Typography II Journal by kellichollar

Just my

type

Hello. This is kelli chollarâ&#x20AC;&#x2122;s journal from typography II. Have a good time.

so glad you could join us

a little bit of navigation

This class has refined my typography skills quite extensively, given me new confidence to explore new typographic ventures, and prepared me for future encounters with typography. Through the lectures, exercises, critiques, projects, and readings in this class, I certainly feel more confident moving forward in typography; this journal is a collection of all that I've learned and done in the class that I hope to refer back to in the future when I need to remember just the right keyboard shortcut or some other piece of information.

LECTURE NOTES Typographic refinement Type composition Choosing typefaces Typesetting in InDesign Typography on screen

6 8 10 11 12 14

PROCESS & CRITIQUE Legibility exercise Rules of Typography A Dialogue Elements of Style Type Zine

16 18 20 24 28 34

READING NOTES 38 Butterick's Practical Typography 40–48 Typotheque 49–58 AIGA Eye on Design 54, 57, 59 Colophon 60 Back cover 60

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TYPOGRAPHY JOURNAL • 5

Lecture notes

LECTURE NOTES

TYPOGRAPHIC REFINEMENT the details Point size comes from handset metal type “Point size” includes the letter + the space below “Face” refers printing surface Set width is the width of the actual letter Things to consider when picking a point size: Proportions and weight of the face How long is the text? What is the format for viewing? Who is reading the text? What is the context of the text?

1 inch 6 picas 1 pica 12 points

body text for print [ 9–12pt + ]

body text for screen [ 14pt + ]

A hard working typeface should… Have a variety of weights, including regular and italic Include very legible numerals Be narrow enough to fit large amounts of copy into space Tips for making type look better Kern type, especially at display sizes Customize the leading: 120-145% of point size Line length should be 45–90 characters or 8–13 words All caps generally need more letterspacing and tracking Avoid fake small caps; only use actual small caps fonts Know your dashes Hyphenation: at least 6, after/before last 3, limit 2 Use smart quotation marks Adjust rags for an even back-and-forth Avoid widows and orphans

8 • TYPOGRAPHY JOURNAL

HYPHEN: joins two words together EN DASH: used to indicate duration EM DASH: expresses a break in the

flow of a sentence

SMART QUOTES: indicate dialogue

DUMB QUOTES: indicate measurement

TYPOGRAPHY JOURNAL • 9

LECTURE NOTES

TYPE COMPOSITION

CHOOSING TYPEFACES

what to do

things to consider

Turn on smart quotes in InDesign:

Consider: content, audience, context

Preferences ( cmd + k ) › type › check ‘use typographer’s quotes’ Find and replace: ( cmd + f ) Nonbreaking space: ( opt + shift + space ) Ampersand: use when part of a proper name, otherwise sparingly especially in formal writing (also: Art and Design, not Art & Design) Ellipsis … ( opt + ; ) not ... or . . . ; at the end of a sentence add a period at the end …. Apostrophe: always closed mark ’ (points down) (except Hawai‘ian in which Okina points up) Accents: always use in proper names, and in foreign words unless they’ve become american

10 • TYPOGRAPHY JOURNAL

Technical factors to consider: Does it contain a full character set? Does it include multiple weights and styles? Does it have small caps, lining and old style characters? What format is it in? does it have a web font version? Buying a font means purchasing the license Managing fonts: Options: Font Book, FontExplorer X Pro, Suitcase Fusion 6 In general, you want a minimum number of fonts installed Use font sets to keep fonts organized and categorized Where to buy fonts: Google Fonts: free, web + print use League of Moveable Type: free, open source, well designed Font Squirrel: free for commerical use Fontspring: groups fonts by license types House Industries: unique and retro fonts My Fonts: wide range of font types + good newsletter Fonts.com: tons of fonts + good blog

TYPOGRAPHY JOURNAL • 11

LECTURE NOTES

TYPESETTING IN INDESIGN tools and techniques Paragraph styles: affect paragraph level attributes General settings: overview of style settings Basic character formats: font, style, size, leading, etc. Advanced character formats: only use baseline shift Indents and spacing: alignment, space before/after Tabs: shows all tabs and leaders Paragraph rules: shows rules above or below the text Keep options: keep lines together in paragraph Hyphenation: adjust word hyphenation settings Span columns: create columns within one text frame GREP style: use code to edit text via styles Underline options: adjust underline settings Strikethrough options: adjust strikethrough settings Export tagging: turns styles into css

12 â&#x20AC;˘ TYPOGRAPHY JOURNAL

Character styles: styling text within a paragraph General settings: overview of style settings Basic character formats: font, font style, size, kerning, etc. Advanced character formats: only use baseline shift Character color: color of text, % of tint, stroke alignment Opentype; underline; strikethrough; export tagging Table styles: styling multiple tables within a document Table setup: border of table and spacing around table Row strokes: horizontal dividing lines in table Column strokes: vertical dividing lines of table Fills: color/s of fields within table Cell styles: styling individual cells of table Text: alignment and text insets Strokes and fills: stroke fill color of the cell Object styles: work the same way

TYPOGRAPHY JOURNAL â&#x20AC;˘ 13

LECTURE NOTES

TYPOGRAPHY ON SCREEN what to look for in a typeface Typeface contrast High thick-thin contrast impacts legibility Higher contrast is good in small amounts or as headlines X-height High x-height is ideal for on screen Mrs. Eaves vs. Officina Serif; Futura vs. Core Rhino Remember proportions: don’t want too high of an x-height Character distinction Differentiating between similar-looking characters Special characters Types of numbers, punctuation, and special characters Small caps & ligatures Use the real stuff

Finding alternatives Classic typefaces overused start to look generic Helvetica vs. Museo Sans; Georgia vs. Droid Serif Strategies for pairing typefaces Look for distinction: avoid pairings that are too similar Pair display and text faces: contrast weight, x-height, etc. Look for harmony: similar visual relationships in structure Use a family: some typefaces have sans + serif version Build outward: lock in one typeface and build upon it Evaluate typefaces critically Learn to trust your instincts Experimentation is key Look and see

