2 2 2 2 2 222222 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 222222 2 2 2 2 2 2 2 2 2222JOURNAL 22TYPE 2 2 2 22 22 2 2 2 2 2 2 2 2 2 2 222222 2 2 2 2 2 2 2 2 222222 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 222 ART 338 BY EMILY JOACHIM
INTRO DUCTION
INTRODUCTION This type journal consist of various notes, reading, projects from my Typography 2 class. Typography plays an extrememly important role in graphic design and the tips and hints provided in this journal are a key to success. These last 10 weeks of Typgraphy have definitely improved my skills and helped me build on my confidence as a typographer and as a graphic designer. All content comes from Typography II at California Polytechnic State University, Winter 2017.
4 TABLE OF CONTENTS
TABLE OF
CONTENTS WEEK 1.............................................................................................6 WEEK 2...........................................................................................10 WEEK 3...........................................................................................18 WEEK 4...........................................................................................24 WEEK 5...........................................................................................32 WEEK 6...........................................................................................36 WEEK 7...........................................................................................40 WEEK 8...........................................................................................46 WEEK 9...........................................................................................52 WEEK 10.........................................................................................54
ART 338 TYPE JOURNAL 5
WEEK 1 LECTURE NOTES
TYPOGRAPHIC REFINEMENT
READING READING BUTTERICK’S PRACTICAL TYPOGRAPHY
EXERCISE LEGIBILITY AND READABILITY STUDY
6 WEEK 1
LECTURE NOTES The typography measuring system was originally developed for handset metal type, invited by Johann Gutenberg around 1450. POINT SIZE • There were no standards for typographic measurement until type designer Pierre Simon Fournier le Jeune introduced the point system in 1737 • American measurement system has two basic units adopted in the 1870’s which are points and picas POINTS AND PICA •12 points in 1 pica •6 picas in 1 inch •1p6 = 1 pica + 6 points TRADITIONAL SIZES •Text displays from sizes in increments from 5 point to 72 point CHOOSING A POINT SIZE • Typeface proportions and weight • Length of text • Format for viewing (on paper and on screen) • Audience of the text and content of the text SCREEN VS. PRINT • Body text point should be larger when it is read on the screen • Body text when printed should be between 9 and 12 pt • Body text on a screen should be 14 pt or larger WORKHORSE • Good regular weight and robust proportions • At least one bold weight with noticeable contrast • An italic version and very legible numerals
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THINGS THAT MAKE YOUR TYPE BETTER • Kern type at display sizes • Customize the leading • Pay attention to the line length (not too wide or too narrow) • Use optimal line length (8-13 words per line) • Make sure letters are not too close together, adjust tracking carefully • Only use real small caps (if the typeface has an actual small caps style) DASHES Hyphen: use if a word is too long for the column length • Customize hyphenations when necessary Em Dash: use to express a break in the flow of a sentence En Dash: use an indicated duration QUOTATION MARKS •Always use smart quotation marks such as “ ‘ ’ ” •Never use dumb quotes such as“’’” RAGS, WIDOWS, AND ORPHANS • Always fix rags when practical, larger size type makes them more obvious • Avoid widows by adjusting tracking • Avoid orphans stranded at the bottom of paragraphs Remember to always check spelling
READING
BUTTERRICK’S PRACTICAL TYPOGRAPHY TYPOGRAPHY IN TEN MINUTES Butterick explains that quality of a document is immediately determined by how the body text looks because a majority of a document is the body text. When working with body text it is important to pay attention to the point size of the letters. The most common body text size is 10-12 point. Not every font appears the same at a particular point size so one must adjust if necessary. Line spacing is also a very important part of a document as well as line length. Lines should average of 45-90 characters per line. While all these things are important, font choice is the most important and easiest way to improve one’s typography.
