338.03 Type Journal by Katie Metcalfe by Katie Metcalfe

Take note of it Type II Journal, Winter 2016

Take Note of it Type II Journal, Winter 2016

By Katie Metcalfe ART 388: Typography II Winter 2016

Introduction

This journal is a digital gathering of my written thoughts throughout Typography II, including lecture notes, project progression and critique insights, as well as highlights from assigned readings. As a designer, my typographic skills improved greatly over the past ten weeks and I have a increasingly better understanding of the subject as a whole. I gathered every inch of this ten week class and combined it into 30 pages, in hopes of using this as a typographic checklist for future projects for the rest of my graphic design career.

Lecture Notes

Take Note of it

Typographic Detail Points and Picas 12 points = 1 pica 6 picas = 1 inch 1p6 = 1 pica + 6 points

Choosing a Point Size Think about: • Typeface proportions and weight • Length of text • Format for viewing • Audience/reader of the text • Content of the text

Web vs. Print Print: 9-12pt Web: 14pt or larger (pay attention to leading)

Things to Remember: • Kern type at display sizes • Set kerning to METRICS • Leading: 120-145 % of point size • Line length: 8-13 words per line • Tracking: -10 or +10 never less or more • Use TRUE small caps

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Dashes Hyphen ( - ) used if a word is too long for the column length En Dash ( – ) used to indicate duration Em Dash ( — ) used to express a break in the flow of a sentence Hyphenation settings Words with at least 6 letters

After first 3 letters

Before last 3 letters Hyphern limit 2 hyphens

Quotes

“‘ ’”

Smart Quotes

"' '"

Dumb Quotes

’“

prime marks

Rags Use discretionary hyphens, line breaks, or tracking to adjust rags

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Avoid Widows The last line of a paragraph is called a widow if it is too short Solution: set tracking to -10

(Do not adjust tracking any tighter than -10)

Avoid Orphans Orphans are short segments of paragraphs stranded at the top or bottom of a column Solution: Adjusting the column height forces another line to the next column

Spelling Always remember to check spelling Shortcut command + i, or turn on Dynamic Spelling in InDesign

Type II Journal

Choosing Typefaces & Understanding fonts Choosing A Typeface Think about: • 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? Will it vary? What distance will the text be read?

Technical Factors Does the font have a full character set? Does the font have foreign accented characters and glyphs? Does the font have multiple weights and styles? Does the font have small caps? What is the format of the font? Does the font have a Web Font version?

Buying Fonts 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?

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Places to get Fonts • Google Fonts • Lost Type Co-op • League of Movable Type • Font Squirrel • Font Spring • My Fonts

Things to Remember: • Keep your fonts organized and categorized • Good font management systems: FontExplorer X Pro or Suitcase Fusion 6 • Love your fonts. Know where they came from. Take care of them

Typesetting in indesign: Tools & techniques Paragraph Styles

window > styles > paragraph styles> options > new paragraph style

Used for setting up: • leading • tabs • indents • space before and after • hyphenation settings • rules above and below

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window > styles > character styles> options > new character style

Character Styles Used for setting up: • bold text • italic text • run- in subheads • custom bullets or numbers

Table Styles

window > styles > table styles> options > new table style

Used for setting up: • the outside border • the dividing lines • the space above and below • the fills of fields

window > styles > cell styles> options > cell style

Cell Styles Used for setting up: • the borders around • the position of the text • the style of the text • the fill color of the cell • if the cell is x-ed out

Type II Journal

Things to Remember: • Always name your styles in relation to what it does • Paragraph styles are the most common style used • Using styles makes laying out large amounts of text more efficient • To clear an override, hold shift and then click the style • Saddle-stiched books must be divisible by 4

InDesign Shortcuts – En dash

® Registered Trademark

option + hyphen

option + r

— Em Dash

™ Trademark

opt + shift + hyphen

option + 2

• Ellipse

… 3 ellipses

option + 8

option + ;

˚ Degree

á Accent

option + k

option + e + type the letter

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Readings

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Butterick’s Practical typography Typography in Ten Minutes: 5 Typography Rules 1. The typographic quality of your document is determined largely by how the body text looks. Why? Because there’s more body text than anything else. So start every project by making the body text look good. 2. Point size is the 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 ap pears equally large at a given point size, so be prepared to adjust as necessary. 3. Line spacing is the 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 1½-line option is too loose. In CSS, use line-height. 4. Line length is the horizontal width of the text block. Line length should be an average of 45–90 characters per line (use your word-count function) or 2–3 lower case alphabets. 5. Font choice. The fastest, easiest, and most visible improvement you can make to your typography is to ignore the fonts that came free with your computer (known as system fonts) and buy a professional font. A professional font gives you the benefit of a professional designer’s skills without having to hire one.

