338.01 Type Journal by Jessica Ferguson

Type II

thoughts & responses

2 Type II Journal

Type II: Journal Thoughts & Responses

Jessica Ferguson Winter 2016

Thoughts & Responses 3

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Introduction Throughout this quarter alone, I feel as though my type skills have improved immensely. I discovered the best way to learn how to work with type is by making a lot of mistakes and learning from them. I am able to spot type errors more easily and now editing has become more of second nature. Overall, I think a main aspect of typography is about trying to make the readability and organizational language logical for the reader. It is clear that throughout these ten weeks that I have developed more skills and techniques to achieve this main aspect of type.

Thoughts & Responses 5

WEEK 1

1 LECTURE NOTES Typographic Refinement: The Details Notes READINGS Butterick’s Practical Typography: Typography in Ten Minutes, Summary of Key Rules, and Forward ASSIGNMENTS • Legibility Exercise • Typesetting: Rules and Principles of Typography

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WEEK 1

LECTURE NOTES

Type was originally developed for handset metal type, invented by Johannes Gutenberg around 1450

Point Size »» Usually larger than any letter because it takes into account the ascenders and descenders »» Measurement System started in France in 1738 »» American system 1870

Points and Picas 12 points is 1 pica 1 inch is 6 picas 1p6 (means 1 pica + 6 pts)

Traditional Sizes Lead Type ranged from 5pt to 72pt

How to pick a point size?

Factors to Consider: »» typeface proportions and weight »» length of text »» format for viewing (print on paper or screen) »» audience of the text (their age) »» content of the text

Thoughts & Responses 7

WEEK 1

Screen vs Print Body text point size should be larger when text is on screen than it does in print Body text in print 9pt to 12pt Body text on screen 14pt or larger

Hard Working Typeface »» Good regular weight »» Robust proportions (x height and serifs strong) »» At least one bold weight, noticeable contrast »» An italic version »» Very legible numerals Economy: it should be narrow enough to fit large amounts of copy into the available space

Things you can do to make the type look better Kerning Type at display sizes Do kerning at the very end

Leading Should be 125–145% of the point size Ex: 9/13pt

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WEEK 1

Line Length Too wide then too long for the reader’s eyes to focus Too narrow then the eyes would have to travel back and forth fast

Best Length 8­–13 words per line, on average

Letterspacing or Tracking Letters that are small caps or all caps can take more tracking On InDesign, don’t go past -10 of tracking

Small Caps Avoid fake small caps (can use all caps) Use true small caps (the actual small caps style)

Hyphen Used if a word is too long for the column length

En Dash Used to indicate duration of time

Em Dash Used to express a break in the flow of a sentence

Thoughts & Responses 9

WEEK 1

Customize Hyphenation Paragraph > Hyphenation (words with at least: 6 letters, after first: 3 letters, before last: 3 letters and hyphen limit: 2) Can turn off hyphenation capitalized words

Smart Quotation “Girlfriend� not "Girlfriend"

Prime Marks Use for feet and inches 1"

Rags Fix rags when practical

Line Break Hold down shift and hit return

Widows The last line of a paragraph is called a widow if it is too short

Orphans are short segments of paragraphs stranded at the top or bottom of a column

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WEEK 1

READINGS

Typography in Ten Minutes This article is about five type rules that can help everyone improve their typography skills. »» Make sure your body text looks good. It is most important and takes up most of the space on your document. »» For body text, the best range for body is 10–12 point or 15–25 pixels. »» Then the line spacing should be 120–145% of the point size. In CSS, use line-height. »» Line Length should be an average of 45–90 characters per line. Meaning that the page margins are larger than just one inch. »» Finally, choosing the appropriate typefaces is important. Choose typefaces that are professionally designed and ones that evoke the right emotions for your project

Summary of Key Rules »» Remember to check point size »» line spacing »» Line Length »» Good typefaces

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WEEK 1

»» Use curly quotation marks, not straight ones »» Avoid Crappy fonts »» Only one space between sentences »» Don’t use multiple word spaces or other whitespace characters in a row »» Only hyperlinks are underlined »» Use centered text sparingly »» Use bold or italic as little as possible »» All caps is good for less than one line of text »» If you don’t have real small caps, don’t use them »» Kerning should always be on »» Either use a first-line indent or 4–10pts of space between paragraphs, not both »» If you use justified text, turn on hyphenation »» Use ampersands sparingly »» Put a non-breaking space after paragraph and section marks »» Make ellipses using proper character »» Make sure foot and inch marks are straight, not curly

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WEEK 1

Forward Good typography is measured by how well it reinforces the meaning of the text, not by some abstract scale of merit.

ASSIGNMENTS

Legibility Exercise The effect on legibility when you vary the typeface size is that the type can become either too small to read or too big that the type becomes distracting. The larger the typeface the more leading you need to add, which then uses up more space on the page. In terms of the leading, too much leading can create a vertical striped pattern. I used Georgia for my Serif and the best point size was 9pt and with 15pt leading. At first, I thought 14pt leading was good, however a little bit more space can make a huge difference. At 15pt leading, there was a perfect amount of space that allows easy readability. In terms of the point size, 10pt ended up looking too large for body text.

Thoughts & Responses 13

WEEK 1

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Serif

San 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 communicate that you do 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.

GEORGIA, 9/13

TRADE GOTHIC LT STD, 9/13

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.

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.

