338.03 Type Journal by Justin Hughes by Justin Hughes

typo

graphy

JOURNAL // WINTER 2016

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intro Well, this is it. An entire quarters worth of knowledge summed up into one solid booklet. Inside you will find valuable resources on the fundamentals of typography. From lecture notes to project objectives, this journal revisits the key components to typography, presented in a simple and easy-to-follow format. Use this. It will help you. Donâ&#x20AC;&#x2122;t be afraid to refer to it daily. This stuff is critical.

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table of contents introduction ......................................................

001: typography key rules ....................................

002: the details of typographic refinement ..............

003: why typography matters ...............................

004: typesetting .................................................

005: practical typography ....................................

006: choosing typefaces ......................................

007: tools & techniques ........................................

008: typography on screen ...................................

exercise: legibility ...............................................

project 1: type rules ............................................

project 2: a dialogue ............................................

project 3: elements of style ...................................

project 4: type zine ..............................................

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001 TYPOGRAPHY IN TEN MINUTES 1. The typographic quality of your document is determined largely by how the BODY TEXT looks. *Theres more body text than anything else. Appearance of body text determined by: 2. POINT SIZE – size of the letters. In print, 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, so be prepared to adjust as necessary. 3. LINE SPACING – vertical distance between lines. It should be 120-145% of the point size. In word processors, use the ‘Exact’ line-spacing option to achieve this. The default single-line option is too tight; the 1.5 line option is too loose. In CSS, use line-height. 4. LINE LENGTH – is the horizontal width of the text block. It should be an average of 45-90 characters per line (use word-count function) or 2-3 lowercase alphabets. 5. FONT CHOICE – buy professional fonts (my fonts Equity and Concourse). Never use Times New Roman or Arial.

FORWARD •

Typography is the visual component of the written world.

•

Type is visible language.

•

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

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SUMMARY OF KEY RULES 1. Four most important typographic choices: POINT SIZE, LINE SPACING, LINE LENGTH, and FONT – all determine how body text looks. 2. POINT SIZE should be 10-12 points in printed documents, 15-25 pixels on the web. 3. LINE SPACING should be 120-145% of the point size. 4. The average LINE LENGTH should be 45-90 characters (including spaces). 5. Use a professional font. – FONT RECOMMENDATIONS 6. Avoid GOOFY FONTS, MONOSPACED FONTS, and SYSTEM FONTS, especially TIMES NEW ROMAN and Arial. 7. Use curly quotation marks, not straight ones. 8. Put only ONE SPACE BETWEEN SENTENCES. 9. Don’t use multiple WORD SPACES or other WHITE-SPACE characters in a row. 10. Never use UNDERLINING, unless it’s a hyperlink. 11. Use CENTERED TEXT sparingly. 12. Use BOLD or ITALIC as little as possible. 13. ALL CAPS are fine for less than one line of text. 14. If you don’t have real SMALL CAPS, don’t use them at all. 15. Use 5-12% extra LETTERSPACING with all caps and small caps. 16. KERNING should always be turned on. 17. Use FIRST-LINE indents that are one to four times the point size of the text/or use 4-10 points of space between paragraphs. Never both. 18. If you use JUSTIFIED TEXT, turn on HYPHENATION. 19. Don’t confuse HYPHENS and DASHES, and don’t use multiple hyphens as a dash.

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20. Use AMPERSANDS sparingly, unless included in a proper name. 21. In a document larger than three pages, one exclamation point is plenty. 22. Use proper TRADEMARK and COPYRIGHT SYMBOLS â&#x20AC;&#x201C; not alphabetic approximations. 23. Put a NONBREAKING SPACE after PARAGRAPH and SECTION MARKS. 24. Make ELLIPSES using the proper character, not periods and spaces. 25. Make sure APOSTROPHES point downward. 26. Make sure FOOT and INCH MARKS are straight, not curly.

