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Journal Jessica Mock Type II class in a book
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Jour
Typ
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rnal
Jessica Mock pe II class in a book
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hi!
Welcome to my journal! This is a collection of important things I learned and experienced in my Typography II class at California nic State University. It includes lecture notes, key points from rea critiques from my projects I’ve done in the class. Though it main as a personal reminder of my typography journey and important learned, I hope you can also find something useful reading this a
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have Polytechadings, and nly serves t things I’ve all well!
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Journal Typographic Refinement
Things you can do to make your type look handsome.
Type Setting in Indesign Impress your friends.
Font Management
Take care of your font and they will take care of you.
Typography on Screen Critiques
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.
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TYPOGR REFINEM “
SPACING IS THE BIG EN
— JAMES T. EDMONDSON
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RAPHIC MENT
NCHILADA.
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Screen vs. Print Body text point size read on screen should be larger than when the text on print.
14pt or larger Body type on screen (excluding phones) FONTSHOP
9pt-12pt Body type on print FONTSHOP
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Kern type at display sizes Body text point size read on screen should be larger than when the text on print.
kerning set to Metrics
Bone and Tissue manually kerned
Bone and Tissue
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Customize Leading Leading should be 120-145% of the point size.
Not Customized If there is one benchmark against which to judge any Chinatown bakery, Bolo Bao is it. Its moist, fluffy interior is the result of adding a cooked flour and water paste called tangzhong to an enriched bread dough. Tangzhong allows the dough to absorb far more water, yielding super moist buns that bake up extra light and fluffy. Proxima Nova 11/Auto
Too Loose If there is one benchmark against which to judge any Chinatown bakery, Bolo Bao is it. Its moist, fluffy interior is the result of adding a cooked flour and water paste called tangzhong to an enriched bread dough. Tangzhong allows the dough to absorb far more water, yielding super moist buns that bake up extra light and fluffy. Proxima Nova 11/17
Just Right If there is one benchmark against which to judge any Chinatown bakery, Bolo Bao is it. Its moist, fluffy interior is the result of adding a cooked flour and water paste called tangzhong to an enriched bread dough. Tangzhong allows the dough to absorb far more water, yielding super moist buns that bake up extra light and fluffy. Proxima Nova 11/14.5
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Line Length The line of text should not be too long or too narrow that it will break a reader’s rhythm.
A good line length: 45–90 characters per line 2–3 lowercase alphabets 8–13 words per line
Customize Hyphenation Avoid tiny word fragments and too many consecutive hyphens!
Hyphenate: Words with at least: 6 Letters After first: 3 letters
Before last: 3 letters Hyphen limit: 2
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Fix Rags Dramatically uneven rags are distracting for reading.
Use • Discretionary hyphens • Line breaks • Tracking
Spelling Always check spelling!
Dynamic Spelling or command + i
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FON MA
“
GO CH
— SA
NT ANAGEMENT
OOD WORK AIN’T CHEAP, HEAP WORK AIN’T GOOD.
AILOR JERRY
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Why Pay For Fonts? A font license grants you the right to use a typeface in a specific manner, outlined in the license.
Ask yourself: • • • •
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?
FONTSHOP
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How to Choose the Right Font Designers should look at both design factors and technical factors when choosing fonts.
Design Factors Content
• how long is the text? • what is it about?
Audience
• what is the age of the reader? • what is the demographic of the reader?
Format/Context
• what is the size set or will it vary? • at what distance will the text be read?
Technical Factors to Consider • • • • • •
does the font have a full character set? foreign accented characters and glyphs? multiple weights and styles? small caps? lining and old style numerals? what is the format of the font? OpenType fonts are cross-platforms. • Does it have Web Font version?
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Places to Buy Fonts There are a lot of good online resources that provide free to inexpensive fonts!
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Google fonts
Has free fonts for both print and web. Be wise which one you choose!
Lost Type Co-op
Pay-What-You-Want type foundry.
League of Moveable Type
Is a type movement that provides wellmade, free, open-source, font-face ready fonts.
Font Squirrel
Has free fonts for commercial use.
Fontspring
Fonts have similar licenses. All fonts can be used for commercial projects.
House Industries
Draw attention to under-appreciated art genres and the American vernacular.
My Fonts
Has a wide range of fonts and an excellent newsletter on font trends and design. They got good sales.
font.com
Has an extensive collection of fonts and a nice blog. Not as much sales, but they have typography education.