GEORGIA, 9/12

TRADE GOTHIC LT STD, 9/12

Without typography, one could argue, messages will still be

Without typography, one could argue, messages will still be

legible, but if one really wants to communicate rather than

legible, but if one really wants to communicate rather than

simply display a heap of alphanumeric data, some consid-

simply display a heap of alphanumeric data, some consider-

eration would be helpful. Paul Watzlawick’s first axiom of

ation would be helpful. Paul Watzlawick’s first axiom of com-

communication —“one cannot not communicate”— puts it

munication —“one cannot not communicate”— puts it very

very succinctly. If you fail to consider the effect of your mes-

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

sage on the recipient, you may inadvertently communicate

on the recipient, you may inadvertently communicate that

that you do not care how your message may be received.

you do not care how your message may be received.

GEORGIA, 9/14

TRADE GOTHIC LT STD, 9/14

Without typography, one could argue, messages will still be

Without typography, one could argue, messages will still be

legible, but if one really wants to communicate rather than

legible, but if one really wants to communicate rather than

simply display a heap of alphanumeric data, some consid-

simply display a heap of alphanumeric data, some consider-

eration would be helpful. Paul Watzlawick’s first axiom of

ation would be helpful. Paul Watzlawick’s first axiom of com-

communication —“one cannot not communicate”— puts it

munication —“one cannot not communicate”— puts it very

very succinctly. If you fail to consider the effect of your mes-

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

sage on the recipient, you may inadvertently communicate

on the recipient, you may inadvertently communicate that

that you do not care how your message may be received.

you do not care how your message may be received.

GEORGIA, 9/15

TRADE GOTHIC LT STD, 9/15

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

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

but if one really wants to communicate rather than simply display

but if one really wants to communicate rather than simply display

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

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

Paul Watzlawick’s first axiom of communication —“one cannot not

Paul Watzlawick’s first axiom of communication —“one cannot not

communicate”— puts it very succinctly. If you fail to consider the

communicate”— puts it very succinctly. If you fail to consider the

effect of your message on the recipient, you may inadvertently com-

effect of your message on the recipient, you may inadvertently com-

municate that you do not care how your message may be received.

municate that you do not care how your message may be received.

GEORGIA, 8/13

TRADE GOTHIC LT STD, 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.

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.

GEORGIA, 10/13

TRADE GOTHIC LT STD, 10/13

Type Inspiration

WEEK 1

Thoughts & Responses 15

WEEK 1

2 READINGS Butterick’s Practical Typography: Why Typography Matters ASSIGNMENTS A Dialogue Research Findings on Type and 3 sample layouts CRITIQUE Typesetting: Rules and Principles of Typography QUIZ REVIEW 338 Quiz 2

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WEEK 2

READINGS

Why Typography Matters Why is the design of the butterfly ballot problematic?

The candidate options are staggered and confusing to see which hole punch is for which group of people. Also, the ballot was created on two sides of the paper with the dots in the center. This causes confusion as to who are all the candidates and what side is the candidate on for each certain dot. The best was to solve the ballot is to put all the candidates listed on one side and put each one right next to its specific dot.

Have the candidates names bold and have each leading to clearly read each line.

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WEEK 2

In what ways is Tixie’s resume better than Violets?

Tixie’s resume is better than Violets for multiple reasons. In Violet’s, the first thing a notice is the large gray bars for each header and they really don’t have a reason. Hierarchy should be resolved by using type weight, spacing, and alignment instead. Tixie did a better job by putting emphasis on the actual information instead of the headings.

While the headings are small, they are still apparent because they are in bold and all caps. Tixie’s resume has larger margins which gives more breathing room on the page and the text is not as overwhelming. Another reason is that Tixie’s has better spacing between each set of information and the bullets used aren’t as distracting.

What is the main argument in Beatrice Warde’s essay “The Crystal Goblet”? Why does Matthew Butterick disagree with this?

The main argument in Beatrice Warde’s essay is that good typography is invisible and should just blend into society. Butterick disagrees with that thought because he believes that the text itself is invisible, but typography is what gives it shape and visibility. Typography evokes the emotion and sets the tone. Ultimately he doesn’t believe that type can be invisible.

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WEEK 2

CRITIQUE

Typesetting: Rules and Principles of Typography Some of the main overall issues that I saw with the first project is scale. I think that some of the titles could have been maxed out more so that the layout is inviting. I think that my final layout was successful in this and was a huge improvement from the one I did in class. Finding a way to put some personality into the type is also a key way to engage the viewer. In addition to these comments, some of the more overarching comments were in terms of leading, lack of separation and arrangement, the title of the book lacking weight, typos in the quotes, and the choice of the background color. To finalize my project, I plan to create more emphasis on the book title versus the minor information, right align the phrases in italics, make these words in all one color, and maybe decrease the spacing between each quote.

REVIEW AFTER QUIZ:

On average, how long should a line of text be?

(8–15 words)

Thoughts & Responses 19

WEEK 2

TALKING T YPOGRAPHY “To achieve harmony and legibility is the main object of typography.”

“[Typography is] the architecture of ideas and the making of language — revealing typography’s role in the building of narrative, creating intellectual spaces through which the reader moves.”

“Type is a lot like fashion. What is considered fashionable and interesting varies over the years. Your best bet for keeping up with fashionable type is to keep an eye out on the kinds of typefaces in use in the mass media.”

