NOTES ON
TYPE II JOHN DUCH
Course Journal • Art 338.03 • Winter 2017 • Cal Poly
NOTES ON
TYPE II by John Duch Art 338.03 Course Journal • Winter 2017
TABLE Hello! This journal was created in Art 338: Typography II at California Polytechnic State University, San Luis Obispo in March 2017. Through reinforcing the fundamental principles of typographic design, this course focused on typesetting and design of a page, information hierarchy, the use of styles, and organizational grids. This journal is a digital gathering of all my written thoughts, lecture notes, and reflections on projects assigned in the class. Most of the content is notes about new information and tips that I have found useful and plan to use for future reference in my career.
LECTURE NOTES Page 4
E OF CONTENTS
E
READING NOTES Page 16
PROJECT RECAPS Page 30
LECTURE NOTES
TYPOGRAPHIC REFINEMENT January 13, 2017
01 Lecture
Points and Picas 12 points = 1 pica 6 picas = 1 inch 1p6 = 1 pica + 6 points
Choosing Point Size Consider: Typeface proportions and weight. Length of text. What format the text is being viewed. Who is the audience? Content of text.
Print and Web For Print: 9–12pt For Web: 14pt or larger Don’t forget about leading.
Key Points Always kern text that have all caps and display sizes Set kerning to metrics Leading should be 120%–145% in point size Line length is 45–90 characters or 8–13 words on average Tracking should only be in between -10 or +10 Use true caps, and true small caps (only if a typeface has it)
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Hyphens hyphen (-) Used if a word is too long for the column length. en dash (–) Used to indicated duration (time/numbers). em dash (—) Used to indicated duration (time/numbers). Avoid tiny word fragments, and too many consecutive hyphens. Adjust hyphenation setttings. 6, 3, 3, 2
Smart Quotation Marks
“ ‘ ’ ” Smart Quotes
"''"
Dumb Quotes
“‘’”
Prime Marks
Rags Use discretionary hyphens, line breaks, or tracking to adjust rags. Larger sizes causes bad rags become more obvious.
Lecture Notes | 9
Widows The last line of a paragraph is called a widow if it is too short.
Orphans Orphans are short segments of paragraphs stranded at the bottom of a column.
Spell check! Be sure to check manually as well because the tool itself will not catch everything that is mispelled. Turn on dynamic spelling in InDesign. (Edit > Spelling > Dynamic Spelling) Shortcut: Command + i
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UNDERSTANDING TYPEFACES January 27, 2017
02 Lecture
Major points • Don't use monospace, will case long paragraph width • Avoid decorative fonts. • Bold and italics sold be used for emphasis. • All Caps should be used with discretion, otherwise it will make the reader feel like they're being yelled at. • Choose a point size according to how the typeface looks. Sometimes a typeface looks too big or small at 12 pt.
Design Factors to Consider. • Who is the audience that is reading?. • How long is the text? What is it about?. • What is the format and context? ex: screen, distance, display, signage, etc.).
Technical Factors to Consider • Full character set with punctuation and necessary glyphs necessary for job? • OpenType is cross platform. • Multiple weights and styles? • Does the font have small caps? • Lining and Old Style numerals?
Lecture Notes | 11
Why Are Typefaces So Expensive? • We need to remember it takes a while for a typographer to design and develop a typeface. • A lot of work goes into sketching, figuring out how the characters will sit in space. • When you buy a font, you purchase a license. • Read the license when you start working professionally to see where you’re allowed to use it.
Font Management • Can disable and enable fonts as well as group. • Use FontExplorer X Pro • Suitcase Fashion 6
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TYPESETTING IN INDESIGN
03
February 3, 2017
Lecture
Paragraphs • Use either an indent or space between paragraphs to indicate start of new paragraph. • Indent/space between is 50%–100% of body text size. • Margins impact how your book feels, and how approachable it is. • Decide how the body text will look first • Smallest visible increments (small adjustments, tiny details in type; rags, kerning, etc.) • Be consistent with everything. • Relate each new element to existing elements through alignment, size, color, typeface, styles, etc.
Styles • Maintain consistency by creating and naming styles for pretty much everything. • Paragraph Styles: leading, tabs, indents, space before and after, hyphenations, and rules above and below. • Character Styles: set up weights, run in subheads, and custom bullets or numbering that affect a selection of letters or words. Avoids conflicts with Paragraph Styles. • Table Styles: to: adjust borders, dividing lines, space above and below, fill of fields.
Lecture Notes | 13
TYPEFACES ON SCREEN March 1, 2017
04 Lecture
Typeface Contrast • The amount of contrast between thick and thin strokes of characters in a typeface impacts legibility. • High x-height is ideal, especially for use on interfaces or on wayfinding. • Beware of extremes, if the x-height is too high then letters like n, d, a, and d become difficult to distinguish. • Differentiating between different characters is essential for on screen legibility. • Strive to use typefaces that have special characters that are often used such as dashes. • Use REAL small caps and ligatures; never fake them! • Some typefaces support individual designs of different content, and have options for various optical sizes. Ex. Roman G1, Roman G2, Roman G3, etc. • Avoid clichés and classics which are often overused and look like generic defaults.
Pairing Typefaces • Look for distinctions and differentiating elements • Pair Display and Text typefaces; display typefaces have personality to them. • Families that have both serif and sans serif versions that most like have the same skeleton.
