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TABLE OF INTRODUCTION. 4 LECTURES. 6 Typographic Refinement: The Details. 8 Choosing Typefaces, Installing Fonts, and Managing Fonts. 10 Typesetting in InDesign: Tools and Techniques. 12 READINGS. 14 Week One. 16 Week Two. 18 Week Three. 20 Week Four. 22 Week Five. 24 Week Six. 26 Week Seven. 28 Week Eight. 30 Week Nine. 32 ASSIGNMENTS. 37 Exercise: Legibility and Readability Study. 38 Project One. 40 Project Two. 42 Project Three. 44 Exercise: Grid Analysis. 48 Project Four. 52 TABLE OF CONTENTS
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This journal is a collection of notes, projects, and critiques by Jackie Nguyen from Typography II, taught by Professor Charmaine Martinez in Winter of 2017. It can be referenced to for questions about typesetting, finding fonts, or how to be a good typographer. This journal contains articles that cover many aspects of typography as well. It can also be used to reference past work and aid in the refining process of future projects.
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INTRO
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LECTURES
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TYPOGRAPHIC REFINEMENT: THE DETAILS.
MEASURING TYPE. There are two basic units to measure type: points and picas. • 12 points = 1 pica • 6 picas = 1 inch 1 inch
1 pica
CHOOSING A POINT SIZE. Some factors to consider when choosing a point size: • Typeface proportions and weight. • Length of the text. • Format of viewing (screen or print). • Audience. • Context. Good point sizes: • 9 to 12 point for print. • 14 and over for screen.
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14+
CHOOSING A TYPEFACE. A good workhorse typeface is economical (it can fit large amounts of text in a smaller space) and has: • A regular weight. • Robust proportions. • At least one bold weight. • An italic version. • Legible numerals. Things to do to improve typography: • Kern at display sizes. • Customize leading. • Fix line length (optimal is 8–13 words). • Track with care. • Don’t use fake small caps. • Know your dashes. A hyphen is for words broken across lines. An en dash is for duration (time). An em dash expresses a break in the flow of a sentence. • Customize hyphenation settings. • Use smart quotation marks. • Fix rags and rivers. • Avoid widows and orphans. • Always check spelling.
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CHOOSING TYPEFACES, INSTALLING FONTS, AND MANAGING FONTS.
CHOOSING A TYPEFACE. Design factors to consider when choosing the right typeface: • Content. • Audience. • Format. • Context. Technical factors to consider when choosing the right typeface: • Foreign languages and glyphs. • Multiple weights and/or styles. • Small caps. • Lining versus old style numbers. • File format (OpenType® versus web). BUYING A FONT. When you buy a font, you’re purchasing a license. Read the terms and conditions to understand what you can do with the font.
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Places to buy or get fonts: • Google Fonts. • Lost Type Co-op. • The League of Moveable Type. • Font Squirrel. • Fontspring. • House Industries. • MyFonts. • Fonts.com. How to get to your fonts on a Mac: • System » Library » Fonts • Network » Library » Fonts • Local » Library » Fonts Popular font managers: • Font Book. • FontExplorer X Pro. • Suitcase Fusion 6. Pro tip: have the absolute minimum number of fonts installed. This means going through your fonts and deactivating what you don’t need.
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TYPESETTING IN INDESIGN: TOOLS AND TECHNIQUES.
USING STYLES. Control and customize your typography by using styles. Save time by automating your text formatting. Character styles are used for styling text within a paragraph, such as a hyperlink. Character style attributes include: • Basic and advanced character formats. • Character color. • Underline or strikethrough options. Paragraph style attributes include: • Leading. • Tabs. • Indents. • Space before/after. • Hyphenation and justification. • Rules above or below. • And attributes found in character styles.
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Table styles define: • Outside border. • Dividing lines. • Space above and below the table. • The fills of the fields. Cell styles define: • Borders around cell. • How text is positioned within cell. • Styles of the text within cell. • The fill color of the cell. • If the cell is crossed out.
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LECTURES
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WEEK ONE.