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002 TYPOGRAPHIC REFINEMENT: THE DETAILS POINT SIZE – measuring system for typography was originally developed for handset metal type, invented by Johann Gutenberg around 1450. • Small sizes of text needed a measuring system with extremely fine increments. • There were no standards for typographic measurement until French type designer, Pierre Simon Fournier le Jeune introduced the point system in 1737. • The contemporary American measurement system, adopted in the 1870s, has two basic units: points and picas. There are 12 points in 1 pica and 6 picas in 1 inch. Measurements are written: 1p6 (1 pica + 6 points) Traditional metal type had a range of text and display sizes in increment from 5 point to 72 point. How do you choose a point size? Factors to consider: • typeface proportions and weight • length of text • format for viewing (printed on paper or viewed on screen or both) • audience/reader of the text • content of the text

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Screen vs Print • Body text point size should be larger when the text will be read on screen (laptop, tablet, e-reader, etc.) • Body text sizes in print will typically ranger from 9pt to 12pt. • Body text on screen should be 14pt or larger. A workhouse typeface has: • a good regular weight • robust proportions • at least one bold weight, with noticeable contrast to compliment the weight • an italic version • very legible numerals • economy: it should be narrow enough to fit large amounts of copy into the available space

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003 WHY TYPOGRAPHY MATTERS Why is the design of the butterfly ballot problematic? The type hierarchy is not logical in relation to the candidate and the position they are running for. The alignment makes the ballot very difficult to follow. The arrows running down the center of the page do not align properly and distort the options for the decision. In what ways is Trixie’s resumé better than Violets? Trixie’s resumé has a much more open layout. It allows her information to be read clearly which is the most important objective of a resumé. Violet’s elements are too distracting in comparison to Trixie’s resumé. Simpler bullet points and thinner line weights provide better aesthetics and readability. What is the main argument in Beatrice Warde’s essay “The Crystal Goblet”? Why does Matthew Butterick disagree with this? “The Crystal Goblet” brings into question the material of a wine glass. A wine glass is clear so that the beauty of the wine can be seen, while a gold chalice may seem to be more beautiful. The same concept applies to typography in that one doesn’t want to over embellish it because it will take away from the beauty of the type itself. Matthew Butterick disagrees with this because he has found that substance (type) and presentation can find harmony.

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004 TYPESETTING: RULES OF TYPOGRAPHY Project Critique

CAUSES OF LEGIBILITY/READABILITY PROBLEMS • type weight (too light or too bold) — a regular, book, medium, or Roman weight is typically best for text • not enough leading • setting body text in a monospaced typeface • line length too short PROBLEMS OF HIERARCHY • title lacks strength/visual weight • author’s name gets lost/ is not prominent enough • unimportant elements or words are given too much emphasis. PROBLEMS WITH COMPOSITION • margins too small • awkward negative space • lack of strong focal point • a little boring

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005 PRACTICAL TYPOGRAPHY Discussion Questions

1. What are three new things you learned from the chapter on type composition? I was unaware that there is such an abundance of common accented characters that are available through simple keyboard shortcuts. While I previous would refer to the glyph tab, I now know that many of these accents are accessible by pushing option before the letter. I had also never heard of a carriage return before. 2. Do you think you will use any of the keyboard combinations you learned to create different symbols? 350˚ (option + k) © (option + g) ® (option + r) ™ (option + 2) … (option + semicolon) á (option + e, then type letter)

¶ § - – — ’ ”

(option + 7) (option + 6) (hyphen) (en dash) (em dash) (option + shift + ]) (option + shift + [)

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006 CHOOSING TYPEFACES & UNDERSTANDING FONTS DESIGN FACTORS TO CONSIDER • 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 of the page/screen? 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, including all punctuation and glyphs necessary for the job? • Does the font have foreign accented characters and glyphs? • Does the font have multiple weights and styles? • Does the font have small caps? • Does the font have lining and old style numerals? • What is the format of the font? OpenType fonts are cross-platform. • Does the font have a Web Font version?