Summary of Key Rules for Typography The four most important typographic choices you make in any document are point size, line spacing, line length, and font Point size should be 10–12 points in printed documents, 15-25 pixels for web Line spacing should be 120–145% of the point size

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The average line length should be 45–90 characters (including spaces) Avoid goofy fonts, monospaced fonts, and system fonts, especially Times New Roman and Arial Use curly quotation marks, not straight ones Put only one space between sentences Don’t use multiple word spaces or other white-space characters in a row. Never use underlining, unless it’s a hyperlink Use centered text sparingly Use bold or italic as little as possible All caps are fine for less than one line of text Use 5–12% extra letterspacing with all caps and small caps. Kerning should always be turned on 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. Don’t use both! If you use justified text, also turn on hyphenation Use ampersands sparingly, unless included in a proper name In a document longer than three pages, one exclamation point is plenty Put a nonbreaking space after paragraph and section marks

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

16 Take Note of it

Why Typography Matters This section of Butterick’s Practical Typography was really helpful in understanding typography further. The main issues that were presented in the Butter Ballot were lack of hierarchy, unclear which circle was for what candidate, too much information was in all caps which made it hard to read, and arbitrary parenthesis for headers. As you can see below:

• Typography is the visual component of the written word • Being an effective typographer is more about good skills than good taste • Typography is for the benefit of the reader, not the writer

Type II Journal

Visually comparing the two resumes was really helpful because it was easy to see what was working and what wasn’t. For example, in Violets resume the grey color blocks is so unnecessary and makes it very cluttered, along with the diamond bullets. Also there is too much emphasis about where the events took place, when there should be more emphasis on what she was actually doing and what her skills are. Also, the typefaces she chose are just terrible. Trixie’s resume is way more effective because there are larger margins which give it more breathing room as well as gives the reader a quick read without searching for what she has done. She does this by using effective hierarchy and a clear and easy to read typeface.

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

Education 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

Los Angeles, California

Cambridge, Massachusetts

Business experience 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

New York, New York

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

5419 HOLLYWOOD BLVD STE C731, LOS ANGELES CA 90027

Other work experience

(323) 555 1435

Proximate Cause June 2007 to May 2008 education Assistant to the Director  Helped devise fundraising campaigns for this innovative nonprofit  Handled lunch orders and general errands Hot Topic • Cumulative GPA: 3.98 February 2004 to March 2006 • Academic interests: real-estate Retail sales associate  Inventory management • Henry Murtaugh Award  Training and recruiting

TRIXIEARGON @ GMAIL.COM Los Angeles, California

UCLA Anderson School of Management

Skills and interests       

financing, criminal procedure, corporations

Hartford University •

2003–07

B.A. summa cum laude, Economics

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

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Statistics

Boxer Bedley & Ball Capital Advisors Equity analyst •

2011–13

Boston, Massachusetts

Performed independent research on numerous American industries, including:

2008–11

Text Formatting & Type Composition This section goes into more depth about each and every key rule about typography. I really appreciate that he discusses and includes CSS as well as InDesign because it is important to follow good typography in any application you are using. Typography for web or print is different and I think that is one of the most important things to remember when designing. I also really liked, and agreed to his A and B lists of typefaces:

The A list: Generally tolerable

The B list: OK in limited doses

Athelas

Agency FB

Avenir

Big Caslon

Bell MT

Bodoni MT

Book Antiqua

ITC Bodoni 72

Californian FB

Calibri

Calisto MT

Candara

Century Schoolbook

Centaur

Charter

Century

Franklin Gothic

Constantia

Garamond

Corbel

Gill Sans

Didot

Gill Sans MT

Futura

Goudy Old Style

Geneva

Helvetica

Gloucester MT Extra Cond.