Note: The following readings up to page 23 are from Matthew Butterick’s Practical Typography. TYPOGRAPHY IN TEN MINUTES. There are five typography rules that if followed, will make you a better typographer. 1. Box text is the most important because there is more of it than anything else. 2. Printed box text is best in 10–12 point. On screens, the good range is 15–25 pixels. 3. Line spacing should be 120–145% of the point size. 4. Ideal line length is an average of 45–90 characters or 2–3 lowercase alphabets. 5. Professional fonts are the best choice, but system fonts can work well too. Don’t ever use Times New Roman or Arial.
abcdefghijklmnopqrstuvwxyzabcdefghijklmnopqrstuvwxyz Ideal line length.
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SUMMARY OF KEY RULES. 1. Point size, line spacing, line length, and typeface are the most important typographic choices. 2. Ideal point size is 10–12 points in print or 15–25 pixels on the web. 3. Line spacing should be 120–145% of the point size. 4. The average line length should be 45–90 characters. 5. Use professional fonts. 6. Avoid bad fonts (crazy, monospaced, system, etc.). 7. Use curly quotation marks. 8. Put only one space between characters or sentences. 9. Don’t use multiple word spaces. 10. Don’t underline unless it’s a hyperlink. 11. Use centered text sparingly. 12. Use bold or italic as little as possible. 13. All caps is okay for less than one line of text. 14. Don’t use fake small caps. 15. Use 5–12% extra letterspacing with all caps and small caps. 16. Kerning should always be turned on. 17. First line indent should be 1–4x the point size. 18. Justified text should have hyphenation on. 19. Don’t mix up hyphens and dashes. 20. Use ampersands sparingly. 21. In a document longer than three pages, one exclamation point is plenty. 22. Use proper trademark and copyright symbols. 23. Put a nonbreaking space after paragraph and section marks. 24. Make ellipses with the right character, not periods. 25. Apostrophes point downward. 26. Measurement marks are straight, not curly. READINGS
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WEEK TWO.
WHY TYPOGRAPHY MATTERS. Type can influence how someone reads something. Butterick says, “If bad typography can have negative consequences, it shouldn’t be hard to believe that good typography can have positive consequences.” The butterfly ballot was scrutinized. It was difficult to read because it was in a condensed typeface, all caps, and bolded with tight tracking. It also had really tight letting. Type is the visual part to the written word. Typography ultimately performs a function; it’s not always art. Type is for the reader, not writer. It’s important because it conserves the reader’s attention. Lots of readers are looking for reasons to stop reading. Good type helps the reader focus less on the act of reading and more on what they are reading. Trixie’s resume is better than Violet’s because it has good hierarchy and it’s well organized. Violet’s resume was crammed and the wrong information was pushed forward while the important information was pushed back.
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The poorly designed butterfly ballot.
Trixie’s resume has good hierarchy.
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WEEK THREE.
TYPE COMPOSITION. When writing, typing the right characters will save time and effort when later formatting the documents. From this article I learned what an okina is, which is the apostrophe-like mark that is found in Hawaiian words. Here are some typing and formatting tips: • Straight quotes are only for measurement. Curly quotes are for everything else. Turn on smart quotes. • Don’t overuse the exclamation point and don’t be scared to use the question mark. The interrobang is a ligature of the two punctuation marks. • Cite a paragraph or section with the correct marks. • Don’t let parenthesis or brackets crash into italicized text. • Know your hyphens. • Use correct math symbols.
The right and wrong way to use an okina.
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SOME SHORTCUTS. opening double quote “ = option + [ closing double quote ” = option + shift + [ opening single quote ’ = option + ] closing single quote ’ = option +shift + ] paragraph mark ¶ = option + 7 section mark § = option + 6 en dash – = option + em dash — = option + shift + trademark ™ = option + 2 registered trademark ® = option + r copyright © = option + g ellipsis … = option + ; non-breaking space = option + shift + spacebar hard line break = shift + return TEXT FORMATTING. Don’t use goofy fonts for professional documents. Monospaces fonts are harder to read. Turn off unnecessary fonts. Be careful of italicizing for emphasis, sometimes it can do the opposite. Don’t use underlines, unless it’s for hyperlinks. Try to avoid using system fonts. Choose either bold or italic. Use all caps sparingly. Use web address-shortening services.
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WEEK FOUR.
PAGE LAYOUT. Page layout is the positioning and relationship between text and other elements. • Space between paragraphs should be 50–100% of the body text size. • Don’t be afraid of large margins. White space is okay. • For block quotations, reduce point size and line spacing, make side indents larger, and don’t put quotation marks. • Put large cell margins in tables to improve legibility. Use borders sparingly. Key principles to successful page layouts: • Decide how body text will look first. • Divide page into foreground and background. • Adjust with small visible increments. • When in doubt, try it both ways. • Be consistent. • Relate new elements to existing elements. • Keep it simple. • Imitate what you like. • Don’t fear white space.
