Type Journal Type Journal 1
Table of Contents
Introduction............................................................... 3 Lecture notes.............................................................. 4 Assigned readings....................................................... 12 Design process............................................................ 22 Critique notes............................................................. 32
2 Type Journal
Introduction This journal was created in Typography 2 at California Polytechnic State University. It contains my notes from class, summaries from assigned readings, some notes from my design process and notes from critiques. Overall, it is a summary of the things I learned while taking this class.
Type Journal 3
Lecture Notes
4 Type Journal
Typographic Refinement 1/24/17
Point size: our measuring system for typography-developed for handset metal type was invented by Johann Gutenberg around 1450 There are two basic units: points and picas 12 pts = 1 pica, picas are written like this: 1p6 (1 pica + 6 points) Traditional metal type ranges from 5 pt to 72 pt (can’t go bigger because lead is soft)
Factors to consider
• Typeface proportions and weight • Length of text • Format for viewing • Audience/reader of text • Content of text In general, body text should be larger on screen. Body text in print usually ranges from 9-12 pt while it should be 14pt or larger
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Workhorse typeface
• Good regular weight • Robust proportions • At least one bold weight with noticeable contrast to text weight • An italic version • Very legible numerals Economy: it should be narrow enough to fit large amounts of copy into the available space Leading should be 120-145% of the point size Line length-too wide makes it hard to focus; too narrow breaks the reader’s rhythm About 8-13 words per line, on average is good Letter spacing (tracking): hard to read if too close, don’t go less than -10 More tracking is needed on caps bold or bigger text only use small caps if the typeface has an actual small caps style Hyphen: use if a word is too long for column length En dash: use to indicate duration em dash: use to express a break in the flow of a sentence (like for a fragment or list) Use semicolon for breaking two complete sentences
6 Type Journal
Paragraph fly out: hyphenation customization Hyphen limit: 2 (will never have two in a row) Words with at least 6 letters After first 3 letters, before last 3 letters Use smart quotes instead of prime marks – turn of typographer’s quotes Use hyphens, line breaks, or tracking to adjust rags Avoid widows-try setting tracking to -10 to fix Spell check: command + i or turn on dynamic spelling
Analysis of legibility exercise
First of all, this type looks so much smaller in print than it does on the screen. I think at this size, the sans serif is easier to read just because it seems a little more open and not as squished together. Also, at this small size, some of the smaller leading is more difficult to read cause the words are so close to each other and so tiny. The 9/15 seems to be a good combo for both the serif and sans serif. 9/14 seems to be all right too. I think 8-point type is too small for print; I had the hardest time reading those. The 9/12 was also an uncomfortable combo because the words are starting to get a little too close to each other.
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Practical Typography Discussion 1/24/17
I learned a bunch of shortcuts for symbols, which I think is really helpful. I also learned the difference between parenthesis, brackets, and curly braces. Also, the question mark is underused and the exclamation point is overused. I will try to use these new shortcuts and key combinations whenever I have a symbol I need to use.
8 Type Journal
Choosing Typefaces 1/26/17 Design factors:
Content, audience, format/context How long is the text? What is it about? Age of the reader? Size of the page/screen?
Technical factors:
Does the font have a full character set? Foreign accented characters/glyphs? Multiple weights/styles? Where do you get fonts and why are they so expensive? Creating a font is complex When you buy a font, you purchase a license Google fonts-free fonts, Lost Type Co-op-pay what you want Font spring-for commercial use, house industries-“vintage� expensive fonts My Fonts-tons of stuff and have super sales, fonts.com-tons of fonts
Where do fonts live on my computer?