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• Window > Styles > Paragraph Styles > Options> New Paragraph Style • Window > Styles > Character Styles > Options > New Character Style • Window > Styles > Table Styles > Options > New Table Style
Lecture Notes | 15
Shortcuts • “Smart Quotes” vs. “Dumb Quotes” (option + [) • Turn on typographer’s quotes (option + shift + [) • en dash – (option + -) • em dash — (option + shift + -) • Copyright © (option + g) • Registered trademark is superscript ™ ® (option + 2), (option + r) respectively • Ellipses … (option + ;)
Key Things to Note • Only use one space between sentences, otherwise you get funky looking paragraphs and even rivers. • One exclamation point is more than enough in a paragraph unless you’re an angry teenager sending text messages. • Long sections can be referred to with §, ie. standards manual, legal documents too. • (parentheses), [brackets] {braces} • Apostrophes ‘, direction matters. Hawai’i, ‘60s (wrong), ’60s (right)
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“If your argument is easy to follow, it will be a winning one.” —Erik Spiekermann
READING NOTES
BUTTERICK’S PRACTICAL TYPOGRAPHY by Matthew Butterick — January 13, 2017
01
Readings
Type in 10 Minutes • The typographic quality of your document is determined largely by how the body text looks. Why? Because there’s more body text than anything else. So start every project by making the body text look good, then worry about the rest. • The most comfortable range for body text is 10–12 point. On the web, the range is 15–25 pixels. Not every font appears equally large at a given point size, adjust as necessary. • Line spacing is the vertical distance between lines. It should be 120–145% of the point size. The default singleline option is too tight; the 1.5-line option is too loose. • Line length is the horizontal width of the text block. • It should be an average of 45–90 characters per line (use your word-count function) or 2–3 lowercase alphabets. • Font choice; typography can be improved if one avoids system fonts and uses professional fonts.
Summary of Key Rules • The four most important typographic choices you make in any document are point size, line spacing, line length, and font (passim), because those choices determine how the body text looks. • Point size: 10–12 points in printed documents, 15–25 pixels on the web.
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• Line spacing: 120–145% of the point size. • Average line length: 45–90 characters (including spaces). • Only ONE space between sentences. • Never use underlining, unless it’s a hyperlink. • Use centered text sparingly. • Use Bold and Italics as little as possible. • Give 5–12% extra letterspacing for all caps and small caps, especially at smaller sizes. • First Line Indents: 1–4 times text point size. Or 4–10 pts of space between paragraphs; never use both.
Foreword • Typography is the visual component of the written word. • Good typography is measured by how well it reinforces the meaning of the text, not by some abstract scale of merit. • “If your argument is easy to follow, it will be a winning one.”
Reading Notes | 21
BUTTERICK’S PRACTICAL TYPOGRAPHY by Matthew Butterick — January 18, 2017
02 Readings
Why Typography Matters • Type can engage, guide, and persuade readers. • There is a utilitarian function, but it is more about good skill than it is good taste. • Type is for the benefit of the reader, because the most valuable thing isthe attention of the reader. • One can judge a book by it’s cover because people do it all the time based on the book’s typography. • Typography has consequences. Just ask the person who was responsible for the ballot used in Palm Beach County, Florida, for the 2000 presidential election. There was lack of hierarchy, unclear which bubble was for what candidate, all caps made it harder to read, and random parenthesis.
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03
BUTTERICK’S PRACTICAL TYPOGRAPHY by Matthew Butterick — January 25, 2017
Readings
Type Composition • Q1. What are three new things you learned from the chapter on type composition? • A. I learned about various keyboard shortcuts for a lot of special characters that I use often. Sometimes it’s a better alternative than looking through the Glyph’s palette. I also learned that certain characters have subtle variations that are used in certain situations. I have used this book before this class to learn about the types of quotation marks. There are plenty of glyphs and special characters that are included in most professional typefaces today. • Q2. Do you think you will use any of the keyboard combinations you learned to create different symbols? • A. I already do use some of these symbols through the glyphs palette keyboard shortcuts.
Reading Notes | 23
BUTTERICK’S PRACTICAL TYPOGRAPHY by Matthew Butterick — January 27, 2017
04 Readings
Text Formatting • There’s much more to typography than fonts and similarly, there’s more to text formatting than what font to use. • Underlining: This makes the text hard to read. If you feel the urge to underline, use bold or italic instead. Bold and italic styles are specially designed to match the basic style of the font. • Novelty fonts, script fonts, handwriting fonts, circus fonts have no place in any document created by a professional. • System fonts are optimized for screen legibility, not print. • Use all caps for short stretches of text. • For serifs: Italics for gentle emphasis, bold for more emphasis. • For sans serifs: skip the italic and use bold for emphasis. • Limit yourself to three levels of headings, two is better. • Letterspacing: Character spacing or tracking; affects the horizontal white space between characters or a block of text. It affects letterspacing for all pairs of letters. • Kerning: Adjustment of specific pairs to improve spacing and fit. Some typefaces come with tons of kerning pairs implemented by the designer(s). • Body text should always be printed in black for documents such as resumes, research papers, and letters. • Letterheads and business cards may use color, but be sure to use it sparingly.
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BUTTERICK’S PRACTICAL TYPOGRAPHY by Matthew Butterick — February 1, 2017
05 Readings
Page Layout Page Layout: It is about the positioning and relationship of text and other elements on the page. Centered Text: Whole paragraphs should never be centered. Centering makes paragraphs difficult to read because both edges of the paragraph are uneven. Centered paragraphs are also difficult to align with other page elements. Justified Text: Justified text is spaced so the left and right sides of the text block both have a straight edge. The usual alternative to justified text is left-aligned text. It adds white space between the words in each line so all the lines are the same length. This alters the ideal spacing of the font, but in paragraphs of reasonable width it’s usually not distracting. First-Line Indents: A first-line indent is the most common way to signal the start of a new paragraph. First-line indents and space between paragraphs have the same relationship as belts and suspenders. You only need one to get the job done. Using both is a mistake. If you use a first-line indent on a paragraph, don’t use space between. And vice versa. Space Between Paragraphs: Used as an alternative to first line indents. A space equal to 50–100% of the body text size will usually suffice. The larger the point size, the more space you’ll need between paragraphs to make a visible difference.