“Typography surrounds us: it adorns the buildings and the streets through which we pass, it is a component part of the ever-expanding variety of media we consume.”

“Perfect typography is more a science than an art.

Mastery of the trade is indispensable, but it isn’t everything. Unerring taste, the hallmark of perfection, rests also upon a clear understanding of the laws of harmonious design.”

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— Oliver Simon, Introduction to Typography, 1945, Cited in Basics Typography 02: Using Type,

By Michael Harkins, 2010, Page 114

— Phil Baines and Andrew Haslam, Type and Typography, 2005, Page 7

— Lisa Graham, Basics of Design: Layout and Typography for Beginners, 2011, Page 232

— Gavin Ambrose and Paul Harris, The Fundamentals of Typography: Second Edition, 2011, Page 6

— Jan Tschichold and Robert Bringhurst, The Form of The Book, 1991, Page 20

WEEK 2

TYPE MATTERS

“Perfect typography is more a science than an art. Mastery of the trade is indispensable, but it isn’t everything. Unerring taste, the hallmark of perfection, rests also upon a clear understanding of the laws of harmonious design.”

Phil Baines and Andrew Haslam Type and Typography, 2005, Page 7

“[Typography is] the architecture of ideas and the making of language — revealing typography’s role in the building of narrative, creating intellectual spaces through which the reader moves.”

Jan Tschichold and Robert Bringhurst The Form of The Book, 1991, Page 20

“Type is a lot like fashion. What is considered fashionable and interesting varies over the years. Your best bet for keeping up with fashionable type is to keep an eye out on the kinds of typefaces in use in the mass media.”

Lisa Graham Basics of Design: Layout and Typography or Beginners, 2011, Page 232

“To achieve harmony and legibility is the main object of typography.” ­Oliver Simon Introduction to Typography, 1945, Cited in Basics Typography 02: Using Type, By Michael Harkins, 2010, Page 114

“Typography surrounds us: it adorns the buildings and the streets through which we pass, it is a component part of the ever-expanding variety of media we consume.”

Gavin Ambrose and Paul Harris

harmony and legibility a lot like fashion hallmark of perfection surrounds us the architecture of ideas

The Fundamentals of Typography: Second Edition, 2011, Page 6

Final

TYPE

MATTERS harmony and legibility a lot like fashion hallmark of perfection surrounds us the architecture of ideas

“Perfect typography is more a science than an art. Mastery of the trade is indispensable, but it isn’t everything. Unerring taste, the hallmark of perfection, rests also upon a clear understanding of the laws of harmonious design.”

Phil Baines and Andrew Haslam Type and Typography, 2005, Page 7

“[Typography is] the architecture of ideas and the making of language — revealing typography’s role in the building of narrative, creating intellectual spaces through which the reader moves.”

Jan Tschichold and Robert Bringhurst The Form of The Book, 1991, Page 20

“Type is a lot like fashion. What is considered fashionable and interesting varies over the years. Your best bet for keeping up with fashionable type is to keep an eye out on the kinds of typefaces in use in the mass media.”

Lisa Graham Basics of Design: Layout and Typography or Beginners, 2011, Page 232

“To achieve harmony and legibility is the main object of typography.” ­Oliver Simon Cited in Basics Typography 02: Using Type, By Michael Harkins, 2010, Page 114

“Typography surrounds us: it adorns the buildings and the streets through which we pass, it is a component part of the ever-expanding variety of media we consume.”

Gavin Ambrose and Paul Harris The Fundamentals of Typography: Second Edition, 2011, Page 6

Thoughts & Responses 21

3 LECTURE NOTES Choosing Typefaces, Installing Fonts and Managing Fonts READINGS Butterick’s Practical Typography: Type Composition Butterick’s Practical Typography: Text Formatting ASSIGNMENTS Typeface Studies for A Dialogue Layout 1 and A Dialogue printouts QUIZ REVIEW 338 Quiz 3

WEEK 3

LECTURE NOTES

Creating a font is complex.

It can take years.

The design and technical side are complex.

Has ligatures and swashes throughout text (takes programmers) When you buy a font, you purchase a license, purchase a license.

Technical factors to consider: »» Does the font have small caps? »» What is the format of the font? OpenType? »» Does the font have a Web Font version? »» Does the font have a large family? »» Can I use this font for commercial work? »» How much does this cost? »» Can I use it online, or just in print? »» What about apps, and ebooks? »» Do some places to buy fonts?

Thoughts & Responses 23

WEEK 3

Google Fonts Has free fonts for print and web

Lost Type Co-op Pay as much as or as little as you would like

League of Moveable Type Free, open-source, and used for the web

Font Squirrel Free fonts for commercial use

Font Spring Fonts have very similar licenses. All commercial use, but not free

House Industries Expensive American vernacular, 40’s, 50’s, 60’s

My Fonts Wide range of fonts and an excellent newsletter on font trends and design

Fonts.com Extensive, but Expensive

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WEEK 3

How do I install my new fonts? And where do they go? »» User: Library/Fonts (just person that is on the computer) »» Local: /Library/Fonts - users on computer »» Network: /Network/Library/Fonts »» System: /System/Library/Fonts »» Font Management in OSX

Do I need a font manager? »» Font Book is an option »» Font sets »» Resolves font conflicts »» Can create Library set to open fonts in place.

Cons Different library sets can contain the same fonts Always resolves fonts in favor of the System folder Conflict resolution function, whether using auto

In general, you want to have the minimum number of fonts installed.

