338.03 Type Journal by Kaitlin Liu by Kaitlin Liu

kern. Lecture notes

notes on good typographic practices

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hello! This is a collection of notes on readings, lectures, musings, and critiques taken from my Type II class at California Polytechnic State University. There is also some of my personal work in here, reminding me of the improvements I made from draft to final and project to project. Although this book mainly serves as a personal reference book for myself in the future, I hope that it will be of use to anyone who needs a quick refresher on typographic principles or practices.

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LECT 4

Lecture notes

LECTURE NOTES 5

Shortcuts From Butterick’s Practical Typography and Lecture Notes

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MARK

name

shortcut

‘

Opening single quote

Option + ]

’

Closing single quote (apostraphe)

Option + Shift + ]

“

Opening double quote

Option + [

”

Closing double quote

Option + Shift + [

Straight single quote (foot mark)

n/a

Straight double quote (inch mark)

n/a

Paragraph

Option + 7

Section

Option + 6

Trade Mark

Option + 2

™

Registered Trademark

Option + r

Option + g

…

Ellipsis

Option + ;

Accent á

Option + e, letter

Accent à

Option + ` , letter

Circumflex

Option + i, letter

Diaeresis

Option + u, letter

Tilde

Option + n, letter

n/a

Option + a

æ œ

Cedilla

Option + c

Option + q

Lecture notes

Option + ’

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MARK

name

shortcut

•

Bullet

Option + 8

Degrees

Option +k

—

Emdash

Option +Shift + -

–

Endash

Option + -

Hard Page Break

Command + fn + return

Non- Breaking Space

Option + Shift + x

Typographic Refinement The Details

choosing point size

? vs

Consider the following: •• Typeface proportions and weight •• Length of text •• Format for viewing (print, screen, both?) •• audience/ reader of the text •• content of the text

Print vs screen

14pt +

Depends

Lecture notes

9pt to 12 pt

Workhorse Typefaces

a a

a a a 123

Workhorse Typefaces have: •• Good regular weight •• Robust proportion •• At least one bold weight, with contrast to compliment text weight •• Italic version •• Legible numerals •• Economy: narrow enough to fit large amt of copy into available space

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Examples •• Mrs. Eaves/ Mr. Eaves •• ITC Franklin Gothic •• Univers •• Minion •• FF Scala •• Gotham

setting type •• Kern at display sizes

SETTING vs SETTING •• leading should be around 120% to 145% point size •• Line length, optimal 8 to 13 worlds per line •• adjust tracking with care, should never be less than -10

SETTING do not use small caps style but the actual symbol Hyphenation – customize hyphenation setting (6,3,3,2) Find + change to replace prime marks with correct quote marks Rag — regular back and forth ok

Lecture notes

•• •• •• ••

How to choose the right typeface Design factors •• Content •• Audience •• Format/context

Technical Factors

!$a áäâ AAA AA 123

AA AA 123 •• •• •• •• •• •• ••

Full Character set (including punctuation and glyphs) Foreign Accented characters and glyphs Multiple weights and styles Small caps Lining and old style numerals Format of font (open type are cross platform) Web font version? (can also be used in CSS, usually more expensive)

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Font License

Purchase the license (right to use in a specific manner) •• Is the font able for commercial project •• How much does it cost (usually per user) •• Online or just in print, compatible with apps or ebooks

Where to buy fonts

Lecture notes

Google fonts — free for print and web Lost Type Co-op — pay what you want League of Movable Type — open source and free, web Font Squirrel — free for commercial use Font Spring — not free, but all fonts have similar licenses House Industries — expensive, niche MyFonts — Newsletters, feature contemporary font designers, special offers section, what the font Fonts.com — blog, extensive collection

INDESIGN (Styles) Paragraph Styles Affect paragraph level attributes: •• Leading, tabs, indents, space before/after, hyphenation, rules •• Advance character formats DO NOT TOUCH (only touch baseline shift) •• Left indent first then modify first line indent •• Span columns - span from a single column to multiple columns ( but tries to even out length of columns, can make problem) •• GREP – create script and helps modify certain outlined text •• Export tagging –turns style into CSS