8 WEEK 1
SUMMARY OF KEY RULES Butterick’s list of typographic elements quickly goes through things that will improve one’s typographic skills. This summary of typographic rules is extremely useful because it is very straight to the point. Following these simple rules will definitely help to improve anyone’s typography. FOREWARD This article goes into depth about what typography is. It discusses the differences between visible language and visual components of the written word. The article says that typography allows us to communicate in a way that is not just displaying information. Typography has established many rules that it would be ridiculous to ignore.
EXERCISE
LEGIBILITY & READABILITY STUDY This exercise was challenging because of the different positioning and type settings of all of the given text. It was difficult to chose between all of the serif and san serif text of which one to use for the paragraph because there are so many options for each. Leading the text too tight made the text extremely difficult to read. The farther apart the leading, the more legible the text becomes. Point size nine looks the best with the Serif font and point size eight looks the best with the Sans Serif font. In the Serif font, point size nine with fourteen or fifteen leading. Anything below fourteen is too small and anything above fifteen is too much space. In the Sans Serif font column, nine-point size looks best with fourteen for the leading. Anything above fourteen is too much space. The worst combination of point size and leading for serif was ten-point font with thirteen leading because the type was too big and too close to each other. The worst combination of point size and leading for the Sans Serif font was ninepoint font with the leading of twelve for the same reasons.
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WEEK 2 READING
BUTTERICK’S PRACTICAL TYPOGRAPHY: WHY TYPOGRAPHY MATTERS
CRITIQUE RESEARCH FINDINGS ON TYPE QUOTES
PROJECT 1
CRITQUE AND FINAL
10 WEEK 2
READING
WHY TYPOGRAPHY MATTERS Why is the design of the butterfly ballot problematic? • The design of the Butterfly Ballot is problematic mainly because of the layout. The layout is not straightforward and causes the reader to participate in a lot of work to understand the ballot. To understand the ballot, they would have to move their eyes back and forth multiple times and adjust to the different alignments between text boxes.
BUTTERFLY BALLOT
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In what ways is Trixie’s Resume better than Violets? • Trixie’s resume has much more logical placement for all each bit of information and does not look like it forced together. Violets resume looks as if she was trying to get in as much information as possible in a small space and looks very unorganized compared to Trixie’s.
VIOLET’S RESUME
12 WEEK 2
What is the main argument in Beatrice Warde's essay "The Crystal Goblet"? Why does Matthew Butterick disagree with this? • Beatrice Warde’s essay “The Crystal Goblet” states that typography should be invisible and let only the pure message of the text come through. However, Butterick disagrees and states that substance and presentation are intrinsically linked, especially within text.
TRIXIE’S RESUME
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CRITIQUE
THINGS TO WORK ON FOR FINAL • Hanging quotes • Fix leading of in multiple places, focus on title • Type size and leading • Hierarchy of numbers vs. text •Italicize book titles •check leading & kerning
14 WEEK 2
TYPOGRAPHY
DESIGN GREAT
PROJECT 1 FIRST DRAFT
1
“Space in typography is like time in music. It is infinitely divisible, but a few proportional intervals can be much more useful than a limitless choice of arbitrary quantities.”
2
“Good typography matters in a written document, just like good speaking skills matter during an oral argument”
3 4
— ROBERT BRINGHURST Compose To A Vertical Rhythm, 2006
— SUZANNE HURLEY Advancing The Legal Profession With Typography, 2012, Page 53
“Typography is all about adjusting the text within the design while creating powerful content. It plays a vital role in setting the overall tone of your website, and ensures a great user experience.” — NABIN PAUDYAL 8 Reasons Why Typography Is Important, 2016
“It is absolutely essential that designers know and understand the different principles of typography that create a pleasing design...” — CALEB MELLAS Typography and Why It Is Important For Your Website, 2016
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PROJECT 1
TYPE QUOTES FINAL CRITIQUE •Only highlight relevant words that have to do with topic of project •Make sure all of the text is there, not missing anything after fixing leading and kerning (check last quote) • Make sure to use hanging quotes •red on black is hard to pull off •Be mindful of details •make sure you have all the grammar
16 WEEK 2
Designing Great
Typography.