Use Font Book Use sets to keep fonts organized and categorized.
Font book • Can create font sets • Resolves font conflicts • Can deactivate fonts in the /Library/Fonts/ and ~/Library/Fonts/ folders to prevent any application from seeing them. • Can create Library sets to open fonts in place. • Has automatic activation feature
Other Font Management Programs Explorer X Pro Suitcase Fusion
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TYPESET IN INDES
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IF YOU PLAN TO HAVE A RELATIONSHIP WITH GO PHY, I RECOMMEND YOU TO USE STYLES. — MATTHE
TTING SIGN
A LONG-TERM OOD TYPOGRAU LEARN HOW W BUTTERICK
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Paragraph styles Most styles in your document will be Paragraph Styles.
Basic Character Formats Font, font style, size, leading, kerning, tracking, and case
Bullets and Numbering Set up lists with auto bullet points or numbers.
Indents and Spacing Alignment, indents, space before or paragraph returns.
Tabs Shows all tabs and leaders (a character that fills the negative space before the tab).
Paragraph Rules Shows rules (lines) that can appear above or below the paragraph.
Paragraph Shading Text highlighting. You never know when you might use it. Spacing can be customized.
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Keep Options If you want to keep all or a certain number of lines together in one paragraph to avoid orphans.
Hyphenation Turns hyphenation on or off and customizes word hyphenation settings.
Justification Customizes justified type spacing!
Span Columns If you want to switch from a single column to multiple columns in the same text box.
Drop Caps and Nested Styles Large initial caps and styles within other styles.
Open Type Features Chose Titling and/or Swash alternative characters. Specify figure (number) style.
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— CHARMAINE MARTINEZ
Character Styles
Table St
As used for styling text within a paragraph.
Used for styling mul within a document.
Settings for:
Settings for:
• • • • • • •
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IMPRESS YOUR FRIENDS. USE STYLES.
Basic Character Formats Advanced Character formats Character Color OpenType Features Underline Options Strikethrough Options Export Tagging (Turn styles into CSS)
• • • • •
The outside b The dividing li Space above a The fills of fiel Strokes
tyles
ltiple tables
border of the table ines in the table and below the table lds in the table
Cell Styles Used for styling individual cells, or rectangular divisions of the table.
Settings for: • • • •
The borders around the cell Text positioned within the cell The fill color of the cell If the cell is x-ed out
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TYPOGR ON SCRE
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THE ATTENTION SOMEON WHAT HE OR SHE MAKES IN THE END RESULT, WHE OBVIOUS OR NOT. — ERIK S
APHY EEN
NES GIVES TO S IS REFLECTED ETHER IT IS
SPIEKERMANN
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Consider: Typeface Contrast Higher contrast typefaces can be useful in small amounts or as headlines.
Bodoni
Chapparal
If there is one benchmark against which to judge any Chinatown bakery, Bolo Bao is it. Its moist, fluffy interior is the result of adding a cooked flour and water paste called tangzhong to an enriched bread dough.
If there is one benchmark against which to judge any Chinatown bakery, Bolo Bao is it. Its moist, fluffy interior is the result of adding a cooked flour and water paste called tangzhong to an enriched bread dough.
X-height A high x-height is ideal for interfaces and wayfinding.
Mrs. Eaves
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PT Serif
Character distinction Differentiating between different characters is essential for on screen legibility.
1Il Gill Sans
1Il
Verdana
Finding Alternatives Classic typefaces are sometimes so overused that they begin to look like generic defaults.
Weight in Gold Weight in Gold Helvetica
Museo Sans
Weight in Gold Weight in Gold Georgia
Chaparral Pro
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Pairing Typefaces Evaluate typefaces critically and learn to trust your instinct.
Look For Distinction
Pair Display and Text Faces
Bread
Bread
If there is one benchmark against which to judge any Chinatown bakery, Bolo Bao is it. Its moist, fluffy interior is the result of adding a cooked flour and water paste called tangzhong to an enriched bread dough.
Niveau Grotesk Adobe Garamond Pro
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If there is one benchmark against which to judge any Chinatown bakery, Bolo Bao is it. Its moist, fluffy interior is the result of adding a cooked flour and water paste called tangzhong to an enriched bread dough.
Blenny Adobe Garamond Pro
Look for Harmony
Use a Family
Bread Bread
Some typefaces have both serif and sans serif version, which are built on the same structure.
