability to memorize cannot stand strong by itself. This journal serves as a helpful reminder of those lessons most important and easily forgotten in the process of becoming not only a good, but a great typographer. By keeping this resource, I am not only memorizing rules that should never be broken, but I am understanding and appreciating all that is typography. I am beginning to engrave.

What is Typography?................................................8

Things to Remember.............................................. 14 Setting Up Documents............................................42 Work Completed.....................................................62

TY­POG­RA­PHY IS THE VI­SUAL COM­ PO­NENT OF THE WRIT­TEN WORD.

10 | TYPE SET IN STONE

Matthew Butterick Writer, ty足pog足ra足pher, and law足yer in Los Angeles

Erik Spiekermann Typographer, designer, and professor

THIS IS WHAT I CALL TY­POG­RA­PHY: THE ARRANGE­MENT OF PRE­FAB­RI­CATED EL­E­ MENTS ON A PAGE.

WHAT IS TYPOGRAPHY? | 13

DON’T

turn on yo

QUOTATION MARKS 16 | TYPE SET IN STONE

How to

InDesign > prefe

T BE A DUMMY…

our typographer’s quotes!

o…

erences > type > “use typographer’s quotes”

THINGS TO REMEMBER | 17

Use cen­tered text sparingly.

Use bold or italic as lit­tle as pos

All caps are fine for less than on line of text.

Side note…

If you don’t have real small caps, don’t use them at all

18 | TYPE SET IN STONE

ssible.

ne

EMPHASIS THINGS TO REMEMBER | 19

USE P TRAD RIGHT

not al­pha

©

®

How to

SPECIAL SYMBOLS 20 | TYPE SET IN STONE

Copyright: Optio Trademark: Optio Registered trade

PROPER DE­MARK AND COPY­ T SYM­BOLS…

a­betic approximations.

o…

on and G on and 2 emark: Option and R

THINGS TO REMEMBER | 21

USE THE RIGHT DA

(-)Hyphens are for within a wor dashes are for distinguishing a of values and showing a connec two words. (­—)Em dashes are u break between parts of a sente

How to…

Hyphen: En dash: Option and Em dash: Option, Shift and -

22 | TYPE SET IN STONE

ASH…

rd. (–)En range ction of used for a ence.

DASHES THINGS TO REMEMBER | 23

LIGAT HELP

But, you s character

How to LIGATURES 24 | TYPE SET IN STONE

Select the fly-out either turn it on

TURES ARE HERE TO NOT HURT…

should only use them if certain s are actually colliding.

o…

t menu in the character bar where you can or off.

THINGS TO REMEMBER | 25

Paren­the­ses are for sep­a­rat­ing ci­ta­tions or other asides from th body text.

Brack­ets (square) are used for c within quoted material.

Braces (curly brackets) are most in mathematical writing.

Side note…

If you don’t have real small caps, don’t use them at all

26 | TYPE SET IN STONE

he

changes

tly used

{

] PARENTHESES BRACKETS BRACES THINGS TO REMEMBER | 27

NEVER TRACK

Tracking i which aff block of t

TRACKING 28 | TYPE SET IN STONE

Side no

More tracking w

R ADJUST KING BELOW –10.

is the space between letters fects the density in a line or text.

ote…

will be needed for bold and all-caps.

THINGS TO REMEMBER | 29

MAKE YOUR LINES BETWEEN 40 AND CHARACTERS LONG This is between 8 and 13 words

Side note…

If line length is too long, the reader's eye will lose focu length is too short, the reader's eye will have to travel t

30 | TYPE SET IN STONE

S 90 G. per line.

us. If line too often.

LINE LENGTH THINGS TO REMEMBER | 31

SELEC SIZE F

A comfort comfortab

POINT SIZE 32 | TYPE SET IN STONE

Side no

The point size ap

CT THE RIGHT POINT FOR THE OUTPUT

table print size is 10–12 points. A ble size for web is 15–25 pixels.

ote…

ppearance differs base on typeface choices.