Optical sizes Face with individual designs for different types of content

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TYPOGRAPHY JOURNAL • 15

Process & Critique

PROCESS & CRITIQUE

LEGIBILITY & READABILITY exercise • critique Critique of final version Text box mis-positioned on page Top align titles Improve rag so it's not diagonal/curved Right align name and make smaller What I learned: Do test prints to ensure everything will print as expected Small point size + minimal leading = illegible Sans faces are easier to read at any size Following specific directions can be tricky

PROCESS & CRITIQUE

Serif Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. MUSEO, 9/13

Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some 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. MUSEO, 9/12

Sans Serif Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. AVENIR, 9/13

Kelli Chollar

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TYPOGRAPHY JOURNAL • 19

PROCESS & CRITIQUE

TYPESETTING: RULES OF TYPOGRAPHY project 1 • process work

typography tips + tricks to the art of type

“the best way to bring personality and performance to websites and products is through great design and technology … you can share and integrate typography into any design project seamlessly–no matter where you are in the world.” yuin chien and zachary gibson / communication arts typography annual / pg 135 / 2017

“the parts of a typographic hierarchy can be signaled with one or more cues: line break, type style, type size, rules, and so on.”

typography tips + tricks to the art of type

“The best way to bring personality and performance to websites and products is through great design and technology … you can share and integrate typography into any design project seamlessly–no matter where you are in the world.”

Yuin Chien and Zachary Gibson /

“The parts of a typographic hierarchy can be signaled with one or more cues: line break, type style, type size, rules, and so on.”

Ellen Lupton and Jennifer Cole Phillips

ellen lupton and jennifer cole phillips / graphic design the new basics / pg 132 / 2015

“when elements are not arranged in a row/column format, consider highlighting the alignment paths. use left- or right-justified text to create the best alignment cues, and consider justified text for complex compositions.” william lidwel, kritina holden, and jill butler / universal principles of design / pg 24 / 2003

“typography embodies written language in a concrete form. a typeface communicates through its strokes, proportions, and visual weight … these graphic characters carry their own physical presence.” ellen lupton / type on screen: a guide for designers, developers, writers, and students / pg 8 / 2014

“typefaces can also be manipulated in more expressive or painterly ways in order to convey an emotion or evoke feeling. such manipulation can add a range of new visual rhythms.” phil baines and andrew haslam / type & typography / pg 126 / 2005

oh, for the love of

TYPOGRAPHY

Communication Arts Typography Annual / pg 135 / 2017

/ Graphic Design The New Basics / pg 132 / 2015

“When elements are not arranged in a row/column format, consider highlighting the alignment paths. Use left- or rightjustified text to create the best alignment cues, and consider justified text for complex compositions.”

William Lidwel, Kritina Holden, and Jill

“Typography embodies written language in a concrete form. A typeface communicates through its strokes, proportions, and visual weight … these graphic characters carry their own physical presence.”

Ellen Lupton / Type on Screen: A Guide

“Typefaces can also be manipulated in more expressive or painterly ways in order to convey an emotion or evoke feeling. Such manipulation can add a range of new visual rhythms.”

Phil Baines and Andrew Haslam / Type

Butler / Universal Principles of Design / pg 24 / 2003

for Designers, Developers, Writers, and Students / pg 8 / 2014

& Typography / pg 126 / 2005

“The parts of a typographic hierarchy can be signaled with one or more cues: line break, type style, type size, rules, and so on.” ELLEN LUPTON & JENNIFER COLE PHILLIPS / GRAPHIC DESIGN THE NEW B A S I C S / P G 132 / 2015

“The best way to bring personality and performance to websites and products is through great design and technology … You can share and integrate typography into any design project seamlessly–no matter where you are in the world.” Y U I N C H I E N & Z AC H A RY G I B S O N / C O M M U N I C AT I O N A RT S T Y P O G R A P H Y A N N U A L / P G 135 / 2017

oh, for the love of

“the parts of a typographic hierarchy can be signaled with one or more cues: line break, type style, type size, rules, and so on.”

TYPOGRAPHY

ELLEN LUPTON AND JENNIFER COLE PHILLIPS / G R A P H I C D E S I G N T H E N E W B A S I C S / P G 132 / 2015

“the best way to bring personality and performance to websites and products is through great design and technology … you can share and integrate typography into any design project seamlessly–no matter where you are in the world.” Y U I N C H I E N A N D Z AC H A RY G I B S O N / C O M M U N I C AT I O N

“when elements are not arranged in a row or column format, consider highlighting the alignment paths. use leftor right-justified text to create the best alignment cues, and consider justified text for complex compositions.”

D E S I G N / P G 24 / 2003

W I L L I A M L I D W E L, K R I T I N A H O L D E N, A N D J I L L B U T L E R / U N I V E R S A L P R I N C I P L E S O F D E S I G N / P G 24 / 2003

T H E N E W B A S I C S / P G 132 / 2015

“typography embodies written language in a concrete form. a typeface communicates through its strokes, proportions, & visual weight … these graphic characters carry their own physical presence.” E L L E N L U P T O N / T Y P E O N S C R E E N: A G U I D E

“typefaces can also be manipulated in more expressive or painterly ways in order to convey an emotion or evoke feeling. such manipulation can add a range of new visual rhythms.”

ELLEN LUPTON & JENNIFER COLE PHILLIPS / GRAPHIC DESIGN

A RT S T Y P O G R A P H Y A N N U A L / P G 135 / 2017

W I L L I A M L I D W E L, K R I T I N A H O L D E N , A N D JILL BUTLER / UNIVERSAL PRINCIPLES OF

“The parts of a typographic hierarchy can be signaled with one or more cues: line break, type style, type size, rules, and so on.”