Reading Notes | 25
Page Margins: set the default territory your text occupies on the page. Page margins determine the width of the text block, and thus have the greatest effect on line length. Maxims of Page Layout: • Decide first how the body text will look. • Divide the page into foreground and background. • Make adjustments with the smallest visible increments. • Be consistent. • Relate each new element to existing elements. • Keep it simple. • Imitate what you like; Learning to see what’s good about other examples of typography makes it easier to solve problems in your own layouts. • Don’t fear white space; If the text looks good, the white space will take care of itself.
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USING LAYOUT GRIDS EFFECTIVELY by Designers Insights — February 8, 2017
06 Readings
Grids • Always use a layout grid for your design projects. No exceptions. • Using a grid helps maintain consistency and harmony within designs. • This system is always the first test to see if that idea will work well and be applicable to a real world application. Any design project needs a strong, tested and perfected layout grid system to make splitting work to many designers at one time possible, so that they all produce the same quality end result with consistency and visual harmony. • It is critical when you go from print, where you have total control over your layout, and apply your design to the web, where you have less control. your layout grid system is extra flexible for responsive websites, where your designs can go from four columns to one and still keep its integrity and the client’s message. • A layout grid is the invisible force that gives the visible its structure and holds everything in its proper place. • When creating a layout grid, pay special attention when choosing the type of binding to compensate for the gutter.
Reading Notes | 27
TYPOGRAPHICA MEA CULPA by Steven Heller —February 8, 2017
07 Readings
Unethical Downloading • Design is an honorable profession. We are not the cutthroat garment industry where styles and fabrics are routinely stolen by both big and small. Designers tend to respect one another’s intellectual property lines and do not as a rule engage in extreme larceny. • Because type is the most common means of written communication, we assume the license to usurp it at will and without ramification. • “I reckoned that whenever I used a legitimately purchased font, it was mine to do with as I pleased and had the right to pass it along to anyone” • Rudy Vanderlans, founder of Émigré Fonts says “If you gave the font to someone else to carry through the designs, that means that they now have a free, illegally obtained copy on their computer. Most likely they will use it for another design job sometime in the future without remembering or being concerned where that font originally came from. It’s a scenario we come across nearly every single day.”
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08
MY TYPE DESIGN PHILOSOPHY by Martin Majoor — February 10, 2017
Readings
The headache of mixing type • A type designer must know how type works in a piece of text, he must know what happens with the type on different sorts of paper, he must know how a typeface behaves with different printing techniques.
The origin of the sans. • Officially, the very first sans serif typeface to be used for printing was published around 1816 by the William Caslon IV English typefoundry. It had only contained capitals. • Much more interesting is Akzidenz Grotesk, published in 1898 by the German Berthold type foundry in Berlin.
Reading Notes | 29
A RE-EVALUATION OF GILL SANS by Ben Archer — March 1, 2017
09 Readings
Gill Sans—The Helvetica of England • Students should be urged to approach Gill Sans with caution; it takes to considerable effort to use well. • Letterforms are different in certain weights. For example, from weight to weight of Gill Sans in the lower bowl of the ‘eyeglass g’—no longer ‘eyeglass’ or double story by the time it becomes Ultra Bold.
AN IDEA OF A TYPEFACE by Kai Bernau — March 8, 2017
10
Neutral Typefaces • Neutral typefaces are designed to help the reader focus more on the content of the text. • Neutral typefaces become a challenge because of cultural differences. • A typeface is both a tool for designing, and a tool for reading.
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Readings
“Type is for the benefit of the reader, because the most valuable thing isthe attention of the reader.” —Matthew Butterick
PROJECT RECAPS
PROJECT #1: TYPE QUOTES
Project Description To research and document as many rules, ideas, or principles about typography. A minimum of at least five examples will be required and must be type set on 8.5"µ 11" paper.
Objectives • to research scholarly articles and books about typograph • 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.
Specifications • Size: 8.5"µ 11", portrait or landscape • Colors: B/W + 1 accent color • Typeface Restriction: you may use no more than two typeface families • Imagery: text and typographic elements only
Project Recaps | 35
Rough Draft
1
“Layout, for both print and screen, is one of the most important aspects of graphic design.”
2
“Legibility is achieved by controlling the qualities and attributes inherent in typography that make type readable.”
3
“Typography is not only verbal communication but also lines of texture within a composition.”
4
“Shaping text—typographic design—is a way of staging content in order to influence and direct the attention of readers and viewers.”
5
“…type that can’t be read is type that isn’t doing you, your client, or your target audience any favors.”
— Joseph Aleisso Smashing Magazine Typography: Practical Considerations and Design Patterns
— Rob Carter “Legibility,” Typographic Design: Form and Communication
— Kimberly Elam Grid Systems: Principles of Organizing Type, 2004, Page 5
— Jan Middendorp Shaping Text, 2012, Page 3
— Jim Krause Lessons in Typography: Must—know Typographic Principles Presented Through Lessons, Exercises, and Examples, 2015, Chapter 5
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Critique Notes • Need hanging indents • Leading is too tight on some lines • Not much going on, a little too safe • Numbers are a little too big and are competing the more important content.