Helvetica Neue

High Tower Text

Hoefler Text

Modern No. 20

Iowan Old Style

Perpetua

Optima

Rockwell

Palatino

Segoe UI

Seravek

Tw Cen MT

Sitka

Type II Journal

Page Layout The positioning and relationship of text and other elements on the page. What to consider when laying out a page: • Centered text- use minimally • Justified text- always turn on hyphenation • First-line indents- between one and four times the point size • Space between paragraphs- 50–100% of the body text size • Line spacing- 120–145% of the point size • Line length- 45–90 characters or 2–3 alphabets • Page margins- one inch is not enough • Body text- start with font, point size, line spacing, and line length • Hyphenation- as line length gets shorter, hyphenation becomes essential • Block quotations- don’t go on and on, reduce the point size and line spacing slightly • Bulleted and numbered lists- don’t type them manually • Tables- the best tool for gridded or complex layouts • Rules & borders- use sparingly • Space above & below- use liberally • Widow and orphan control- up to you • Keep lines together- always use with headings • Keep with next paragraph- always use with headings • Page break before- alternative to hard page breaks • Columns- fine in print, not on the web • Line numbers- exact line spacing is the key • Paragraph & character styles- eliminate complications and time • Maxims of page layout- principles of balance and consistency

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Key Principles of Page Layout: 1. Decide first how the body text will look Largely determine the appearance of the body text. 2. Divide the page into foreground and background Don’t let the background elements upstage the foreground elements. 3. Make adjustments with the smallest visible increments The difference between not enough and too much can be small. 4. When in doubt, try it both ways There’s no substitute for making two options and getting a visual reaction. 5. Be consistent Without consistent treatment of similar elem ents, the page will feel random. 6. Relate each new element to existing elements The only time you have unfettered discretion is when the page is blank. 7. Keep it simple If you think you need to clutter the edges of the page with useless nonsense, think again. 8. Imitate what you like. Learning to see what’s good about other examples of typography makes it

easier to solve problems in your own layouts. 9. Don’t fear white space. Work outward from the text, not inward from the page edges. If the text

looks good, the white space will take care of itself.

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Typotheque Beauty and Ugliness in Type design This article discusses true examples of what a conceptual typeface would look like, although it is an oxymoron, A typeface canâ&#x20AC;&#x2122;t really be conceptual, because it is dependent on its execution. Typeface design is a craft, so the process that transforms the pure idea into a functional font is a critical part of the discipline. He explores the beauty versus the ugliness in type using examples of Bodoni and Didot as beauty, and Italian typefaces as the ugliness in type. He continues on to find a solution to combine the two, to create the best forms using the thin and thick contrast between each typeface.

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Lava â&#x20AC;&#x201D; Voice of a Magazine Lava was designed to bridge the digital and print editions of a newly designed magazine. He started designing a magazine, but first focused on the typeface, in which greatly evolved to fit the magazineâ&#x20AC;&#x2122;s personal voice.

This typeface could stretch across multiple platforms, which made it so special. It could go for long distances of type and short captions. Lava looks closely at system fonts such as Times and Georgia and aspires to work on screen as well as they do. In print, Lava delivers something that default UI fonts usually lack: refined details, finely tuned proportions and meticulous spacing that let the reader forget about the typeface and pay attention to the text. After over a year of testing, Peter and his team now feel confident enough to release it publicly as a typeface that can handle large quantities of text with ease.

Type II Journal

A View of Latin Typography in Relationship to the World This short essay explores the fact that we have forgotten that there are parallel histories outside of Europe; the first recorded movable type system was more likely created in China around 1040 AD by Bi Sheng. His early type was made of wood, which was later abandoned in favor of baked clay, which produced smoother imprints. We are not giving enough credit to the history of movable type, and we are left giving all the credit to only Latin-based typography. Most of the existing typographic classification systems also apply exclusively to Latin type, as you can see in terms of “Roman” and “Italic” to describe type. This creates a new opportunity for artists to explore “non-Latin” type. There is a modest interest in Arabic, Cyrillic, Greek, or Indic scripts, and even type design competitions have responded to the new situation by creating special categories. This short essay really opened my eyes to more of a historical standpoint within typography. It is exciting to see more of this exploration and new possibilities with “non-Latin” type today.