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CREATING A FONT IS COMPLEX Well crafted typefaces can take years to develop, and often require huge teams, especially in the case of typefaces released in multiple scripts with support for multiple languages. Unlike many other art forms, typefaces are both design and technology. Contemporary fonts are software applications that handle many conditional states, such as swapping out ligatures and swashes throughout the text. WHEN YOU BUY A FONT, YOU PURCHASE A LICENSE A font license grants the owner the right to use a typeface in a specific manner as outlined in the license. As a designer, you need to ask: • 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? SOME PLACES TO BUY FONTS • Google Fonts: Google has free fonts for print and web. Some are good and some are not so good. • Lost Type Co-op: Lost Type is a Pay-What-You-Want type foundry. • League of Moveable Type: League is a type movement that provides well-made, free, open-source, @font-face ready fonts. • Font Squirrel: Font Squirrel has free fonts for commercial use. • Fontspring: Fontspring fonts have very similar licenses. All of the fonts can be used for commercial projects. • House Industries: House Industries font collections draw attention to under-appreciated art genres and the American vernacular. • My Fonts: My Fonts has a wide range of fonts and an excellent newsletter on font trends and design. • Fonts.com Fonts.com has an extensive collection of fonts and a nice blog.

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FONTS LIVE IN DIFFERENT PLACES ON YOUR COMPUTER • • •

•

User : ~/Library/Fonts/ Each user has complete control over the fonts installed in their Home. Local: /Library/Fonts Any local user of the computer can use fonts installed in this folder. Network: /Network/Library/Fonts/ The Network folder is for fonts shared among all users of a local area network. System: /System/Library/Fonts/ Mac OS X requires fonts in this folder for system use and displays. They should not be manually altered or removed.

DO I REALLY NEED A FONT MANAGER? Not technically. You can activate fonts by placing them into any of the Fonts folders on your hard drive and removing them when you want those fonts closed. But… This works, but it’s slow and fonts can be damaged if you frequently move them around. FONT BOOK IS AN OPTION It’s free and pretty easy to use. • 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 an automatic activation feature. FONT BOOK CONS • Different library sets can contain the same fonts, but they must be linked from exactly the same location in order to activate them.

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•

Resolving fonts always favors those in the /System/Library/Fonts/ folder. This makes it impossible to activate another type of font with the same name without having to first manually remove the conflicting font in the System folder. The conflict resolution function, whether using automatic or manual, can and will remove fonts from the main Library folder.

In general, you want to have the minimum number of fonts installed. Use sets to keep fonts organized and categorized. FONT EXPLORER X PRO • Can create full sets that include font names already listed in other sets. • Can deactivate fonts in the /Library/Fonts/ and ~/Library/Fonts/ folders to prevent any application from seeing them. • Can activate fonts in place. No need to create copies of the fonts you activate. • Has an automatic font activation feature. • Let’s you decide which font to activate when opening a conflicting font. SUITCASE FUSION • Can create full sets that include font names already in other sets. • Can activate fonts in place, like Font Explorer. • Has a reliable automatic font activation feature. • Let’s you decide which font to activate or keep active when opening a conflicting font. • Can deactivate fonts in the /Library/Fonts/ and ~/Library/Fonts/ folders. • Has a vault option if you prefer to store copies of fonts that have been added.

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007 TYPESETTING IN INDESIGN: TOOLS & TECHNIQUES PARAGRAPH STYLES Affect paragraph level attributes: • leading • tabs • indents • hyphenation and justification settings • rules above and below Most styles in your document will be paragraph styles. PARAGRAPH STYLE OPTIONS • General Settings: Shows a overview of the style settings and if the style was based on an existing style. Does the font have foreign accented characters and glyphs? • Basic Character Formats: Basic text formatting: font, font style, size, leading, kerning, tracking and case. • Advanced Character Formats: Type bastardization warning! The only thing you should use is Baseline Shift. • Indents and Spacing: Defines alignment, indents, and space before or after 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. 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. GREP Style: Means Globally search a Regular Expression and Print. Allows you to use code to find and edit or style text through the Find/ Change dialog box or via Paragraph Styles. Bullets and Numbering: Set up lists with auto bullet points or numbers. Character Color: Color of text. Percentage of tint. Stroke alignment can also be defined here. OpenType Features: Chose Titling and/or Swash alternative characters. Specify figure (number) style. Export Tagging: Turns styles into CSS. For Epubs and websites created in InDesign.