Reflection This first interim critique was difficult because the limitations were to use only imagery with typographic elements. I am so used to using graphic elements ot make things more visually interesting. This project was also type heavy, so I was still struggling to figure out how to create a cohesive system that wasn't all over the place.
Project Recaps | 37
Final Draft TYPOGRAPHY Why should I care?
Legibility is achieved
by controlling the qualities and attributes inherent in typography that make type more readable. —Rob Carter Typographic Design: Form and Communication, 2015, Page 49
“ Type that can’t be read
is type that isn’t doing you, your client, or your target audience any favors.” —Jim Krause Lessons in Typography, 2015, Page 184
Shaping text
is a way of staging content in order to influence and direct the attention of readers and viewers. —Jan Middendorp Shaping Text, 2012, Page 3
Layout, for both “ print and screen, is one of the most important aspects of graphic design. —Smash Magazine Typography: Practical Considerations and Design Patterns, 2015
Typography is not only verbal communication but also lines of texture within a composition. —Kimberly Elam Grid Systems: Principles of Organizing Type, 2004, Page 5
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Critique Notes • Quotation shapes could be toned down a bit. • Too many alignment points; no consistent point of alignment. • Nice pop color • Nice attempt at trying to use shapes to pull in the viewer
Reflection The challenge of this project was figuring out how to go crazy and be experimental without overdoing it, which I ultimately ended up doing. There was too many alignments, and I wasn’t sure how to arrange the quotes since they were all different lengths and I was all over the place in trying to figure out what to emphasis. This is one of the projects I am not satisfied with, and if I were to redo it, I would probably not go too crazy. But it was good to go crazy and see how much I had to tone down instead of not going crazy enough.
Project Recaps | 39
PROJECT #2: DIALOGUE
Project Description Design a diptych that utilizes all of the text and emphasizes the fact that there is more than one voice with the dialogue provided. Think about and utilize typographic hierarchy by using color and images to help support the design, but care must be taken to make sure typography is intentional and refined. Think about how all of the typographic elements influence our interpretation of the text and how you, as a designer, can influence the viewer’s reading of the text
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
Specifications • Size: 11"µ 15" two page diptych (each page is 11" µ 15," portrait or landscape) • Colors + Typeface Restriction: none • Required Text: all text in the document titled “338_dialogue.docx” • Imagery: any original photos, illustrations, etc.
Project Recaps | 41
Rough Draft Joseph Campbell and the Power of Myth
Slay Those
DRAGONS M
oyers: 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. 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 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.
“
“
My general formula for my students is ‘Follow your bliss.’ Find where it is, and don’t be afraid to follow it. — Joseph Campbell
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. 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: 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. Moyers: Like all heroes, the Buddha doesn’t show you the truth itself, he shows you the way to truth.
Psychologically, the dragon is one’s own binding of oneself to one’s ego. We’re captured in our own dragon cage. — Joseph Campbell
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 Soand-so is doing.” Moyers: When I take that journey and go down there and slay those dragons, do I have to go alone?
42 | Type II Journal • Winter 2017
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.
Critique Notes • “I like big type and I cannot lie.” —Charmaine Martinez • Big headlines create interest and pulls readers in. • A little light body text, maybe not best choice for typeface for this amount of text.
Reflection I did not have as much time to do this project, but it was definitely a challenge to figure out how to make this amount of text interesting. This was just a basic layout on one page, and like the last project, it was difficult to figure out how to break out of the grid I had set up. I realized after the critique that this was too safe and I needed to try a different layout.
Project Recaps | 43
Final Draft
DRAGON W JOSEPH CAMPBELL AND THE POWER OF MYTH
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. 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 of human spiritual life and then comes back with a message. Does your study of mythology lead you to conclude that a single human quest, a standard pattern of human aspiration and thought, constitutes for all mankind something that we have in common, whether we lived a million years ago or will live a thousand years from now? 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
44 | Type II Journal • Winter 2017
come to what was missing in your consciousn in the world you formerly inhabited. Then co the problem either of staying with that, and letting the world drop off, or returning with t boon and trying to hold on to it as you move into your social world again. How do I slay that dragon in me? What’s the journey each of us has to make, what you call “the soul’s high adventure”?
Campbell: My general formula for my studen “Follow your bliss.” Find where it is, and don afraid to follow it. 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 ar enjoying it, that’s it. But if you think, “Oh, no couldn’t do that!” that’s the dragon locking y in. “No, no, I couldn’t be a writer,” or “No, no couldn’t possibly do what So-and-so is doing.
When I take that journey and go down there an 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 d has to be done by oneself. Psychologically, th dragon is one’s own binding of oneself to one ego. We’re captured in our own dragon cage. problem of the psychiatrist is to disintegrate dragon, break him up, so that you may expan 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 These and Ariadne. Theseus says to Ariadne, “I’ll lov you forever if you can show me a way to come of the labyrinth.” So she gives him a ball of stri which he unwinds as he goes into the labyrinth
Critique Notes
WITHIN
ness omes
that back
nts is n’t be
re o! I you o, I g.”
nd
p deed he e’s The e that nd e
eus ve out ing, h,
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. 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. 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”. 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.
How do I slay that dragon in me?
• Mention names of people in an interview, especially interview transcripts. • Full bleeds help make a design more exciting. • Consider integrating more pull quotes. • Dragon illustration is standing out more than the actual content; overpowering, more time put into the illustration compared to the text.
Reflection The challenge of this project was like most typesetting projects— making a plain body of text into something that is visually interesting yet legible with a cohesive structure in page layout and hierarchy. At the time I did not know how to match my body text aesthetically with my illustration; the body text was boring compared to the illustration.