“
“Space in typography is like time in music. It is infinitely divisible, but a few proportional intervals can be much more useful than a limitless choice of arbitrary quantities.” — ROBERT BRINGHURST
Compose To A Vertical Rhythm, 2006
“Typography is all about adjusting the text within the design while creating powerful content. It plays a vital role in setting the overall tone of your website, and ensures a great user experience.” — NABIN PAUDYAL 8 Reasons Why Typography Is Important, 2016
“Good typography matters in a written document just like good speaking skills matter during an oral argument” — SUZANNE HURLEY Advancing The Legal Profession With Typography, 2012, Page 53
“It is absolutely essential that designers know and understand the different principles of typography that create a pleasing design...” — CALEB MELLAS Typography and Why It Is Important For Your Website, 2016
“Correctly spaced lines make it easier for a reader to follow the type and improves the overall appearance of the text. Leading also alters typographic color, which is the density or tone of a composi— ANTONIO CARUSONE 8 Simple Ways To Improve Typography In Your Designs, 2009
PROJECT 1 FINAL PROJECT
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WEEK 3 LECTURE NOTES
CHOOSING TYPEFACES, INSTALLING FONTS, AND MANAGING FONTS HOW TO: INSTALLING ART AND DESIGN FONTS
MORE ON FONTS: FONT MANAGEMENT IN OSX
READING
BUTTERICK’S PRACTICAL TYPOGRAPHY: TYPE COMPOSITION BUTTERICK’S PRACTICAL TYPOGRAPHY: TEXT FORMATTING
PROJECT 2
ROUGH DRAFT AND CRITIQUE
18 WEEK 3
LECTURE NOTES Creating a font can be very complex, make sure to consider these things when downloading/using a font: • Does it have small caps? • Does it have a large font family? • How much does this font cost? • Can I use this font for commercial work? • How do the numbers in this font look? How to: Installing Art and Design Fonts • Art and design lab computers all have a set of approved fonts on them 1. Connect to the Art and Design services, or while logged into an Art and Design lab computer 2. File storage 3. Software and Tools 4. Approved Fonts 5. Grab entire folder to your desktop to make a copy Or go on an Art and Design lab computer 1. Plug in your USB Flash Drive 2. MacHD 3. Library 4. Fonts 5. Drag folder to your USB Flash Drive In general, you want to have the minimum amount of fonts installed to avoid font conflict.
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READING
TYPE COMPOSITION THREE NEW THINGS LEARNED ABOUT TYPE COMPOSITION 1. Avoiding straight quotes is necessary and easy, just be sure to use your word processor’s smart-quote feature, which will substitute curly quotes automatically. 2. Always put exactly one space between sentences. 3. The question mark is underused and the exclamation point is overused. 4. The paragraph mark is used when citing documents with sequentially numbered paragraphs. The section mark is used when citing documents with numbered or lettered sections. 5. (Parentheses) are for separating citations, [brackets] show changes within quoted material, {braces} are not typically used except in technical and mathematical writing. KEYBOARD COMBINATIONS: Opening Single Quote
Option + ]
Closing Single Quotes
Option + Shift + ]
Opening Double Quotes
Option + [
Closing Double Quote
Option + Shift + [
Paragraph Mark
Option + 7
Section Mark
Option + 6
Hyphen
Hyphen
En Dash
Option + Hyphen
Em Dash
Option + Shift + Hyphen
Trademark
Option + 2
Copyright
Option + g
20 WEEK 3
TEXT FORMATTING TYPOGRAPHY There is more to typography and text formatting than just what font is being used. One must pay attention to point size, bold, italics, underlined, small caps, letterspacing, kerning, and many other things as well. Here are some tricks to improving typography quickly. TIPS AND TRICKS • Make sure to consider your audience when choosing fonts/typefaces, take note of how long the text is and what is about • Consider technical factors when choosing a font, such as making sure it has a full character set and multiple weights and styles • Never underline in a printed document, if you feel the urge to underline, bold or italics instead • Distinctive fonts are ok, goofy is not • Always use proportional fonts • A lot of system fonts are not very good because they have been optimized for screen legibility instead of print APPROVED FONTS Athelas Avenir Bell MT Book Antiqua Californian FB Calisto MT Century Schoolbook Charter Franklin Gothic Garamond Gills Sans Gills Sans MT Goudy Old Style Helvetica Helvetica Neue Hoefler Text Iowan Old Style Optima ART 338 TYPE JOURNAL 21
