First Lines of Fiction

JOSIE MILLER MICHAEL SELBY TYPOGRAPHY 11:30A-2:20P

GILL SANS GARAMOND 1926 Gill Sans is a sans-serif typeface designed by Eric Gill.

The original design appeared in 1926 when Douglas Cleverdon opened a bookshop in his home town of Bristol, where Gill painted the fascia over the window in sans-serif capitals that would later be known as Gill Sans. In addition, Gill had sketched a design for Cleverdon, intended as a guide for him to make future notices and announcements.

Gill further developed it into a complete font family after Stanley Morison commissioned the development of Gill Sans to combat the families of Erbar, Futura and Kabel which were being launched in Germany during the latter 1920s. Gill Sans was later released in 1928 by Monotype Corporation.

Gill was a well established sculptor, graphic artist and type designer, and the Gill Sans typeface takes inspiration from Edward Johnston’s Johnston typeface for London Underground, which Gill had worked on while apprenticed to Johnston. www.wikipedia.com

1540 Garamond /ˈɡærəmɒnd/ is the name given to a group of old-style serif typefaces named after the punch-cutter Claude Garamond (c. 1480–1561).

Most of the Garamond faces are more closely related to the work of a later punch-cutter, Jean Jannon. A direct relationship between Garamond’s letterforms and contemporary type can be found in the Roman versions of the typefaces Adobe Garamond, Granjon, Sabon, and Stempel Garamond.

Garamond’s letterforms convey a sense of fluidity and consistency. Some unique characteristics in his letters are the small bowl of the a and the small eye of the e. Long extenders and top serifs have a downward slope.

Garamond is considered to be among the most legible and readable serif typefaces for use in print (offline) applications.[1] It has also been noted to be one of the most eco-friendly major fonts when it comes to ink usage.[2] www.widipedia.com

M U S IC :

http://www.myspace.com/fernandoortega/music/ songs/i-remember-well-82221497 I Remember Well - Fernando Ortega http://youtu.be/uvaJ2ZXX4lM The Swell Season - Glen Hansard and Marketa Irglova http://youtu.be/0c0FBSUd1Hk Procelain - Helen Jane Long http://youtu.be/SuDipDU0jCQ So Long, Lonesome - Explosions in the Sky http://youtu.be/EYoXd-c9drQ Echo - Helen Jane Long

BOOK RESEARCH

The Mortmain family is poor but exotic. Cassandra’s father is a writer suffering from writer’s block who has not published anything since his first book, Jacob Wrestling (a reference to Jacob Wrestling with the Angel), an innovative and “difficult” novel that sold well and made his name, including in America. Ten years before the story begins, he took out a forty-year lease on a dilapidated but beautiful castle, hoping to find either inspiration or isolation there; now, his family is selling off the furniture to buy food.

The widowed Mortmain’s second wife, Topaz, is a beautiful artist’s model who enjoys communing with nature, sometimes wearing nothing but hip boots.

Rose, the elder daughter, is a classic English beauty pining away in the lonely castle, longing for a chance to meet some eligible (and preferably rich) young men; she tells her sister that she wants to live in a Jane Austen novel. Cassandra, the younger daughter and the story’s narrator, has literary ambitions and spends a lot of time developing her writing talent by “capturing” everything around her in her journal. Stephen, the handsome, loyal, live-in son of the Mortmain’s late cook, and Thomas, the youngest Mortmain child, round out the cast of household characters.

Stephen, a “noble soul”, is in love with Cassandra, which she finds touching, but a bit awkward; Thomas, a schoolboy, is, like Cassandra, considered “tolerably bright”.

Things begin to happen when the Cottons, a wealthy American family, inherit nearby Scoatney Hall and become the Mortmains’ new landlords. Cassandra and Rose soon become intrigued by the unmarried brothers, Simon and Neil. The brothers differ considerably in character; Neil, who was raised in California by their father, is a carefree young man who wants to become a rancher in America, while Simon, who grew up in New England with his mother, is scholarly and serious, and loves the English countryside. Simon, the elder brother, is the heir and therefore much wealthier than Neil, so although Rose isn’t attracted to him, she decides to marry him if she can, declaring that she’d marry the devil himself to escape the family’s poverty.