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PROJECT #3: ELEMENTS OF STYLE
Project Description The Elements of Style is a classic reference book about grammar for students and conscientious writers. The text is full of examples and comparisons, which necessitates the effective use of indents and shifts in typographic style. With the text being written in 1918, the job for this project was to develop a design that would appeal to high school and college-aged students. This project was broken up into two phases—the first being individually developing a solution for a selected section, and the second phase of the project required collaborative teamwork to create a series of aesthetically and cohesively related booklets.
Objectives • to develop a grid structure that ensures consistency in a multiple page document • to properly apply paragraph and character styles • to use typographic techniques to establish hierarchy and clarity in a given text
Specifications • Size: 5.5" x 8.5" / number of pages will be determined by your design, but must be divisible by four • Color: Inside: black / cover: 2 colors, cover weight paper • Final Output: two bound booklets • Typeface Requirement: no more than two typefaces
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Rough Draft William Strunk, Jr.
Elements
of Style
A FEW MATTERS OF FORM Headings Leave a blank line, or its equivalent in space, after the title or heading of a manuscript. On succeeding pages, if using ruled paper, begin on the first line.
Numerals Do not spell out dates or other serial numbers. Write them in figures or in Roman notation, as may be appropriate.
SECTION
August 9, 1918 Rule 3 Chapter XIII 352d Infantry Parentheses A sentence containing an expression in parenthesis is punctuated, outside of the marks of parenthesis, exactly as if the expression in parenthesis were absent. The expression within is punctuated as if it stood by itself, except that the final stop is omitted unless it is a question mark or an exclamation point.
I went to his house yesterday (my third attempt to see him), but he had left town. He declares (and why should we doubt his good faith?) that he is now certain of success.
Elements of Style • Section Three • 3
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Critique Notes • Body text was too small • Inside is black and white only. • Nice hierarchy, with distinguishable subheads.
Reflection I enjoyed this project because I was starting to get more familiar with typesetting, and using styles made the process a lot smoother. The only challenge was that the sections were very long and consisted of a lot of text to typeset. Because of the smaller size, page margins, and breathing room were vital.
Viewpoint Write point of view, but do not misuse this, as many do, for view or opinion.
While Avoid the indiscriminate use of this word for and, but, and although. Many writers use it frequently as a substitute for and or but, either from a mere desire to vary the connective, or from uncertainty which of the two connectives is the more appropriate. In this use it is best replaced by a semicolon. This is entirely correct, as shown by the paraphrase,
The office and salesrooms are on the ground floor, while the rest of the building is devoted to manufacturing. The office and salesrooms are on the ground floor; the rest of the building is devoted to manufacturing. Its use as a virtual equivalent of although is allowable in sentences where this leads to no ambiguity or absurdity.
While I admire his energy, I wish it were employed in a better cause. I admire his energy; at the same time I wish it were employed in a better cause. Compare:
While the temperature reaches 90 or 95 degrees in the daytime, the nights are often chilly. Although the temperature reaches 90 or 95 degrees in the daytime, the nights are often chilly.
18 • Elements of Style • Section Three
The paraphrase,
The temperature reaches 90 or 95 degrees in the daytime; at the same time the nights are often chilly, shows why the use of while is incorrect. In general, the writer will do well to use while only with strict literalness, in the sense of during the time that.
Whom
Often incorrectly used for who before he said or similar expressions, when it is really the subject of a following verb.
His brother, whom he said would send him the money His brother, who he said would send him the money The man whom he thought was his friend The man who (that) he thought was his friend (whom he thought his friend) Worth while Overworked as a term of vague approval and (with not) of disapproval. Strictly applicable only to actions: “Is it worth while to telegraph?”
His books are not worth while. His books are not worth reading (not worth one’s while to read; do not repay reading). The use of worth while before a noun (“a worth while story”) is indefensible.
Elements of Style • Section Three • 19
Project Recaps | 49
Individual Final Draft The Elements
of Style Sections
Section
A FEW MATTERS OF FORM Headings Leave a blank line, or its equivalent in space, after the title or heading of a manuscript. On succeeding pages, if using ruled paper, begin on the first line.
Numerals Do not spell out dates or other serial numbers. Write them in figures or in Roman notation, as may be appropriate. August 9, 1918 Rule 3 Chapter XIII 352d Infantry
Parentheses A sentence containing an expression in parenthesis is punctuated, outside of the marks of parenthesis, exactly as if the expression in parenthesis were absent. The expression within is punctuated as if it stood by itself, except that the final stop is omitted unless it is a question mark or an exclamation point. I went to his house yesterday (my third attempt to see
Elements of Style • Section Three • 5
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Critique Notes • Distinguishable hierarchy • Nice use of scale for section lead in pages. • Indentation was a good alternative solution to tables.
Near by Adverbial phrase, not yet fully accepted as good English, though the analogy of close by and hard by seems to justify it. Near, or near at hand, is as good, if not better. Not to be used as an adjective; use neighboring.
from the public comes artistic appreciation or commercial patronage. The word people is not to be used with words of number, in place of persons. If of “six people” five went away, how many “people” would be left?
Phase Oftentimes, ofttimes Archaic forms, no longer in good use. The modern word is often.
One hundred and one Retain the and in this and similar expressions, in accordance with the unvarying usage of English prose from Old English times.
Means a stage of transition or development: “the phases of the moon;” “the last phase.” Not to be used for aspect or topic. Another phase of the subject Another point (another question)
Possess Not to be used as a mere substitute for have or own. He possessed great courage.