THINGS TO REMEMBER | 33

MAKE YOUR LEAD BETWEEN 125% AN 140% THE POINT S

Leading is the vertical distance lines measured by baseline dista

q

q

q q

Side note…

If line length is too long, the reader's eye will lose focu length is too short, the reader's eye will have to travel t

34 | TYPE SET IN STONE

DING ND SIZE.

between ance.

qrstuvwxyz

qrstuvwxyz

abcdefghijklmnop abcdefghijklmnop

qrstuvwxyz qrstuvwxyz

abcdefghijklmnop

us. If line too often.

abcdefghijklmnop

LINE LENGTH THINGS TO REMEMBER | 35

TURN SPELL ANY E

or use the

How to

Edit > Spelling >

SPELL CHECK 36 | TYPE SET IN STONE

Spell check: Com

N ON DYNAMIC LING TO PREVENT ERRORS…

e spell check command.

o…

> Dynamic Spelling

mmand and I

THINGS TO REMEMBER | 37

JUST REMEMBER 6, 3, 3, 2…

Words with at least 6 letters, on the first 3 and before the last 3 limit of 2 in a row —C

How to…

Hyphenation is found in the fly-out menu of the paragr dialogue box. You can also check it on or off in this box

38 | TYPE SET IN STONE

nly after with a

Charmaine

raph x.

HYPHENATION THINGS TO REMEMBER | 39

TURN

when usin for rivers!

JUSTIFIED TEXT 40 | TYPE SET IN STONE

Side no

Refer back to “h

N ON HYPHENATION

ng justified text. Also, watch out !

ote…

hyphenation” for more information

THINGS TO REMEMBER | 41

DESI 1. How long is

2. What is the t

3. What is my a

4. What is my a

5. What is the s

6. Is the size of

7. What is the d

CHOOSE A TYPEFACE 44 | TYPE SET IN STONE

IGN FACTORS the text?

text about?

audience age?

audience demographic?

size of the page?

f the page a set size?

distance the reader will be from the page?

SETTING UP DOCUMENTS | 45

TECHNICALITIES 1. Does the typeface have a full set of characters?

2. Does the typeface have full punctuation and glyphs?

3. Does the typeface offer foreign/accented characters?

4. Does the typeface come in multiple weights and styles?

5. Does the typeface have a small caps option?

6. What do the numbers for the typeface look like?

46 | TYPE SET IN STONE

CHOOSE A TYPEFACE SETTING UP DOCUMENTS | 47

WHE FONT

1. Google Font

2. Lost Type Co

3. League of M

4. Font Squirre 5. Font Spring

6. House Indust 7. My Fonts 8. Fonts.com

Side n RETRIEVING FONTS 48 | TYPE SET IN STONE

Don't cheat, b alright to use there in the r Creating a fo

ERE TO GET TS TO USE…

ts

o-op

Moveable Type

el

tries

note…

buy the license. As a student it was ethically e fonts you did not own a license for, but out real world, give credit where credit is due. ont is hard.

SETTING UP DOCUMENTS | 49

MINIMIZATION IS K

Have the minimum number of f installed at one time —Cha

Side note…

if folders move too much, the font can be damaged. Inv mont management tool like Font Book, Font Explorer X Suitcase Fusion 6

50 | TYPE SET IN STONE

KEY

fonts

armaine

vest in a X Pro, or

FONT MANAGEMENT SETTING UP DOCUMENTS | 51

FIGU VISU USE

Open a or colum blank ca

MARGINS AND GRIDS 52 | TYPE SET IN STONE

URE IT OUT UALLY…THEN YOUR MATH.

document with no margins mns first start with a visual anvas for your document.

SETTING UP DOCUMENTS | 53

DECIDE ON THE TE SIZE AND LEADING then build your baseline grid.

How to…

InDesign > Preferences > Grids > Baseline Grid. Set the g half the size of the leading for optimal options for spac

54 | TYPE SET IN STONE

EXT G…

grid to ce after.

BASELINE GRID SETTING UP DOCUMENTS | 55

PARA STYL YOU

like lead fore and

Side n PARAGRAPH STYLES 56 | TYPE SET IN STONE

Whenever po Floating text

AGRAPH LES AUTOMATE UR TEXT…

ding, tabs, indents, space bed after etc…

note…

ossible, everything should be in the same textbox. boxes leads to errors in spacing and organization.

SETTING UP DOCUMENTS | 57

USED FOR STYLING TEXT WITHIN A PARAGRAPH…

like bold text, italic text, run-in subheads, custom bullets or num

58 | TYPE SET IN STONE

G

mbers.

CHARACTER STYLES SETTING UP DOCUMENTS | 59

USED STYL VIDU

CELL STYLES 60 | TYPE SET IN STONE

Side n

Whatever is h

D FOR TABLE LES ON AN INDI­ UAL CELL BASIS.

note…

highlighted blue in the dialogue box is being edited.