At their first meeting, the Cottons are amused and interested by the Mortmains; when they pay a call the very next day, however, the inexperienced Rose flirts openly with Simon and makes herself look ridiculous. Both brothers are repelled by this display and, as they walk away, Cassandra overhears them resolving to drop all acquaintance with the Mortmains. After an amusing episode involving a fur coat, however, all is forgiven and the two families become good friends. Rose decides that she really is taken with Simon, and Cassandra and Topaz scheme to get Simon to propose to her. Simon falls in love with Rose and proposes to her, which then sends Rose and Topaz to London with Mrs. Cotton to purchase Rose’s wedding trousseau.

One evening, while everyone else is away, Cassandra and Simon spend the evening together, which leads to their kissing, and Cassandra is cast into an emotional tailspin. She becomes obsessed with Simon but suffers feelings of guilt since he is Rose’s fiancé. Cassandra now faces many pressures: she must tactfully deflect Stephen’s offers of love, and encourage him in his emerging career as a model and movie actor; join forces with Thomas to help their father overcome his writer’s block by the drastic (though apparently effective) expedient of imprisoning him in a medieval tower; cope with her own increasing attraction to Simon; and record everything, wittily and winningly, in her journal (as the journal advances, the relationships she depicts become subtler and more problematic).

Meanwhile, unnoticed by anyone but Stephen, Rose and Neil have been falling in love. To conceal their budding romance, they pretend to hate each other. When they eventually elope together, Simon is left heartbroken – Cassandra, hopeful. Before Simon leaves to go back to America, he comes to see Cassandra. In spite of her feelings for him, Cassandra deflects the conversation at a moment when she thinks he may be about to propose to her. The book closes on an ambiguous note, with Cassandra reminding herself that Simon has promised to return, and closing her journal for good by reasserting her love for him. www.wikipedia.com

BLOG

A S Y M M E T R Y B L O G : of asymmetry in the world. It was “Asymmetry is the rhythm in a broad concept, and I’m not sure if I hit the nail on the head, but which we live.” #design So the above quote was the first here’s what I have: Selby encouraged us to always one-liner that I recorded in Typography 1 in my sophomore year of think in odd numbers and to think the Graphics program at the Uni- more about the negative space versity of Kansas. I expect more than about the occupied space. one liners to come.The quote de- Along with those aspects, in body scribes not only an important as- copy or in short subtext we are to pect of design but also life around create differing line lengths to help us. Complete symmetry in the the reader see what they have alreal world is almost non-existent, ready read, and to help visually by and if there is complete symme- giving the page movement. Great try, it’s often dreadfully boring. first assignment, it was eye openOur teacher, Michael Selby, as- ing to see how much asymmetry signed each of us to take pictures there really is all around us.

Strong Hall, Lawrence KS

The Bell Tower

Long wind-ey road

San Antonio view

Outside of Starbucks on Mass

BOOK RESEARCH BLOG: Last Monday Selby asked us to take pictures of book covers, their cover pages, creative openings, and how the designer manipulated the different aspects of the page. I’m just now getting around to posting a few photos (1AM a week later...), here ya go:

Gill & Gar B L O G O F T H E D AY : Hey so for todays assignment Selby asked us to find 10 examples of our 2 typefaces and put them on the blog. Here goes a combo of Gill Sans and Garamond:

B O O K

C O V E R S

B L O G :

I had fun looking for them- who knew that the Keep Calm and Carry On posters were made from Gill Sans? Oh the irony. Well Selby also had us look for 5 book covers that we really loved off of this insane book cover archive website- bookcoverarchive.com. It’ll change your life. So here are some of my favorites from my brief scroll:

I’m just a sucker for hand drawn type I think? Even if it’s not hand drawn, it looks like it. Maybe they used a brush? Regardless, I appreciate the repetitive brush strokes, the consistent capital letters. The text itself is a little on the short and pudgy side, which I assume resembles the short stories within it? The simplicity of it is nice and the childish characteristics are endearing.

It’s a warm, almost light and airy text, which the color embodies as well.

I don’t know what this book is about, and I’ll most likely never read it, but the text- the boldness of it, the white that jumps off the red, the contrasting small black text- freaks me out. It clearly resembles giant white teeth- perhaps that look like the bro off of the Hunger Games movie? That’s all I can envision. The design is great because, even if it is a little creepy, it stirs reaction rather than being overlooked, which is the goal.

I loved this one because of the hand drawn type.

I like the consistency of the ink and style of the text- big bold and beautiful... The type seems expressive- maybe simply because it’s handwritten? I appreciate the creepiness of the text, maybe it’s a creepy book too? Who knows.