Usually in a library/fonts folder In general, you want of have the minimum number of fonts installed
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Typesetting in InDesign 2/2/17
Use styles, it will save you time Paragraph styles have more things than character styles: leading, tabs, indents, space before/after, hyphenation/justification Use paragraph styles for subheads and things that repeat, also so you can style the space around it Check apply style to selection Indents and spacing: left indent will indent the whole paragraph (for bullet points or something similar) Character styles used for text within a paragraph: bold, italics Table styles: you can make a table invisible Also cell styles within the table (for each individual cell)
Lecture: review of reading
First line indent: use your eyes, not too small but not too big, don’t use tabs Set up in paragraph panel Or use space in between paragraphs- roughly half of the leading Too long of line length is hard to read The tips and the end are good
10 Type Journal
Typography on Screen 03/02/2017
Designed by Matthew Carter for the screen: Georgia and Verdana
Things to consider:
Typeface contrast-high contrast isn’t great for body text A high X-height is ideal Beware of extremes-too tall of an x-height can be problematic It’s important to differentiate between characters: 1, I, l Use real small caps and ligatures Museo Sans is a good alternative to Helvetica Droid serif is a good alternative to Georgia Pairing Typefaces Avoid pairing typefaces that are too similar Take advantage of display type Try overlaying typefaces to see if they have similar proportions Officina Sans and Officina Serif have big families Meta is a friendly sans serif
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Assigned Readings
12 Type Journal
Typography in ten minutes
Quality of your document largely depends on how the body text looks Appearance of body text is determined by these four choices: Point size: 10-12 in print, 15-25 on web Line spacing: 120-145% of point size Line length: average 45-90 character is good (usually means margins should be larger than one inch) Font choice: professional fonts are usually better than the free ones At least avoid times new roman or arial
Summary of key rules
Avoid goofy fonts, monospaced fonts, and system fonts Use curly quotes; prime marks are for feet and inches Only one space between sentences Never use underlining except for hyperlinks Use centered text, ampersands and bold/italics sparingly All caps are fine for less than one line, and only use real small caps All caps and small caps need 5-12% extra letter spacing Always turn kerning on
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Always turn on hyphenation when using justified text One exclamation point is plenty for 3 pages Use proper trademark and copyright symbols, also proper ellipses Nonbreaking space after paragraph and section marks Apostrophes point down
Foreword
If your argument is easy to follow, it will be a winning one With type it is important to convey your message, or it seems like you don’t care how your message is received Type is visible language
Why Typography Matters
The butterfly ballot is problematic because it is confusing and difficult to tell which arrow is point to which bubble. It would be easy to accidentally vote for the wrong person, which is unacceptable in something as important as the presidential election. Bad typography has negative consequences, and good typography has good ones.
Type composition
Every character is a tool. Goal: always use the right job for the tool Keyboard has invisible characters: accents, math symbols Turn smart quotes on and don’t use them for emphasis (use bold or italics)
14 Type Journal
Straight quotes are acceptable in email One space between sentences The question mark is underused and the exclamation point is overused Semicolon is used to combine two sentences or to separate list elements Colon connects introduction of idea Paragraph or section mark should be followed by a non-breaking space () for separating citations, [] show changes within quoted material {} not really used except for technical stuff hyphen – word break en dash – range in values (option + hyphen) em dash — break between parts of a sentence (option + shift + hyphen) Trademark: option + 2 ™ Registered trademark: option + r ® Copyright: option + g © Use ampersands for proper names Ellipsis: option + semicolon … *find and replace is your friend (Command + f ) –use this to fix funky quotation marks and two spaces after a period paragraph: mark option + 7 ¶ section: mark option + 6 § degrees: option + k ˚
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Text Formatting
Don’t underline, ever Goofy fonts have no place in a doc created by a professional writer Monospaced fonts take up more space System fonts are often not very good, optimized for screen legibility rather than print, and are overexposed Use bold or italic as little as possible, use all caps sparingly Limit yourself to three levels of heading, but two is better Add 5-12% extra letterspacing to text in all caps or small caps Use kerning to reduce large gaps Superscripted ordinals are tiny and hard to read
Page Layout
Page layout is about the positioning and relationship of text/other elements Don’t accept the defaults. You can do better Whole paragraphs should never be centered A first line indent should be no smaller than the point size of the text, but no bigger than four times the point size Don’t use word space or tabs to indent the first line Space between paragraphs should be 50-100% of