SETTING UP DOCUMENTS | 61

TYPE OF T

For this project principles abou on one side of must be presen source, and eac must credit the on which it app arly articles mu Consideration s

PROJECT ONE 64 | TYPE SET IN STONE

ESETTING: RULES TYPOGRAPHY

t, you will research and document as many rules, ideas, or ut typography as possible. Your findings must be typeset an 8.5" × 11" piece of paper. A minimum of five examples nted on the page. Each entry must come from a different ch student must do their best to have unique entries. You e author as well as the source, including the page number peared and the year it was published. Books and scholust be used as your primary reference, not the Internet. should be given to the typesetting and design of the page. — Charmaine

WORK COMPLETED | 65

1. “Typographical design…strives for and produces impact on t concentrating individual charms into a composition that can by the eye and not by the intellect.”

2. “Typography and color play significant roles in overall comm effectiveness of technical documents. They can work togeth the time and effort required to access, comprehend, and use

3. “A well-designed table of contents is thus not only functiona visually exciting and memorable.”

4. “Type designers may not have entered the higher echelons o they were in the trenches of the consumer revolution.”

5. “Typography is an instrument of communication. It must pre information in a suggestive form. Clarity must be emphasize legibility, the message must never suffer from a priori aesthe types must never be forced into a pre-planned form.”

66 | TYPE SET IN STONE

the senses by n be grasped

munication her to decrease e information.”

al but also

of industry, but

esent precise ed…For etic. The letter

QUOTE SELECTION WORK COMPLETED | 67

Too conservative Not exciting Arbitrary color use Issues of hierarchy

68 | TYPE SET IN STONE

WHYTYPOGRAPHY?

FIRST DRAFT

1

“Typographical design…strives for and produces impact on the senses by concentrating individual charms into a composition that can be grasped by the eye and not by the intellect.”

Kurt Schwitters Designed Typography. Issues Vol. 9 No. 2 (Autumn, 1993). pp 66-68

2

“Typography and color play significant roles in overall communication effectiveness of technical documents. They can work together to decrease the time and effort required to access, comprehend, and use information” Elizabeth Keyes Technical Communication. Vol. 40, No.4, Special Issue: Visual Communication (Fourth Quarter November 1993). pp 638

3

WHYTYPOGRAPHY?

“A well-designed table of contents is thus not only functional but also visually exciting and memorable” Ellen Lupton and Jennifer Cole Phillips

1

Graphic Design the New Basics. Second edition. pp 130 “Typographical design…strives for and produces impact

4

on the senses by concentrating individual charms into a composition that can be grasped by the eye and not by the “Type designers may not have entered the higher echelons intellect.”

of industry, but they were in the trenches of the consumer Kurt Schwitters revolution”

Designed Typography. Issues Vol. 9 No. 2 (Autumn, 1993). pp 66-68

Steven Heller and Louise Fili

2

Style Pedia: A guide to graphic design, mannerisms, quirks,“Typography and and color play significant roles in overall conceits. pp 34 (referring to art deco) communication effectiveness of technical documents. They

5

can work together to decrease the time and effort required to access, comprehend, and use information” “Typography is an instrument of communication. It must present precise information in a suggestive form. Clarity must Elizabeth Keyes be emphasized…For legibility, the message must never suffer Technical Communication. Vol. 40, No.4, Special Issue: Visual from a priori aesthetic.”

Communication (Fourth Quarter November 1993). pp 638

László Moholy-Nagy

3

“A well-designed table of contents is thus not only functional but also visually exciting and memorable”

Steven Heller and Louise Fili. Style Pedia: A guide to graphic design, mannerisms, quirks, and conceits. pp 217

Ellen Lupton and Jennifer Cole Phillips Graphic Design the New Basics. Second edition. pp 130

4

“Type designers may not have entered the higher echelons of industry, but they were in the trenches of the consumer revolution.”

Steven Heller and Louise Fili Style Pedia: A guide to graphic design, mannerisms, quirks, and conceits. pp 34 (referring to art deco)

5

“Typography is an instrument of communication. It must present precise information in a suggestive form. Clarity must be emphasized…For legibility, the message must never suffer from a priori aesthetic.”

László Moholy-Nagy Heller, Steven and Louise Fili. Style Pedia: A guide to graphic design, mannerisms, quirks, and conceits. pp 217

WORK COMPLETED | 69

Q X

Z GH Y X Y A

K

N

M

Z

J U

PS O A P J Y H A WHY Y V W YA N O N H F E M QTT QY NG YE E O K O G T P Q N H T N X X L O N Z Q PM L IRB W FO A R A S Z O Z I A A Q E OL NO O N L Z P M E R ESO T CTN E M O G G PK H Y ?

O PNLN P Z ?

Y N H M N F A R O C K B D D OI VLDMO H U

Y

Q

W

X Q X

A

“Typographical design…strives for and produces impact on concentrating individual charms into a composition that c by the eye and not by the intellect.”