F O R D E S I G N E R S, D E V E L O P E R S, W R I T E R S, &

“When elements are not arranged in a row or column format, consider highlighting the alignment paths. Use left- or right-justified text to create the best alignment cues, and consider justified text for complex compositions.” W I L L I A M L I D W E L , K R I T I N A H O L D E N, A N D J I L L B U T L E R / U N I V E R S A L

“Typography embodies written language in a concrete form. A typeface communicates through its strokes, proportions, and visual weight … These graphic characters carry their own physical presence.” E L L E N L U P T O N / T Y P E O N S C R E E N: A G U I D E F O R D E S I G N E R S , D E V E L O P E R S, W R I T E R S , A N D S T U D E N T S / P G 8 / 2014

P R I N C I P L E S O F D E S I G N / P G 24 / 2003

S T U D E N T S / P G 8 / 2014

PHIL BAINES AND ANDREW HASLAM /

E L L E N L U P T O N / T Y P E O N S C R E E N: A G U I D E F O R D E S I G N E R S ,

T Y P E & T Y P O G R A P H Y / P G 126 / 2005

D E V E L O P E R S , W R I T E R S , A N D S T U D E N T S / P G 8 / 2014

oh, for the love of

TYPOGRAPHY

20 • TYPOGRAPHY JOURNAL

“Typefaces can also be manipulated in more expressive or painterly ways in order to convey an emotion or evoke feeling. Such manipulation can add a range of new visual rhythms.”

“Typefaces can also be manipulated in more expressive or painterly ways in order to convey an emotion or evoke feeling. Such manipulation can add a range of new visual rhythms.” PHIL BAINES AND ANDREW HASLAM / TYPE AND TYPOGRAPHY / P G 126 / 2005

PHIL BAINES AND ANDREW HASLAM / TYPE AND TYPOGRAPHY / P G 126 / 2005

TYPOGRAPHY JOURNAL • 21

PROCESS & CRITIQUE

TYPESETTING: RULES OF TYPOGRAPHY project 1 • final work + critique Critique of first version (on previous page) Too bland in colors + layout Contrast problems with colors Not dynamic enough

oh, for the love of

TYPOGRAPHY

Feedback on second version Improvement over first design Emphasized phrases well selected and well placed Good distinction among types of content via faces and styles Try to adjust rag on last quote to avoid funky break What I learned: Don't be afraid to experiment!

“The parts of a

typographic hierarchy can be signaled with one or more cues: line break, type style, type size, rules, & so on.” ELLEN LUPTON & JENNIFER COLE PHILLIPS / G R A P H I C D E S I G N T H E N E W B A S I C S / P G 132 / 2015

“Typography

embodies written language in a concrete form. A typeface communicates through its strokes, proportions, and visual weight … These graphic characters carry their own physical presence.” E L L E N L U P T O N / T Y P E O N S C R E E N: A G U I D E F O R D E S I G N E R S, D E V E L O P E R S, W R I T E R S, A N D S T U D E N T S / P G 8 / 2014

“The best way to bring

personality & performance to websites and products is through great design and technology.” R O B G I A M P I E T R O / C O M M U N I C AT I O N A RT S: T Y P O G R A P H Y A N N U A L / P G 135 / 2017

“When elements are not arranged in a row or column format, consider highlighting the alignment paths. Use left- or right-justified text to

create the best alignment cues, and consider justified text for complex compositions.”

“Typefaces can also be manipulated in more

expressive or painterly ways in order to convey an emotion or evoke feeling. Such manipulation can add a range of new visual rhythms.”

W I L L I A M L I D W E L, K R I T I N A H O L D E N, A N D J I L L BUTLER / UNIVERSAL PRINCIPLES OF DESIGN / P G 24 / 2003

PHIL BAINES & ANDREW HASLAM / TYPE AND T Y P O G R A P H Y / P G 126 / 2005

22 • TYPOGRAPHY JOURNAL

TYPOGRAPHY JOURNAL • 23

PROCESS & CRITIQUE

A DIALOGUE project 2 • process work M

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?

, The Soul s High Adventure Mythologist Joseph Campbell’s thoughts on heroes, adventures, and slaying the dragon within Interview by Bill Moyers

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

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

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?

That’s all you need—an Ariadne thread.

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.”

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”.

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.

“But if you think, 'Oh, , , no! I couldn t do that! , that s the dragon

locking you in.”

, The Soul s High Adventure 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.

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

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

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.

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

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.”

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.

Is it my work or my life?

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

24 • TYPOGRAPHY JOURNAL

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.

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

, The Soul s High Adventure

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.

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.”

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.

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

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

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.

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.

Mythologist Joseph Campbell’s thoughts on heroes, adventures, and slaying the dragon within Interview by Bill Moyers

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.

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

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

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”?

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.

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

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

Is it my work or my life?

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

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.

“But if you think, 'Oh, , , no! I couldn t do that! , that s the dragon locking you in.”

TYPOGRAPHY JOURNAL • 25

PROCESS & CRITIQUE

A DIALOGUE project 2 • final work + critique In-class critique of final version Type instead of illustration brings interest Texture + light color lends different tone Need more contrast in lettering Incorporate red-pink in lettering

26 • TYPOGRAPHY JOURNAL

How do I slay that dragon in me? What’s the jour-

ney each of us has to make, what you call “the soul’s high adventure”? C C

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

But it’s got to be your way, not his. The Buddha can’t tell you exactly how to get rid of your par-

Is it my work or my life?

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

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

What I learned: Unusual illustrations are captivating Headline needs visual weight on page Find ways to section text with variation Work on the little things

hero in mythology?

Feedback on final version Nice handlettering 3 columns of text is static/conservative Layout needs more contrast Subtitle could be broken into lines Less gutter space between columns

Why are there so many stories of the

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

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.

ticular 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

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.

