338.03 Type Journal by Erica Patstone by Erica Patstone

ART 338–03

JOURNAL

Erica Patstone

Type II Journal

TYPE II JOURNAL

Erica Patstone Winter 2016

Type II Journal

This journal was designed by Erica Patstone for Art 338, Typography II, in Winter, 2016, taught by Charmaine Martinez. Typefaces used are Roboto and Roboto Slab.

Type II Journal

INTRODUCTION This journal is a collection of notes and projects that I have recorded and created throughout winter quarter 2016 in Charmaine Martinezâ&#x20AC;&#x2122;s Type II class. Although I learned some of the basics last year in Type I, I solidified my knowledge in the most important typographic rules. The assignments we did throuhgout the quarter reinforced the information taught by the lectures and readings. Overall, I really enjoyed the types of projects we did and appreciated the various platforms for which we designed.

Type II Journal

CONTENTS READINGS..........................8 LECTURES........................23 ASSIGNMENTS.................31

READINGS Typography in Ten Minutes Why Typography Matters Type Composition Text Formatting Page Layout Family Planning Using Layout Grids Effectively Unethical Downloading My Type Design Philosophy Latin Typography in Relationship to the World Lava The First Thing I Ever Designed Re-Evaluation of Gill Sans Beauty and Ugliness in Type Design An Idea of a Typeface

TYPOGRAPHY IN TEN MINUTES Typographic Rules: Body text determines the typographic quality of a document. Ideal point size of body text for print is 10–12 pt.; for web, it is 15–20 px. Line spacing (leading) should be 120–145% of the point size. Line length should be an average of 45–90 characters, or 2–3 lowercase alphabets. Margins are typically larger than 1 inch. Avoid system fonts. Use curly quotation marks, not straight ones. Use only one space between sentences. Don’t use multiple word spaces or other white space characters in a row. Never underline unless it’s a hyperlink. Use centered text sparingly. Don’t overuse bold or italic styles. All caps are fine for less than one line of text

Type II Journal

If you don’t have real small caps, don’t use them at all. Use 5–12% extra tracking for small and all caps. Kerning should always be turned on. Use first-line indents that are 1–4 times the point size of the text, or use 4–10 points of space in between paragraphs, but not both. Turn on hyphenation when using justified text. Use hyphens and dashes properly. Use ampersands sparingly, unless included in a proper name. In a document longer than three pages, one exclamation point is plenty. Use proper trademark and copyright symbols. Make ellipses with the proper character, not periods and spaces. Make sure apostrophes point downward. Make sure foot and inch marks are straight, not curly.

Type II Journal

WHY TYPOGRAPHY MATTERS Good typography allows the reader to focus more on the message and less on the mechanics of reading. Understand the goals of your text. Butterfly Ballot Issues: • It’s difficult to discern which circles correspond to which candidates. • Dividing the candidates across the two pages is confusing and disrupts the hierarchy. Résumés: Violet vs. Trixie • The information in Trixie’s résumé is much more organized with a clear hierarchy • There is a good amount of white space in Trixie’s résumé that balances out the text Matthew Butterick on “The Crystal Goblet” • Text is already invisible, so typography cannot be. • Typography is less like wine in a goblet, and more like helium in a balloon. • Typography reinforces the core message by adding its own complementary meaning.

Type II Journal

TYPE COMPOSITION Always use curly quotes. Straight quotes originated from the typewriter Always put exactly one space between sentences. Ask more questions and avoid exclamations. Use colons and semicolons appropriately. The paragraph mark indicates sequentially numbered paragraphs, while the section mark indicates lettered or numbered sections within a document. A paragraph mark or section mark should always be followed by a nonbreaking space. Parentheses separate citations or other asides from body text while brackets show changes within quoted material. Three uses of the hyphen: • Added when a word breaks onto the next line • Multipart words are spelled with a hyphen, except words that contain prefixes • Used in phrasal adjectives to ensure clarity The en dash indicates either a range of values or a connection/contrast between pairs of words.