CHARACTER STYLES Text styling within a paragraph •• Bold/italics, run-in subheads,custom bullet/number •• Also include underline/strike-through options

TABLE Styles •• Used to style multiple tables in a document •• Great for formatting •• Only used for formatting actual table, not cells

Cell Styles

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Used to style cells in tables, define: •• Borders, text positioning, text style (paragraph style), fill color, if cell is x-ed out

Lecture notes

use styles to increase efficiency

GRIDS single Column Grid

•• Typically used in book layouts •• Usually, more space inside than outside to account for binding

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multicolumn grids

•• More columns = more flexible •• Good for establishing hierarchy •• Can also create horizontal columns for captions and details

MODULAR Grid

Has both horizontal and vertical divisions Extremely helpful with placing images and text together Use baseline grids, help align all common elements Don’t need to follow baseline grid exactly all the time, can be used as just a guide

Lecture notes

•• •• •• ••

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Exer Cri 18

Lecture notes

cises & itiques

Typographic Refinement EXERCISE 1

Typeface Choice Typeface sizes vary depending on the typeface design. Between serifs and san serifs there are a wide variety of x-heights which affect the amount of leading necessary for easier reading. For this exercise in particular, Adobe Caslon Pro has a much smaller size and x-height compared to Trade Gothic, making Trade Gothic need more leading when placed at the same size.

leading Too little leading makes text illegible because it is too close together, while too loose leading creates awkward bands of white across the text box. The 9/12 for Trade Gothic is an example of too little leading. Adobe Caslon 9/15 is an example of too much leading.

in conclusion

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The best point size for both fonts was size 9, although I feel that Adobe Caslon could go up a size as 9 is still hard to read. The most readable out of both typefaces was Trade Gothic at 9/1. The least readable is Trade Gothic 9/12.

good

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. trade gothic, 9/13

too tight

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. trade gothic, 9/12

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 Caslon Pro, 9/15

exercises & critiques

too Loose

Type Quotes Project 1 Critique The first version I created lacked significant contrast, especially comparing the quote to the speaker. There was also awkward negative space at the bottom right corner of the page layout. Overall, the layout was rather boring as it didn’t have anything that grabbed attention or a focal point. The second version of the text had more contrast in the header due to its increased size. However, the layout itself was still rather restrained and boring due to the lack of interest in the body text. Adding an accent color or some rules to the layout could have created more interesting elements. Also there were many errors in spelling and formatting that need to be checked for in the future.

things to consider for the future Legibility issues due to: •• Type weight (too light or bold) •• Needs more leading •• Using monospace typeface •• Line length Hierarchy issues due to: •• Title lacking visual weight •• Author’s name not prominent •• Arbitrary emphasis on unimportant words

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Composition issues due to: •• Margins too small •• Awkward negative space •• No strong focal point •• Boring

DRAFT 1

thoughts on

t ypography

Typography and Typesetting: Type Design and Manipulation

Denken und Schaffen einer Typographie in Adrian Frutiger

Using Today’s Technology, 1988, page 1

The Typefaces. Complete Works, edited by heidrun osterer and philipp Stamm, 2012

“If you see the typeface first before you understand what the layout is saying to you, you could be on the wrong track.” Tony Seddon Design: Type, a Seductive Collection of Alluring Type Designs, 2012, pg 10

“Choosing the right font requires a basic knowledge of breadth of options and a core understanding of how effective typography function.” Alina Wheeler Designing Brand Identity: An Essential Guide for the Whole

“Any typeface, whether inspired by geometric principles or by the individuality of handwriting, differs from lettering in that all of its characters must work together equally well, no matter how they are arranged.” Bruce Willen and Strals Nolen Lettering and Type: creating Letters and Designing Typefaces, 2009, page 97

exercises & critiques

Branding Team, 2012 page 154

FINAL

type

“…the best typeface is one that impinges least on the reader’s consciousness, becoming the sole tool that communicates the meaning of the of the writer to the understanding of the reader.” Adrian Frutiger Denken und Schaffen einer Typographie in Adrian Frutiger The Typefaces. Complete Works, edited by Heidrun Osterer and Philipp Stamm, 2012