TYPOGRAPHY JOURNAL • 27

PROCESS & CRITIQUE

ELEMENTS OF STYLE BOOKLET project 3 • process work, part 1

AS A RULE,

Section II: Elementary Principles of Composition // 9

BEGIN EACH PARAGRAPH WITH A TOPIC SENTENCE; END IT IN CONFORMITY WITH THE BEGINNING.

Again, the object is to aid the reader. The practice here recommended enables him to discover the purpose of each paragraph as he begins to read it, and to retain the purpose in mind as he ends it. For this reason, the most generally useful kind of paragraph, particularly in exposition and argument, is that in which A. the topic sentence comes at or near the beginning; B. the succeeding sentences explain or establish or develop the statement made in the topic sentence; and C. the final sentence either emphasizes the thought of the topic sentence or states some important consequence. Ending with a digression, or with an unimportant detail, is particularly to be avoided. If the paragraph forms part of a larger composition, its relation to what precedes, or its function as a part of the whole, may need to be expressed. This can sometimes be done by a mere word or phrase (again; therefore; for the same reason) in the topic sentence. Sometimes, however, it is expedient to precede the topic sentence by one or more sentences of introduction or transition. If more than one such sentence is required, it is generally better to set apart the transitional sentences as a separate paragraph.

10 // The Elements of Style According to the writer’s purpose, he may, as indicated above, relate the body of the paragraph to the topic sentence in one or more of several different ways. He may make the meaning of the topic sentence clearer by restating it in other forms, by defining its terms, by denying the converse, by giving illustrations or specific instances; he may establish it by proofs; or he may develop it by showing its implications and consequences. In a long paragraph, he may carry out several of these processes.

Now, to be properly enjoyed, a walking tour should be gone upon alone.

Topic sentence.

If you go in a company, or even in pairs, it is no longer a walking tour in anything but name; it is something else and more in the nature of a picnic.

The meaning made clearer by denial of the contrary.

A walking tour should be gone upon alone, because freedom is of the essence; because you should be able to stop and go on, and follow this way or that, as the freak takes you; and because you must have your own pace, and neither trot alongside a champion walker, nor mice in time with a girl.

The topic sentence repeated, in abridged form, and supported by three reasons; the meaning of the third (“you must have your own pace”) made clearer by denying the converse.

And you must be open to all impressions and let your thoughts take colour from what you see.

A fourth reason, stated in two forms.

Section II: Elementary Principles of Composition // 11

You should be as a pipe for any wind to play upon.

The same reason, stated in still another form.

“I cannot see the wit,” says Hazlitt, “of walking and talking at the same time.

The same reason as stated by Hazlitt.

When I am in the country, I wish to vegetate like the country,” which is the gist of all that can be said upon the matter.

The same reason as stated by Hazlitt.

There should be no cackle of voices at your elbow, to jar on the meditative silence of the morning.

Repetition, in paraphrase, of the quotation from Hazlitt.

And so long as man is reasoning he cannot surrender himself to that fine intoxication that comes of much motion in the open air, that begins in a sort of dazzle and sluggishness of the brain, and ends in a peace that passes comprehension.

Final statement of the fourth reason, in language amplified and heightened to form a strong conclusion.

TOGETHER.

Section II: Elementary Principles of Composition // 27

The objection is that the interposed phrase or clause needlessly interrupts the natural order of the main clause. This objection, however, does not usually hold when the order is interrupted only by a relative clause or by an expression in apposition. Nor does it hold in periodic sentences in which the interruption is a deliberately used means of creating suspense (see examples under Rule 18). The relative pronoun should come, as a rule, immediately after its antecedent.

The position of the words in a sentence is the principal means of showing their relationship. The writer must therefore, so far as possible, bring together the words, and groups of words, that are related in thought, and keep apart those which are not so related. The subject of a sentence and the principal verb should not, as a rule, be separated by a phrase or clause that can be transferred to the beginning.

Wordsworth, in the fifth book of The Excursion, gives a minute description of this church.

In the fifth book of The Excursion, Wordsworth gives a minute description of this church.

Cast iron, when treated in a Bessemer converter, is changed into steel.

By treatment in a Bessemer converter, cast iron is changed into steel.

There was a look in his eye that boded mischief.

In his eye was a look that boded mischief.

He wrote three articles about his adventures in Spain, which were published in Harper’s Magazine.

He published in Harper’s Magazine three articles about his adventures in Spain.

This is a portrait of Benjamin Harrison, grandson of William Henry Harrison, who became President in 1889.

This is a portrait of Benjamin Harrison, grandson of William Henry Harrison. He became President in 1889.

The history of morals, of industry, of intellect, and of art; the changes that take place in manners or beliefs; the dominant ideas that prevailed in successive periods; the rise, fall, and modification of political constitutions; in a word, all the conditions of national well-being became the subjects of their works.

The definition expanded.

They sought rather to write a history of peoples than a history of kings.

The definition explained by contrast.

They looked especially in history for the chain of causes and effects.

The definition supplemented: another element in the new conception of history. Conclusion: an important consequence of the new conception of history.

They undertook to study in the past the physiology of nations, and hoped by applying the experimental method on a large scale to deduce some lessons of real value about the conditions on which the welfare of society mainly depended.

—Stevenson, Walking Tours.

KEEP RELATED WORDS

explain or illustrate the successive phases of national growth, prosperity, and adversity.

It was chiefly in the eighteenth century that a very different conception of history grew up.

Topic sentence.

Historians then came to believe that their task was not so much to paint a picture as to solve a problem; to

The meaning of the topic sentence made clearer; the new conception of history defined.

—Lecky, The Political Value of History.

If the antecedent consists of a group of words, the relative comes at the end of the group, unless this would cause ambiguity.