16 Type Journal
the body text size Good line spacing is 120-145% of the point size Average line length should be 45-90 characters, spaced included At 12 point font, 1.5-2 inches is usually good for margins For web margins, focus on line length Serif fonts are recommended for body text In justified text, hyphenation is mandatory, same with short line length Tables are handy but can be difficult to use-useful for spreadsheet style grids Rules and borders are best used sparingly, and don’t use patterns White space creates a silence, which can be an effective form of contrast Keep lines together so a whole paragraph stays on a single page Tips: Decide first how the body text will look Divide the page into foreground and background Make adjustments with the smallest visible increments When in doubt, try it both ways Be consistent Relate each new element to existing elements Keep it simple Imitate what you like Don’t fear white space
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Using Layout Grids Effectively
Break the grid with an image or visual element Always use a layout grid, otherwise graphic elements will not work together Pay attention to the gutter, make sure you have enough space Use the rule of thirds and the golden ratio
Unethical Downloading
Making custom fonts is more expensive than buying them Using a font without paying for it is copyright infringement FBI can get involved if you post hundreds of fonts Designers complain about having to pay for additional use of fonts they have already paid for
My Type Design Philosophy
Mixing typefaces without knowledge of which ones work together can cause a headache to look at The best solution for text was to use a combination of a serif and a sans that derive directly from each other The first sans serifs typefaces were based off of serif typefaces, but Futura was the first that was drawn from scratch “shake hands and work together in harmony�
18 Type Journal
A View of Latin Typography in Relationship to the World Movable type has existed in china since the 11th century (wood, then clay, then metal) Typography is plagued by a euro-centric bias Other typography is described as “oriental” or “non-latin” New books promote inclusive approach to typography, considers whole history of type and script
Lava-Voice of a Magazine
Lava was designed to bridge the digital and print editions of a magazine Magazine had many different versions (online, print, etc), only constant was the typeface, the voice of “Works That Work” Lava is a no nonsense workhorse typeface
The First Thing I Ever Designed
Started her own independent magazine- Gratuitous type Making our own magazine is expensive and time consuming, but it helped her get a full time job in publishing It is important to trust in yourself and your abilities
Type Journal 19
Eric Gill got it wrong; a reevaluation of Gill Sans
Gill sans is the Helvetica of England The majority of character shapes in gill sans are worse than in the design from 15 years ago Eric gill was “learning on the job” when creating the font Gill took out the terminus endings of the vertical stroke in ‘b’, ‘d’, ‘p’, and ‘q’. The straight tail on the lowercase ‘y’ makes it appear rigid and unbalanced Approach gill sans with caution, it is a hard typeface to use well without making considerable effort
7 Striking Design Pairings
article about designs that were made in completely different times but have similar qualities such as color or layout or even similar messages
20 Type Journal
An Idea of a Typeface
Neutral typefaces explore how the absence of stylistic associations can help the reader engage with the context of a text Don’t distract the reader from the text New Neutral has more refined punctuation, spacing is better A typeface is both a tool for designing and f or reading
A Typeface Designed to Revive the Endangered Cherokee Language
Designer Mark Jamra moved by the need for a typeface to preserve a culture’s language-adopted a Latin typeface Phoreus Cherokee-ancient Greek word for bearer or carrier Vehicle of language Small caps version for Cherokee language style Designed for use in Cherokee language with a few latin words
Type Journal 21
Design Process
22 Type Journal
Typesetting: Rules of Typography
Valerie J. Vance Typography 101, 1996, Page 133
Otilia Armean New Media Typography, 2016, Page 33
Suzanne Suarez Hurley Advancing the Legal Profession with Typography, 2012, Page 54
“The brain works differently when decoding a text than when decoding an image, with multiple areas processing visual information.” Angela Gardner and Kerry Kilner Report From an Border: Text and Typography in Australian Artist’s Books, 2016, Page 29
“Pitch, for instance can be transcribed by upwards and downwards motion, loudness by increasing size, weight, and sometimes colour or contrast, and tempo by modifying letter tracking and spatial stretching to stretch time.” Theo van Leeuwen and Emilia Djonov Notes Towards a Semiotics of Kinetic Typography, 2015, Page 245
“If a document is more “readable,” it is more likely that the reader will remember the content.”
Suzanne Suarez Hurley
Typography 101, 1996, Page 133
Advancing the Legal Profession with Typography, 2012, Page 54
ith w
Type Tips
on
“Too much variety can be distracting and conflising to the reader; therefore, type style variations of a typeface should be used with care.”
“If a document is more readable, it is more likely is traditionthat the reader “Typography ally “invisible”, it stays in background, it reaches will remember the its purpose if we do not notice it.” the content.”