The book looks wide awake. All the text is kerned to a certain extend- the title moreso than the author name and description. The text and negative space created within it but also around it remind me of a deer caught in headlightsthere’s an exposure that the designer captured in the layout. Even without the roman numerals bleeding off the cover, it gets the point across.

I’m not sure if this is a cover or what, but it’s nice. Once again I appreciate the simplicity, the boldness of the text. The bleed is nice, the letters say what the title is saying- square. Be there or be square. Haaaa. Okay it’s 1:30AM bear with me... The text is a faded black, seeming lighter than the standard black text, perhaps indicating more about the story? The supporting text adds detail but does not take away from the bold title, which seems like it was hard to do with the excess text. It’s a good example for what we’re doing in class now.

Well this was fun! Let’s do it again sometime. Next week? Okay!

M U S I C

B L O G :

“Music in any context sets the tone for whatever is going on.”- Michael Selby Ohhh the one liners of design. Gotta love ‘em. Okay so I found some songs for I Capture the Castle by Dodie Smith:

1.

2.

3.

4.

5.

http://www.myspace.com/fernandoortega/music/songs/iremember-well-82221497 I Remember Well - Fernando Ortega http://youtu.be/uvaJ2ZXX4lM The Swell Season - Glen Hansard and Marketa Irglova http://youtu.be/0c0FBSUd1Hk Procelain - Helen Jane Long http://youtu.be/SuDipDU0jCQ So Long, Lonesome - Explosions in the Sky http://youtu.be/EYoXd-c9drQ Echo - Helen Jane Long

I have to say this has been one of the best assignments yet in design school- I really love instrumental music, lyrical is nice too, though. In my opinion music and color go hand and hand, music and design, music and life events, etc. I wish life had a soundtrack, how much more interesting would that be? I guess I could carry around my boom box from the 90s...? Or I could go to sleep while I’m ahead. This was fun!

FINAL TEN

i CA P TUrE tHE c A S TLe I write this sitting in the kitchen sink.

That is, my feet are in it; the rest of me is on the draining board, which I have

padded with our dog’s blanket and the tea cosy. I can’t say that I am really

comfortable, and there is a depressing smell of carbolic soap, but this is the

only part of the kitchen where there is any daylight left. And I have found that

sitting in a place where you have never sat before can be inspiring I wrote my

very best poem while sitting on the hen

house. Though even that isn’t a very good poem. I have decided my poetry is so bad that I mustn’t write any more of it.

Dodie Smith 1948

K itchEn sin k.

I write this sitting in the

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but this is

t h e o n l y p a r t o f t h e kitchen where there is any daylight left.

And I have found that sitting in a place where y o u h a v e n e v e r s a t b e f o r e c a n b e

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T h o u g h

d e c i d e d

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M U S T N ’ T

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dOdi sMiTh

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the CASTLE

S M I t H

I write this sitting in the kitchen sink. That is, my feet are in it; the rest of me is on the draining board, which I have padded

I am really comfortable, and there is a depressing smell of carbolic soap, but this is the only part of the kitchen where with our dog’s blanket and the tea cosy. I can’t say that

there is any daylight left. And I have found that sitting in a

place where you have never sat before

can be inspiring I wrote my very best poem while sitting on the hen house. Though even that

isn’t a very good poem.mustn’t I havewritedecided my poetry is so bad that I any more of it.

I CAPTURE THE CASTLE I write this sitting in the kitchen sink. That is, my feet are in it; the rest of me is on the draining board, which I have padded with our dog’s blanket and the tea cosy. I can’t say that I am really comfortable, and there is a depressing smell of carbolic soap, but this is the only part of the kitchen where there is any daylight left. And I have found that sitting in a place where you have never sat before can be inspiring I wrote my very best poem while sitting on the hen house.

Though even that isn’t a very good poem.

I have decided my poetry is so bad that I mustn’t write any more of it.

D

O

D

I

E

S

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I

I Capture the Castle I write this sitting in the kitchen sink. That is, my feet are in it; the rest of me is on the draining board, which I have padded with our dog’s blanket and the tea cosy.

I can’t say that I am really comfortable, and there is a depressing smell of carbolic soap, but this is the only part of the kitchen where there is any daylight left.

And I have found that sitting in a place where you have never sat before can be inspiring I wrote my very best poem while sitting on the hen house. Though even that isn’t a very good poem. I have decided my poetry is so bad that I mustn’t write any more of it.