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FAMILY PLANNING, OR HOW TYPE FAMILIES WORK. by Peter Bil’ak. Claude Garamond’s type from the 1530s had 15 versions ranging in point size. Univers by Adrian Frutiger was a complete typeface system defined by width and weight. The incorporation of two different styles of typeface in one family was first explored in Romulus by Jan van Krimpen. It had a serif and a sans serif. Large typeface systems can become impractical to use. Elementar has over 500 individual bitmap fonts.
The Univers family had a unique system of defining italics and weight through a numbering system. READINGS
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WEEK FIVE.
USING LAYOUT GRIDS EFFECTIVELY. from Designers Insights. Grids are useful for aligning and organizing information. Oftentimes to break the grid, a non-boxy element is used. Grids also keep designs consistent. For books or magazines, the grid should be adjusted to accommodate the type of binding that will be used. The rule of thirds and the Fibonacci Spiral are classic grids used to create a composition. TYPOGRAPHICA MEA CULPA, UNETHICAL DOWNLOADING. by Steven Heller. “Design is an honorable profession� Typeface licenses are sold for use on specific computers, not an unlimited number. Passing on a typeface to someone else who had to work on the same project is actually copyright infringement. Users can buy a special license that allows them to send the typeface to the printers or someone else without breaking the font license.
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MY TYPE DESIGN PHILOSOPHY. by Martin Majoor. Type designers must know about how type works within a design, as well as what happens to type on different kinds of paper and different styles of printing. Quick history of sans serif typefaces: • They’ve only really been used for the past 100 years • Akzidenz Grotesk one of the first sans serifs to be used. It was designed to be a display face. • Sans serif derived from already created serif typefaces. • Futura by Paul Renner was the first sans serif not based on serif forms; he designed from scratch instead. • A real italic is much better than a slanted roman. How to pair serif and sans serif: • According to Majoor, combining a serif and a sans serif with a similar skeleton makes the best pair. • You can also use a typeface with both serif and sans serif. • Serif and sans serif families started to appear around the 1980s. Some are: Lucida, Stone, Charlotte, and Eureka.
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WEEK SIX.
A VIEW OF LATIN TYPOGRAPHY IN RELATIONSHIP TO THE WORLD. by Peter Bil’ak. Lots of talk about type nowadays is very eurocentric, but there’s so much more than the Roman alphabet, especially in the Middle East which uses an entirely different set of symbols. There are also hundreds of different languages from and around Asia. The real first recorded movable type system was created in China by Bi Sheng circa 1040 AD, but in our Western history, this doesn’t count. Type and printing progressed in other places around the world, not just Europe. Naming fonts within a typefaces can be complicated because the words “roman” and “italic” are not international. Italian terms and Greek terms are different. English and the Latin alphabet are only a fraction of all communications today. For example there are Arabic, Cyrillic, Greek, or Indic scripts, which are slowly gaining interest today.
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Poster in Urdu by Furqan Jawed.
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WEEK SEVEN.
LAVA—VOICE OF A MAGAZINE. by Peter Bil’ak. This magazine, Works that Work, was made to span across multiple platforms, so it’s typeface design was important because it is the most consistent element in each platform. The author learned that it’s hard to create a magazine by yourself. Lava was designed to be easily read in low and high resolution. THE FIRST THING I EVER DESIGNED: ELENA SCHENKER AND GRATUITOUS TYPE MAGAZINE. by Madeleine Morley. Magazines are good portfolio pieces, they showcase a huge range of skills. For this designer, creating her magazine helped her obtain a full time position and independent client projects.
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Lava supports Cyrillic and Greek, in addition to Latin based languages.
Issue C of Elena Schenker’s magazine, Gratuitous Type.
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WEEK EIGHT.