The Superintendent of the Chicago Division, who

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TYPOGRAPHY JOURNAL • 29

PROCESS & CRITIQUE

ELEMENTS OF STYLE BOOKLET project 3 • final work + critique, part 1 Critique of final version (on this spread)

Typography could be used better Good craftsmanship What I learned: Getting going is the hardest part Span columns take getting used to Styles are the only way to do anything

II.

SECTION TWO

ELEMENTARY PRINCIPLES OF COMPOSITION

MAKE THE PARAGRAPH THE UNIT OF COMPOSITION:

ONE PARAGRAPH TO EACH TOPIC.

If the subject on which you are writing is of slight extent, or if you intend to treat it very briefly, there may be no need of subdividing it into topics. Thus a brief description, a brief summary of a literary work, a brief account of a single incident, a narrative merely outlining an action, the setting forth of a single idea, any one of these is best written in a single paragraph. After the paragraph has been written, it should be examined to see whether subdivision will not improve it. Ordinarily, however, a subject requires subdivision into topics, each of which should be made the subject of a paragraph. The object of treating each topic in a paragraph by itself is, of course, to aid the reader. The beginning of each paragraph is a signal to him that a new step in the development of the subject has been reached. The extent of subdivision will vary with the length of the composi-

tion. For example, a short notice of a book or poem might consist of a single paragraph. One slightly longer might consist of two

OMIT

Section II: Elementary Principles of Composition // 21

NEEDLESS WORDS.

Vigorous writing is concise. A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts. This requires not that the writer make all his sentences short, or that he avoid all detail and treat his subjects only in outline, but that every word tell. Many expressions in common use violate this principle: the question as to whether

whether (the question whether)

there is no doubt but that

no doubt (doubtless)

used for fuel purposes

he is a man who

in a hasty manner

hastily

this is a subject which

this subject

His story is a strange one.

His story is strange.

In especial the expression the fact that should be revised out of every sentence in which it occurs. owing to the fact that

since (because)

in spite of the fact that

though (although)

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paragraphs: A. Account of the work. B. Critical discussion.

call your attention to the fact that

remind you (notify you)

I was unaware of the fact that

I was unaware that (did not know)

the fact that he had not succeeded

his failure

the fact that I had arrived

my arrival

See also under case, character, nature, system in Chapter V. Who is, which was, and the like are often superfluous. His brother, who is a member of the same firm

His brother, a member of the same firm

Trafalgar, which was Nelson’s last battle

Trafalgar, Nelson’s last battle

As positive statement is more concise than negative, and the active voice more concise than the passive, many of the examples given under Rules 11 and 12 illustrate this rule as well. A common violation of conciseness is the presentation of a single complex idea, step by step, in a series of sentences which might to advantage be combined into one.

TYPOGRAPHY JOURNAL • 31

PROCESS & CRITIQUE

ELEMENTS OF STYLE BOOKLET project 3 • final work + critique, part 2 Critique of final version Booklet is well designed Type doesn't match style guide or other books Need to indicate book titles when text is italics What I learned: Compromising on style and output is hard Mutual style guides and sharing files is great Good group mates make the project bearable

14 || The Elements of Style

Use the active voice. The active voice is usually more direct and vigorous than the passive: I shall always remember my first visit to Boston. This is much better than My first visit to Boston will always be remembered by me. The latter sentence is less direct, less bold, and less concise. If the writer tries to make it more concise by omitting “by me,” My first visit to Boston will always be remembered, it becomes indefinite: is it the writer, or some person undisclosed, or the world at large, that will always remember this visit? This rule does not, of course, mean that the writer should entirely discard the passive voice, which is frequently convenient and sometimes necessary. The dramatists of the Restoration are little esteemed today. Modern readers have little esteem for the dramatists of the Restoration. The first would be the right form in a paragraph on the dramatists of the Restoration; the second, in a paragraph on the tastes of modern readers. The need of making a particular word the subject of the sentence will often, as in these examples, determine which voice is to be used.

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Section 2 || 15

The habitual use of the active voice, however, makes for forcible writing. This is true not only in narrative principally concerned with action, but in writing of any kind. Many a tame sentence of description or exposition can be made lively and emphatic by substituting a transitive in the active voice for some such perfunctory expression as there is, or could be heard. There were a great number of dead leaves lying on the ground.

Dead leaves covered the ground.

The sound of the falls could still be heard.

The sound of the falls still reached our ears.

The reason that he left college was that his health became impaired.

Failing health compelled him to leave college.

It was not long before he was very sorry that he had said what he had.

He soon repented his words.

As a rule, avoid making one passive depend directly upon another. Gold was not allowed to be exported.

It was forbidden to export gold (The export of gold was prohibited).

He has been proved to have been seen entering the building.

It has been proved that he was seen to enter the building.

In both the examples above, before correction, the word properly related to the second passive is made the subject of the first.

TYPOGRAPHY JOURNAL • 33

PROCESS & CRITIQUE

TYPE ZINE project 4 • process work

THE DRAW OF WAR:

Disney supplied art to dozens of organizations promoting various home front activities, from salvage and scrap campaigns to blood donor drives. This promotional booklet, published for the Los Angeles War Chest in 1943 and distributed to school children, tells the story of Chesty, his two helpers Polly and Paul, and their helicopter friend Coptie. The comic-strip-style story chronicles the group’s travels–dropping supplies gathered by the war chest to children and guerrilla fighters around the world, and delivering money to a boy’s home and a hospital. The story concludes with Polly and Paul returning to school, where they encourage other children to help the war chest with their charitable work.