Valerie J. Vance
a g r of e 5 es 4 si
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“Too much variety can be distracting and conflising to the reader; therefore, type style variations of a typeface should be used with care.”
Notes Towards a Semiotics of Kinetic Typography, 2015, Page 245
M in S or c r e,’ ee 20 n 08 ,
Suzanne Suarez Hurley Advancing the Legal Profession with Typography, 2012, Page 54
Theo van Leeuwen and Emilia Djonov
“I ab f a re le, do te ade ” it cum nt r is e . ” wi m nt S ll or is A uza re e l m m ik o Ty dva nn em el re p o nc e S g r ing ua be y th “re ap t r e r t at ad hy h e z H he th ,2 L u co e 01 eg rle n2, al y P P
“If a document is more “readable,” it is more likely that the reader will remember the content.”
“Pitch, for instance can be transcribed by upwards and downwards motion, loudness by increasing size, weight, and sometimes colour or contrast, and tempo by modifying letter tracking and spatial stretching to stretch time.”
Colour as a Visual Signifier in Screen Typography: ‘Less Means More,’ 2008, Page 269
29 lia Te n xt iln A a er r t nd ist ’s
Valerie J. Vance Typography 101, 1996, Page 133
Jan Baetens
“I im n o on pr rde lo sc ess r t p ok ree ion o a bl rese ing n t tha void re ack nt at a hin t t th ad ’, th k h e ab de eir lam s th e re (un Ja ili sp w p at ad p C nB ty ite ri , m h er lea Ty olo ae of th tin an e o of sa u Pa po r ten th e d gs y r s a nt) ge g r a s s a e te ram ‘wh uth he i text 2 6 a ph a V xt a ite o s 9 y : isu ‘L a l its tic o rs es S elf lo n s M ig .” ss ni ea fie of ns r
“Too much variety can be distracting and conflising to the reader; therefore, type style variations of a typeface should be used with care.”
“In order to avoid the (unpleasant) impression that the reader of a text on screen thinks that he or she is looking at a lamp, many authors present their writings ‘white on black’, despite the dramatic loss of readability of the text itself.”
Report From an Border: Text and Typography in Australian Artist’s Books, 2016, Page 29
“Th ly e w wh br m hen en ain in ulti de dec wo fo pl co o rk rm e d d s A at are ing ing diff R ng io as a a er T ep el a n. p n te en ” ro im xt tB o y p o or t G a ce a th ok gra Fro rdn ssi ge an s , ph m e r ng , w 20 y an a 16 in B nd vi ith , P A or K su a g u st de er r al e ra r: y K
Jan Baetens Colour as a Visual Signifier in Screen Typography: ‘Less Means More,’ 2008, Page 269
Angela Gardner and Kerry Kilner
e 2 s ia 45 of K Dj i n on o et v ic
“In order to avoid the (unpleasant) impression that the reader of a text on screen thinks that he or she is looking at a lamp, many authors present their writings ‘white on black’, despite the dramatic loss of readability of the text itself.”
“The brain works differently when decoding a text than when decoding an image, with multiple areas processing visual information.”
33
Type Tips
Otilia Armean
New Media Typography, 2016, Page 33
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Theo van Leeuwen and Emilia Djonov Notes Towards a Semiotics of Kinetic Typography, 2015, Page 245
“Typography is traditionally “invisible”, it stays in the background, it reaches its purpose if we do not notice it.”
“P sc itc m rib h, si oti ed for or ze, on, by u ins if co we lo pw tan str ying ntr igh udn ar ce c et le ast t, a ess ds an ch t t , a n b an b Th in er nd d s y d e N eo i g t o Ty te va to trac tem ome ncr dow ran po s T n L str ki p tim eas nw g r ow e e et ng o b e ing ar ap a u ch a y s ds hy r d w e nd m co t ,2 sa n im s o lo 01 Se and e.” pat d- ur 5, m E ia Pa iot m l g ic i l
Angela Gardner and Kerry Kilner Report From an Border: Text and Typography in Australian Artist’s Books, 2016, Page 29
Type Tips
20 16 ,
“Pitch, for instance can be transcribed by upwards and downwards motion, loudness by increasing size, weight, and sometimes colour or contrast, and tempo by modifying letter tracking and spatial stretching to stretch time.”