Avenir
Athelas
Bread Bread
Officina Sans Book Officina Serif Book
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GOOD RE
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THOSE WHO WILL NOT READ NO BETTER OFF THAN THOS CANNOT READ. — JIM ROHN
EADS
D ARE SE WHO
• Butterick’s Practical Typography • Typotheque.com articles
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Thoughts on Readings
Butterick’s Practical Typogr ful and reviving read! I think to be the ultimate guideline important typographic rules
Starting from straight quote It explains very well how to quotes, and why smart quo typography. Butterick also g board shortcuts for the sma very helpful, since I have w time how to get them.
Single space after a senten sal rule in type. It avoids riv also it has an overall consis space in a body text. What this chapter is that they pro ments for defending single
Though I am more familiar w always nice to have a guide to use a semicolon and whe
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raphy is a very helpk it has the potential e for glyphs and s for punctuations.
es vs. curly quotes. obtain smart otes are better gives us the keyart quotes, which is wondered for a long
nce is also a univervers in body texts, stency in white I really like about ovided counter arguspace.
with this subject, it is e to make clear when en to use a colon.
This is my first time learning about how to use a paragraph mark ¶, and a section mark §. I think they can be very useful in documents, standard manuals and text books. I love how they tell you the keyboard shortcuts too! Distinguishing between hyphens, en dash and em dash are always a confusing event. But it becomes pretty straight forward. The en dash indicates a range of values and numerical. While the em dash is used to make a break between sentences. Text Formatting also highlights the importance of using curly quotes instead of straight quotes. Curly quotes should always be used and is a practice of good typography, because they are more legible and flow with other characters. But the most useful information was knowing there is a way to turn on a “smartquote feature”, which will substitute curly quotes automatically.
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Shortcuts ‘
Opening single quote
option + ]
Closing single quote (apostrophe)
option + shift + ]
Opening double quote
option + [
Closing double quote
option + shift + [
Paragraph mark
option + 7
Section mark
option + 7
…
Ellipsis
option + ;
-
Hyphen
-
–
En dash
option + -
—
Em dash
option + shift + -
’ “ ” ¶ §
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™
®
©
˚
Trademark
option + 2
Registered trademark
option + r
Copyright
option + g
Degree
option + k
Hard Page Break
command + fn + return
Non- Breaking Space
option + shift + x
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Space Between Paragraphs First-line indent or space between paragraphs can be used to signal the start of a new paragraph.
Space between paragraph 50%-100% of the body text
First-line indent Should be large enough to be noticed.
Block Quotations They are not hard! • Reduce the point size and line spacing slightly • Indent the text block half an inch to a full inch on both sides. Or 2-5 ems for web. • Make side indents large enough to be noticed, but not too large that the line length is too short. • Don’t put quotation marks at the ends— they’re redundant!
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Use Smart Quotes Compared to straight quotes, curly quotes are more legible on the page and match the other characters better. Correct
“It’s knowledge that ‘speaks’ wisdom.” Wrong
"It's knowledge that 'speaks' wisdom."
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PROJECT CRITIQU
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YOU HAVE TO BE A CRIT SAVAGE EDITOR OF YOU WORK. — KRIS SOWERSBY
TS AND UES
TICAL, UR OWN
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1. Typesetting: Rules of Typography Compile a minimum of five quotes and build a layout. Consideration should be given to the typesetting and design of the page.
Objectives • to research scholarly articles and books about typography • to compile a list of research findings • to establish information hierarchy in the design and layout of at least five quotes about typography • to consider legibility and readability when selecting typefaces
Project Helpfulness
4.3/5
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Process
A
“ uthority And yet whether true or false, meat or fluff, smart or dumb, when information is presented in a designed context with the intent of drawing attention, it is given authority that it either deserves or not.”