Type II Journal

The em dash creates a break between parts of a sentence where a comma is too weak, but a semicolon, colon, or parentheses are too strong. Use the proper copyright, trademark, and registered trademark symbols. Use ampersands sparingly unless they’re part of a proper name. Use the ellipsis character; don’t approximate. Type a sequence of underscores to create a signature line Use apostrophes to indicate possession or in contractions Don’t ignore accented characters in proper nouns as well as loanwords Use straight quotes for foot and inch marks Make blank spaces visible so that you can make sure you’re using them correctly Nonbreaking space prevents awkward breaks. Use tabs to insert horizontal space into the middle of a line. Make the ruler visible so you can create your own tab stops. Type II Journal

Hard line breaks move the next word to the beginning of a new line without starting a new paragraph. Hard returns help control text flow when a carriage return doesnâ&#x20AC;&#x2122;t work. Use carriage returns only when beginning a new paragraph. Hard page breaks allow for consistency when you need to move text to a new page. Insert optional hyphens where you would ideally like a word or phrase to be hyphenated. Use real math symbols when necessary. Use ligatures when f and i collide Three things I learned from Type Composition: 1. What paragraph and section marks are and how to make them visible in my document 2. To use the actual ellipsis character rather than three periods in a row 3. How to set up tabs to create horizontal space within a line

Type II Journal

TEXT FORMATTING Never underline. Use bold or italic instead. Donâ&#x20AC;&#x2122;t use goofy fonts just to stand out. Never use monospaced fonts. Choose and use system fonts wisely. Bold and italic are mutually exclusive. Use bold in sans serif fonts as opposed to italic. Use all caps sparingly. Use half-point increments for smaller text. Limit yourself to two or three levels of headings. Suppress hyphenation in headings. More tracking must be applied to small or all caps, but usually not to lowercase letters. Kerning adjusts the space between individual pairs of letters. Use color wisely; contrast is key. Lining figures line up with the baseline; oldstyle figures vary in relation to the baseline Use lining figures with all caps. Avoid superscripted ordinals. Consider contrast when pairing fonts. Type II Journal

PAGE LAYOUT Do not center paragraphs of text. When justifying text, turn on hyphenation to avoid rivers in the text. First-line indents should never be smaller than the point size of the text. Do not use word spaces or tabs to substitute for the first-line indent. Use the Paragraph function. Space between paragraphs also functions as an indicator for a new paragraph. Do not use two carriage returns. The smaller the point size, the larger the margins need to be, and vice versa. White space is not to be feared. Format the body text first. Sometimes you may need to suppress hyphenation Carefully integrate block quotes, and use fairly subtle indentation. Utilize the automatic bulleted and numbered list function.

Type II Journal

Tables are useful for grids of data or where text needs to be positioned side-by-side Adjust cell margins to make your text more legible Rule is a line; border is a box. Adjust space above and below text. The widow and orphan control function can be helpful. Keep lines together. “Keep with next paragraph” binds the last line of a parag raph to the first line of the next. Page break bef ore ensures that a parag raph starts at the top of a new page. Don’t use more than 3 columns on an 8.5”x11” page. Use paragraph and character styles to keep text consistent throughout your document. THESE ARE YOUR BEST FRIENDS.

Type II Journal

FAMILY PLANNING Typefaces need to be linked by optical size and weight to make up a coherent type family. Univers shifted attention the the design of an entire typeface system defined by width and weight. Jan van Krimpenâ&#x20AC;&#x2122;s intention of his Romulus project was to create a large family of types for book printing; these would comprise a roman, an italic, a script type, bold and condensed types, at least four weights of sans serif, Greek text type, and possibly more. Each style of the type family must be recognizably different in order to remain functional. Yet each style must adhere to common principles governing the consistency of the type family

Type II Journal

USING GRID LAYOUTS EFFECTIVELY Two types of grids: even and odd numbers of columns Always use some sort of grid when designing. Adjust the gutter depending on what type of binding is used Use the Rule of Thirds, the Golden Ratio, and the Fibonacci Sequence to improve your composition

UNETHICAL DOWNLOADING Just because you can easily ignore font licenses and share fonts freely doesn’t mean you should. Don’t be ignorant—read your font licenses and don’t use fonts that you have not bought/downloaded yourself.