24 Take Note of it

Projects

Type II Journal

Legibility Exercise For the type exercise: legibility and readability, I found that the sans serif typeface can be more readable at smaller sizes, versus serif gets a little harder to read when it is at a smaller size. The leading for both typefaces looks best when at a higher number such as 8/13 or 9/14; the ones that were set at 12 felt very crammed and hard to read. With the column width, I found that the best size typeface for serif was 10pt, and sans serif 9pt. Overall, I think that the best leading and size for serif is 9/13 or 9/14. For sans serif, I decided 9/14 or 9/15. The worst combinations I found were 10/13 for both, 8/13 for serif, and 9/12 for both. I think this because the size of the font is too big for the size of the leading which makes it too close together and hard to read.

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.

Without typography, one could argue,

BASKERVILLE, 9/13

AVENIR, 9/14

26 Take Note of it

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.

Project 1: Type Rules The most important information I learned in critique are body text should always be regular weight, never bold! Also, that it is important to make sure it is a quick read and legible; if your designing a poster or something alike, the viewer isn’t going to want to take 10 minutes to stand there and read a bunch of paragraphs; make it simple and straight to the point. Another main point was when working with type it is important to create hierarchy within it based on information that is inside your design; such as the author or specific information you want your reader to know right away to draw them in. Also I learned that it is good to get out there and experiment with layouts; even if they are crazy you’re getting it out there and putting your creativity to use!

Wise Words of Type 1.

Jim Krause “Designers and nondesigners alike are affected by how fonts can make us feel, but it’s we—the designers of the world—who particularly need to raise our awareness of type’s many moods, since it’s we who are generally responsible for deciding which fonts appear before the eyes of others.” Lessons in Typography, 2015, Page 102

Jason Santa Maria “Whether online, in print, or on the side of a spaceship, typography is the primary vehicle we use as designers to communicate our message. When we get it right, it’s powerful.” On Web Typography, 2014, Page 43

a few wise words:

Adrian Frutiger “The evolution of these letters—this continual simplification from symbol to sound—is something that has always preoccupied me. I was always fascinated by the symbol as the expression on a signature, a brand, and above all, a cipher.” Typefaces: The Complete Works, 2012, Page 7

Timothy Samara “Never take digital spacing or sizes for granted—always check it for loose or tight characters, and size different type styles by eye to make them similar.” Typography Workbook, 2004, Page 28

Ellen Lupton “The first step in designing a typeface is to define a basic concept. Will the letters be serif or sans serif? Will they be modular or organic? Will you use them for display or for text? Will you work with historic source material or invent the characters from scratch?”

Type

Lessons in Typography, 2015, Page 102

Thinking With Type, 2010, Page 76

Before

On Web Typography, 2014, Page 43

Adrian Frutiger “The evolution of these letters—this continual simplification from symbol to sound—is something that has always preoccupied me. I was always fascinated by the symbol as the expression on a signature, a brand, andabove all, a cipher.” Typefaces: The Complete Works, 2012, Page 7

After

Type II Journal

Project 2: a Dialogue I really appreciate that we got to keep re-working it so that we could make it the best. That helped me remind me of how important process is and how you really never have a â&#x20AC;&#x153;finalâ&#x20AC;? project, you are constantly working on it and there can always be improvements. I think it is great that we are learning not only how to realize our mistakes, but also to be able to take the mistakes and know how to fix and improve your work. This only makes us more confident in our work and help us improve our problem solving skills. Type layouts have been one of the more challenging aspects of typography to me, but I am beginning to get more of a sense of better readability and what works and what doesnâ&#x20AC;&#x2122;t so I can take that into my mindset on future projects.

28 Take Note of it

“The place to find is within yourself.” MOYERS: Why are there so many stories of the hero in mythology? Campbell: Because that’s what’s worth writing about. Even in popular novels, the main character is a hero or heroine who has found or done something beyond the normal range of achievement and experience. A hero is someone who has given his or her life to something bigger than oneself. MOYERS: So in all of these cultures, whatever the local costume the hero might be wearing, what is the deed? Campbell: Well, there are two types of deed. One is the physical deed, in which the hero performs a courageous act in battle or saves a life. The other kind is the spiritual deed, in which the hero learns to experience the supernormal range of human spiritual life and then comes back with a message.