PROJECT 2
ROUGH DRAFT CRITIQUE • Make sure it is directed at audience • Make sure type is easy to read and interview is easy to follow • Use negative space • Make it clear what is being conveyed
22 WEEK 3
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WEEK 4 LECTURE NOTES
TYPESETTING IN INDESIGN: TOOLS AND TECHNIQUES
READING
BUTTERICK’S PRACTICAL TYPOGRAPHY: PAGE LAYOUT
FAMILY PLANNING, OR HOW TYPE FAMILIES WORK BY PETER BIL’AK
PROJECT 2 FINAL
24 WEEK 4
LECTURE NOTES
TYPESETTING IN INDESIGN: TOOLS AND TECHNIQUES •Always control and customize your typography by using styles PARAGRAPH STYLES • Leading • Tabs • Indents • Space before and after • Hyphenation and justification settings • Rules above and below CHARACTER FORMATS Help with basic text formatting • Font/font style • Size • Leading • Kerning • Tracking Only use “baseline shifts” in Advanced Character Formats INDENTS AND SPACING • Alignment • Indents • Space before or after paragraph returns PARAGRAPH RULES • Shows rules (lines) that can appear above or below the paragraph PARAGRAPH SHADING • Text highlighting • Spacing can be customized KEEP OPTIONS • Helps to keep a certain number of lines together in a paragraph • Helps to avoid orphans ART 338 TYPE JOURNAL 25
HYPHENATION • Turns hyphenation on or off • Customizes word/hyphenation settings JUSTIFICATION • Customizes justified type spacing SPAN COLUMNS •If you want to switch from a single column to multiple columns in the same text box DROP CAPS AND NESTED STYLES •Large initial caps and styles with other styles BULLETS AND NUMBERING • Set up list with auto bullet points or numbers CHARACTER COLOR • Color of text • Percentage of tint • Stroke alignment OPEN TYPE FEATURES • Choose titling and/or swash alternative characters • Specify figures (number) style EXPORT TAGGING • Turn styles into CSS • For Epubs and websites created in InDesign TABLES ARE ALSO A GREAT TOOL FOR POSITION TEXT TABLE STYLES • The outside border of the table • Dividing lines in the table • The space above and below the table • The fills of fields in the table
26 WEEK 4
General will show if the table style is based on a pre-existing style in the document Row Strokes show the horizontal dividing lines in the table Column Strokes show the vertical dividing lines in the table CELL STYLES Use for individual cells or rectangular division of the table GENERAL •Shows if the cell style is based in a pre-existing style in the document •Defines the paragraph style of the text within the cell TEXT Alignment and text insets (space around the text within the cell) GRAPHIC Inset, or space around, a graphic that is placed within a table cell STROKES AND FILLS Stroke around the cell and fill color of the cell DIAGONAL LINES When you want a diagonal line across a cell or an x-ed out cell Using styles will increase you InDesign efficiency and are important to understand
ART 338 TYPE JOURNAL 27
READINGS
BUTTERICK’S PRACTICAL TYPOGRAPHY: PAGE LAYOUT Text composition is about picking the right characters while text formatting was about the visual appearance of those characters. Today the struggle of fixing the correct formatting and appearances continues with default templates that falsely advertise great results. In this case, it is important to remember that you get out what you put in, and you can do better than defaulted templates. Here are some important tips to remember when working on page layout. 1) Centered text is over used, paragraphs should never be centered 2) Justified text is spaced so the left and right sides of text have a straight edge, justification makes text look cleaner and more formal 3) Make sure to turn on hyphenation when justifying text 4) Show that you are starting a new paragraph by putting space between paragraphs, if you choose to indent, make sure it is no bigger than four times the point size 5) Never use word spaces or tabs to indent the fist line of a paragraph, use special indenting tools 6) Line spacing is the vertical distance between lines of text, make sure to use paragraph styles so they stay accurate, line spacing should be between 120% and 145% of the point size 7) Line length is the distance between the left and right edges of a text block, make sure to aim for 45-90 characters as an average line length 8) Page margins determine the width of your text block and have the greatest effect on line length, make sure to adjust accordingly 9) Do not be afraid of white space when adjusting page margins