CHARACTER STYLES Are used for styling text within a paragraph, for things like: • bold text • italic text • run-in subheads • custom bullets or numbers CHARACTER STYLE OPTIONS • General: Shows style name and if the character style is based on a pre-existing style. • Basic Character Formats: Basic text formatting: font, font style, size, kerning, tracking and case. Leading is inherited from the paragraph style.

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• • • • •

Advanced Character Formats: Again, you should only apply Baseline Shift. Do not scale or skew your type. Ever. Character Color: Color of text. Percentage of tint. Stroke alignment. OpenType Features: Chose Titling and/or Swash alternative characters. Specify figure (number) style. Underline Options: You will most likely use this to set up a hyperlink style. Export Tagging: Turns styles into CSS. For Epubs and websites.

TABLE STYLES Used for styling multiple tables within a document. The style defines: • the outside border of the table • the dividing lines in the table • the space above and below the table • the fills of fields in the table TABLE STYLE OPTIONS • General: Shows if the table style is based on a pre-existing style in the document. • Table Setup: Shows the border of the table and the spacing around the table within a paragraph. • Row Strokes: The horizontal dividing lines in the table. • Column Strokes: The vertical dividing lines in the table. • Fills: Color(s) of fields within the table. CELL STYLES Used for styling individual cells, or rectangular divisions of the table. The cell style defines: • the borders around the cell • how the text is positioned within the cell • the style of the text within the cell • the fill color of the cell • if the cell is x-ed out

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CELL STYLE OPTIONS • General: Shows if the cell style is based on a pre-existing style in the document. Defines the paragraph style of the text within the cell. • Text: Alignment and text insets (space around the text within the cell). • Graphic: Inset, or space around, a graphic that is placed • within a table cell. • Strokes and Fills: Stroke around the cell and fill color of the cell. • Diagonal Lines: When you want a diagonal line across a cell or an x-ed out cell. There are also Object Styles in InDesign. They work the same way. Styles are important to understand. Using styles will increase your efficiency.

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008 TYPOGRAPHY ON SCREEN ATTRIBUTES TO CONSIDER WHEN CHOOSING TYPE FOR THE SCREEN • Typeface Contrast: The amount of contrast between the thick and thin strokes of characters in a typeface impacts legibility. Higher contrast typefaces can be useful in small amounts or as headlines, but extreme variation in stroke width is burdensome in long text. • X-Height: When choosing a typeface for text, a high x-height is ideal, especially for use on interfaces or way finding. • Beware of X-Height Extremes: If the x-height is too high, there is less room for other distinctive characteristics. The letters n and h, or a and d, can become difficult to distinguish as the x-height increases. • Character Distinction: Differentiating between different characters is essential for on screen legibility. • Numbers, Punctuation, Special Characters: Strive to use typefaces that support different types of numbers, correct punctuation,and special characters, especially if your text will be set in a variety of languages. ¿Tiene sentido? Buena tipografía es importante. • Optical Sizes: Some typefaces have family members that suit a specific size range, called optical sizes. STRATEGIES FOR PAIRING TYPEFACES • Look for distinction: Avoid pairing typefaces that are too similar. • Pair display and text faces: Take advantage of display type. • Look for harmony: Find typefaces with inherent visual relationships in their structure.

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exercises LEGIBLITY & READABILITY STUDY EXERCISE DESCRIPTION In this exercise, you will investigate and analyze text set in paragraph form (“body text” or “text blocks”). Using serif and sans serif text typefaces, you will create different versions of those settings by altering the leading and point size. OBJECTIVES • to examine how changes in point size, leading, and typeface selection impact legibility • to set up an InDesign document according to given measurements and instructions • to use tools in InDesign to refine your text SPECIFICATIONS • Size: 11” x 17”, portrait / Color: B/W

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Serif

Sans Serif

Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication —“one cannot not communicate”— puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received.

Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received.

ADOBE GARAMOUND PRO, 9/13

UNIVERS LT STD, 9/13

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

Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received.

but if one really wants to communicate rather than simply display

UNIVERS LT STD, 9/12

ADOBE GARAMOUND PRO, 9/12

a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication —“one cannot not communicate”— puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. ADOBE GARAMOUND PRO, 9/14

Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider

the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. UNIVERS LT STD, 9/14

communicate”— puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently com-

Without typography, one could argue, messages will

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

still be legible, but if one really wants to communicate

ADOBE GARAMOUND PRO, 9/15

rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s

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

first axiom of communication—“one cannot not com-

one really wants to communicate rather than simply display a heap of alpha-

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

numeric data, some consideration would be helpful. Paul Watzlawick’s first

the effect of your message on the recipient, you may

axiom of communication —“one cannot not communicate”— puts it very

inadvertently communicate that you do not care how

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

your message may be received.

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

UNIVERS LT STD, 9/15

ADOBE GARAMOUND PRO, 8/13 Without typography, one could argue, messages will still be

legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consider-

TYPOGRAPHY 2 // 24

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

communication—“one cannot not communicate”—puts it

very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate

project 1 TYPESETTING: RULES OF TYPOGRAPHY PROJECT DESCRIPTION For this project, you will research and document as many rules, ideas, or principles about typography as possible. Your findings must be typeset on one side of an 8.5” × 11” piece of paper. A minimum of five examples must be presented on the page. Each entry must come from a different source, and each student must do their best to have unique entries. You must credit the author as well as the source, including the page number on which it appeared and the year it was published. Books and scholarly articles must be used as your primary reference, not the Internet. 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 SPECIFICATIONS • Size: 8.5” x 11”, portrait or landscape • Colors: B/W + 1 accent color • Required Text: at least five quotes about typography: each should include the author, the source, the page number, and the year it was published / a title of your choice

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Lessons in TYPOGRAPHY 1

PAUL RENNER “ The calming, abstract forms of those new typefaces that dispense with handwritten movement offer the typographer new shapes of tonal value that are very purely attuned. ” These types can be used in light, semi-bold, or in saturated black forms. —Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students. 2nd Rev. 2010. Page 1

2 3

SAMARA TIMOTHY “ Typography as a visual discipline exhibits an interesting quality of relating the parts to the whole.” —Typography Workbook. A Real-World Guide to Using Type in Graphic Design. 2004. Page 44

ROBERT BRINGHURST “ Typographic style is founded not on any one technology of typesetting or printing, but on the primitive yet subtle craft of writing.” —The Elements of Typographic Style. 4th ed. 2012. Page 142

4 5

WILLI BAUMEISTER “ Typography is mostly an act of dividing a limited surface.” —Thinking with Type: A Critical Guide for Designers, Writers, Editors, & Students. 2nd Rev. 2010. Page 161

JAMES FELICI “ Typography is the use of type to advocate, communicate, celebrate, educate, elaborate, illuminate, and disseminate. Along the way, the words and pages become art.” —The Complete Manual of Typography. 2012. Page 142

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project 2 A DIALOGUE PROJECT DESCRIPTION Using the dialogue provided, you will design a diptych that utilizes all of the text and emphasizes the fact there is more than one voice. Please consider all your choices and decisions carefully. Everything matters. Think about and utilize the various typographic families,and typographic hierarchies. You can use color, and images to help support your design, but care must be taken to make sure your typography is flawless. 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 compile a list of research findings • 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” x 15” two page diptych (each page is 11” x 15”, portrait or landscape) • Colors + Typefaces: no restrictions • Required Text: all text in the document titled “338_dialogue.docx” • Imagery: any imagery used (photos, illustrations, etc.) must be original