MOYERS: Does your study of mythology lead you to conclude that a single human quest, a standard pattern of human aspiration and thought, constitutes for all mankind something that we have in common, whether we lived a million years ago or will live a thousand years from now?

“Follow your bliss. Find where it is, and don’t be afraid to follow it.”

Campbell: There’s a certain type of myth which one might call the vision quest, going in quest of a boon, a vision, which has the same form in every mythology. That is the thing that I tried to present in the first book I wrote, The Hero With a Thousand Faces. All these different mythologies give us the same essential quest. You leave the world that you’re in and go into a depth or into a distance or up to a height. There you come to what was missing in your consciousness in the world you formerly inhabited. Then comes the problem either of staying with that, and letting the world drop off, or returning with that boon and trying to hold on to it as you move back into your social world again.

MOYERS: How do I slay that dragon in me? What’s the journey each of us has to make, what you call “the soul’s high adventure”? Campbell: My general formula for my students is “Follow your bliss.” Find where it is, and don’t be afraid to follow it.

MOYERS: Sometimes we look for great wealth to save us, a great power to save us, or great ideas to save us, when all we need is that piece of string. Campbell: That’s not always easy to find. But it’s nice to have someone who can give you a clue. That’s the teacher’s job, to help you find your Ariadne thread.

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

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

Campbell: If you have someone who can help you, that’s fine, too. But, ultimately, the last deed has to be done by oneself. Psychologically, the dragon is one’s own binding of oneself to one’s ego. We’re captured in our own dragon cage. The problem of the psychiatrist is to disintegrate that dragon, break him up, so that you may expand to a larger field of relationships. The ultimate dragon is within you, it is your ego clamping you down.

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

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

“...when all we need is that piece of string”

Before

THE PLACE TO FIND IS WITHIN YOURSELF A conversation with Joseph Campbell and Bill Moyers

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

M: So in all of these cultures, whatever the local costume the hero might be wearing, what is the deed?

C: 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. M: 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?

C: 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’s not always easy to find. But its nice to have someone who can give you a clue.”

M: When I take that journey and go down there and slay those dragons, do I have to go alone? C: 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.

“...when all we need is that piece of string.” M: 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.” C: That’s all you need—an Ariadne thread. M: 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. C: 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.

M: Like all heroes, the Buddha doesn’t show you the truth itself, he shows you the way to truth.

M: 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”?

C: My general formula for my students is “Follow your bliss.” Find where it is, and don’t be afraid to follow it.

M: Is it my work or my life? C: 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”.

C: 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”. M: 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? C: 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.

After

Type II Journal

Project 3: Elements of Style This was my favorite project in this class. I had not known too much about using styles, but this project really emphasized that aspect and drilled it into my mind, and now I canâ&#x20AC;&#x2122;t not use styles. I think the biggest insight that I took from this project was that it is OK to have white space. Taking that massive Word document and breaking up the text so that it actually looked like something readable was a huge challenge, but seeing the final product was so rewarding. It was fun to collaborate with my group members and work together to make a solution to our problem. After the critique I felt very proud of myself and my group because I think we used type rules and hierarchy effectively. I had never designed a book before, so this was a new opportunity for me which I learned that I actually enjoy laying out type and taking something and making it desirable to read and less of a task.

Section

Elements of Style

Before

30 Take Note of it

After

Type II Journal

Project 4: type zine This was the most challenging project in this class, but in a good way. I have never designed for a magazine before, especially one that is read online. This gave me a new challenge to use the most effective type treatments for a screen, which was hard because I am so used to 9-10pt font. After the second critique, I started to actually have fun with it and experimented with different image and layouts. I wanted this to be fun and interesting to read whether it was desingers or curious people reading; I wanted to give them a quick and easy read on some great typography articles and tips. I did this by using a lot of images and large titles to bring you into the article. I think the hardest part was trying to keep it consistent as possible, I kept wanted to do a different layout for each page because I was starting to have fun with it, but then I remembered that inconsistency can actually draw away readers. Overall, this project was very challenging but the other students in the class helped greatly and sharing and seeing their work inspired me more towards a magazine-like style.

32 Take Note of it

Type II Journal