ERIC GILL GOT IT WRONG; A RE-EVALUATION OF GILL SANS. by Ben Archer. Gill Sans is a huge part of British culture. It’s the Helvetica of England. It was created by Eric Gill, and was based on Johnston. The author thinks Johnston is actually the superior typeface. One problem with Gill Sans is that it’s ultra bold looks completely different from the other weights; for example, it does not have the eyeglass g shape. It is “overbold” and unrecognizable. In addition, the lowercase l, uppercase I, and numeral 1 all look the same. BEAUTY AND UGLINESS IN TYPE DESIGN. by Peter Bil’ak. This author looked for the most beautiful typeface and the ugliest one, to combine them. This is obviously very subjective, but many agreed that high contrast typefaces were the most beautiful. As for the ugliest typeface, Italian, a reversed-contrast typeface was an obvious choice. This typeface has drawn a huge negative response since it’s creation. The author’s goal was to show how close beauty and ugliness are. The end result of the combination is a slab serif.
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Gill Sans in blue versus it’s parent, Johnston in orange.
The beautiful Bodoni and Didot with the eccentric Italian ended up being Karloff, a slab serif.
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WEEK NINE.
7 STRIKING DESIGN PAIRINGS. by Kai Bernau. This article gives a preview to the book Phaidon Archive of Graphic Design, which displays a huge collection of successful graphic designs. It shows interesting juxtaposed pieces that have similar traits but can be completely different styles or from different time periods. My favorite pair from this article is the one between a IdcN (International Design Center, Najoya) poster by Koichi Sato and 5 Finger Hat Die Hand poster by John Heartfield for the German Communist Party. I do wish the article gave more information about each poster or the context in which it was made. AN IDEA OF A TYPEFACE. by Kai Bernau. The author of this article, and designer of a typeface called Neutral, Bernau, discusses the creation behind his typeface. Neutral was inspired by a will to create a typeface that had no association or connotation so the content of the text would not be influenced by the typeface it was in. Bernau is aware that it is impossible to have “total neutrality,” he researched Times New Roman and Univers to find out why they were so successful and timeless. He also claims that Neutral is based on a Western idea of neutrality, so it doesn’t neces-
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Koichi Sato’s poster on top and John Heartfield’s poster on bottom.
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sarily apply to other cultures. He also found that horizontal and vertical proportions were very important. He ended up redrawing the font, but the changes were very subtle. A TYPEFACE DESIGNED TO REVIVE THE ENDANGERED CHEROKEE LANGUAGE. by Angela Riechers. I loved the video we saw in class about Phoreus Cherokee. It shows the importance of typography and design, and how it can make a difference. Reintroducing a letterform into the digital world automatically revives it in this technologically run society. It also preserves the history and culture of the Cherokee. The typeface was designed based on hundreds of studies of handwritten specimens to make it as genuine as possible.
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Courtesy of Mark Jamra/Type Culture.
READINGS
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LECTURES
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EXERCISE: LEGIBILITY AND READABILITY STUDY.
The point of this exercise was to demonstrate how small changes in type can greatly impact the legibility and readability of text. This exercise showed how tighter leading and tracking leads to squished text that isn’t easy to read. But it also showed how looser leading and tracking can lead to a more open body of text that doesn’t flow as easily. With looser leading, the reader’s eye has a more difficult time traveling from one line to the next. By using two different typefaces in this exercise, it was easy to compare the two and see the seemingly miniscule differences from one typeface to the next. Mrs Eaves, the serif typeface I chose, has a smaller x-height than Proxima Nova, rendering it harder to read at smaller point sizes. With tighter tracking in the serif as well, the serifs get too close and legibility is lost.
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Too tight.
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. PROXIMA NOVA, 9/12
Too loose.
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 Watzlawicks 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. MRS EAVES XL SERIF OT, 9/15
Just right.
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. PROXIMA NOVA, 9/13
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PROJECT ONE.
REFLECTION. My ideas for this project at first were very boring. There were average layouts that weren’t engaging. I learned that drop shadows are not an effective way to highlight text. I enjoyed experimenting with angled text, it creates a sort of tension and action. I had a hard time designing on a letter-sized piece of paper. CRITIQUE: • Drop shadows should be avoided. Especially in small type sizes. • Slanted text is dynamic. • Large quotes are interesting, it turns type into a more visual or decorative element. • Focus on hierarchy.
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PROJECT TWO.