“The brain works differently when decoding a text than when decoding an image, with multiple areas processing visual information.”
“T tr oo re act m ti ad ing uch w ons er; t an va ith o h d ri ca f a t eref con ety V re yp or fli ca Ty a ler .” ef e, t sin n b p o ie ac yp g e g r J. V e s e to di ap a hy n c ho st th s10 e ul yle e 1, d 19 be v a r 96 us ia,P ed ag
Otilia Armean New Media Typography, 2016, Page 33
“T “i yp g nvi og we roun sibl raph do d, e”, y i O no it r it st s tr N til t n eac ay ad Pa ew ia A ot he s in itio ge M r m ice s i t na 33 e d e a ia n it. ts p he lly Ty ” ur bac po po kgr se ap if hy ,
“Typography is traditionally “invisible”, it stays in the background, it reaches its purpose if we do not notice it.”
For this first project, I experimented with some different layouts along with how to break up the quotes and the credit for them. I liked the idea of having one quote larger and more emphasized with some color to break up the layout a little bit. Type Journal 23
That Type “Typography is traditionally “invisible”, it stays in the background, it reaches its purpose if we do not notice it.” Otilia Armean New Media Typography, 2016, Page 33
“If a document is more readable, it is more likely that the reader will remember the content.” Suzanne Suarez Hurley Advancing the Legal Profession with Typography, 2012, Page 54
“Too much variety can be distracting and conflising to the reader; therefore, type style variations of a typeface should be used with care.”
“The brain works differently when decoding a text than when decoding an image.” Angela Gardner Report From a Border: Text and Typography in Australian Artists Books, 2016, Page 29
“Pitch, for instance can be transcribed by upwards and downwards motion, loudness by increasing size, weight, and sometimes colour or contrast, and tempo by modifying letter tracking and spatial stretching to stretch time.” Theo van Leeuwen Notes Towards a Semiotics of Kinetic Typography, 2015, Page 245
Valerie J. Vance Typography 101, 1996, Page 133
In my final design I chose to keep the quotes in two columns in order to leave space for large margins. I made one quote larger and pink to make the layout less boring and flat.
24 Type Journal
A Dialogue
The Place 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.
The Place
Moyers: So in all of these cultures, whatever the local costume the hero might be wearing, what is the deed? Campbell: Well, there are two types of deed. One is the physical deed, in which the hero performs a courageous act in battle or saves a life. The other kind is the spiritual deed, in which the hero learns to experience the supernormal range of human spiritual life and then comes back with a message.
Moyers: Does your study of mythology lead you to conclude that a single human quest, a standard pattern of human aspiration and thought, constitutes for all mankind something that we have in common, whether we lived a million years ago or will live a thousand years from now? Campbell: There’s a certain type of myth which one might call the vision quest, going in quest of a boon, a vision, which has the same form in every mythology. That is the thing that I tried to present in the first book I wrote, The Hero With a Thousand Faces. All these different mythologies give us the same essential quest. You leave the world that you’re in and go into a depth or into a distance or up to a height. There you come to what was missing in your consciousness in the world you formerly inhabited. Then comes the problem either of staying with that, and letting the world drop off, or returning with that boon and trying to hold on to it as you move back into your social world again.
Moyers: How do I slay that dragon in me? What’s the journey each of us has to make, what you call “the soul’s high adventure”? Campbell: My general formula for my students is
“Follow your bliss.” Find where it is, and don’t be afraid to follow it.
Moyers: Is it my work or my life? Campbell: If the work that you’re doing is the work that you chose to do because you are enjoying it, that’s it. But if you think, “Oh, no! I couldn’t do that!” That’s the dragon locking you in. “No, no, I couldn’t be a writer,” or “No, no, I couldn’t possibly do what Soand-so is doing.”
Moyers: Why are there so many stories of the hero in mythology? Campbell: Because that’s what’s worth writing about. Even in popular novels, the main character is a hero or heroine who has found or done something beyond the normal range of achievement and experience. A hero is someone who has given his or her life to something bigger than oneself.