T

H

I CAPTURE the CASTLE Dodie Smith I write this sitting in the kitchen sink. That is, my feet are in it; the rest of me is on the draining board, which I have padded with our dog’s blanket and the tea cosy. I can’t say that I am really comfortable, and there is a depressing smell of carbolic soap, but this is the only part of the kitchen where there is any daylight left. And I have found that sitting in a place where you have never sat before can be inspiring I wrote my very best poem while sitting on the hen house.

Though even that isn’t a very good poem.

I have decided my poetry is so bad that I mustn’t write any more of it.

1948

I Capture the Castle

Dodie Smith 1948

I write this sitting in the kitchen sink.

That is, my feet are in it; the rest of me is on the draining board, which I have padded with our dog’s blanket and the tea cosy. I can’t say that I am really comfortable, and there is a depressing smell of carbolic soap, but this is the only part of the kitchen where there is any daylight left. And I have found that sitting in a place where you have never sat before can be inspiring I wrote my very best poem while sitting on the hen house.

Though even that isn’t a very good poem.

I have decided my poetry is so bad that I mustn’t write any more of it.

I C APTURE THE C ASTLE I write this sitting in the kitchen sink.

That is, my feet are in it; the rest of me is on the draining board, which I have padded with our dog’s blanket and the tea cosy. I can’t say that I am really comfor table, and there is a depressing smell of carbolic soap, but this is the only par t of the kitchen where there is any daylight left. And I have found that sitting in a place where you have never sat before can be inspiring I wrote my very best poem while sitting on the hen house. Though even that isn’t a very good poem. I have decided my poetry is so bad that I mustn’t write any more of it.

I write this sitting in the kitchen sink. That is, my feet are in it; the rest of me is on the draining board, which I have padded with our dog’s blanket and the tea cosy. I can’t say that I am really comfor table, and there is a depressing smell of carbolic soap, but this is the only par t of the kitchen where there is any daylight left. And I have found that sitting in a place where you have never sat before can be inspiring I wrote my very best poem while sitting on the hen house. Though even that isn’t a very good poem. I have decided my poetry is so bad that I mustn’t write any more of it.

dodie smith

FINAL TEN WITH GRID

i CA P TUrE tHE c A S TLe I write this sitting in the kitchen sink.

That is, my feet are in it; the rest of me is on the draining board, which I have

padded with our dog’s blanket and the tea cosy. I can’t say that I am really

comfortable, and there is a depressing smell of carbolic soap, but this is the

only part of the kitchen where there is any daylight left. And I have found that

sitting in a place where you have never sat before can be inspiring I wrote my

very best poem while sitting on the hen

house. Though even that isn’t a very good poem. I have decided my poetry is so bad that I mustn’t write any more of it.

Dodie Smith 1948

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I write this sitting in the kitchen sink.

dOdi sMiTh

E

the CASTLE

S M I t H

I write this sitting in the kitchen sink. That is, my feet are in it; the rest of me is on the draining board, which I have padded

I am really comfortable, and there is a depressing smell of carbolic soap, but this is the only part of the kitchen where with our dog’s blanket and the tea cosy. I can’t say that

there is any daylight left. And I have found that sitting in a

place where you have never sat before

can be inspiring I wrote my very best poem while sitting on the hen house. Though even that

isn’t a very good poem.mustn’t I havewritedecided my poetry is so bad that I any more of it.

I CAPTURE THE CASTLE I write this sitting in the kitchen sink. That is, my feet are in it; the rest of me is on the draining board, which I have padded with our dog’s blanket and the tea cosy. I can’t say that I am really comfortable, and there is a depressing smell of carbolic soap, but this is the only part of the kitchen where there is any daylight left. And I have found that sitting in a place where you have never sat before can be inspiring I wrote my very best poem while sitting on the hen house.

Though even that isn’t a very good poem.

I have decided my poetry is so bad that I mustn’t write any more of it.

D

O

D

I

E

S

M

I

I Capture the Castle I write this sitting in the kitchen sink. That is, my feet are in it; the rest of me is on the draining board, which I have padded with our dog’s blanket and the tea cosy.

I can’t say that I am really comfortable, and there is a depressing smell of carbolic soap, but this is the only part of the kitchen where there is any daylight left.

And I have found that sitting in a place where you have never sat before can be inspiring I wrote my very best poem while sitting on the hen house. Though even that isn’t a very good poem. I have decided my poetry is so bad that I mustn’t write any more of it.