Thoughts & Responses 25

WEEK 3

Tips for Organization »» Group the display fonts »» make a group and shut things off when not in use »» Use sets to keep font organized and categorized by project »» FontExplorer X Pro (about $100) can create full sets that include font names already listed in other sets »» Suitcase Fusion creates full sets that include font names »» Hold down Option and click go to see the Library (Important) »» Adobe Font Folio > on Polylearn

Love your fonts. Know where they came from.

Take care of them.

READINGS

Type Composition What are three new things you learned from the chapter on type composition? »» I learned how to create a proper ellipsis (option+semicolon), don’t do three periods

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WEEK 3

»» Apostrophes are always curly quotes and prime marks are always straight quotes »» There is only one word space between sentences Do you think you will use any of the keyboard combinations you learned to create different symbols? »» Interrobang: used in comics, is a combination of ! and ? »» Hard line break:is used to move the next word to the beginning of a new line without starting a new paragraph (Shortcut is shift+return) »» White space characters: for control and predictability (they are invisible) they can be helpful to see the word space, non-breaking space, tab, and hard line break Shortcuts that I might use moving forwards. »» The ellipses shortcut would be helpful (option semicolon) »» Tabs: for horizontal space in the middle of a line (command + shift + t) »» Tab decimal align 1.24 (money or figures with decimal points) »» Insert white space ( do when you use em dash)

Thoughts & Responses 27

WEEK 3

The Important Shortcuts: »» – en dash option +hyphen »» 350˚ option + k »» © option + g »» ™ option + 2 »» ® option + r »» § option + 6 »» … option + semicolon »» shift + return (hard line break or soft return)

You can always find the symbols and marks in the glyphs panel.

Find other symbols and foreign language keyboard (System preferences > Keyboard > Show character keyboards)

Text Formatting This section is about the importance of typography and fonts. A main aspect to think about is how the appearance of the characters on the page can affect how people feel and think about a certain topic. In addition, this section also has a long list of type guidelines.

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WEEK 3

»» Underlining: Don’t underline text, it is a typewriter habit. To create emphasis use bold or italics. For headings, you can also use all caps, small caps, or change the point size to play with scale »» Don’t use goofy fonts ( A goofy font is as subtle as a jackhammer in a library) »» Don’t use monospaced typefaces (has bad spacing and not much variation) »» System fonts: fonts already installed on your computer. (some are good, some aren’t) Some are good for the screen and not go for print. But, often over used so try to use alternatives »» Don’t All Caps a whole paragraph (You don’t have to shout, we can hear you just fine) »» Point size: Smaller on paper and bigger on screen »» If you reduce the point size, then you have to reduce the line length »» Use 5–12% extra space with caps, but not with lowercase »» Kerning adjusting is MOST important in titles and headers (if using a paragraph style, turn on kerning as a part of your style definitions) »» USE the metrics option »» Black is still the best for body text

Thoughts & Responses 29

WEEK 3

»» Spot Color: for projects that involve one or two colors like a letterhead or business cards. They produce the most pure and saturated colors.

(Also, special ink effects) »» Process Color: is used for printing color photographs and other continuous-tone images, process color used to be an expensive technique, mostly restricted to commercial magazines and catalogs (works in layers) and changing the balance of colors by applying a halftone pattern that can create a gritty edge on small text) »» Use real small caps, avoid fake ones special ink effects)

Some good body text typefaces Athelas, Avenir, Charter, Franklin Gothic, Garamond, Gill Sans, Helvetica Neue, Optima, Palatino

Some good typefaces for descriptions and headers Calibri, Big Caslon, Bodoni, Futura, Dibot, Geneva, Perpetua, Baskerville REVIEW AFTER QUIZ 3

The semicolon (;) is used instead of a conjunction to combine two sentences (ex: He did the crime; he must do the time.)

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WEEK 3

HERO W I

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

C:

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

M: So in all of these cultures, what-

ever the local costume the hero might be wearing, what is the deed?

C: Well, there are two types of deed. One is the

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

T H

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?

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.”

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.

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

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”?

I N

Interview by John Campbell and Bill Moyer

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

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.

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.

Is it my work or my life?

“The place to find is within yourself.”

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,

A John Campbell Interview

HERO W I

T H I N

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

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

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

C: Well, there are two types of deed.

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

Moyers: 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?

Campbell: 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.

Moyers: 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"?

Campbell: My general formula for my students is "Follow your bliss."

Find where it is, and don't be afraid to follow it.

Moyers: Is it my work or my life?

Campbell: 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."

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

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

Campbell: 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.

Campbell: 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".

Moyers: 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."

Campbell: That's all you need—an Ariadne thread.

Moyers: 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?

Campbell: 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.

Moyers: 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.

Campbell: 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.