Moyers: So in all of these cultures, whatever the local costume the hero might be wearing, what is the deed? Campbell: Well, there are two types of deed. One is the physical deed, in which the hero performs a courageous act in battle or saves a life. The other kind is the spiritual deed, in which the hero learns to experience the supernormal range of human spiritual life and then comes back with a message.
Moyers: Does your study of mythology lead you to conclude that a single human quest, a standard pattern of human aspiration and thought, constitutes for all mankind something that we have in common, whether we lived a million years ago or will live a thousand years from now? Campbell: There’s a certain type of myth which one might call the vision quest, going in quest of a boon, a vision, which has the same form in every mythology. That is the thing that I tried to present in the first book I wrote, The Hero With a Thousand Faces. All these different mythologies give us the same essential quest. You leave the world that you’re in and go into a depth or into a distance or up to a height. There you come to what was missing in your consciousness in the world you formerly inhabited. Then comes the problem either of staying with that, and letting the world drop off, or returning with that boon and trying to hold on to it as you move back into your social world again.
Moyers: How do I slay that dragon in me? What’s the journey each of us has to make, what you call “the soul’s high adventure”? Campbell: My general formula for my students is
“Follow your bliss.” Find where it is, and don’t be afraid to follow it.
Moyers: Is it my work or my life? Campbell: If the work that you’re doing is the work that you chose to do because you are enjoying it, that’s it. But if you think, “Oh, no! I couldn’t do that!” That’s the dragon locking you in. “No, no, I couldn’t be a writer,” or “No, no, I couldn’t possibly do what So-andso is doing.”
Type Journal 25
The Place 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? 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: 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? Campbell: If you have someone who can help you, that’s fine, too. But, ultimately, the last deed has to be done by oneself. Psychologically, the dragon is one’s own binding of oneself to one’s ego. We’re captured in our own dragon cage. The problem of the psychiatrist is to disintegrate that dragon, break him up, so that you may expand to a larger field of relationships. The ultimate dragon is within you, it is your ego clamping you down. Moyers: I like what you say about the old myth of Theseus and Ariadne. Theseus says to Ariadne, “I’ll love you forever if you can show me a way to come out of the labyrinth.” So she gives him a ball of string, which he unwinds as he goes into the labyrinth, and then follows to find the way out. You say, “All he had was the string. That’s all you need.” Campbell: That’s all you need—an Ariadne thread. Moyers: Sometimes we look for great wealth to save us, a great power to save us, or great ideas to save us, when all we need is that piece of string. Campbell: That’s not always easy to find. But it’s nice to have someone who can give you a clue. That’s the teacher’s job, to help you find your Ariadne thread. Moyers: Like all heroes,
the Buddha doesn’t show you the truth itself, he shows you the way to truth. Campbell: But it’s got to be your way, not his. The Buddha can’t tell you exactly how to get rid of your particular fears, for example. Different teachers may suggest exercises, but they may not be the ones to work for you. All a teacher can do is suggest. He is like a lighthouse that says, “There are rocks over here, steer clear. There is a channel, however, out there.” Moyers: In all of these journeys of mythology, there’s a place everyone wishes to find. The Buddhists talk of Nirvana, and Jesus talks of peace, of the mansion with many rooms. Is that typical of the hero’s journey—that there’s a place to find? Campbell: The place to find is within yourself. I learned a little about this in athletics. The athlete who is in top form has a quiet place within himself, and it’s around this, somehow, that his action occurs…There’s a center of quietness within, which has to be known and held. If you lose that center, you are in tension and begin to fall apart.
For this project I knew right from the start I would want some kind of visual element to break up the text and make it more interesting. After reading through the dialogue, I decided to use a meditating person because a lot of the text mentions things that reminded me of Buddhism. It talks a lot about finding your inner peace and bliss, so I believed this visual element would suit the dialogue well.
26 Type Journal
Elements of Style Booklet
The Elements of Style
1 Elementary Rules of Usage
1. Form the possessive singular of nouns with ’s. Follow this rule whatever the final consonant. Thus write, Charles’s friend Burns’s poems the witch’s malice This is the usage of the United States Government Printing Office and of the Oxford University Press. Exceptions are the possessives of ancient proper names in -es and -is, the possessive Jesus’, and such forms as for conscience’ sake, for righteousness’ sake. But such forms as Achilles’ heel, Moses’ laws, Isis’ temple are commonly replaced by the heel of Achilles the laws of Moses the temple of Isis The pronominal possessives hers, its, theirs, yours, and oneself have no apostrophe.