One of the most
He had great courage (was very brave).
Avoid beginning essays or paragraphs with this formula, as, “One of the most interesting developments of modern science is, etc.;” “Switzerland is one of the most interesting countries of Europe.” There is nothing wrong in this; it is simply threadbare and forcible-feeble.
He was the fortunate possessor of
People The people is a political term, not to be confused with the public. From the people comes political support or opposition;
20 • Elements of Style • Section Four
He owned
Respective, respectively These words may usually be omitted with advantage. Works of fiction are listed under the names of their respective authors. Works of fiction are listed under the names of their
Elements of Style • Section Four • 21
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Group Final Draft
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Critique Notes • Good attempt and experimentation with vellum, but it was too fragile to be a cover. • Bright vibrant colors • Nice hierarchy, with distinguishable subheads, and vertical line rule was a good solution. • Italics in examples make it hard to distinguish book titles.
Reflection Tackling this project with a group was fun because it made the formatting process quicker. We were able to decide what styles we wanted in the final product fairly quickly. I was satisfied with how the inside of the book turned out, but I thought that the cover could've been better. The vellum was a good shot at experimentation. Color choice and cover didn't have as much as time put into it as much as the inside of the book, which is why I was not fully satisfied.
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6 || The Elements of Style
Se
Headings
Quotations
Leave a blank line, or its equivalent in space, after the title or heading of a manuscript. On succeeding pages, if using ruled paper, begin on the first line.
Formal quotations, cited as documentary evidence, are introduced by a colon and enclosed in quotation marks.
Numerals Do not spell out dates or other serial numbers. Write them in figures or in Roman notation, as may be appropriate. August 9, 1918 Rule 3 Chapter XIII 352d Infantry
Parentheses A sentence containing an expression in parenthesis is punctuated, outside of the marks of parenthesis, exactly as if the expression in parenthesis were absent. The expression within is punctuated as if it stood by itself, except that the final stop is omitted unless it is a question mark or an exclamation point. I went to his house yesterday (my third attempt to see him), but he had left town. He declares (and why should we doubt his good faith?) that he is now certain of success. (When a wholly detached expression or sentence is parenthesized, the final stop comes before the last mark of parenthesis.)
The provision of the Constitution is: “No tax or duty shall be laid articles exported from any state.”
Quotations grammatically in apposition or the direct objects of verbs are preceded by a comma and enclosed in quotation marks.
I recall the maxim of La Rochefoucauld, “Gratitude is a lively sens benefits to come.” Aristotle says, “Art is an imitation of nature.”
Quotations of an entire line, or more, of verse, are begun on a fresh line and centered, but not enclosed in quotation marks.
Wordsworth’s enthusiasm for the Revolution was at first unboun Bliss was it in that dawn to be alive, But to be young was very heaven! Quotations introduced by that are regarded as in indirect discourse and not enclosed in quotation marks. Keats declares that beauty is truth, truth beauty. Proverbial expressions and familiar phrases of literary origin require no quotation marks. These are the times that try men’s souls. He lives far from the madding crowd.
20 || The Ele
54 | Type II Journal • Winter 2017
ection 3 || 7
on
n
se of
a .
nded:
Section 4 || 21
ements of Style
Near by Adverbial phrase, not yet fully accepted as good English, though the analogy of close by and hard by seems to justify it. Near, or near at hand, is as good, if not better. Not to be used as an adjective; use neighboring.
Oftentimes, ofttimes Archaic forms, no longer in good use. The modern word is often.
The word people is not to be used with words of number, in place of persons. If of “six people” five went away, how many “people” would be left?
Phase Means a stage of transition or development: “the phases of the moon;” “the last phase.” Not to be used for aspect or topic. Another phase of the subject Another point (another question)
One hundred and one
Possess
Retain the and in this and similar expressions, in accordance with the unvarying usage of English prose from Old English times.
Not to be used as a mere substitute for have or own.
One of the most Avoid beginning essays or paragraphs with this formula, as, “One of the most interesting developments of modern science is, etc.;” “Switzerland is one of the most interesting countries of Europe.” There is nothing wrong in this; it is simply threadbare and forcible-feeble.
People The people is a political term, not to be confused with the public. From the people comes political support or opposition; from the public comes artistic appreciation or commercial patronage.
He possessed great courage. He was the fortunate possessor of
He had great courage (was very brave). He owned
Respective, respectively These words may usually be omitted with advantage. Works of fiction are listed under the names of their respective authors.
Works of fiction are listed under the names of their authors.
The one mile and two mile runs were won by Jones and Cummings respectively.
The one mile and two mile runs were won by Jones and by Cummings.
Project Recaps | 55
PROJECT #4: TYPE ZINE
Project Description In this project, students will be creating a digital magazine. The theme of the magazine is: Typography, Design, Activism and Social Justice (this is the theme, not the title). Students in the class will be responsible for collecting and creating all the assets for the magazine, including: text, illustrations, and photographs. All found images and text (articles, interviews, etc.) must be properly credited. Include author bylines and captions for all images.
Objectives • to collaborate on the planning and creation of a magazine • to develop typography that is informed by content • to develop a visual design that is appropriate for on screen viewing • to increase understanding of page layout, importance of grid use, hierarchy, and pacing in a multiple page document
Specifications • File Setup: Page Size: iPad (768 px µ 1024 px), Portrait Orientation, Facing Pages: The spread will be 1538 px µ 1024 px. • Colors: RGB • Typefaces: No more than three type families • Required Text: all student contributions
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Sketches & Process
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Sketches & Process
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Sketches & Process
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Critique Notes • Good exploration with color and layouts. • Good experimentation with display san serif type paired with italic serif • Explore more with breaking the grid with images. • Tone down display type for smaller articles. • Longer articles look good with subheads that are not too big or too little.