MY TYPE DESIGN PHILOSOPHY To be a good type designer, you should be a good book typographer. Futura was revolutionary as a sans because it departed from classicist styles like Azidenz Grotesk

Type II Journal

A VIEW OF LATIN TYPOGRAPHY IN RELATIONSHIP TO THE WORLD Most existing type classification systems apply exclusively to Latin type Terms like “Roman” and “Italic” evolved from Western Europe

LAVA Lava was design to bridge the digital and print editions of a newly designed magazine. Typeface should be confident enough not to need to show off, with the comfortable, relaxed manner of an engaged storyteller Lava was designed to perform optimally in both high- and low- resolution environments.

THE FIRST THING I EVER DESIGNED Elana Schlenker is the designer behind Gratuitous Type magazine She wanted it to include lots of white space, lots of movement, and a sense of playfulness—more than editorial authority. Trust your abilities.

Type II Journal

RE-EVALUATION OF GILL SANS Gill Sans began life as a piece of signage The majority of character shapes in Gill Sans are actually worse than in Johnston’s design of fifteen years previous

BEAUTY AND UGLINESS IN TYPE DESIGN Beautiful type design consists of regularity, clarity, good taste, and charm “Italian” had thin strokes that were thick in classical models, and vice versa—a dirty trick to create freakish letterforms.

Type II Journal

AN IDEA OF A TYPEFACE â&#x20AC;&#x153;Neutralâ&#x20AC;? began as an attempt to create a typeface free of all connotations or associations that could distract a reader from the text, a font that delivers the character of the written material untouched by the character of the typeface design. Plain and reserved design Distinguishing characteristics: The ornate historic Cherokee glyphs have been opened up and simplified for legibility.

Type II Journal

LECTURES Typographic Refinement Choosing Typefaces, Installing Fonts and Managing Fonts Typesetting in InDesign Typography on Screen

TYPOGRAPHIC REFINEMENT Measurement: Points & Picas • 12 points = 1 pica • 6 picas = 1 inch • 72 points = 1 inch • 1p6 means 1 pica + 6 points Type size Traditional metal type had a range of text and display sizes in increments from 5 point to 72 point. Factors to consider when deciding what point size to use: • typeface proportions and weight • length of text • format for viewing (printed on paper or viewed on screen or both) • audience/reader of the text • content of the text

Type II Journal

Choosing a versatile typeface Hardworking typefaces have: • regular weight • robust proportions • at least one bold weight • italics • very legible numerals • economy Screen vs. Print In print, body text should be 9–12 pt. On screen, it should be at least 14 pt. How to make your type look better: Kern at display sizes Adjust leading so that it is 120–145% of the point size • ex. 9/13 pt. Adjust line length 45–90 characters per line, or 8–13 words All caps or small caps need more tracking than upper and lower case.

Type II Journal

CHOOSING TYPEFACES, INSTALLING FONTS AND MANAGING FONTS How to choose the right font: Consider content, audience, and format: • How long is the text? What is it about? • How old is the reader? What is the demographic of the reader? • What is the size of the page/screen? Is the size set or will it vary? At what distance will the text be read? Consider technical factors like: • full character set and all necessary punctuation and glyphs • foreign accented characters and glyphs • multiple weights and styles • small caps • lining and old style numerals • Web Font version Where to get fonts: Google Fonts Lost Type League of Moveable Type

Type II Journal

Font Squirrel Fontspring House Industries My Fonts Fonts.com Where fonts live on your computer: User : ~/Library/Fonts/ Local: /Library/Fonts Network: /Network/Library/Fonts/ System: /System/Library/Fonts/ Organizing your fonts Using a font manager can help you to organize and categorize your fonts. Try to keep the least amount of fonts downloaded as possible. Organize fonts into sets. FontExplorer X Pro Suitcase Fusion 6