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4 LECTURE NOTES Typesetting in InDesign: Tools and Techniques READINGS Butterick’s Practical Typography: Page Layout “Family planning, or how type families work” by Peter Bil’ak ASSIGNMENTS Elements of Style Booklet Revised Dialogue Project Due CRITIQUE Post-Crit Journal Entry

WEEK 4

LECTURE NOTES

Paragraph Styles Use for most things You can affect leading, tabs, indents, space before and after, hyphenation

General Settings Can base the style on another style

Basic Character Formats Font, Type Size, Weight

Advanced Character Formats Horizontal Vertical Scale always at 100% Indents and Spacing Left indent, first line indent Space after: 10px To indent bullets or numbers set back the bullets (Left indent: 35px and First line indent: -35px)

Tabs Shows the edge and the indents Leader: to create a tab for a fill character

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WEEK 4

Paragraph Rules Rule Below For a linear element in text Keep options Keep a certain amount of lines to decrease hyphenation

Hyphenation Maybe want to uncheck hyphenate capitalized words and last word Hyphen limit 2

Span Columns If you want to switch from a single column to multiple columns

Drop Caps and Nested Styles GREP Style Use code for find/change dialog box

Bullets and Numbering Can create a custom bullet

Character Color Color of text. Percentage of tint. Stroke alignment can also be defined here

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OpenType Features Choosing titling and or Swash alt

Underline Text Can change the width between text and and underline

Character Styles Are used for styling text within a paragraph, for things like: bold text, italic text, run-in subheads, and custom bullets Click on apply style app Don’t touch the leading in here

Underline Options To create a hyperlink

Table Styles They automate what happens in a table Great tool for positioning text They can be invisible

Cell Styles How table looks

Borders around the cell How text is positioned within cell

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Cell insets The negative space around text in cell Insert a graphic in cell Strokes and fill: in the cell Diagonal lines: if you want to x out or dash out

Use styles to make your designing more efficient.

READINGS

Page Layout Once you have the typefaces you want to use, it is just as important to have good composition and alignment. This section is about page layout which is the positioning and relationship of text and other elements on the page.

Centered text It’s lame. Use it sparingly.

Justified text Is spaced so the left and right sides of the text block both have a straight edge. The alternative to justified text is left-aligned text, straight on the left edge and uneven on the right edge. (The only downside to justified is, that you have to often adjust the white space between words in each line) If using justified text, turn on hyphenation

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New Paragraph To indicate the start of a new paragraph, use a firstline indent or consistent spacing (never use carriage returns to insert spacing between paragraphs

Line spacing 120–145% of the point size

Margins Use 1.5–2.0 inches for the margins to have a comfortable line length

Keep Paragraph Together Use keep lines together and keep with next paragraph to ensure that all lines in a paragraph appear on the same page and bins the last line of a paragraph to the first line of the next Always use paragraph and character styles Don’t fear the white space

Family Planning, or how type families work This essay looks at the history and definition of type families, type design, and how to create a larger type system today. More recently, the type designers have been creating ‘superfamilies’ which provide various weights, sizes, and styles to work with. During 1737, Pierre Simon Fournier compared the ‘pouce’ (the French inch) to ‘points’ creating the first-ever stan-

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dardized system for producing and using type. Different weights of typefaces developed in the industrial revolution when companies wanted to differentiate one set of text from another. One of the first bold typefaces was Clarendon. In the late 20th century, Adrian Frutiger was one of the first designers to think of a typeface as having a family rather than just a single weight and size. The first large family he designed was Univers in 1957. The exploration of the idea of two different style within one family was thought to begin around 1932, by Jan van Krimpen when making his Romulus typeface family. Gerrit Noordzij, who taught writing and type design at The Hague School, says the three aspects of producing a typeface are: translation, expansion, and rotation. Overall, type family has to have common elements and principles that create consistency through all the styles.

CRITIQUE

Dialogue Critic »» Leading too tight »» Hyphenations (no 2 letter chunks) »» Proper punctuation »» Reading order unclear »» Type TOO big »» Spacing of text lacks consistency/structure »» Hierarchy is weak 38 Type II Journal

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Things to ALWAYS remember: »» USE smart quotes »» Book titles are set in italics »» Typos are sad, fit them »» Make sure to create large enough margins ASSIGNMENTS

The Elements of Style Booklet Audience: High school and College students Consistency is key Develop a grid structure Typographic hierarchy

Notes For Project Colophon: tells the reader who designed it and what typefaces were used Typeface: with good text weight, has semi bold and bold, no light Recto: right hand page Collated: pages in order

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WEEK 4

Final

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5 READINGS Grid, Thinking with Type by Ellen Lupton Using Layout Grids Effectively, Designers Insights “Typographica Mea Culpa, Unethical Downloading”

by Steven Heller “My Type Design Philosophy” by Martin Majoor REVIEW AFTER QUIZ 4 338 Quiz 4 ASSIGNMENTS Final Elements of Style Pamphlet, Version I CRITIQUE Final Elements of Style Pamphlet, Version I

WEEK 5

READINGS

Unethical Downloading Typographica Mea Culpa, is about the ethics of downloading typeface software licenses and his call for people to respect type designers and try to give them credit for their hard work. Almost all typefaces are licensed with a specific number of devices you can share with. This is standard in the industry, however people often overlook the rules and laws. So, as young designers, we should learn from Heller’s story and be more conscious about font licensing and the idea of just aimlessly downloading typefaces off the Internet.

Thinking with Type, Grids This section is part of the book, Thinking with Type.

The golden rule is a popular topic when reading about design. The perfect ratio can be used as a grid format for a book or many other projects, like web design.

Multicolumn grids create a more dynamic layout and complex hierarchy. It also gives you more room to experiment with images and text. Do you separate the text from the images or integrate the images within the text. A element that makes a more interesting visual when staggering the elements on the page. Some examples, are modular grids and hang line grids. A hang line grid creates vertical zones with the columns of the grid and then also divide the page horizontal-

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WEEK 5

ly. Next, is a baseline grid. You start a baseline grid by choosing the typesize and leading of your text, like 10pt text and 12pt leading. Then use this line space to set the baseline grid on your document. Caution: baseline grids require quite a bit of math to work properly.