28 WEEK 4
FAMILY PLANNING, OR HOW TYPE FAMILIES WORK BY PETER BIL’AK This article discusses the history of type families and the possibilities in creating type systems today. The sizes and complexity of newer and more developed type families have reached unexpected levels. Some fonts, for example, United, includes up to 105 font families composted of three styles (sans, serif, and italic). Type families such as this one are often called ‘superfamilies’ and have become more common with recent type designers. In the early 20th century, weights became more important to complete a typeface. Morris Fuller Benton complemented many of the typefaces he designed for American Type Founders with condensed and heavy examples. He is the best example of someone doing this because the fundamentals he came up with are the same basic transformations that most digital typographic systems use today. The article continues on with a lot of good information, including the work of Adrian Frutiger who change the vision of a single typeface to be a complete typeface system. Fruitiger did this with the Univers type family, as shown below. While he created this number system specifically for Univers, the system was found to be popular with a wide variety of designers.
ART 338 TYPE JOURNAL 29
PROJECT 2 FINAL
FINAL CRITIQUE AND SUGGESTIONS FOR FUTURE • Push type and design further • Increase size of title and use more bold typeface • Make ball of string illustration more interesting • Have ball of string interact with typeface • Add more color and more drama
30 WEEK 4
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WEEK 5 READING
USING LAYOUT GRIDS EFFECTIVELY “TYPOGRAPHY MEA CULPA, UNETHICAL DOWNLOADING” BY STEVEN HELLER MY TYPE DESIGN PHILOSOPHY BY MARTIN MAJOOR
32 WEEK 5
READING
USING LAYOUT GRIDS EFFECTIVELY • Always use a layout grid for your design projects to avoid inconsistency • Adjust your layout grid for your binding type • Make sure to follow the rule of thirds accordingly • Make sure to follow The Golden Ratio and the Fibonacci Sequence • Take not of different types of girls (1 column vertical/landscape, 2 column vertical/landscape, 3 column vertical/landscape, 4 column landscape) TYPOGRAPHY MEA CULPA, UNETHICAL DOWNLOADING BY STEVEN HELLER • Design is an honorable profession and it is important to respect other peoples work This article written by Steven Heller, discusses the ethics of downloading other peoples design work. Almost all typefaces are licensed with a certain number of device that you are allowed to share it with. This is a standard in the industry, but most of the time it is over looked. It is important to remember that design is an honorable profession and one should respect others work by at least being conscious about font licensing. Making custom fonts is more expensive than actually buying fonts, so paying for them is more convenient and cheaper. It is also important to read the licensing agreements because they may impost limitations of “ownership.” If you are going to pay for a font, you want to make sure you can use it as you please.
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MY TYPE DESIGN PHILOSOPHY BY MARTIN MAJOOR This article is by the designer of Scala and Seria, Martin Majoor. Majoor is a well known book designer and states that he has made several complex books where more than one typeface was used to clarify things throughout the text. He says that the problem wasn’t choosing to use a sans or a serif typeface, but which one specifically to use. Majoor says that to be a good designer you must know how type works in a body text and what happens to type on different types of paper and with various types of printing. The first sans serif typeface to be used for printing was published by Willian Caslon. The next and more complete and well known was Alzidenz Grotesk. This typeface was created by the German Berthold type foundry in Berlin. Next came Futura, which was started from drawings. Futura was designed by Paul Renner and based Futura on classic principles, like roman inscription capitals, rather than basing it off Bauhaus principles. In summary, when mixing a serif with a sans you should try to pick ones that were based off the serif, so they have the same general skeleton. This idea was illustrated through Majoor’s designs of Scala and Scala Sans and Seria and Seria Sans.