—Steven Heller, Stop, Think, Go: How Typogrpahy and Graphic Design Influence Behavior, 2012 , page 11
Practice
“The computer is just a tool; it is a means to an end, not an end in itself. With practice, however, you will acquire the eye necessary to see type as a professional does and the ability and motivation to create it.” — Ilene Strizver, Type Rules, Enhanced Edition: The Designer’s Guide to Professional Typography, 2014
Space “The oriental philosophers hold that the essence of created form depends on empty space. Without its hollow interior a jug is merely a lump of clay, and it is only the empty space inside that makes it into a vessel.” — Emil Ruder, Typographie: A Manual of Design, 2001, page 16
Challenge “What looks correct visually most often stands— a challenging concept to convey, especially to beginners.” — Kristin Cullen, Design Elements, Typography Fundamentals : A Graphic Style Manual for Understanding How Typography Affects Design, 2012, page 85
Value
“Observing type critically, notably flaws that inhibit function, offers valued insight to set it well.” — Kristin Cullen, Design Elements, Typography Fundamentals : A Graphic Style Manual for Understanding How Typography Affects Design, 2012, page 85
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Final Critique From this project I learned to go to the extreme when experimenting. This will help with defined hierarchy and eye catching elements.
Critiques: • can improve on placement of the first quote • more consistent treatment of title text • bigger white text, almost disappearing into the blue.
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A “
And yet whether true or false, meat or fluff, smart or dumb, when information is presented in a designed context with the intent of drawing attention, it is given authority that it either deserves or not.”
—Steven Heller, Stop, Think, Go: How Typogrpahy and Graphic Design Influence Behavior, 2012 , page 11
UTHORITY Practice “The computer is just a tool; it is a means to an end, not an end in itself. With practice, however, you will acquire the eye necessary to see type as a professional does and the ability and motivation to create it.” — Ilene Strizver, Type Rules, Enhanced Edition: The Designer’s Guide to Professional Typography, 2014
Space “The oriental philosophers hold that the essence of created form depends on empty space. Without its hollow interior a jug is merely a lump of clay, and it is only the empty space inside that makes it into a vessel.” — Emil Ruder, Typographie: A Manual of Design, 2001, page 16
Challenge “What looks correct visually most often stands— a challenging concept to convey, especially to beginners.” — Kristin Cullen, Design Elements, Typography Fundamentals : A Graphic Style Manual for Understanding How Typography Affects Design, 2012, page 85
Value “Observing type critically, notably flaws that inhibit function, offers valued insight to set it well.” — Kristin Cullen, Design Elements, Typography Fundamentals : A Graphic Style Manual for Understanding How Typography Affects Design, 2012, page 85
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2. A Dialogue Design a diptych utilizing a dialogue provided and emphasize that fact that there is more than one voice.
Objectives • to use typography to create a distinction between two different voices • to consider content when make decisions about typeface selection and imagery • to demonstrate an understanding of good typographic practice when setting text
Project Helpfulness
4/5
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Process
Q
“There’s a certain type of myth which one might
uest of a Hero
call the vision quest, going in quest of a boon, a vision, which has the same form in every mythology.”
— Campbell
A Dialog in popular novels, the main character is a hero or heroine
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”?
who has found or done something beyond the normal range
Campbell: My general formula for my students is “Follow your
of achievement and experience. A hero is someone who has
bliss.” Find where it is, and don’t be afraid to follow it.
Moyers: Why are there so many stories of the hero in mythology? Campbell: Because that’s what’s worth writing about. Even
given his or her life to something bigger than oneself.
Moyers: So in all of these cultures, whatever the local costume the hero might be wearing, what is the deed? Campbell: 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
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.”
of human spiritual life and then comes back with a message.
“There’s a certain type of myth which one might call the vision quest” 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
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Final Critique From this project I learned to not be afraid of big and bold title that grabs attention. And to activate the spread by breaking the grid.
Critiques: • two sides are not related • drop shadow is not working • big sans serif doesn’t match the title • margin problems • “Your” is too small to “Quest” • spacing for pull quotes is not working • map is distracting the title
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Your
Que
A Dialog between Moyers and Ca
Moyers:
Why are there so many stories of the hero in mythology?
Campbell:
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.
est
ampbell
The Quest Moyers: So in all of these cultures, whatever the local costume the hero might be wearing, what is the deed?
The Challenge Moyers: Is it my work or my life? Campbell: If the work that you’re doing is the work
Campbell: Well, there are two types of deed. One is the
that you chose to do because you are enjoying it, that’s
physical deed, in which the hero performs a courageous
it. But if you think, “Oh, no! I couldn’t do that!” that’s
act in battle or saves a life. The other kind is the
the dragon locking you in. “No, no, I couldn’t be a
spiritual deed, in which the hero learns to experience
writer,” or “No, no, I couldn’t possibly do what So-and-
the supernormal range of human spiritual life and then
so is doing.”
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?