“Choosing the right font requires a basic knowledge of breadth of options and a core understanding of how effective typography function.” Alina Wheeler

a take on

Designing Brand Identity: An Essential Guide for the Whole Branding Team, 2012 page 154

“Typography is an art and science, a skill and expression. Through several technological revolutions its essential purposes have remained the same: to express a thought and to evoke a feeling ” Ronald Labuz Typography and Typesetting: Type Design and Manipulation Using Today’s Technology, 1988, page 1

“If you see the typeface first before you understand what the layout is saying to you, you could be on the wrong track.” Tony Seddon

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Design: Type, a Seductive Collection of Alluring Type Designs, 2012, pg 10

Dialogue Project 2

Process The first thought I had reading the text was that it was a discussion of the inner self that people at times come to odds with. So, I started by creating the form of a large “i” to connect the two pieces of the diptych together. However, after a critique, I changed my plan to focus more on the individual parts of the individual — the hero, dragon, and journey. After another round of critiques, I created an illustration to help grab attention of viewers and connect the three categories together.

Critique

The second version was an improvement from the first as there was a title that provided a lead in to the text. The dialogue itself was also divided into three general categories to make it easier for the reader to scan what topics the talk covered and hopefully capture their interest. Some problems that occurred were that the treatment of the “slaying the” was excessive and made some of the letter forms hard to read from a distance. Also the torn paper effect had too much contrast and was distracting. The final version had the torn effect removed and replaced with an illustration based on the three main categories of text. The header gradient effect was also removed and used the same color as the sub head in order to be more cohesive. There was an error in hyphenation as Thesus was separated, so remember to check hyphenation settings.

exercises & critiques

The first version created was extremely hard to read due to the long paragraphs of text that had little division. There was no title and the quotes emphasized were rather arbitrary. Furthermore, having white text on top of white made it extremely hard to read.

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? 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? 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.

it is your ego clamping you down.

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

The ultimate dragon is within you,

DRAFT 1

Is it my work or my life? If the work that you’re doing is the work that you chose to do because you are enjoying it, that’s it. But if you think, “Oh, no! I couldn’t do that!” that’s the dragon locking you in. “No, no, I couldn’t be a writer,” or “No, no, I couldn’t possibly do what So-and-so is doing.”

When I take that journey and go down there and slay those dragons, do I have to go alone? If you have someone who can help you, that’s fine, too. But, ultimately, the last deed has to be done by oneself. Psychologically, the dragon is one’s own binding of oneself to one’s ego. We’re captured in our own dragon cage. The problem of the psychiatrist is to disintegrate that dragon, break him up, so that you may expand to a larger field of relationships. The ultimate dragon is within you, it is your ego clamping you down.

I like what you say about the old myth of Theseus and Ariadne. Theseus says to Ariadne, “I’ll love you forever if you can show me a way to come out of the labyrinth.” So she gives him a ball of string, which he unwinds as he goes into the labyrinth, and then follows to find the way out. You say, “All he had was the string. That’s all you need.” That’s all you need—an Ariadne thread.

Like all heroes, the Buddha doesn’t show you the truth itself, he shows you the way to truth. But it’s got to be your way, not his. The Buddha can’t tell you exactly how to get rid of your particular fears, for example. Different teachers may suggest exercises, but they may not be the ones to work for you. All a teacher can do is suggest. He is like a lighthouse that says, “There are rocks over here, steer clear. There is a channel, however, out there”.

In all of these journeys of mythology, there’s a place everyone wishes to find. The Buddhists talk of Nirvana, and Jesus talks of peace, of the mansion with many rooms. Is that typical of the hero’s journey - that there’s a place to find? The place to find is within yourself. I learned a little about this in athletics. The athlete who is in top form has a quiet place within himself, and it’s around this, somehow, that his action occurs…. There’s a center of quietness within, which has to be known and held. If you lose that center, you are in tension and begin to fall apart.

The place to find is within yourself.

DRAFT 2

and becoming a hero THE HERO Why are there so many stories of the hero in mythology?

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.

kern.

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.

THE DRAGON

THE JOURNEY

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”?

My general formula for my students is “Follow your bliss.” Find where it is, and don’t be afraid to follow it. Is it my work or my life?