Using Layout Grids Effectively on Designers Insights This article illustrates the importance of grids and how to properly use them. There are two types of grids, one with an even number of columns and one that has an odd number of columns. On a vertical grid, 1–3 columns is a good start to create a readable layout. On a horizontal grid, 1–4 columns is a good start because you have a bit more room. Always adjust your layout grid when you have to bind your pages. Make a gutter space within your document layout. If you are stuck on how to design a layout with organic shapes and text, you can resort to the rule of thirds to making the page more balanced. It is really helpful if you start all your projects with a layout grid to construct a consistent look throughout the pages.

My Type Design Philosophy This article is by the designer of Scala and Seria, Martin Majoor. To be a good type designer you must know how type works in body text, what happens to type on certain paper, and must know how the type works with various printing processes.

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First sans serif typeface to be used for printing was published around 1816 by William Caslon iv English typefoundry. The next more complete and well known sans serif is Akzidenz Grotesk. This typeface was created in 1898 by the German Berthold type foundry in Berlin. Then there was Futura, which was designed by Paul Renner in 1928. Futura was started from drawings; he didn’t base it off of a classic serif. His inspiration was actually roman inscriptional capitals. The main point I got out of this article is that when mixing a serif with a sans you should try to pick ones that the sans was designed based on the serif, so that they have the same skeleton. This idea is illustrated through Majoor’s designs of Scala and Scala Sans and Seria and Seria Sans.

REVIEW AFTER QUIZ 4

Peter Bil’ak’s typeface Lava was designed for: Multiple platforms: online, eBook, PDF and print.

It was for the magazine “Works That Work”

If you give a font that you have purchased to another designer who will work on your files, that means that they now have a free, illegally obtained copy on their computer.

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CRITIQUE

First Version of Elements of Style »» Make sure to have a title page, colophon »» Have a footer (that it is in the same spot and aligned right) »» Maybe move the Section number on the title page up towards the title »» Have section pages for each different section »» In the introduction, italicize in the text the book names »» Readability, make people want to read it, not that they can’t read the type »» Covers: have a concept and experiment with style »» A lot of text in italic, can make it more difficult to read »» If too much text, break it up »» Move a paragraph, to the next page if there is an awkward bit of a sentence left »» The tables are too prominent

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Type Inspiration

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WEEK 1

6 READINGS “A View of Latin Typography in Relationship to the World”

by Peter Bil’ak ASSIGNMENTS Elements of Style, Team Version CRITIQUE On Elements of Style, Team Version

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READINGS

Latin Typography in Relationship to the World This article on the misconceptions of western typography is really interesting because it is on a topic that is often overlooked. Europe is the area that often gets the most credit when it comes to type, however long before movable type was already being used in China and Korea. For example in 1230AD, some Koreans had already transitioned from wood to metal movable type.

Many typography history books are still Eurocentric or Latin-based typography and fail to mention the history prior. When naming typefaces, there has also been mistakes of mixing contradicting eras in one name, like Greek Roman. While many of these statement seem negative and sad, there is still hope. There are some authors that are giving credit to non-latin type, it is just that there aren’t many. An example of one of these fabulous books, is The Solid Form of Language

by Robert Bringhurst. »» Type started from woodblock printing (1040 AD) (1000 AD) »» Chinese invented printing before German »» Native English Speakers less than Hindi and Chinese speakers »» A bias towards Western Type

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WEEK 6

CRITIQUE

Elements of Style, team version »» Overall, the book layouts improved a lot »» Issues with consistency between the three books (but small) »» Liked our cover (some of the cover still needed to be developed »» Make sure that your margins remain consistent throughout the book »» It is important to think about the audience when deciding your typefaces and margin sizes »» Make sure that you are all using the same paragraph styles

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WEEK 6

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WEEK 1

7 READINGS “Lava — Voice of a Magazine” by Peter Bil’ak The First Thing I Ever Designed: Elena Schenker and “Gratuitous Type” Magazine ASSIGNMENTS Present Zine Concept Plan Sections and Format GUEST Tad Carpenter Lecture and Workshop

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WEEK 7

READINGS

Lava Lava is a typeface that was designed to bridge the digital and print editions of a newly designed magazine called Works That Work. The magazine was to be read both in print and on screen, so Lava was designed to work in both high and low resolution environments. Lava is considered a workhorse typeface that can handle large amounts of text. Overall, your typeface choices are really important and set the tone for what you are trying to say with your design. It is important to also think about the platforms you will be designing for.

Gratuitous Type Magazine Elena Schenker is an ambitious designer who decided to start her own magazine on type. Her magazine actually became an excellent portfolio piece for her and helped her land the job working for an art director at CondĂŠ Nast and as senior designer at Princeton Architectural Press. Her magazine is graphic designed based and has an international perspective and look. The magazine developed through sketch after sketch.

Tad was here!