Type II Journal

TYPESETTING IN INDESIGN Paragraph and Character Styles Paragraph Styles affect paragraph level attributes: • leading • tabs • indents • space before and after • hyphenation and justification settings • rules above and below Most styles in your document will be paragraph styles. Basic text formatting: font, font style, size, leading, kerning, tracking and case. The only thing you should use in Advanced Character Formats is Baseline Shift. Character Styles are used for styling text within a paragraph, for things like: • bold text • italic text • run-in subheads • custom bullets or numbers

Type II Journal

Basic text formatting: font, font style, size, kerning, tracking and case. Leading is inherited from the paragraph style. Tables Table Styles are used for styling multiple tables within a document. The style defines: • the outside border of the table • the dividing lines in the table • the space above and below the table • the fills of fields in the table Cell Styles are used for styling individual cells, or rectangular divisions of the table. The cell style defines: • the borders around the cell • how the text is positioned within the cell • the style of the text within the cell • the fill color of the cell • if the cell is x-ed out Object styles work the same way as the other types of styles.

Type II Journal

TYPE ON SCREEN Use fonts with low thick-thin contrast, high x-height, and low x-height contrast (especially between letters like a and d, n and h). Choose fonts that have distinguished characters, especially between 1, l, and I. Choose fonts that have similar characteristics to popular workhorse fonts, but arenâ&#x20AC;&#x2122;t as overused Pair display and text faces. Find typefaces with inherent visual relationships in their structure.

Type II Journal

ASSIGNMENTS Legibility Exercise Typesetting: Rules of Typography A Dialogue Elements of Style Type Zine

Sans Serif

ges will still be legible, r than simply display tion would be helpful. ion—“one cannot not u fail to consider the may inadvertently com-

sage may be received.

Without typography, one could argue, messages will LEGIBILITY EXERCISE still be legible, but if one really wants to communicate

rather than simply display a heap of alphanumeric Objective

data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one Using one serif typeface and one sans cannot serif typenot communicate”—puts it very succinctly. If you fail face, experiment of point size and to consider thewith effect a of variety your message on the recipiyou may inadvertently communicate that you do leading ent, combinations to observe legibility. not care how your message may be received.

Serif

GOTHAM 9/13

ges will still be legible, r than simply display tion would be helpful. ion—“one cannot not u fail to consider the may inadvertently com-

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sage may be received.

ges will still be legible,

ADOBE GARAMOND PRO 9/13 ADOBE GARAMOND PRO 9/12

r than simply display

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

ion—“one cannot not

u fail to consider the

may inadvertently com-

sage may be received.

ADOBE GARAMOND PRO of 9/12 to consider the effect your message on the recipi-

ges will still be legible,

ent, you may inadvertently communicate that you do

r than simply display

tion would be helpful.

not care how your message may be received. Without typography, one could argue, messages will still be legible,

ion—“one cannot not

but if one really wants to communicate rather than simply display

u fail to consider the

a heap of alphanumeric data, some consideration would be helpful.

Gotham 9/14

may inadvertently com-

sage may be received.

Type II

Paul Watzlawick’s first axiom of communication—“one cannot not Without typography, one could argue, messages will communicate”—puts it very succinctly. If you fail to consider the still be legible, but if one really wants to communicate effect of your message on the recipient, you may inadvertently comrather than simply display a heap of alphanumeric municate that you do not care how your message may be received. data, some consideration would be helpful. Paul WatJournal Adobe Garamond Pro 9/14

Sans S

Without typogr still be legible, b rather than simp data, some cons zlawick’s first ax not communica to consider the ent, you may ina

not care how yo GOTHAM 9/13

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not care how yo

ADOBE GARAMO

Without typogr

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rather than simp

data, some cons

will still be legible, but

zlawick’s first axiom of communication—“one cannot

zlawick’s first ax

mply display a heap of

not communicate”—puts it very succinctly. If you fail

not communica

Serif

Sans Serif

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

municate that you do not care how your message may be received. ADOBE GARAMOND PRO 9/13

not care how your message may be received. Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. ADOBE GARAMOND PRO 9/12