Kurt Schwitters

Designed Typography. Issue Vol. 9 No. 2 (Autumn,

“Typography and color play significant roles in overall comm effectiveness of technical documents. They can work togeth the time and effort required to access, comprehend, and us Elizabeth Keyes

Technical Communication. Vol. 40 No. 4 Special Is Communication (November 1993). p 638.

“A well-designed table of contents is thus not only function visually exciting and memorable.”

Ellen Lupton and Jennifer Cole Phillips

Graphic Design the New Basics. Second edition. 2

“Type designers may not have entered the higher echelons but they were in the trenches of the consumer revolution Steven Heller and Louise Fili

Style Pedia: A guide to graphic design mannerisms, conceits. 2006. p34 (referring to Art Deco).

Z

F F P F PQ FF F Q Q F ZQ A Q Q Q J Q Q Q R L B QP Q F P PX Z Q A F Q Q Q Q Q Q P Q D LLZQ YQ Q QQ L FF

R X ZA F L ZZ Z Z Z A Z L R D ZJA JZ Z J Y A A QALY Z A Z Y YZ Y Q BA Z FQ Z QJ Z P A

X YX Y YR XS D BD D E D B I B A O BG I XA O X O XB X MAX BHS X

“Typography is an instrument of communication. It must precise information in a suggestive form. Clarity must be e For legibility, the message must never suffer from a priori letter types must never be forced into a pre-planned form.”

László Moholy-Nagy

70 | TYPE SET IN STONE

A

J B P B

Steven Heller and Louise Fili. Style Pedia: A guide to mannerisms, quirks, and conceits. 2006. p217.

SECOND DRAFT Getting more exciting.

Legibility issues of “Typography”

n the senses by can be grasped

Quotes are too static in comparison to the movement of the falling letters.

Good use of type as a graphic element.

1993). p66.

munication her to decrease se information.”

ssue: Visual

nal but also

2008. p130.

of industry, n.”

, quirks, and

t present emphasized… aesthetic. The .”

o graphic design

WORK COMPLETED | 71

The red text is not needed Make the authors names red instead Increase top margin After trying a more dynamic use of quotes, it is better to have static quotes to balance the chaos of the falling letters Work on title, “Why” is too prominent

Z P S

A P J NY O H Y N O MEF QT Q YE O K T TN Q X L O P I BM FO OL NO L CTNESO P K CIB VLD O

Y

FINAL DRAFT

FA

X Q

X I O B O XX MAX BHSX

WHY

X ZA R L

Q

J B P B

Q P Q Q Q

72 | TYPE SET IN STONE

H Y

A

K J U

Q

Z A W Y

“Typographical design…strives for and produces impact on the senses by concentrating individual charms into a composition that can be grasped by the eye and not by the intellect.”

Kurt Schwitters Designed Typography. Issue Vol. 9 No. 2 (Autumn, 1993). p66.

“Typography and color play significant roles in overall communication effectiveness of technical documents. They can work together to decrease the time and effort required to access, comprehend, and use information.”

Elizabeth Keyes Technical Communication. Vol. 40 No. 4 Special Issue: Visual Communication (November 1993). p 638.

“A well-designed table of contents is thus not only functional but also visually exciting and memorable.”

Ellen Lupton and Jennifer Cole Phillips Graphic Design the New Basics. Second edition. 2008. p130.

“Type designers may not have entered the higher echelons of industry, but they were in the trenches of the consumer revolution.”

Steven Heller and Louise Fili Style Pedia: A guide to graphic design mannerisms, quirks, and conceits. 2006. p34 (referring to Art Deco).

A YA NH YG N Q ETE Y H P O G N X OWR W N Z Q L M A S Z O Z R A I A A O Q O L T ENZM R P E EMN O G O G O H Y ?

PP P Z ?

Y N H NO M N F A L R O K D D DM H U

“Typography is an instrument of communication. It must present precise information in a suggestive form. Clarity must be emphasized…

For legibility, the message must never suffer from a priori aesthetic. The letter types must never be forced into a pre-planned form.”

F

F F P F PQ FF F AQ Q F Q Z J QQ Q F P X Z R L BQ QFPA QQ Q Q P Q L LZQ Y Q L

X YX Y Y R XS D BD D E D X B I B A O G

Z ZZ ZAZ Z L R D Z Z A Z J J J Y A A QALY Z A Z Y Y Z YB Q AZ FQ Z QJ Z PA

László Moholy-Nagy

Steven Heller and Louise Fili. Style Pedia: A guide to graphic design mannerisms, quirks, and conceits. 2006. p217.