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WEEK 7

Zine Concepts

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WEEK 7

Moodboard for Zine

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WEEK 1

8 READINGS “Eric Gill got it wrong; a re-evaluation of Gill Sans” by Ben Archer “Beauty and Ugliness in Type design” by Peter Bil’ak PRE CRITIQUE On first spread of zine ASSIGNMENTS Final Content Grid Analysis Exercise Sample Magazine Spreads QUIZ REVIEW 338 Quiz 5

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READINGS

A Re-Evaluation of Gill Sans Gill Sans may seem pretty and refined at first, but it has some major setbacks that are vital when when trying to select a well rounded typeface. Gill Sans is also known as the Helvetica of England. Gill Sans was designed based on Johnston in 1928. The most problematic part of the typeface is that the lowercase l, i, and number 1 are all exactly the same. They make the content confusing at times and difficult to read. Another problem is how the bowl in the lowercase g is always at a different angle in each different weight of the typeface. There is no consistency. After reading this, I don’t know if I would say that I will never use Gill Sans again, it is just that I will have to think about the possible issues that might come up in my text if I do decide to use it.

Beauty and Ugliness in Type Design This article is about the designing of the typeface Karloff. The author believes that there is a close relation between beauty and ugliness. His goal was to create a type with a high contrast.

PRE CRITIQUE

»» Bold type on screen »» first create your header and footer »» For smaller text maybe give a little bit more leading and if it is a sidebar »» Use a lead in italic sentence Thoughts & Responses 61

WEEK 8

Final Content NIKE & TYPE OVER THE YEARS Nike Inc. was founded on May 30, 1971 and ever since then, they have made their mark in the advertising industry. This is largely due to their fantastic photography and typography skills. Nike isn’t subtle: their brand is strong, bold, and dynamic.

Nike’s typeface choices successfully evoke these words without being too obvious about it. This ad collection consists of print ads from the 1970s to the present.

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Featured Designer

First Spread Example

LF

By Elizabeth Danizco

LOUISE FILI

Louise Fili designs with unmatched grace and elegant craftsmanship, unifying old and new to create contemporary forms in typography.

Fili, who grew up in an Italian-American household in New Jersey, remembers carving letterforms into the wall above her bed at age three or four: Even then, she simply loved making letters. In high school, she taught herself calligraphy with a Speedball guide and an Osmiroid pen. She enrolled at Skidmore College to study studio art, but discovered graphic design instead. Presciently, her senior project was a hand-lettered Italian cookbook.

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now-husband and collaborator, says, ‘I noticed Louise’s work long before we met. In fact, it was the work that prompted me to write her, and later meet her. What I saw in the work was a distinctive flair. It had bits of the past, but entirely reinterpreted.… More important, in a sea of book jackets and covers…her designs stood out for their precision, humanity and aesthetic joy.’ The two have since co-authored more than a dozen books, including Italian Art Deco and Shadow Type.

Fili opened her own studio in 1989, focusing on restaurant identity, food-related logos and packaging. There weren’t many female-run studios then, and she knew it could be problematic if she named the studio after herself. But she decided to send a clear message: ‘If you have a problem with my being female, then I don’t want you as a client.’ Louise Fili Ltd has since redesigned the Good Housekeeping Seal of Approval, designed an iconic ‘Love’ stamp and created legendary identities for New York City eateries including Pearl Oyster Bar, the Mermaid Inn and Artisanal. She has received medals from the Art Directors Club and the Society of Illustrators, as well as three James Beard Award nominations. In 2004, she was inducted into the Art Directors Club Hall of Fame. Today she teaches in graduate and undergraduate programs at SVA and at the school’s masters workshop in Rome.

When asked how she’s been able to master so many new fields, Fili says, ‘No matter how much you may love your profession, you have to be ready for change.’ As students of this graceful master of craft,

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WEEK 1

9 LECTURE Typography on Screen READINGS “An Idea of a typeface” by Kai Bernau ASSIGNMENTS Book Map of Zine Progress and Design Process

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LECTURE

Typography on Screen Georgia Verdana »» Generous x height »» Good amount of space

Typeface Contrast Amount of contrast between the thick and thin strokes

Bodoni Chapparal »» Smaller x-height

High x-height is ideal.

Ex, Offcina Serif, not Mrs. Eaves Ex, Core Rhino, not Futura

Beware of X-Height Extremes If the x-height is too high, there is less room for other distinctive characteristics »» Letters like n and h

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ITC Garamond BAD version of this type Century Gothic, too high x-height and ascenders and descenders

Character Distinction »» Gill Sans the 1, i and l the same »» Numbers, Punctuation, Special Character »» Lining numerals »» Old Style Numerals »» Small Caps and Ligatures »» Ligatures: usually default and go in (fi, fl)

Made sure you have small caps and don’t use the fake small caps.

Optical Sizes Some typefaces have family members that suit a specific size range, called optical sizes Ex, Adobe Jenson Pro, Caption, Semibold Subhead, Semibold, Regular, Display

How pick typefaces that are generic? »» Helvetica > Museo Sans »» Georgia > Droid Serif

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Putting typefaces together Look For Distinction Adobe Caslon Pro / Adobe Garamond »» Too similar Museo Sans / Adobe Garamond »» Good Header: ITC Century Ultra Condensed Italic Text: Adobe Garamond Header: League Gothic Text: Adobe Garamond

Display want to stand out.