GOTHAM 9/13

Without typography, one could argue, messages will still be legible,

not care how your message may be received.

but if one really wants to communicate rather than simply display

ADOBE GARAMOND PRO 9/12

a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. Adobe Garamond Pro 9/14

to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. Gotham 9/14

communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. ADOBE GARAMOND PRO 9/15

Without typography, one could argue, messages will still be legible, but

zlawick’s first axiom of communication—“one cannot

if one really wants to communicate rather than simply display a heap of

not communicate”—puts it very succinctly. If you fail

alphanumeric data, some consideration would be helpful. Paul Watzlawick’s

to consider the effect of your message on the recipi-

first axiom of communication—“one cannot not communicate”—puts it

ent, you may inadvertently communicate that you do

very succinctly. If you fail to consider the effect of your message on the

not care how your message may be received.

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

GOTHAM 9/15

ADOBE GARAMOND PRO 8/13 Without typography, one could argue, messages will still

be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. GOTHAM 8/13

Erica Patstone

Type II Journal

TYPESETTING: RULES OF TYPOGRAPHY Project Description For this project, you will research and document as many rules, ideas, or principles about typography as possible. Your findings must be typeset on one side of an 8.5” × 11” piece of paper. A minimum of five examples must be presented on the page. Each entry must come from a different source, and each student must do their best to have unique entries. You must credit the author as well as the source, including the page number on which it appeared and the year it was published. Books and scholarly articles must be used as your primary reference, not the Internet. Consideration should be given to the typesetting and design of the page. Critique Overall, there should be more white space, which could be achieved by a reduced body text size. Book titles shouldn’t be right aligned because they are a bit distracting. The large title works nicely and is attention-grabbing.

Type II Journal

PROCESS

type the philosophy of

Ricard Huerta “Typography is present at I Like Cities; Do You Like Letters? Introducing Urban Typography in Art Education ∕ Page 75 ⁄ 2010

every step we take.”

Gavin Ambrose “Typography is one of the & Paul Harris most influential elements on Basics Design 03: Typography ⁄ Page 5 ⁄ 2005

the character and emotional quality of a design.”

Amanda Aszman “No designer is immune to True to Type ⁄ Page 10 ⁄ 2015

typography, and those who embrace it—or master it—are the designers whose work tends to rise to the top.”

Elif Ayiter “Serifs, x-height, stem width, Deconstruction, legibility and space: Four experimental typographic practices Page 217 ⁄ 2013

horizontal and vertical contrast are all elements that make a typeface unique.”

Jim Felici “Good typesetters trust their The Complete Manual of Typography: A Guide to Setting Perfect Type, Second Edition Page 113 ⁄ 2012

eyes, not their tools.”

Type II Journal

FINAL

the philosophy of

Ricard Huerta “Typography is present at every step we take.”

I Like Cities; Do You Like Letters? Introducing Urban Typography in Art Education / Page 75 ⁄ 2010

Gavin Ambrose “Typography is one of the most influential & Paul Harris elements on the character and emotional Basics Design 03: Typography quality of a design.” Page 5 ⁄ 2005

Amanda Aszman “No designer is immune to typography, and those who embrace it—or master it— are the designers whose work tends to rise to the top.”

True to Type ⁄ Page 10 ⁄ 2015

Elif Ayiter “Serifs, x-height, stem width, horizontal and vertical contrast are all elements that make a typeface unique.”

Deconstruction, legibility and space: Four experimental typographic practices Page 217 ⁄ 2013

Jim Felici “Good typesetters trust their eyes, not their tools.”