WALT DISNEY AND WORLD WAR TWO

While Americans struggled to cope with food shortages and rationing, the citizens of the isolated island nation of Britain suffered even more. In late 1941, Walt Disney had artist Hank Porter design a family of carrots for England’s food minister. The January 11, 1942, New York Times Magazine announced, “England has a goodly store of carrots. But carrots are not the staple items of the average English diet. The problem…is to sell carrots to (the) country.” The front of this flyer features an illustration of Carroty George, and the reverse, six different carrot recipes. The entire family of Disney-designed carrots included Dr. Carrot, Pop Carrot, and Clara Carrot. They were reproduced on a poster, in a recipe booklet, and in an extensive newspaper ad campaign.

intro from BBC Radio 4 image descriptions by David Lesjak

In December 1941, Time magazine was about to print its end of year issue, its front cover carrying a big picture of Dumbo - that loveable elephant with the gigantic ears who had helped The Walt Disney Studio achieve soaring box office figures that year. But on 7 December, Japanese aircraft attacked Pearl Harbour, abruptly bringing America into World War Two – and ousting Walt’s latest creation from the front page. Yet, if the war led to a dip in Disney’s fortunes, it was only a temporary one. Within just six months, The Walt Disney Studio in Burbank, California, was declared a war plant. Its filmmaking capacity was given over to the Allied effort and its well-loved cartoon characters all enlisted to do their bit for their country - from Donald Duck and images by various Pluto to Mickey Mouse, Snow White and beyond. artists. all images courtesy of David

Through a mix of groundbreaking military training Lesjak. films, features and propaganda shorts, as well as insignia, books, posters, and much more, Disney sought to boost troops’ morale on the frontline and promote government policies on the home front. Disney artists created a wealth of war-related

Over the course of the war, Disney artists designed more than 1,200 combat insignia for all branches of the US military and for its allies. Besides the famed Flying Tigers insignia, one of the most celebrated designs was made for England’s Royal Air Force. Prior to Pearl Harbor, many American pilots joined England’s Royal Air Force as members of Eagle Squadrons 71, 121, and 133. An entry in a Hearst newspaper insignia stamp album stated, “Walt Disney artists were quick to chronicle the significance of this combat union with an American Eagle ‘on guard.’ Fiercely he advances to contest the fouling tactics of a barbarous and un-sportsmanlike adversary, as he moves into the attack with his English ‘comradeat-arms.’” GD

material for many other federal, state, and local government departments and agencies besides Treasury. This illustration was designed for the War Manpower Commission in 1943, to try and convince employees to stay at the jobs they were trained to do and help ease the critical manpower shortage caused by men being drafted into the military. It appeared in several magazines and was issued as a poster.

HISTORY’S MOST POWERFUL PROTEST ART

Madeleine Morley, November 18, 2016

THIS YOUNG BERLIN DESIGNER WALKS THE LINE, STEERING CLEAR OF TWEE. Art director and graphic designer Marius Jopen’s work first came to me in the form of a quote from H. G. Wells, written in an off-kilter, cursive style with thick black Sharpie. It was hung on the door of my co-working studio, where he was set up for a brief stint. “More than machinery, we need humanity, more than cleverness, we need kindness and gentleness,” it read. This hand-written style is a signature of his, appearing across the board on identities and posters that he penned throughout his time working for Mirko Borsche and Stefan Sagmeister. It continues to be a staple, featuring throughout the continual scroll of the young designer’s website and on his work for cultural clients in Berlin and Amsterdam. Having worked for two of Germany’s most in-demand designers and having recently garnered attention as a finalist for the Dutch Design Awards’ young designer category, starting his own studio is the logical next step for the 2014 Rietveld Academy graduate.

6 // GOOD DESIGN

by Belinda Lanks

THE IMAGES THAT COALESCED MOVEMENTS AND COMPELLED CHANGE. GET INSPIRED.

PUNK YET PEACEFUL POSITIVITY— THE SECRET TO ETHICAL DESIGN?

top: Devin Allen in front of a photo he took in the aftermath of Freddie Gray’s death left top: Clenched Fists, various artists

L–R, T–B: The Religious Times, The Killer Times, The Headshot Times, The Equal Times; all art by Marius Jopen

I’m not one for inspirational design quotes by any means, but this wasn’t what his Welles poster was; the scruffiness of Jopen’s style makes it seem punk, not twee. It has the same effect on client work. For a recent campaign and identity system for the Rotterdam museum Het Nieuwe Institute’s The Body exhibition, Jopen, in collaboration with Berlin-based designer Max Kuwertz, created a system in which clean grids collide with scrawled felt-tip pen.

While studying in Amsterdam, Jopen began a project akin to the Daily Drop Cap or poster-a-day craze that has become an almost compulsory exercise for students. For almost two years he created a poster reflecting on the news headlines, printing out a grid he’d put together on InDesign and scrawling across it in felt-tip pen, collaging and illustrating to articulate complex issues with striking simplicity.

Eventually he found the routine frustrating, feeling as if he was participating in a merrygo-round of negative news. Perhaps as an antidote to submerging himself in daily disasters, around the same time Jopen co-founded The Love Foundation. The open network of students and artists raises money by putting on music nights, using the profits to provide clean drinking water for people in the Busia region of Kenya. Instead of invoking

guilt through distressing imagery, Jopen—in line with the sweeping positive news movement—believes design with an optimistic message creates a conducive atmosphere for social causes. In order to connect all members of the foundation together (which now has branches in Amsterdam, Berlin, Dresden, Perth, and Santa Cruz, California), he designed a “Love Logo” of two interlocking rings that have become the only recurring motif for the posters promoting events. This is what Jopen’s work does— it elevates—but its aesthetic is wild, quick, and cut-and-paste enough, so that there’s nothing too sentimental about it. It’s vital to consider the role of ethics for contemporary graphic designers, an area often overlooked, and to highlight who is using their skills for ideological or political purposes. Jopen’s approach—as symbolized in that small act of tacking a Charlie Chaplin quote to a door—is one that communicates heart and heft. GD