Look For Harmony Find typefaces with inherent visual relationships in their structure »» Bauer Bodoni and Helvetica Neue share the same skeleton. Design Process

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DESIGN PROCESS

My design process for this magazine was been quite a ride. I was having a difficult time making each article unique, but at the same time consistent. I was getting my inspiration from many cooking magazine and J. Crew magazines. For a while I had too many types of spreads going on, however I solved the issue through consistent line lengths and repeating stylistic elements like lines or color. My magazine is well organized and has a lot of white space to give emphasis to the images and design artwork. I am really happy with this project and I think it is going to look great when it is complete.

FEATURES

JON CONTINO

community, while

others will be new for you to discover, but all of them are card-carrying ADC Members from around the world.

The next designer to step into the Typography Spotlight definitely falls into the “already famous within the design community”: the ‘New Yawk’ alphastructaesthetitologist and ADC Young Guns 9 winner.

Where did your interest in typography begin?

It’s generally not something kids in kindergarten aspire to be. When did you discover that you could actually make a living out of it?

You laugh now, but in kindergarten, that is exactly what I was doing. I had an intense obsession with sports branding and movie posters from before I even started any type of schooling, and would literally sit on

the floor and draw monograms and logos all day. Come to think of it, I don’t know if I even knew how to read or write yet, but I loved the shapes and was constantly tracing and trying to copy things that grabbed my attention. My mother and grandmother got me hooked on calligraphy at a really young age as well, so I just enjoyed drawing letters.

I can even remember old sketchbooks that had various stylized “alphabets” for pages and pages. Just me drawing letters in all different ways.

As for making a living, I’m not quite sure.

When I started working professionally at 14 years old, it still didn’t dawn on me that it could be a career. It was a part time job doing something I liked for cash. I don’t think it was until college when I realized that all of my projects could gang up and become a yearly salary.

JON CONTINO

By Elizabeth Danizco The first week of ADC and Monotype’s Typography Month has been cruising along, giving love to the type addicts and lettering geeks within the ADC community (we know there’s a lot of you!)

Just like last year’s Photography Month and Illustration Month, ADC Typography Month features a daily Typography Spotlight, highlighting ADC Members and Young Guns who love working with words and letters.

Some of the names are already famous within the design

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Don't call this ADC Young Guns winner a “letterer”

WEEK 9 TYPE IN PACKAGING

BUDWEISER’S REDESIGN

THE KING’S SUCCESSION Budweiser’s Redesign

The can redesigns had gotten a fairly decent reception in 2011 and, in a way, it aimed for some of the same goals as does the new one, but it still suffered from too much designing.

The new can establishes consistency with Bud Light by having the seal and legend tightly cropped on the top of the can and in this can it might even look better than it did for Bud Light (which already looked hot). The logo spans wide beyond the visible edges of the can, which is really rare as I’m sure most can-clients want everything to be visible inside the can. The logo has so much space that you could put a bunch of those Clydesdale horses to pasture around it. The “King of Beers” tag line has changed from the overused Bank Gothic to something custom and glorious. The combination of elements, the spacing, the muted colors, it’s all just absolutely great.

beers have continued to fall “in the low single digits” in the United States in the second quarter – despite a ton of marketing for both brands. But it’s not all bad news for the company. Overall sales were up in the quarter despite the struggles in the U.S., problems in Europe and tough comparisons in Brazil following last year’s World Cup tournament.

With 2016 rolling in and bringing with it a new branding overhaul to rival designs of the growing micro brewery movement, Budweiser is drawing on a new, younger crowd while trying to maintain true to its “hard way” crafted beer and established clientele. s Excerpted from Brand New and CNN Money

As has been the case with most big brands, Budweiser has stripped back all unnecessary decorations and finishes off of the logo. In this case, the process reveals an elegant and classic script word mark that looks far better than it has in decades. The letters look so crisp and curvaceous with the “B” now standing out beautifully instead of being jammed into the bow tie shape, which also looks remarkably good as a single-line stroke. From here, things just get better.

• 2015 •

All the typographic details were done by Toronto based Typographer Ian Brignell.

Brignell even create a typeface for Budweiser known as Bud Bold.

Anheuser-Busch InBev, the owner of Budweiser and Bud Light, said that sales of its two top

EDITOR'S CHOICE

BEST BOOK COVERS 2015

BEST BOOK COVERS 2015 1. Voices in the Night

2

3

4

6. One Day in the Life of English Language

Designer: Janet Hansen

Designer: Chris Ferrante

2. Almost Famous Women

7. Syriza

Designer: Na Kim

Designer: Jaimie Keenan

3. Etta and Otto and Russell and James

8. KL

Designer: Gray318

Designer: Alex Merto

4. The Dismantling

9. How to Run a Government

Designer: Zoe Norvell

Designer: Barnbrook

5. Drinking in America

10. The Italians

Designer: Rex Bonomelli

5

1

Designer: Nicholas Misani

6

7

8

9

10

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WEEK 1

10 ASSIGNMENTS Upload Magazine file to ISSUU CRITIQUE Pre-Crit of Zine Final Type Zine Project

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PRE CRITIQUE

»» Make sure the have page numbers and the name of your magazine in each corner »» The line length needs to be more consistent »» Don’t use too much color »» Lay out the images with an organized and meaningful manner »» Make the covers more interesting »» Change the Arabic Image and the Graffiti one CRITIQUE

»» Make sure that you are confident when presenting »» Explain more about why you did something than telling us what we can already see »» The covers looked really good »» Overall, the magazine were quite strong »» Great way to end the quarter!

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JESSICA FERGUSON Type II Winter 2016 Typefaces Used PT Sans PT Serif