The Complete Manual of Typography: A Guide to Setting Perfect Type, Second Edition Page 113 ⁄ 2012

Type II Journal

A DIALOGUE Project Description Using the dialogue provided, you will design a diptych that utilizes all of the text and emphasizes the fact there is more than one voice. Please consider all your choices and decisions carefully. Everything matters. Think about and utilize the various typographic families,and typographic hierarchies. You can use color, and images to help support your design, but care must be taken to make sure your typography is flawless. Think about how all of the typographic elements influence our interpretation of the text and how you, as a designer, can influence the viewerâ&#x20AC;&#x2122;s reading of the text. Critique The headline is attention-grabbing not only because of its size, but because it intrigues readers. The pull quote on the righthand page helps break up the layout of the text. It is easy to distinguish between the two speakers.

Type II Journal

PROCESS Bill Moyers & Joseph Campbell discuss heroes, dragons, and finding bliss.

Why are there so many stories of the hero in mythology? Because that’s what’s worth writing about. Even in popular novels, the main character is a hero or heroine who has found or done something beyond the normal range of achievement and experience. A hero is someone who has given his or her life to something bigger than oneself.

So in all of these cultures, whatever the local costume the hero might be wearing, what is the deed? Well, there are two types of deed. One is the physical deed, in which the hero performs a courageous act in battle or saves a life. The other kind is the spiritual deed, in which the hero learns to experience the supernormal range of human spiritual life and then comes back with a message.

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?

MY GENERAL FORMULA FOR MY STUDENTS IS “FOLLOW YOUR BLISS.” FIND WHERE IT IS, & DON’T BE AFRAID TO FOLLOW IT.

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.

How do I slay that dragon in me? What’s the journey each of us has to make, what you call “the soul’s high adventure”? My general formula for my students is “Follow your bliss.” Find where it is, and don’t be afraid to follow it.

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

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.

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

Sometimes we look for great wealth to save us, a great power to save us, or great ideas to save us, when all we need is that piece of string. That’s not always easy to find. But it’s nice to have someone who can give you a clue. That’s the teacher’s job, to help you find your Ariadne thread.

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

In all of these journeys of mythology, there’s a place everyone wishes to find. The Buddhists talk of Nirvana, and Jesus talks of peace, of the mansion with many rooms. Is that typical of the hero’s journey - that there’s a place to find? The place to find is within yourself. I learned a little about this in athletics. The athlete who is in top form has a quiet place within himself, and it’s around this, somehow, that his action occurs…. There’s a center of quietness within, which has to be known and held. If you lose that center, you are in tension and begin to fall apart.

When I take that journey and go down there and slay those dragons, do I have to go alone? If you have someone who can help you, that’s fine, too.

Bill Moyers and Joseph Campbell talk heroism & how to find your bliss.

You are your own hero

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

Because that’s what’s worth writing about. Even in popular novels, the main character is a hero or heroine who has found or done something beyond the normal range of achievement and expetrience. A hero is someone who has given his or her life to something bigger than oneself.

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

Well, there are two types of deed. One is the physical deed, in which the hero performs a courageous act in battle or saves a life. The other kind is the spiritual deed, in which the hero learns to experience the supernormal range of human spiritual life and then comes back with a message.

Type II Journal

Is it my work or my life?

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

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

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

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

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

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

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.

The space to find is within yourself

HEROES, DRAGONS, & : how to become your own hero & slay the dragon within you to find your bliss

Bill Moyer & Joseph Campbell

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

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

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”? Is it my work or my life?

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

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

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

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

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

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

Type II Journal

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Type II Journal

ELEMENTS OF STYLE Project Description The Elements of Style is a classic grammatical reference book for students and conscientious writers. The focus of the book is on composition, the effective use of plain English, and the principles of composition most commonly violated. The text is full of examples and comparisons, which necessitates the effective use of indents and shifts in typographic style. The text, written in 1918, is quirky, and, at times, a little archaic. Your job is to develop a design that would appeal to high school and college-aged students. We will be breaking up the text into smaller sections, and each student will be assigned a portion of the text to be used in the creation of a small reference booklet. The second phase of the project will require you to work in teams to create a single related series of booklets. Critique Spacing could be adjusted. Make sure to italicize and address other small details. Cover design could be improved.