If the work that you’re doing is the work that you chose to do because you are enjoying it, that’s it. But if you think, “Oh, no! I couldn’t do that!” that’s the dragon locking you in. “No, no, I couldn’t be a writer,” or “No, no, I couldn’t possibly do what So-and-so is doing.” When I take that journey and go down there and slay those dragons, do I have to go alone?

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.

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.

That’s not always easy to find. But it’s nice to have someone who can give you a clue. That’s the teacher’s job, to help you find your Ariadne thread. Like all heroes, the Buddha doesn’t show you the truth itself, he shows you the way to truth.

But it’s got to be your way, not his. The Buddha can’t tell you exactly how to get rid of your particular fears, for example. Different teachers may suggest exercises, but they may not be the ones to work for you. All a teacher can do is suggest. He is like a lighthouse that says, “There are rocks over here, steer clear. There is a channel, however, out there”. In all of these journeys of mythology, there’s a place everyone wishes to find. The Buddhists talk of Nirvana, and Jesus talks of peace, of the mansion with many rooms. Is that typical of the hero’s journey — that there’s a place to find?

The place to find is within yourself. I learned a little about this in athletics. The athlete who is in top form has a quiet place within himself, and it’s around this, somehow, that his action occurs… There’s a center of quietness within, which has to be known and held. If you lose that center, you are in tension and begin to fall apart.

FINAL

slaying the A Discussion on Becoming a Hero with Bill Moyers and Joseph Campbell

THE

hero

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

JOURNEY

THE

DR AGON

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”? My general formula for my students is “Follow your bliss.” Find where it is, and don’t be afraid to follow it. Is it my work or my life? If the work that you’re doing is the work that you chose to do because you are enjoying it, that’s it. But if you think, “Oh, no! I couldn’t do that!” that’s the dragon locking you in. “No, no, I couldn’t be a writer,” or “No, no, I couldn’t possibly do what So-and-so is doing.” When I take that journey and go down there and slay those dragons, do I have to go alone? 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.

Sometimes we look for great wealth to save us, a great power to save us, or great ideas to save us, when all we need is that piece of string. That’s not always easy to find. But it’s nice to have someone who can give you a clue. That’s the teacher’s job, to help you find your Ariadne thread. Like all heroes, the Buddha doesn’t show you the truth itself, he shows you the way to truth. But it’s got to be your way, not his. The Buddha can’t tell you exactly how to get rid of your particular fears, for example. Different teachers may suggest exercises, but they may not be the ones to work for you. All a teacher can do is suggest. He is like a lighthouse that says, “There are rocks over here, steer clear. There is a channel, however, out there.” In all of these journeys of mythology, there’s a place everyone wishes to find. The Buddhists talk of Nirvana, and Jesus talks of peace, of the mansion with many rooms. Is that typical of the hero’s journey — that there’s a place to find? The place to find is within yourself. I learned a little about this in athletics. The athlete who is in top form has a quiet place within himself, and it’s around this, somehow, that his action occurs… There’s a center of quietness within, which has to be known and held. If you lose that center, you are in tension and begin to fall apart.

exercises & critiques

the

ELEMENTS OF STYLE Project 3

Process For the first version, I started by combing through the text and looking for ways to divide the text. The way that I thought would be the clearest was to have each rule start at the top of a new page. I decided to use large numbers and paragraph rules to provide some contrast in the page design. I decided to use Chaparral Pro and Univers as my two typefaces, using Univers for the body and Chaparral for headings and examples. For version two, we decide to use only one typeface, Minion Pro, since it has an extensive family. We used elements that we like about each person’s design, such as large numbers, to create our new series.