REFLECTION. You aren’t supposed to get married to your first idea, but after sketching other ones, I felt like this was my strongest one. The idea is a different take on a hero’s journey. I had a clear picture in mind of what I wanted and so my first iteration was really close to my final one. I think the vertical movement of the rocket illustration paired well with the vertical type and long format of the body text. After lots of type studies, I also think I found a very successful font pair. The round and boxy sans serif contrasted well against the thinner serif. In addition, I like how my color theme was different from the normal purples and blues of outer space. CRITIQUE. • Don’t use auto leading. 120–145% of point size. • People were drawn to the vertical layouts. • Mine had good use of vertical movement. • My typefaces were paired well together. • Don’t pair typefaces that look too similar from far away. • A visual can be really engaging and draw the reader in.
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Final.
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PROJECT THREE.
REFLECTION. This project was challenging because it had so much text to handle. I also had to learn how to use table and cell styles, which was very confusing. I really liked the group collaboration, I think we figured out a good combination of all our books. Making a style guide for our final book was actually really useful. Our final product looked very professional and was consistent throughout all three books. INDIVIDUAL CRITIQUE. • Everything that is inside the book is in black and white. Only the front and back covers can use two colors. • Don’t use too many weights. • On the title page, the publishing information should be at the bottom, separate from the other elements. Don’t bury the author’s name. Focus on hierarchy. • The introduction can start on the left side. Bigger margins typically look good here. • Don’t make folios too prominent. They should have the page number, section number, and “Elements of Style”. • Tables are generally pretty ugly. Experiment with removing the tables, removing the lines, or using gray. • Make sure to have a clear separation between body text and the example. • The colophon needs the names of the designer(s), the typefaces, and the date. TYPE TWO
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THE ELEMENTS OF STYLE SECTIONS III AND IV
Individual final. Top left: front cover. Top right: section divider. Bottom: main body text. ASSIGNMENTS
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GROUP CRITIQUE. • The covers that stand out have bright colors, big numbers, or nice paper. • Even though section 4 presents information differently, it needs to be consistent to the other sections. • Splitting up the introduction is interesting and it works.
Group final exterior.
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Group final interior. Top: section divider. Bottom: main body text.
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EXERCISE: GRID ANALYSIS.
1. Is there a relationship between the grids of the two different layouts? Yes, we found a possible relationship between the grids of the two layouts. We think it could be an 8-column grid. The top portion on p. 50 uses a clear 8-column grid, but uses two columns per element. On p. 91, it loosely uses the 8-column grid. Some of the text elements on this spread line up with the 8-column grid, while others seem to be placed almost randomly. There is not a lot of consistency in how the elements are lined up. Some are aligned to a top margin while others are aligned by the red names. 2. Is there a mathematical relationship between the different columns on the page? All the columns seem to be equal, but in both spreads, the designer uses multiples columns to make a few elements larger or spread out more text. 3. Do you think the grid is comprised of columns or modules? The first spread is made of columns, but the second spread may use modules. We couldn’t find clear enough measurements to fully confirm this—very few elements seemed to line up horizontally. 4. How do images relate to the grid? Only the first spread deals with images; there is one large
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Page with an 8-column grid on top and a 5-column grid on bottom.
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image spanning across three columns and five smaller images that are stacked along one column. 5. Do any elements break the grid? The titles and subtitles on both spreads break the grid. At the bottom of p. 50, the 8-column grid is broken and becomes a 5-column grid. It’s separated from the top part with a thick black line. This section is also comprised of columns instead of modules. On the second spread, about half of left page breaks the grid and transitions into a 3-column grid.
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Spread with a loose 8-column grid on each page.
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PROJECT FOUR.
REFLECTION. The task of designing an entire zine is pretty daunting, but doing lots of research and sketching helped. Mapping out pagination was a great way to get started. In the end, strong imagery really made a difference. One of the biggest challenges of the project was making everything look consistent when each article was on a different topic. I took this project as an opportunity to use a funky typeface. One of the best parts about this project being digital was having access to the entire RGB spectrum. SMALL GROUP CRITIQUE. • Different headline treatments are fine. • Having different font sizes for parts of titles is good, it breaks up longer titles and emphasizes certain words. • Watch out for spreads getting too dense with text. • Focus on hierarchy. • Stay away from lots of medium sized images. • Make things big and bold. FINAL CRITIQUE. • Watch for weird leading. • Make the colored text boxes at the end of each article the size of the column, and the text box inside slimmer. • Don’t forget to italicize book and newspaper tiles. TYPE TWO
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Final.
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ASSIGNMENTS
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Designed by Jackie Nguyen. For Typography II, Winter 2017. Typeface is Futura PT with original hand-lettering.
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