Reflection The only thing that was challenging for this project was time management. Tackling various studies to meet deadlines was a challenge because there's a lot of factors to consider when trying to format the magazine. Also because it was a magazine, I was not limited to just one format, grid, or layout, and every article was different. This made it more challenging to generate layouts that were cohesive and related through the elements on the page. There was also a lot of content and articles that were about very different or somewhat similar topics. So creating a magazine that also reflected the theme was key to helping me generate content as to what I wanted to reflect in each article.
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Final Draft March 2017 • Issue #1
RISE UP ART & ACTIVISM
SOCIAL JUSTICE EDITION Protest Art History of Protest Art Walt Disney War Art Hope Artist Shepard Fairey
Featured Designers Marius Jopen Fred Martin
Art Within Culture Controversial Album Covers JR, a street artist on a Crusade Universal Tattoo Art
Bringing Change With Type Presidential Campaign 2016 Design Can Help End Cultural Appropriation?
Finding of the Month What Women Are Worth in Design
64 | Type II Journal • Winter 2017
TABLE OF CONTENTS Protest Art
Art Within Culture
Finding of the Month
History of Protest Art .........................................................4
Album Covers .......................................................................40
Wage Gap In Design: What Women are Worth .........82
War Art and Propaganda ..................................................12
Street Art ...............................................................................46
Anti-Hate Art .......................................................................18
Tattoo Art ..............................................................................60
Featured Designers
Bringing Change With Type
Marius Jopen ........................................................................26
Presidential Campaign Design .........................................68
Fred Martin ...........................................................................34
How Design Can End Cultural Appropriation ..............76
2 | Rise Up • Table of Contents
March 2017 • Issue #1 | 3
STREET ART An idealistic belief in humanity By Ana Bambic Kostov Inside Out by JR, Inside the Pantheon!, 2014
Project Recaps | 65
Final Draft
19
Women Are Heroes by JR, Rio de Janeiro, Brazil, 2008
Face2Face by JR, Separation Wall Security Fence Israeli Side, Abu Dis, Jerusalem, 2007
Rooftop Beginnings The beginnings of JR’s activism stem from his firm convictions that people are often served with wrong ideas about anything ‘other’, while he seeks his subjects in areas where there were no museums, or other cultural institutions. In the Portrait of a Generationproject, realized in Paris between 2004 and 2006, JR turned his focus towards the marginal groups of society. Initially, those were kids against whom the prejudice of Parisian bourgeoisie was overwhelming, so pasting posters with their faces across the posh arrondissements of the City of Light
The
Things
had an immense impact. So immense in fact, that the Paris City Hall allowed for JR’s photographs to be wrapped around its outer walls.The word prejudice played the crucial role here, as it did in the next adventure of JR, located in the dangerous West Bank area.
Taking i novel by Achebe Fall Apa betwee in its us photogr movem terrifyin two bla girl – do Bedford
Face2Face and Women are Heroes Hearing a lot about the Israeli— Palestinian conflict, the artist embarked on a journey wanting to experience the situation and, perhaps, help overcome it on some level. Fighting against prejudicial ‘other,’ he pasted Women Are Heroes by JR, Monrovia, Liberia, 2008
50 | Rise Up • Street Art
Hillary Clinton
Donald Trump
Bernie Sanders
Stronger Together
Make America Great Again!
Feel the Bern
“Obama’s ‘O’ was handled with a certain amount of nuance and elegance and Hillary’s ‘H’ has none of that nuance or elegance, her name is Hillary. We don’t know her as Ms. H”
“With a better interpretation of the “TP” monogram, the concept of taking the American flag to construct a logo where the initials take the place of the stars (while not new) is fitting in this case and, if you were (or happen to be) someone to vote for Trump, this is a fairly rallying logo.”
“Sander’s logo is well balanced, has good colors and almost appears happy on top of its little wave. I’m not a huge fan of the sta over the ‘i’, but the way they’ve integrated the logo into his website and used it acros a range of merchandise shows it’s versatili Nice one.”
Brand New
Benjamin Starr, Visual News
Steven Heller, design critic and former art director, The New York Times
“I’m just not entirely sure a big red arrow pointing right is the best logo for a Democratic candidate, is all.” The New Yorker
72 | Rise Up • Campaign Design
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44 | Rise Up • Arti
March 2017 • Issue #1 | 51
999
2000
2010
e Roots
Dead Prez
Kanye West
s Fall Apart
Lets Get Free
My Beautiful Dark Twisted Fantasy
its title from the classic 1958 y Nigerian author Chinua e, the artwork for Things art draws a terrifying line en the past and the present se of a stark, monochrome raph from the civil rights ment era. It depicts the ng sight of riot police chasing ack teenagers – one boy, one own the streets of Brooklyn’s d-Stuyvesant.
Among the most politically-conscious rap outfits of the era (alongside the likes of Black Star and X-Clan), Dead Prez matched their thrillingly didactic wordplay with uncompromising imagery. The cover of Let’s Get Free represents an open call for armed revolution and aligns contemporary, capitalist, repressive America with colonial-era Africa in the form of an armed village preparing to strike. Unsurprisingly, the cover was censored in many outlets around the US.
Kanye West reveals banned cover art for My Beautiful Twisted Fantasy Kanye West is all about pushing the envelope, whether that means singing an entire album in AutoTune, creating a 35-minute art movie to promote his new album or giving that disc a controversial piece of cover art that is sure to turn heads.