Moyers: When I take that journey and go down there and slay those dragons, do I have to go alone? 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
Thereʼs a certain type of myth which one might call the vision quest
is to disintegrate that dragon, break him up, so that you may expand to a larger field of relationships. The 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 which he unwinds as he goes into the labyrinth, and was the string. That’s all you need.”
might call the vision quest, going in quest of a boon,
Moyers: Like all heroes, the Buddha doesn’t show you the truth itself, he shows you the way to truth. 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: 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.
out of the labyrinth.” So she gives him a ball of string, then follows to find the way out. You say, “All he had
Campbell: There’s a certain type of myth which one
The Destinationn
Campbell: That’s all you need—an Ariadne thread.
The place to find is within yourself.
a vision, which has the same form in every mythology. That is the thing that I tried to present in the first book
Moyers: Sometimes we look for great wealth to save
I wrote, The Hero With a Thousand Faces. All these
us, a great power to save us, or great ideas to save
different mythologies give us the same essential quest.
us, when all we need is that piece of string.
You leave the world that you’re in and go into a depth
Campbell: That’s not always easy to find. But it’s nice
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
to have someone who can give you a clue. That’s the teacher’s job, to help you find your Ariadne thread.
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.
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3. Elements of Style Booklet Develop a design for The Elements of Style that would appeal to the contemporary era readers.
Objectives • to develop a grid structure that ensures consistency in a multiple page document • to design for a saddle stitched publication • to properly apply paragraph and character styles • to use typographic techniques to establish hierarchy and clarity in a given text • to evaluate each other’s work and modify one’s design based on the strongest solution
Project Helpfulness
5/5
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As a rule, begin each paragraph with a topic sentence; end it in conformity with the beginning.
10 Again, the object is to aid the reader. The practice here recom-
10
as he begins to read it, and to retain the purpose in mind as he ends it. For this reason, the most generally useful kind of paragraph, particularly in exposition and argument, is that in which A. The topic sentence comes at or near the beginning; B. The succeeding sentences explain or establish or develop the statement made in the topic sentence; and C. The final sentence either emphasizes the thought of the topic sentence or states some important consequence.
Ending with a digression, or with an unimportant detail, is particularly to be avoided. If the paragraph forms part of a larger composition, its relation to what precedes, or its function as a part of the whole, may need to be expressed. This can sometimes be done by a mere word or phrase (again; therefore; for the same reason) in the topic sentence. Sometimes, however, it is expedient to precede the topic sentence by one or more sentences of introduction or transition. If more than one such sentence is required, it is generally better to set apart the transitional sentences as a separate paragraph. According to the writer’s purpose, he may, as indicated above, Sec tion II
relate the body of the paragraph to the topic sentence in one or
11
more of several different ways. He may make the meaning of the topic sentence clearer by restating it in other forms, by defining its terms, by denying the converse, by giving illustrations or spe-
6. “I cannot see the wit,” says
Hazlitt, “of walking and talking at
The same reason as stated by Hazlitt.
the same time.
cific instances; he may establish it by proofs; or he may develop it by showing its implications and consequences. In a long para-
7. When I am in the country, I
graph, he may carry out several of these processes.
wish to vegetate like the country,”
The same reason as stated by Hazlitt.
which is the gist of all that can be said upon the matter.
Example 1: 1. Now, to be properly enjoyed,
8. There should be no cackle of Topic Sentence
a walking tour should be gone
2. If you go in a company, or even
in pairs, it is no longer a walking
The meaning made clearer by denial of the contrary.
able to stop and go on, and follow this way or that, as the freak takes
Topic Sentence
different conception of history
mince in time with a girl.
grew up. A fourth reason, stated in two forms.
take colour from what you see.
2. Historians then came to
believe that their task was not so much to paint a picture as to solve
The same reason, stated in still another form.
The meaning of the topic sentence made clearer; the new conception of history defined.
a problem; to explain or illustrate the successive phases of national growth, prosperity, and adversity.