1
1 Elementary Rules of Usage
1
Form the possessive singular of nouns with ’s.
Follow this rule whatever the final consonant. Thus write,
{
}
Charles’s friend Burns’s poems the witch’s malice
This is the usage of the United States Government Printing Office and of the Oxford University Press.
The Elements of Style
Exceptions are the possessives of ancient proper names in -es and -is, the possessive Jesus’, and such forms as for conscience’ sake, for righteousness’ sake. But such forms as Achilles’ heel, Moses’ laws, Isis’ temple are commonly replaced by
{
}
the heel of Achilles the laws of Moses the temple of Isis
The pronominal possessives hers, its, theirs, yours, and oneself have no apostrophe.
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4 Elements of Style I
The following books are recommended for reference or further study: in connection with Chapters II and IV, F. Howard Collins, Author and Printer (Henry Frowde); Chicago University Press, Manual of Style; T. L. De Vinne Correct Composition (The Century Company); Horace Hart, Rules for Compositors and Printers (Oxford University Press); George McLane Wood, Extracts from the Style-Book of the Government Printing Office (United States Geological Survey); in connection with Chapters III and V, Sir Arthur Quiller-Couch, The Art of Writing (Putnams), especially the chapter, Interlude on Jargon; George McLane Wood, Suggestions to Authors (United States Geological Survey); John Leslie Hall, English Usage (Scott, Foresman and Co.); James P. Kelly, Workmanship in Words (Little, Brown and Co.). It is an old observation that the best writers sometimes disregard the rules of rhetoric. When they do so, however, the reader will usually find in the sentence some compensating merit, attained at the cost of the violation. Unless he is certain of doing as well, he will probably do best to follow the rules. After he has learned, by their guidance, to write plain English adequate for everyday uses, let him look, for the secrets of style, to the study of the masters of literature.
4 Elements of Style I
Elements of Style I 5
Elementary Rules of Usage
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Elements of Style I 5
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Form the possessive singular of nouns with ’s
Follow this rule whatever the final consonant. Thus write, Charles’s friend Burns’s poems the witch’s malice
This is the usage of the United States Government Printing Office and of the Oxford University Press. Exceptions are the possessives of ancient proper names in -es and -is, the possessive Jesus’, and such forms as for conscience’ sake, for righteousness’ sake. But such forms as Achilles’ heel, Moses’ laws, Isis’ temple are commonly replaced by the heel of Achilles the laws of Moses the temple of Isis
The pronominal possessives hers, its, theirs, yours, and oneself have no apostrophe.
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Elements of Style Section I
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Elements of Style Section I
For this project I was unsure at first how I wanted to break up the examples in the text. Tables looked awkward and the curly braces I used were too distracting, and it was hard to come up with a good solution. I ended up going with just a simple indent because it is sublte, but still makes the examples different enough from the regular body text.
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Type Zine
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Type Matters
Vol 1 March 2017
Type Matters 1
For this project, I had some struggles with deciding how grids and layouts would work. I wanted to make use of a grid without making the magazine too boring, I often used a white transparent rectangle when the article title was on top of an image in order to make it more legible. Since the theme of the magazine had to do with both typography and activism, I chose the color red as an element to tie it all together. Red makes me think of passion, which is how people often feel about activism and controvesrial topics.
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Has there been a project you’ve wanted to do, but thought it might be too risky, or does that not even enter your mind?
Well, I’ve had no problem cutting up the Bible, but have clearly stayed away from certain other religious texts. So there’s that. I’d like to do more public art, but have hesitated due to the legality of it (and none of my projects are going to get a grant or be approved by a committee somewhere). All in all though, most of my projects are limited by resources, not risk. What is the one piece of advice you’d give to a young designer?
What are you working on now?
I’ve always got like eight projects in motion. I’m working on a series of pieces around assassinations (so, JFK, Malcolm X, John Lennon, etc.) and the guns used to kill them. These are all using books about said political figure, and a process which is kind of hard to explain, involves cutting up the books and assembling the image of the gun using the edges of the paper. I’ve also been cutting up books with red/green edges, and sorting that paper into gradations. They’re really quite beautiful. And, I’ve been dropping books around San Francisco, in the hopes people pick them up and read them (and contact me). It’s a novel way to connect people, I think.