34 WEEK 5
PAUL RENNER'S DESIGN OF FUTURA
SCALA SANS
ART 338 TYPE JOURNAL 35
WEEK 6 READING
A VIEW OF LATIN TYPOGRAPHY IN RELATIONSHIPS TO THE WORLD BY PETER BIL’AK
PROJECT 3 ELEMENTS OF STYLE FINAL TYPOGRAPHY VS INDESIGN
36 WEEK 6
READING
A VIEW OF LATIN TYPOGRAPHY IN RELATIONSHIPS TO THE WORLD BY PETER BIL’AK This article by Peter Bil’ak discusses the misconceptions of western typography and talks about how it is usually overlooked. Typography in Europe is the area that often gets the most credit, however long before movable type was already being used in China and Korea. Even today, typography continues to be plagues by a Euro-centric bias. Most existing typographic classification systems also apply exclusively to Latin type. There are traditional typefaces that are used in print repetitively. Typfaces that did not evolve in Western Europe is referred to as “roman” and is customarily used to describe serif typefaces of the early Italian Renaissance Period.
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PROJECT 3 FINAL
38 WEEK 6
ELEMENTS OF STYLE ELEMENTS OF STYLE FINAL CRITIQUE • Outside margins are tight • Check consistency with other team members • Make sure styles are clear and accurate with team • Do final sizing check before final print TYPOGRAPHY VS INDESIGN TYPOGRAPHY • Important to track when using bold text • Large margins make it easier to read, but use more paper • Watch out for dumb quotes • Don’t forget to hang your quotes • Never use auto leading • Make sure you have good quality paper • Do not use light body text • Use a nice thicker weight for reversed out text • Actually read the text before organizing it INDESIGN • Stoke borders in Tables • Cell styles for setting text • Shortcut for page break is fn+return • Shortcut paste in exact place is shift+option+command ) • Remember vertical line rules • Always use paragraph and character styles • Activating special characters can really help • Kern with shortcut option+right arrow • Keep everything in one text box
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WEEK 7 READING
LAVA—VOICE OF A MAGAZINE
THE FIRST THING I EVER DESIGNED: ELENA SCHENKER AND “GRATUITOUS TYPE” MAGAZINE
PROJECT 4 PART ONE STUDIES DUE
40 WEEK 7
READING
LAVA—VOICE OF A MAGAZINE BY PETER BIL’AK This article by Peter Bil’ak outlines the design of Lava, a typeface created to bridge the digital and print editions of a magazine. The goal of this typeface was to create a typeface that could be easily read in the relaxed manner by an engaged storyteller. It also had to be able to handle long text blocks and small captions or titles. Lava is made up of finely tuned proportions and different spacing that can cause the reader to forget about the typeface itself and only pay attention to content. THE FIRST THING I EVER DESIGNED: ELENA SCHENKER AND GRATUITOUS TYPE MAGAZINE BY MADELEINE MORLEY Elena Schlenker is the designer behind Gratuitous Type magazine. She wanted it to include a lot of white space, lots of movement, and a sens of playfulness. This made the magazine give off feelings of not being an editorial authority.