Critique

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Things to keep in mind were to look at the proper grammar for the text since some of the formatting like italics in the original didn’t import over. It was also important to check the flow of the book to make sure there weren’t any awkward breaks. As for the design, books that had more white space were easier to read. White space includes margins and cell padding if there were any tables. When formatting the text, it was important that the formatting wasn’t distracting. Distractions included uneven leading, drastic shifts between the body text and the examples, overwhelming subheads, and heavily bordered tables.

exercises & critiques

individual

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Group

exercises & critiques

Magazine Grid Exercise 2

Analysis

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At first glance, the magazine seemed to only have a few columns. However after flipping through the various spread, it was clear that there was a much more complicated grid system underneath. After calculating, we deduced that there was a 12 column grid with each column width of four picas. We noticed this due to the ratio of the text column widths in the two pages. The left page had a ration of 3:2:2 while the right side had a ratio of 4:3. Most elements that broke the grid were images, such as the shoe television and white line element at the top of the right page.

exercises & critiques

type zine project 4

Process I first started looking at various sources of inspiration to see what type of layouts i wanted to experiment with. The layouts I enjoyed had many images that tended to be placed on a loose grid formation. There were also large headers title page spreads. Much of the body text was placed on top of a colored box or bordered in some fashion. After receiving feedback on the first layout, I decided to get rid of the colored boxes and make the magazine more unified by keeping a consistent typeface and color for the headers, but allow for a change in scale. I added more images where I felt there was heavy amounts of text.

Critique

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Images are extremely important in magazines as they draw in viewers. They can also be used to break up text to prevent them from becoming too long. The table of contents should also include images to preview what is going to be in the zine. Although there will be variation in the different layouts depending on the contents, it is key that there is some level of consistency to prevent the zine from looking disorganized. If there are going to be links to websites in the zine, get rid of the http at the beginning or even better rid of the web address all together and simply include a hyperlink to the destination. Using colored boxes makes the type hard to read on screen and creates a rigid structure. It is better to just use some accent colors instead.

exercises & critiques

draft 1

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Final

exercises & critiques

TAD CARPENTER TALK AND WORKSHOP

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I had the greatest opportunity to hear Tad Carpenter talk and attend his logo design workshop this quarter. His talk was extremely funny, informative, and inspirational. He heavily emphasized the importance of having personal projects, which was his Sunday Suns for him. After his talk, I attended his show opening. It was great to not only see his vast array of work from childrenâ&#x20AC;&#x2122;s books to band posters, but to also see all his sketches posted. At the workshop, Tad gave a lecture on what makes a good logo and gave us an assignment to create a logo for a restaurant using a random combination of an animal and location. I received a hippo and Portland, Oregon. After doing some research, I decided to make my restaurant a sandwich cart since Portland has so many. I began to sketch out a few logos, finalized one, and, ended up with the final product below. It was an awesome experience and definitely one I wonâ&#x20AC;&#x2122;t regret having.

exercises & critiques

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exercises & critiques critique

Rea

Lecture notes

adings

Butterick’s practical typography

The butterfly ballot •• •• •• •• •• •• ••

Awkward spacing with alignment Tight leading Use of all caps Unnecessary brackets around party names Skipped numbers Change in alignment especially right side Hard to match up who the mark goes to

Resume Comparison Trixie uses •• Larger margins •• Emphasis on where work was done, less on the categories of the resume •• Bullets are minimal •• Uses different type and formatting to create hierarchy (more obvious than Violet)

Crystal goblet

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•• Typography should be invisible, not obstructive •• But at the same time typography can be seen, helps us see and understand text better, can convey a feeling

VIOLET S. MANGANESE 5419 HOLLYWOOD BLVD. STE. C731, LOS ANGELES CA 90027 (323) 555-‐1435 VIOLET @GMAIL.COM

TR I X I E B . A R G O N

5419 HOLLYWOOD BLVD STE C731, LOS ANGELES CA 90027 (323) 555 1435

Education

TRIXIEARGON @ GMAIL.COM

education

UCLA Anderson School of Management •

Cumulative GPA: 3.98

•

Academic interests: real-estate financing, criminal procedure, corporations

•

Henry Murtaugh Award

Hartford University

2011–13

2003–07

•

B.A. summa cum laude, Economics

•

Extensive coursework in Astrophysics, Statistics

•

Van Damme Scholarship

2008–11

•

Steelmaking, croquet, semiotics, and butterscotch manufacturing Led company in equities analyzed in two quarters