A

WORK COMPLETED | 73

A DIALOGUE

Using the dialogue provided, you will design a diptych that uti the text and emphasizes the fact that there is more than one v consider all your choices and decisions carefully. Everything ma about and utilize typographic hierarchy. You can use color, and help support your design, but care must be taken to make sure raphy is intentional and refined. Think about how all of the ty elements influence our interpretation of the text and how you can influence the viewer’s reading of the text.

74 | TYPE SET IN STONE

ilizes all of voice. Please atters. Think d images to e your typogypographic u, as a designer, — Charmaine

PROJECT TWO WORK COMPLETED | 75

SKETCHES 76 | TYPE SET IN STONE

WORK COMPLETED | 77

1000 FACE S A conversation with author Joseph Campbell on fighting the inner ego and becoming a hero.

78 | TYPE SET IN STONE

FIRST DRAFT Break the grid Look for a taller header typeface Get own pictures Work on subhead hierarchy

An interview

by Bill Moyers M—Why are there so many stories of the hero in mythology?

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

C—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.

C—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.

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

M —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?

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—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”?

C—My general formula for my students is “Follow 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—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.”

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 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”.

M—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?

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.

WORK COMPLETED | 79

SECOND DRAFTS Smaller pictures make it look closer to 1,000 faces Break the grid with the title The title does not have to go at the top Try using rules to create hierarchy Putting the images in grayscale in Photoshop allows more color control

80 | TYPE SET IN STONE

WORK COMPLETED | 81

1000 FACE S A conversation with author Joseph Campbell on fighting the inner ego and becoming a hero.

82 | TYPE SET IN STONE

FINAL DRAFT Good concept. Nicely executed given the time frame More control with the background and lighting of faces for consistency Type is simple, yet bold Good color output with the red-orange

An interview

by Bill Moyers M—Why are there so many stories of the hero in mythology?

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

C—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.

C—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.

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

M —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?

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—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”?

C—My general formula for my students is “Follow 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—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.”

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 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”.

M—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?

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.

WORK COMPLETED | 83

ELEM BOO

The Elements o dents and consc the effective us commonly viola necessitates the text, originally is to develop a students. We w student will be a small referenc to work in team

PROJECT THREE 84 | TYPE SET IN STONE

MENTS OF STYLE OKLET (2 TOTAL)

of Style is a classic reference book about grammar for stucientious writers. The focus of the book is on composition, se of plain English, and the principles of composition most ated. The text is full of examples and comparisons, which e effective use of indents and shifts in typographic style. The written in 1918, is quirky and, many times, archaic. Your job design that would appeal to high school and college-aged will be breaking up the text into smaller sections, and each assigned a portion of the text to be used in the creation of ce booklet. The second phase of the project will require you ms to create a single related series of booklets. — Charmaine

WORK COMPLETED | 85

86 | TYPE SET IN STONE

INDIVIDUAL BOOK Inspired the group books body text and example styling of “Before” and “Revised” for table solutions.

WORK COMPLETED | 87

GROUP BOOK Line breaks are different on my reference page Good solutions for maintaining consistency in the title rule styling Layout shows care and excellent attention to detail.

88 | TYPE SET IN STONE

WORK COMPLETED | 89

TYPE ZINE

In this project, you will be creating a digital magazine. The the magazine is: Typography,Design, Activism and Social Justice (th theme, not the title). Students in the class will be responsible f and creating all the assets for the magazine, including: text, ill photographs. All found images and text (articles, interviews, e properly credited. Include author bylines and captions for all im

90 | TYPE SET IN STONE

eme of the his is the for collecting lustrations,and etc.) must be mages. — Charmaine

PROJECT FOUR WORK COMPLETED | 91

SKETCHES 92 | TYPE SET IN STONE

WORK COMPLETED | 93

94 | TYPE SET IN STONE

SKETCHES WORK COMPLETED | 95

MOODBOARD 96 | TYPE SET IN STONE

Large title treatment Geometric shapes Bright solid colors Hero image use

Table of contents inspir

WORK COMPLETED | 97

98 | TYPE SET IN STONE

FINAL COVER WORK COMPLETED | 99

FINAL SPREADS 100 | TYPE SET IN STONE

WORK COMPLETED | 101

102 | TYPE SET IN STONE

FINAL SPREADS WORK COMPLETED | 103

FINAL SPREADS 104 | TYPE SET IN STONE

WORK COMPLETED | 105

DESIGN BY EMILY JEAN PAYNE Typefaces used include Frutiger LT Std and Isabel.

Electronically published March 2017