Type II Journal

PROCESS

THE ELEMENTS of STYLE

Elementary Rules of Usage

William Strunk, Jr. New York 1918

Type II Journal

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Type II Journal

TYPE ZINE Project Description In this project, you will be creating a digital magazine. The theme of the magazine is: Typography and the Everyday. Students in the class will be responsible for collecting and creating all the assets for the magazine, including: text, illustrations, and photographs. All found images and text (articles, interviews, etc.) must be properly credited.

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Y&R CHICAGO CREATIVE ON WHY HAND-LETTERING IS MAKING A COMEBACK Now that digital has largely taken over the world’s communications, cursive is nearly obsolete in schools, and putting pen to paper is a rare experience for a large part of the planet – so, what hope does handwriting have? In a world created by coding, can beautiful letters made by hand still have their place? Cristina Vanko, a designer and art director at Y&R Chicago, believes hand lettering is still relevant, and in-fact, is even making a comeback, which she beautifully describes and teaches in her new book HAND-LETTERING FOR EVERYONE: A Creative Workbookpublished last week by Perigee Trade/Penguin Random House. “From the best modern book covers out there, to your favorite local restaurant menus, to a priceless form of personalized self-expression, the beauty of writing by hand reminds us just how alive words and letters can be,” said Vanko. Hand-Lettering for Everyone is a creative, interactive workbook aimed to teach everyone (and anyone) hand-lettering. “Trust me, it’s possible,” Vanko said. “It’s full of informative bits, inspiration, pep talks, and fun lettering exercises. This book opens readers up to the myriad ways to apply newfound lettering skills and boosts confidence along the way.” The book covers typography and hand-lettering basics, the art of sketchploration, fearless self-expression through playfulness, creative process tips, inspiring advice from top illustrators, and inspiration for adding personal touches to any kind of hand-lettered text. The book, Vanko says, is full of creative prompts to take your hand-lettering for a test drive. “In advertising, hand-lettering can be a different way to bring messages to life,” she said. “We’re a tech savvy culture, and we’ve grown so accustomed to type in print and on screen - and now, even emojis! - that today, using your hands to create is considered a novelty. With hand-lettering, the letters itself are a piece of art. The formation of each letter is formed differently from letter to letter and crafted carefully to bring a brand’s meaning to life through lettering.”

5 Modern Hand Letterers to Follow on Instagram

raphy, type anatomy, design, and layout before jumping into lettering. “Most importantly, having this bit of background knowledge helps readers make the most of their newfound lettering skills,” Vanko said. Vanko’s book isn’t her first foray into the seemingly lost art of hand-lettering, she conducted a social experiment in 2013 she dubbed Modern Day Snail Mail. For one week, Vanko created handwritten text messages (no using the keyboard on her phone to send a message) and would write out her reply message on paper and then text back a photo of her message. Vanko’s project received notable media attention that ultimately led to her doing a TEDx talk hosted by the University of Chicago the following year. “Brand to brand, hand-lettering is able to touch on a range of emotional feelings,” Vanko said. “From the organic lines and gritty textures that make up fresh, homemade, and local looks to the swashy, painterly strokes that could make up a badass ad, hand-lettering is a great way to personify your client’s brand by using hand-lettered type that speaks for itself.”

With Hand-Lettering for Everyone, Vanko begins with an approachable brief overview of the history of type and design and its fundamentals. Surprisingly enough, this is something that a lot of published books leave out. Vanko believes readers should have a basic understanding of typog-

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Type II Journal

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magazine

March 2016 Issue 01

the guide to everything

TYPE

FEATURING

TODAY’S 5 BEST TYPOGRAPHERS March 2016 / Issue 1

Type II Journal

FINAL

TATTOOS & TYPE “This tattoo is how I feel about my many friends who died of AIDS.”