T

H

I CAPTURE the CASTLE Dodie Smith I write this sitting in the kitchen sink. That is, my feet are in it; the rest of me is on the draining board, which I have padded with our dog’s blanket and the tea cosy. I can’t say that I am really comfortable, and there is a depressing smell of carbolic soap, but this is the only part of the kitchen where there is any daylight left. And I have found that sitting in a place where you have never sat before can be inspiring I wrote my very best poem while sitting on the hen house.

Though even that isn’t a very good poem.

I have decided my poetry is so bad that I mustn’t write any more of it.

1948

I Capture the Castle

Dodie Smith 1948

I write this sitting in the kitchen sink.

That is, my feet are in it; the rest of me is on the draining board, which I have padded with our dog’s blanket and the tea cosy. I can’t say that I am really comfortable, and there is a depressing smell of carbolic soap, but this is the only part of the kitchen where there is any daylight left. And I have found that sitting in a place where you have never sat before can be inspiring I wrote my very best poem while sitting on the hen house.

Though even that isn’t a very good poem.

I have decided my poetry is so bad that I mustn’t write any more of it.

I C APTURE THE C ASTLE I write this sitting in the kitchen sink.

That is, my feet are in it; the rest of me is on the draining board, which I have padded with our dog’s blanket and the tea cosy. I can’t say that I am really comfor table, and there is a depressing smell of carbolic soap, but this is the only par t of the kitchen where there is any daylight left. And I have found that sitting in a place where you have never sat before can be inspiring I wrote my very best poem while sitting on the hen house. Though even that isn’t a very good poem. I have decided my poetry is so bad that I mustn’t write any more of it.

I write this sitting in the kitchen sink. That is, my feet are in it; the rest of me is on the draining board, which I have padded with our dog’s blanket and the tea cosy. I can’t say that I am really comfor table, and there is a depressing smell of carbolic soap, but this is the only par t of the kitchen where there is any daylight left. And I have found that sitting in a place where you have never sat before can be inspiring I wrote my very best poem while sitting on the hen house. Though even that isn’t a very good poem. I have decided my poetry is so bad that I mustn’t write any more of it.

dodie smith

FINAL EDITS

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dOdi SMiTh E

i CA P TUrE tHE c A S TLE

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I write this sitting in the kitchen

sink. That is, my feet are in it; the rest

of me is on the draining board, which I

have padded with our dog’s blanket and the tea cosy. I can’t say that I am really comfortable, and there is a depressing smell of carbolic soap, but this is the

only part of the kitchen where there is any daylight left. And I have found that

sitting in a place where you have never sat before can be inspiring I wrote my

very best poem while sitting on the hen

house. Though even that isn’t a very good poem. I have decided my poetry is so bad that I mustn’t write any more of it.

Dodie Smith 1948

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I Capture the Castle I write this sitting in the kitchen sink.

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that I mustn’t write any more of it.

Dodie Smith 1948

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I write this sitting in the kitchen sink. That is, my feet are in it; the rest of me is on the draining board, which I have padded with our dog’s blanket and the tea cosy. I can’t say that I am really comfor table, and there is a depressing smell of carbolic soap, but this is the only par t of the kitchen where there is any daylight left. And I have found that sitting in a place where you have never sat before can be inspiring I wrote my very best poem while sitting on the hen house. Though even that isn’t a very good poem. I have decided my poetry is so bad that I mustn’t write any more of it.

I CAP TURE THE CAS TLE I write this sitting in the kitchen

sink. That is, my feet are in it; the rest of me is on the draining board, which I have padded with our dog’s blanket and the tea cosy. I can’t say that I am really comfortable, and there is a depressing smell of carbolic soap, but this is the

only part of the kitchen where there is any daylight left. And I have found that sitting in a place where you have never sat before can be inspiring I wrote my very best poem while sitting on the hen house. Though even that isn’t a

very good poem. I have decided my

poetry is so bad that I mustn’t write any more of it.

Dodie Smith 1948

I write this sitting in the kitchen sink. That is, my feet are in it; the rest of me is on the draining board, which I have padded with our dog’s blanket and the tea cosy. I can’t say that I am really comfortable, and there is a depressing smell of carbolic soap, but this is the only part of the kitchen where there is any daylight left. And I have found that sitting in a place where you have never sat before can be inspiring I wrote my very best poem while sitting on the hen house. Though even that isn’t a very good poem. I have decided my poetry is so bad that I mustn’t write any more of it.

I Capture the Castle 1948

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