Sec tion II
wind to play upon.
sion.—Stevenson, Walking Tours.
teenth century that a very
alongside a champion walker, nor
impressions and let your thoughts
in a peace that passes comprehen-
Example 2: 1. It was chief ly in the eigh-
your own pace, and neither trot
5. You should be as a pipe for any
Final statement of the fourth reason, in language amplified and heightened to form a strong conclusion.
sluggishness of the brain, and ends The topic sentence repeated, in abridged form, and suppor ted by three reasons; the meaning of the third (“you must have your own pace”) made clearer by denying the converse.
you; and because you must have
4. And you must be open to all
Repetition, in paraphrase, of the quotation from Hazlitt.
that begins in a sort of dazzle and
nature of a picnic.
the essence; because you should be
ing he cannot surrender himself to of much motion in the open air,
something else and more in the
upon alone, because freedom is of
9. And so long as a man is reason-
that fine intoxication that comes
tour in anything but name; it is
3. A walking tour should be gone
voices at your elbow, to jar on the meditative silence of the morning.
upon alone.
The Elements of Style
Process
mended enables him to discover the purpose of each paragraph
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Final Critique From this project I learned to use alot of features that Indesign offer. Such as bullets, tables and styles.
Critiques: • Need one more round of proof reading • work on hyphenation and styling • yellow lacks contrast and visual impact compared to the other colors.
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Again, the object is to aid the reader. The practice here recommended enables him to discover the purpose of each paragraph as he begins to read it, and to retain the purpose in mind as he ends it. For this reason, the most generally useful kind of paragraph, particularly in exposition and argument, is that in which A. the topic sentence comes at or near the beginning; B. the succeeding sentences explain or establish or develop the statement made in the topic sentence; and C. the final sentence either emphasizes the thought of the topic sentence or states some important consequence.
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AS A RULE, BEGIN EACH PARAGRAPH WITH A TOPIC SENTENCE; END IT IN CONFORMITY WITH THE BEGINNING.
THE ELEMENTS OF STYLE
SECTION 02: ELEMENTARY PRINCIPLES OF COMPOSITION
Ending with a digression, or with an unimportant detail, is particularly to be avoided. If the paragraph forms part of a larger composition, its relation to what precedes, or its function as a part of the whole, may need to be expressed. This can sometimes be done by a mere word or phrase (again; therefore; for the same reason) in the topic sentence. Sometimes, however, it is expedient to precede the topic sentence by one or more sentences of introduction or transition. If more than one such sentence is required, it is generally better to set apart the transitional sentences as a separate paragraph. According to the writer’s purpose, he may, as indicated above, relate the body of the paragraph to the topic sentence in one or more of several different ways. He may make the meaning of the topic sentence clearer by restating it in other forms, by defining its terms, by denying the converse, by giving illustrations or specific instances; he may establish it by proofs; or he may develop it by showing its implications and consequences. In a long paragraph, he may carry out several of these processes. 1. Now, to be properly enjoyed, a walking tour should be gone upon alone.
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THE ELEMENTS OF STYLE
Topic Sentence
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2. If you go in a company, or even in pairs, it is no longer a walking tour in anything but name; it is something else and more in the nature of a picnic.
The meaning made clearer by denial of the contrary.
3. A walking tour should be gone upon alone, because freedom is of the essence; because you should be able to stop and go on, and follow this way or that, as the freak takes you; and because you must have your own pace, and neither trot alongside a champion walker, nor mince in time with a girl.
The topic sentence repeated, in abridged form, and supported by three reasons; the meaning of the third (“you must have your own pace”) made clearer by denying the converse.
4. And you must be open to all impressions and let your thoughts take colour from what you see.
A fourth reason, stated in two forms.
5. A fourth reason, stated in two forms.
The same reason, stated in still another form.
SECTION 02: ELEMENTARY PRINCIPLES OF COMPOSITION
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4. Type Zine Collecting and creating all the assets for the magazine, including: text, illustrations, and photographs.
Objectives • to collaborate on the planning and creation of a magazine • to develop typography that is informed by content • to improve and refine typographic techniques • to increase understanding of page layout, the importance of a grid use, hierarchy and pacing in a multiple page document • to create an InDesign file using paragraph and character styles that can be easily modified and refined • to develop a visual design that is appropriate for on screen viewing
Project Helpfulness
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Process
Final Critique
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Final Critique From this project I learned to experiment with different layouts and breaking of the grid. I also had to be more daring on using colors and design elements, that doesn’t distract from the body text.
Critiques of the Class: • need to work on refinement and proper body text treatment. • Need to have a stronger concept • Need more design elements that unify the zine • do not crowd space • do not start a line with an en dash • headers with too much leading
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Designer
Jessica Mock
Typefaces
Proxima Nova Alternate Gothic No 3
Class
Art 338 Typography II
Date
3/20/2017
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