2015
West revealed the provocative image on the cover of his upcoming album, My Beautiful Dark Twisted Fantasy, over the weekend on his Twitter and immediately claimed that it had been banned. The colorful illustration by contemporary American painter/sculptor George Condo—who also provided the image for West’s “Power” single—depicts a nude, demonically grimacing West reclining on a blue couch and gripping a green bottle while a naked winged woman with a polka-dotted tail straddles him.
Kendrick Lamar To Pimp a Butterfly
On Wednesday morning, Compton rapper Kendrick Lamar posted the cover art for his forthcoming LP, To Pimp a Butterfly, on Instagram, prompting much excitement. To call its vivid imagery confrontational would be an understatement. Shot in striking monochrome with the quality of a vintage Polaroid, it features a large group of mostly shirtless black men and children— plus one baby, cradled by Lamar himself and, possibly, one woman— arranged in a victory tableau on the lawn in front of the White House
March 2017 • Issue #1 | 45
icle Name
Women Are Heroes by JR, Rio de Janeiro, Brazil, 2008
f ar
ss ity.
March 2017 • Issue #1 | 73
56 | Rise Up • Street Art
March 2017 • Issue #1 | 57
Project Recaps | 67
Final Draft ’HOPE’ ARTIST
SHEPARD FAIREY Reveals new posters to protest Trump
“We The Resilient!” Poster by Ernesto Yerena, Photography by Ayse Gürsöz 2017
S
hepard Fairey—the artist behind the 2008 “Hope” poster depicting then presidential candidate Barack Obama—has produced a new set of images in time for President-elect Donald Trump’s inauguration this Friday. The three posters feature Muslim, Latino, and African-American women. “We thought (they) were the three groups that had been maybe criticized by Trump and maybe were going to be most, if not necessarily vulnerable in a literal sense, most feeling that their needs would be neglected in a Trump administration,” Fairey told CNN. Fairey, along with artists Jessica Sabogal Zand Ernesto Yerena, teamed up with the non-profit Amplifier Foundation—a self described “art machine for social change” —to produce works for the organization’s We the People campaign.
“We The People” by Shepard Fairey, 2017
It’s really about making sure that people remember that ‘we the people’ means everyone, it means all the people,” Fairey said. “I think the campaigns were very
20 | Rise Up • Anti-Hate Art
March 2017 • Issue #1 | 21
Face2Face by JR, Holy Tryptich, 2006
Art to the People It’s hardly surprising that JR chose public art for his primary expression. The illicit nature of his works is there to emphasize the direct communication with the people, his partners in crime. The response and the reaction if what JR is trying to provoke, while the opinions of the stale elite are of little interest to him. He wants to move the masses, propagating equality and human values with every step of the way. Even his more sentimental projects, Unframed and Wrinkles of the City, posses a clear critical or empowering tone, fighting for everyman, or the too-frequently overlooked social groups. Still, his latest concept, 54 | Rise Up • Street Art
68 | Type II Journal • Winter 2017
the one that made him a global phenomenon, is what embodies JR’s activism the best.
Inside Out Can Change the World Already a king of street art, JR decided to involve people in his ideas. When giving his inaugural TED talk in 2011, JR asked a crucial question—Can art change the world? He did not offer a yes or no answer at the time, stating that art definitely can change how people perceive the world, altering the viewing angle, while proclaiming his wish—to use art to turn the world inside out. Then and there, the biggest participatory art project in the world was born—Inside Out Project.
As the winner of a million dollar prize, JR started engaging people across the world to make a photographic statement, to stand for their beliefs, to make their mark, The response was (and still is) vast, as the photobooths aiding in photographing people and the exhibitions spread from the USA to China. Using photography as activism, JR achieved in reaching out to millions, who dared in making themselves to be, visible and thus, known and heard. Accomplishments of JR’s artistic engagements have surpassed all expectations. The success and the acceptance they get from local communities testify to the purposefulness of his actions,
as he succeeded in changing the dynamics of various, tightly knit, groups of people. Acting locally, they made an impact on the global scene, reintroducing the most universal human values into a overstratified global society. People have become their own brand, while the artist insists on not having any logos, sponsors or credits on his art, giving it back to the people. Therefore, JR’s anonymity is logical and deliberate, as he is only the vessel of the community. His photographic activism takes him to where he is needed the most, where he endeavors to put an ordinary man on the global map, so that when he is looked at, he can always look back. March 2017 • Issue #1 | 55
Critique Notes • Longer magazine = more successful with balance between text and imagery. • Diagonal lines give personality, makes things more interesting than a rectangle. • Nice accent colors • Background texture helps take away solid white background of paper or awkward space.
Reflection This was one monster of a project, but it taught me a lot about the importance of consistency. I always have a habit of making styles for wherever it's needed that appear on multiple pages or portions of all my projects. That really helped me maintain consistency throughout all my articles. Using a grid also helped me a lot not just in organization but creating very different layouts for every article. This was what I struggled with early on in the project was figuring out layouts for all the articles. I decided to have variations of a couple layouts that act as skeletons for all the articles. The articles would follow the skeleton but will break the grid at certain points because I made them to act as a guide. I was not afraid to go big and bold in this magazine, and I think that breathing room combined with shorter lines of text help make the reader experience better than most conventional magazines. There were also graphic elements that filled those awkward white spaces and added visual interest throughout.
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Designed by John Duch Type set in Whitney and Domaine Text Published in March 2017 Art 338: Typography II, Cal Poly San Luis Obispo