GOOD DESIGN // 7

Homemade posters can pack a punch. But well-designed images can deliver powerful messages that resonate for decades, as these examples, chosen by prominent designers, make clear. From a gold-swallowing Hitler and babies killed in Vietnam to the “I AM A MAN” posters used by black sanitation workers in Memphis to protest poor working conditions, these images harken back to disturbing moments in history. But they’re also reminders of the progress that we’ve made, the challenges we still face, the dangers of sliding backward, and the vital importance of staying engaged in the good fight. GD

left bottom: Victory 1945, Shigeo Fukuda, 1975

22 // JUSTICE + HISTORY

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GOOD DESIGN // 23

TYPOGRAPHY JOURNAL • 35

PROCESS & CRITIQUE

TYPE ZINE project 4 • final work + critique In-class critique of final version Good to replace images that didn't work for me Better use of large titles and images More consistent in What I learned: Literally everything about making a zine (It's a lot of work) Collaborating on content is so fun Good sketches at the beginning are key Experimentation and time to do so is also key

HOW DESIGN CAN END CULTURAL APPROPRIATION by Candice Zamora, September 2015

4 // CULTURE

“I’m just not entirely sure a big red arrow pointing right is the best logo for a Democratic candidate, is all.” —The New Yorker

“Obama’s ’O’ was handled with a certain amount of nuance and elegance and Hillary’s ’H’ has none of that, her name is Hillary. We don’t know her as Ms. H”

“With a better interpretation of the “TP” monogram, the concept of taking the American flag to construct a logo where the initials take the place of the stars (while not new) is fitting in this case and, if you were (or happen to be) someone to vote for Trump, this is a fairly rallying logo. “

“Sander’s logo is well balanced, has good colors and almost appears happy on top of its little wave. I’m not a huge fan of the star over the ’i’, but the way they’ve integrated the logo into his website and used it across a range of merchandise shows its versatility. Nice one.”

—Brand New

— Benjamin Starr, Visual News

—Steven Heller, design critic and former art director at The New York Times

“With a name like Bush, Jeb’s team had to come up with a way to minimize the dynastic association. Constraints spur innovation—and the Jeb! mark is proof. It’s simple, succinct, optimistic and active. The logo (if nothing else) gets my vote!” —Bret Hansen, Creative Director, NYC

“Different, and thoughtfully distancing from his somewhat toxic last name, but it feels amateurish and simplistic—not simple.” —Mike Tyson, Senior Designer, New York

“Marco Rubio’s new logo looks friendly and optimistic, so it’s a marked departure from the rest of the Republican pack. It’s disruptive in that way.” —Kevin Grady, Global Head of Design and Communication, New York

“Rubio using an illustration of the U.S. as the tittle of the “i” is just not appealing. America is neither little or tiny. I’d like to think the United States deserves a better representation than at the top of the letter i.”

all images by Sanaaa Hamid

If you thought our politically-correct society has eliminated issues of race and stereotypes from advertisements, brand logos, and the fields of web and graphic design, you thought wrong. A more complex and extremely controversial topic is creeping up in American culture: cultural appropriation. Wikipedia defines Cultural appropriation as a sociological concept which views the adoption or use of elements of one culture by members of a different culture as a largely negative phenomenon. Generally, an assumption that the culture being borrowed from is also being oppressed by the culture doing the borrowing is prerequisite to the concept.

The Professional Association for Design (AIGA), which is the oldest and largest professional membership organization for design, reports that 86% of graphic designers in the field are Caucasian American. The remaining demographic breakdown is as follows: 2% are Black, 4% are Hispanic/ Latino, 6% are Asian/Pacific Islander, and 2% are “other”. This lack of diversity makes the entire career field less credible- after all, how can graphic design be taken seriously if only a certain demographic is creating everything? The real problem is designers are being denied the chance to advocate for certain viewpoints from the actual source of the information. This increases the chances of appropriation appearing in real life and stereotypes appearing in graphic design work.

GOOD DESIGN // 5

“I appreciate the simplicity of just being a purely typographic approach but if you are going to do this, the type has to have the strength to stand on it’s own. Things like letter spacing and typeface choice become even more important when it’s all you have—and neither of these feel very resolved here. Also the tagline I S G E T T I N G L O S T.” —Mike Preston, Associate Creative Director, New York

—Lana Roulhac, Design Director, London

32 // POLITICS + HISTORY

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GOOD DESIGN // 33

TYPOGRAPHY JOURNAL • 37

Reading notes

READING NOTES

FOREWORD

SUMMARY OF KEY RULES

butterick's practical typography

Typography is visible language

Four most important typographic choices: point size, line spacing, line length, & font (aka: body text)

Type is mechanized writing; typography is the arrangement of prefabricated elements on a page Good typography is measured by how well it reinforces the meaning of the text, not by some abstract scale of merit

Easiest improvement is to use a professional font Avoid goofy fonts, monospaced fonts, and system fonts (especially Times New Roman and Arial) Use curly quotation marks, not straight ones

TYPOGRAPHY IN TEN MINUTES butterick's practical typography

1 2 3 4 5

the typographic quality of your document is determined by the body text

Put only one space between sentences Don't use multiple white-space characters in a row Never use underlining unless it's for a hyperlink Use centered text sparingly Use bold and italic as infrequently as possible

point size is the size of the letters; in print, comfortable range is 10–12 pt.; in web, comfortable range is 15–25 px.

All caps are fine for less than one line of text

line spacing is the vertical distance between lines; should be 120–145% of the point size

Use 5–12% more leading with all caps and small caps

line length is the horizontal width of the text block; should be 45–90 characters or 2–3 lowercase alphabets

One or the other: use first line indents at 1–4× the pt. size of the text or space after paragraphs set at 4–10 pts.

font choice can be improved by favoring good fonts over system fonts; never use arial or times new roman

If you don't have real small caps, don't use them at all Kerning should always be turned on

If you use justified text, also turn on hyphenation Don't confuse hyphens and dashes and use the right one Use nonbreaking spaces after paragraph and section marks Use an actual ellipsis, not three periods in a row Make sure apostrophes face downward Make sure foot and inch marks are straight, not curly

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TYPOGRAPHY JOURNAL • 41

READING NOTES

WHY TYPOGRAPHY MATTERS butterick's practical typography Butterfly Ballot Problems with butterfly ballot: lack of hierarchy, high margin of error, no alignment on right side, bold + all caps is overwhelming, minimal margins / no negative space The main problem with the Butterfly Ballot is the lack of hierarchical and logical thinking in how the user will be able to select their desired option. Because of the staggered layout, the Democratic candidate—which is listed second down on the list on the left hand side—corresponds with the third punch hole in the center column, due to the offset created by the candidates listed on the right hand side. The flaws with the design is famous for the confusion and concern it caused with the results of the vote.