“My text is the last line in the play Equus by Peter Shaffer. ‘There is now in my mouth this sharp chain and it never comes out.’ It is spoken by the character who plays a child psychiatrist who has been treating a teenager who committed criminal acts. The doctor refers to taking on his patient’s pain, thereby allowing the patient to forget the pain; it has become the doctor’s burden. I believe that negative energy is not destroyed, it is just transferred from one source to another.” 10

EVERYDAY TYPE

“These initials are a way to honor my lineage: my grandfather’s initials, my father’s initials, my initials. I had hoped it would hurt more than it did. I wanted to understand a fraction of the pain my father had been going through with his chemo before he died.”

March 2016 / Issue 1

Emenem Magazine

CULTURE

HARIR

CULTURE

hen I was in elementary school I really didn’t like conventional Persian typefaces. They seemed very noisy with their inelegant spacing and lack of even minimal kerning. Mechanical typesetting systems had proved to be ill-suited to reproducing the graceful, historic shapes created by calligraphers, who had far more flexibility in drawing and combining letters. And these awkwardly adapted letters were directly transferred to digital typesetting systems as well, with the result that a whole nation had to adapt to a new type of writing system that was aesthetically inferior to and less readable than traditional handwriting.

Reducing Noise in Arabic Script by Bahman Eslami Our daily lives are full of noise, but when we immerse ourselves in reading, it seems to disappear. But what if the shapes of the words we read also contain perceptible noise? Does it disrupt the reading process, or do we learn to filter it out?

Emenem Magazine

Type II Journal

Negative Space in Persian Calligraphy The beauty of Persian calligraphy lies in a complex system that developed over centuries, finally culminating in the Nasta’liq style. It includes principles that govern not only how letters and words combine, but how negative space is managed to produce consistent text lines and consistent text colour throughout those lines. For example, the principle of Khalvat va Jalvat (Persian for “expansion and contraction”) governs the position of individual letter combinations to distribute the negative space throughout the lines so every word has the same grey. This is similar to letter spacing and kerning in roman scripts, but much more complex because the heights of individual connections change dynamically to harmonise the negative space around the letter fusions.

Another important principle, Savad va Bayaz(“white and black”), governs how letters and letter combinations should be shaped to produce an even pattern throughout the text; it deals with the proportions of letters and the relationship between the black space of the letters and the white space of the counters. Thus far, digital emulation of all these parameters has proven impossible or impractical, and although some digital Nasta’liq systems are available today, none even comes close to fully emulating the complex balance of handwritten script. Another important feature of Persian calligraphy related to the management of negative space is the use of diacritics. Naskh, the calligraphic style from which most Arabic/ Persian typefaces are derived, was created for writing long passages of the holy Qur’an, and

March 2016 / Issue 1

CULTURE

CATCH ME IF YOU CAN (2002)

MOONRISE KINGDOM (2012)

Coolvetica Archive Antique Extended

Tilda

An illustrative sequence from design studio Nexus Productions, the style can easily compared to the work of Saul Bass. Two different types of typefaces are used throughout—they compliment the illustration and tall walking characters. We open with the a sans-serif called ‘Coolvetica’, where the tails shoot off the screen throughout. We are then introduced to a wide slab-serif font called ‘Archive Antique Extended’.

Tilda is a script typeface designed by Jessica Hische for use in the Wes Anderson movie Moonrise Kingdom. It was published as a commercial font through Font Bureau in 2014. The design was inspired by titles from the 1969 film La Femme Infidéle.

JURASSIC PARK (1993) Neuland (Inline Variant) The typography used for Jurrasic Park was actually not chosen for the poster, but originally selected as part of the logo designed by Sandra Collora for the dinosaur theme park itself. In a 2011 article for Fast Company, Simon Garfield, author of Just My Type: A Book About Fonts, put Neuland on his list of “8 Worst Fonts in the World,” saying that the typeface, along with Papyrus, is “classifiable as a theme park font, more comfortable on the big rides at Universal Studios, Busch Gardens or Alton Towers than they are on the page.” In other words, perfect for Jurassic Park.

Emenem Magazine

March 2016 / Issue 1

CULTURE

TODAY’S 5 BEST TYPOGRAPHERS

Emenem Magazine

March 2016 / Issue 1

Type II Journal