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MOOD BOARDS
42 WEEK 7
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TYPE STUDIES AND BOOK MAP
44 WEEK 7
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WEEK 8 READING
ERICK GILL GOT IT WRONG; A RE-EVALUATION OF GILL SANS BEAUTY AND UGLINESS IN TYPE DESIGN BY PETER BIL’AK
LECTURE TYPOGRAPHY ON SCREEN
FOUR MAGAZINE SPREADS DUE
46 WEEK 8
READING
ERICK GILL GOT IT WRONG; A RE-EVALUATION OF GILL SANS BY BEN ARCHER • Gill Sans is the “Helvetica of England” • Gill Sans is specifically distributed for free with Adobe CC and Apple OSX • There has been a steady rise in san serif typefaces with humanistic characteristics • Eric Gill worked under Johnston and claimed Gill Sans was an improvement to the Johnson typeface • The Gill Sans “g” is called the “eye-glass g” In ultra bold, the lowercase “g” doesn’t have the eyeglass anymore • This typeface has become as popular and as convenient to use as Helvetica or Palatino • There are also other alternatives to Gill Sans, like Grandy BEAUTY AND UGLINESS IN TYPE DESIGN BY PETER BIL’AK • Type design is a discipline defined by its ability to execute an outcome • Type design is an idea that becomes a functional thing that people are able to use • Bodoni and Didot are considered the “beautiful” typefaces and they are described as delicate and classy typefaces • The typeface “Italian” is considered the ugly, it was considered “a crude expression of the idea of perversity” • The contrast between thick and thin typefaces seem to determine the difference between beautiful and ugly
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LECTURE
TYPOGRAPHY ON SCREEN Typeface contrast: The amount of contrast between the thick and thin strokes of characters in a typeface impacts legibility, higher contrast typefaces can be useful in small amounts or as headlines X-HEIGHT • When choosing a typeface for text, a high x-height is ideal, especially for use on interfaces or on wayfinding BEWARE OF 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 CHARACTER DISTINCTION Differentiating between different characters is essential for on screen legibility SPECIAL CHARACTERS Strive to use typefaces that support different types of numbers, correct punctuation, and special characters Always use real small caps, all caps, and ligatures Avoid pairing typefaces that are too similar USE A FAMILY Some typefaces have both serif and sans serif version, which are built on the same structure Make sure to evaluate typefaces critically and learn to trust your instincts
48 WEEK 8
MAGAZINE SPREAD DRAFTS
ART 338 TYPE JOURNAL 49
50 WEEK 8
SPREADS CRITIQUE • Change fonts to be more exciting • Thin gutters • Make layouts more exciting • Make sure body text is at least 14 pt • Use elements to make spreads tie together • Make sure fix dashes when appropriate • Make sure to use italics when appropriate • Large and good quality photographs should be made larger • Make look more like a magazine format
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WEEK 9 READING
AN IDEA OF A TYPEFACE
PROJECT 4 SMALL GROUP CRITIQUES
52 WEEK 9
READINGS
AN IDEA OF A TYPEFACE BY KAI BERNAU • Neutral typefaces should help readers focus more on the actual content rather than the text • Neutral typefaces were designed to not distract the reader from the text at all • It is difficult to create neutral typefaces because of cultural differences • Designing Neutral was much like the process of just blending different typefaces with eachother • At one point Neutral was completely redesigned and drawn from scratch
SMALL GROUP CRITIQUES
PROJECT 4 • Check em dashes, en dashes, and hyphens • Make sure footers has insert page numbers and the correct page numbers are there • Bring unity throughout magazine pages
ART 338 TYPE JOURNAL 53
WEEK 10 PRESENTATION CRITIQUES FINAL PROJECT 4 MAGAZINE DUE
54 WEEK 10
PRESENTATION CRITIQUES • When designing a magazine, it is important to understand page layout • It is important to pay attention to what fonts are being used and where they are being used • Do not use too many variations of titles • Use successful hierarchy/pacing • Make sure to utilize paragraph and character styles • Large scale type treatments can create contrast and drama throughout the magazine • Using different colors to differentiate different sections can help the reader find specific content easily • Check all em dashes, en dashes, and hyphens while proof reading • Make sure book titles are italicized • Have fun with negative space
ART 338 TYPE JOURNAL 55
56 WEEK 10
ART 338 TYPE JOURNAL 57
58 WEEK 10
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DESIGN BY EMILY JOACHIM WINTER 2017 ART 338.03