2007–08

Assistant to the director •

Helped devise fundraising campaigns for this innovative nonprofit

•

Handled lunch orders and general errands

Hot Topic

2004–06

Retail-sales associate •

Top in-store sales associate in seven out of eight quarters

•

Inventory management

•

Training and recruiting

New York, New York

Other work experience

other work experience

Proximate Cause

Boxer Bedley & Ball Capital Advisors June 2008 to August 2011 Equity Analyst  Performed independent research on numerous American industries, including:  Steelmaking, croquet, semiotics, and butterscotch manufacturing  Led company in equities analyzed in two quarters

Performed independent research on numerous American industries, including:

•

Cambridge, Massachusetts

Business experience

Equity analyst

Proximate Cause June 2007 to May 2008 Assistant to the Director  Helped devise fundraising campaigns for this innovative nonprofit  Handled lunch orders and general errands Hot Topic February 2004 to March 2006 Retail sales associate  Inventory management  Training and recruiting

Los Angeles, California

Boston, Massachusetts

Skills and interests       

Fluent in Mandarin, Esperanto; conversational knowledge of Gaelic Writer of U.S. Senate-‐themed fan fiction Ocean kayaking and free diving Travel, cooking, hiking, playing with my dog Ceramics Backgammon Making paper planes

ARGON RÉSUMÉ — PAGE 1 OF 2

readings

•

Los Angeles, California

business experience

Boxer Bedley & Ball Capital Advisors

UCLA Anderson School of Management August 2011 to June 2013  Cumulative GPA: 3.98  Academic interests: real-‐estate financing, corporations, money  Henry Murtaugh Award Hartford University September 2003 to June 2007  B.A. summa cum laude, Economics  Extensive coursework in Astrophysics, Statistics  Van Damme Scholarship

HOW TYPE FAMILIES WORK pETER bIL’AK

Each style of a type family must be recognizably different, yet they all carry some similar attribute that connects them together

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•• In the past, each size and weight was individually carved. Claude Garamond had 15 versions, each ranging from 6 to 36 pt. •• The term “family” came from Pierre Simon Fournier, who also created the first standardized system to create type. •• The idea of having different weight to establish hierarchy or add emphasis started in the mid 19th century due to pressures from the industrial revolution. •• Adrian Frutiger’s typeface Univers changed typeface design from just the design of one typeface to creating a system (condensed, extended and so on). Univers had a total of 21 variants •• Jan Van Krimpen’s typeface Romulus (1932) was the first to combine different typeface styles into a single typeface category. It included serif and san serifs; bold, italics, scripts and much more. •• Gerrit Noordzji focused on classification and creation of type on translation, expansion, and rotation rather than traditional classifications of serif and san serif.

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typographia mea culpa Stephen Heller “I was dead wrong, type sharing is akin to tapping into cable tv”

•• All fonts are licensed to a certain usage, whether that be the format they are used for (personal vs commercial) or how many computers it could be installed on •• Purchasing a font does not allow the purchaser to do as they please with the font •• If files need to be sent to a printer, embed the text so there is no need to send a copy of the font to them •• Fontographer allows anyone to “make” typefaces, which are sometimes copied designs from foundries or designers sold for cheap under a different name

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read the license

My type philosophy martin majoor “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.”

•• How to find a good serif/san serif pairing? •• San serifs first started in 1816 by William Caslon iv Foundary as a display typeface •• Akidenz Grotesque (1898) became wildly popular, heavily based on serif fonts •• Futura became first sans serif typeface to be design from scratch, based on classic principles •• Gill Sans was first to have its own italics, rather than based on italic roman serifs •• Mixing serifs and sans serifs can only truly work when they are based on the same skeleton, start designing the serif first •• Older sans serif tend to be imitations of one another •• “Contemporary” san serifs include: Lucida, Stone, Rotis,Charlotte, Legacy, Quaadrat, Thesis, and Eureka

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I found this article extremely interesting as it went into depth about the history behind san serif fonts. Rather than just giving date to when they were created, it outlined the importance that specific typeface contributed. It fascinating that Futura was the first san serif to be completely designed by hand rather than being based around a serif.

a view of latin typography in relationship to the world peter bil’ack

“ Traditions of typography from Greece, the Middle East, India and elsewhere can help us to rediscover how we understand Latin type today”

•• Many books outlining the history of type refer to it going back hundred of years, but do not provide specifics on other countries •• Type classifications are heavily Latin centered; non Latin typefaces are sometimes classified as “orientals” •• Refer to some styles as “roman” •• Books starting to explore more on other languages

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I found this article extremely interesting as it reminds readers about other typefaces in language around the world. I always found typefaces in other language to be extremely beautiful due to the different in character forms compared to Latin. Now as a student designer, I wonder about the different type rules that student in other parts of the world learn about and what they think of Latin type rules.