Reassess who your heroes are.
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The Women’s March And The Art Of Creative Resistance Shannon Stapleton
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Why the Activist Poster is Here to Stay By Rick Poynor
Michael Thompson
As a supposedly antiquated form of media, the poster is regularly pronounced to be on its last legs as a means of communication and of marginal relevance now. I have written pieces myself saying much the same thing. No one doubts that posters used to be highly effective as both advertising and propaganda, but from the moment people in wealthy economies started buying TVs and watching commercials, the role of the street poster began to decline (the billboards still flourishing like an infestation at the roadside are another matter). The arrival of digital communication and then social media appeared to leave the poster spluttering for life, and when it came to the protest poster, the prognosis looked just as gloomy. If ordinary posters aren’t much needed now, why should posters expressing dissenting views fare any better? Five or six years ago, I would have said the poster advocating a cause was barely viable. 26 Type Matters
Joe Wirtheim
Marlena Buczek
Now I’m not so sure. Digital networks are infusing posters produced to contest an outrage or support a cause with a new lease of life. This kind of message has two places to attract attention now — out in the world and online — and the poster-making urge is benefiting from the same viral meme effect seen across our entire hyper-connected culture. Anything that happens is immediately captured on camera and uploaded, and the effect of showing these images so widely and easily is to inspire viewers who like what they see to do more of the same. Participation acts like an injectable hormone spurring yet more growth. Since the global Occupy protests, there seem to be more posters, or poster-like messages, used in demonstrations than ever. Protest posters have never been an exclusively or even primarily professional design activity. Anyone with an urgent point to make and a measure of artistic knowhow could get
out the scissors and take up a brush. This is even more the case today with the graphic placards often described as “protest signs” rather than posters. After protests, it has become common to see online news media running visual stories with titles such as “The 50 most enjoyably effective protest signs at Occupy protests.” Websites offer school children advice on “How to make a protest sign for a school project” and put across their legitimate point of view. Radical poster-making almost seems to be becoming a badge of good citizenship. These DIY protest signs might be amateur (though that doesn’t stop them working as communication) but they remind us that posters remain a succinct, popular and powerfully immediate form of public speech. If someone feels strongly about an issue, it’s natural to try to express support or condemnation as persuasively as possible, and in public
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Critique Notes
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Project 1
Interim critique
use hanging quotes needs to be more fun- make it so that people want to read it type tips is misleading italicize titles caution against use of a different color in the quotes-it might draw attention to it in a bad way too much body text on a diagonal-maybe only a little bit. Don’t just do it for the sake of making it less boring
Critique and recap
Gill Sans Ultra Bold is BAD Don’t have hyphens in a large, emphasized quote Larger side margins are good Keep the title together so that it is clear what the title is Keep the author and info the same size for all, even for big quotes
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Project 2
Interim critique
Type needs to be smaller Text too blocky in comparison to figure Maybe try textwrapping? Make the title bigger and bolder
Things to consider
Fix issues with the text: leading, take it down to 10pt, put it all in the circle Give the figure a texture: maybe lotus petals? The title is boring, don’t just place it in the center Either make it pop more or maybe shorten it Shorter title with “the place within yourself ” as a subtitle?”
Critique
Hard to read The staggered text makes it harder to read People weren’t sure if they should read across or down Maybe try a portrait layout with the figure on the side so the text all starts along one edge The circle makes the text awkward and confines the title The title should all be one size
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Project 3
Interim critique
Only use one color on the cover Don’t use tables, they look back and awkward Text size is good Margins are a litte tight
Critique for version 1
The curly braces are a little distracting Folios could be smaller The color for the cover did not print correctly!
Final Critique
Styles are consistent except for a page break Leading is off in rule 4
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Project 4
Interim critique
Make sure you have high quality images Think about breaking the grid with images Use elements to tie everything together
Final Critique
No indent on first paragraph Missed some widows Leading is a little tight overall Add something to the back cover to connect it to the front cover
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Design by Kayleigh Rago Typefaces used: Avenir LT Std and Adobe Caslon Pro March 2017 38 Type Journal