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project 3 ELEMENTS OF STYLE BOOKLET PROJECT DESCRIPTION The Elements of Style is a classic grammatical reference book for students and conscientious writers. The focus of the book is on composition, the effective use of plain English, and the principles of composition most commonly violated. The text is full of examples and comparisons, which necessitates the effectiveuse of indents and shifts in typographic style. The text, written in 1918, is quirky, and, at times, a little archaic. Your job is to develop a design that would appeal to high school and college-aged students. We will be breaking up the text into smaller sections, and each student will be assigned a portion of the text to be used in the creation of a small reference booklet. The second phase of the project will require you to work in teams to create a single related series of booklets. 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

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SPECIFICATIONS • Pages: 5.5” x 8.5” / number of pages will be determined by your design, but must be divisible by four. Defines the paragraph style of the text within the cell. • Required Copy: assigned section of The Elements of Style and colophon • Color: interior pages: black / cover: 2 colors, cover weight paper • Typeface Requirement: use no more than two typefaces for the project • Final Output: two bound booklets

NO.1–4 Style Guide

The Elements of Style

Madisen van Dam, Katie Metcalfe, Justin Hughes | Art 338 | Winter 2016 | Cal Poly

THE ELEMENTS OF BASIC DOCUMENT SETUP: Typefaces Bodoni 72, Helvetica Neue Margins 1in top, bottom, outside; .75in inside

IN THE MASTERS: HeadersSection I: Elementary Rules of Usage Footers Bodoni 72 Book, 10 pt Helvetica Neue Light, 6.5 pt

PARAGRAPH STYLES:

NO.1–4 Style Guide

Titles

The Elements of Style

Basic Character Formats:

Bodoni 72, Bold, 18/22

Introduction

Indents & Spacing:

Space before: .25in Space after: .3125 in

Madisen van Dam, Katie Metcalfe, Justin Hughes | Art 338 | Winter 2016 |Section Cal Polynumbers

Basic Character Formats:

BASIC DOCUMENT SETUP:

Bodoni 72, Bold, 93

Typefaces Bodoni 72, Helvetica Neue

Intro body text

Margins 1in top, bottom, outside; .75in inside

Basic Character Formats:

Helvetica Neue, Regular, 8.5/11.5 Indents & Spacing:

Space after: .0625in

IN THE MASTERS: Headers

Enclose paranthetic expressions between commas.

The writer’s colleagues in the Department of English in Cornell University have greatly helped him in the preparation of his manuscript. Mr. George McLane Wood has kindly consented to the inclusion under Rule 11 of some material from his Suggestions to Authors.

Subheads Basic Character Formats:

Bodoni 72, Bold, 12/14.4

Footers Bodoni 72 Book, 10 pt Helvetica Neue Light, 6.5 pt

Indents & Spacing:

Space before: .125in Space after: .02in

Numerals

Do not spell out dates or other serial numbers. Write them in figures or in Roman notation, as may be appropriate.

PARAGRAPH STYLES: Titles Basic Character Formats:

Bodoni 72, Bold, 18/22

Introduction

Indents & Spacing:

Space before: .25in Space after: .3125 in Section numbers Basic Character Formats:

Bodoni 72, Bold, 93

Intro body text Basic Character Formats:

Helvetica Neue, Regular, 8.5/11.5 Indents & Spacing:

Space after: .0625in

Enclose paranthetic expressions between commas.

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project 4 TYPE ZINE PROJECT DESCRIPTION In this project, you will be creating a digital magazine. The theme of the magazine is: Typography and the Everyday. 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. 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 SPECIFICATIONS • File Setup: Page Size: iPad (768 px × 1024 px), Portrait Orientation, Facing Pages • Colors: RGB • Typefaces: No more than three type families • Required Text: all student contributions

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California Polytechnic State University San Luis Obispo Typography 2 // Winter 2015 Designed by: Justin Hughes

Bodoni 72 (Bold)

Helvetica Neue (Light) Helvetica Neue (Medium) Helvetica Neue (Bold)