Lava— the voice of a magazine peter bil’ack

“ Lava was designed for magazine use, but far transcends its original application.”

•• When Dot, Dot, Dot was still being created, it didn’t receive its voice till the custom typeface was created for it •• Lava as to be used across multiple platforms and be the defining characteristic of the magazine, Works that Work •• Works on both high and low resolution

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I am extremely astonished at the feat that Bil’ack and the type designers he commissioned undertook and accomplished. It is not easy to find an extremely versatile font, optimized for both web and print. As I worked on my magazine layout, I realized that what Bil’ack states about the typeface being the voice of the magazine is extremely true. Changing the body text typeface can quickly alter the “feel” of the magazine. I personally would one day like to use Lava in my designs.

Gratuitous type MADELINE mORLEY

“You know what’s in your mind, and it might take a while to realize it in precisely the way you’ve imagined it, but trust in your instincts and give yourself the time you need to get it right.”

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I am amazed at what Morley was able to accomplish through a personal project involving layout. As I read her article, I found myself laughing and nodding in agreement at some of the notes she makes about designers. I admire her perseverance to make this magazine come true and clearly it has paid off for her. As for the design of her magazine, I love how it changes thematically per issue. Having that flexibility to cater the magazine layout to what she wants to feature makes her topics practically limitless and the magazine somewhat unpredictable. I would love to get a copy of that magazine for myself and look through it for any interesting articles or inspiration.

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Gill Sans got it wrong; a re-evaluation of Gill sans Ben Archer

“Gill Sans is the Helvetica of England”

•• Majority of Gill Sans characters are worse than Johnston •• When designed, Gill removed the serif detail in lowercase “l”, making it almost impossible to distinguish from a 1 •• Only the lightest weight of Gills Sans has terminal endings for “b, “d”,”p”, and “q” •• The ultra bold weight is the only one whose g doesn’t have a counter •• Proportions of Gill Sans‘s capital height, stroke width, and character width are altered, making it look unbalanced

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Reading this article made me understand much more about how cahnge that may seem subtle can actually change a lot more that one would think. The examples that Archer provides are extremely compelling towards his argument, especially the one regarding the indistinguishable “l” and “1”. After reading this article, I definitely will put in more thought about using Gill Sans.

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AN IDEA OF A TYPEFACE kai Bernau

“It is the result of an attempt to create a typeface free of all connotations or associations that could distract a reader from the text, a font that delivers the character of the written material untouched by the character of the typeface design.”

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Bernau’s process to create the ideal Crystal Goblet typeface is fascinating. I was extremely excited to see his sketches and research notes that he had as he created the typeface. After looking at the typeface, I do consider it rather neutral in design as there are no real flourishes. All the strokes on the typeface are flat as well, which add to the “neutrality”. At the end of this passage, Bernau states that it is more important that we are asking questions rather than getting them answered. I feel that this quote reflects much of what Bernau was trying to do with his research. He wasn’t necessarily trying to find the ideal solution, rather he was questioning if it was possible.

A typeface designed to revive the endangered Cherokee nATION ANGELA RIECHERS

â&#x20AC;&#x153; The few existing Cherokee fonts at the time were of poor quality, lacking bold or italics.â&#x20AC;?

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What I loved about this article was that it showed how typography ties in with culture and in this case preserves it. I never knew that there were Cherokee fonts available for use. This reminds me of the article on Latin typography and how we lack focus on studying these typefaces. The design of the typeface is very friendly, and can easily be used in many projects. It very interesting to see how the design of the typeface translates over from the Latin characters to the Cherokee ones.

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Kaitlin Liu, 2016 Open Sans