Resume Design Violet: looks like Microsoft template; gray bars are weird/ clunky/unnecessary; too much space between related info; bullet points are too big and too much; dates of employment bolded yet it’s not the most important info Trixie: breathing room in margins and between text blocks; better use of space; two typefaces for contrast/hierarchy; variety in text creates hierarchy of info

The Crystal Goblet According to this notion, type is there to present/serve content but not to call attention to itself in any way Butterick disagrees because type can be so much more

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READING NOTES

TYPE COMPOSITION butterick's practical typography From the reading on type composition, I developed my partially-existent knowledge of the do’s and don’ts of typesetting; for example, I knew the difference between straight and curly quotes and when to use them, but I’m now more fully aware of specific instances in which one or the other is appropriate, as well as the keyboard shortcuts to make accessing those symbols much easier. Also, concretely understanding the difference between various types of line breaks—hard line breaks, carriage returns, page breaks, and so on—was helpful as I move forward in typesetting. I wasn’t previously aware of the benefit of the paragraph mark (outside of handwritten editorial notes) nor was I aware of the section mark at all; both of these are useful symbols to be able to access and use, particularly in longer documents with multiple sections that refer to each other throughout the document. All of the keyboard shortcuts discussed will be very useful in future typesetting endeavors.

44 • TYPOGRAPHY JOURNAL

Only use one space between sentences Use semicolons correctly Know the difference: (parentheses) vs[brackets] vs {braces} Don't overuse ampersands Closing single quote = apostrophe Single straight quote = foot mark Double straight quote = inch mark Display white-space characters Use actual math symbols, not alphabetic approximations Turn on ligatures to prevent weird letterspacing

TYPOGRAPHY JOURNAL • 45

READING NOTES

KEYBOARD SHORTCUTS butterick's practical typography

' " ‘ ’ “ ” ¶ § – —

™ ® © …

trademark

opt + 2

registered trademark

opt + r

opt + g

ellipsis

opt + ;

opt + [

word space

space bar

closing double quote

opt + shift + [

non breaking space

opt + shift + space

paragraph mark

opt + 7

carriage return

return

section mark

opt + 6

hard line break

shift + return

hyphen

frame break

fn + return

en dash

opt + -

em dash

opt + shift + -

single straight quote

double straight quote

opening single quote

opt + ]

closing single quote

opt + shift + ]

opening double quote

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READING NOTES

TEXT FORMATTING

FAMILY PLANNING

butterick's practical typography

peter bil'ak, typotheque

Don’t use Arial, funky fonts, or most system fonts

Typefaces used to be designed to their point size

Old or italic; never both, always in moderation

Univers was the first to use a numbered weights system, which was useful for the new expanded families

Prefer italics for serif faces and bold for sans serif faces Choose your point size based on length of text but also how the font actually looks Error on the side of larger type, especially on the web Black on white is the highest contrast and should always be used in formal printed documents and usually on web Lining figures are good to be paired with all caps text, old style are good with lower or sentence case, and tabular figures should only be used on their own—not with body text Spell out ordinals when you can—second is better than 2nd Mixing fonts is best when there’s appropriate complementing/contrast, but usually less is more

USING LAYOUT GRIDS designer insights Always use a layout grid for design projects; no exceptions Grids are necessary to maintain visual harmony and structure Adjust the grid based on binding type Good grids to start with: rule of thirds, golden ratio

UNETHICAL DOWNLOADING steven heller, typotheque

PAGE LAYOUT

While it can be easy to download fonts for free, it's unethical

butterick's practical typography

Even when you buy fonts, there are limitations on ownership; sharing fonts is copyright infringement

First line indent should be set in the program—don’t use tabs; alternatively, you could use space between

Ignorance is no excuse: read the license

Line length should be controlled to be 45-90 characters Page margins should be big and open and allow for breathing room (as large as they can be in a set amount of pages) Paragraph and character styles are essential for larger documents instead of manually styling all the text

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READING NOTES

TYPE DESIGN PHILOSOPHY martin majoor, typotheque Type designers have to know how type works in every setting Best solution for text was to use a combination of a serif and a sans serif that derive directly from each other 1898 1928 1928 1957 1957

Akzidenz Grotesk: first display + body sans face Futura: first sans face not derived from serif face Gill Sans: first sans to have true italics Helvetica: based on akzidenz Univers: use of numbered weights and widths

Two typefaces, one form principle 1989 1993

Scala: low contrast with strong serifs + humanist Scala Sans: one of few humanist sans faces

The in-between sans 1993 1993

Telefont list: workhorse to be used in phone listings Telefont text: refinements such as small caps

A literary typeface

The versatility of Univers: ultra condensed condensed standard extended

k k k k k k k k

k k k k k k k k k k k k k

2000 Seria: upward italic + subtle details at display size 2000 Seria Sans: basically seria without the serifs

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READING NOTES

LATIN TYPOGRAPHY + THE WORLD

LAVA—VOICE OF A MAGAZINE

peter bil'ak, typotheque

Did Gutenberg really invent moveable type?

Typeface created for the magazine Works That Work; wanted:

1040 1230 ~1400 1436

China: wood letters for smoother imprints Korea: transition from wood to metal type China: transition from wood to metal type Europe: Gutenberg invents latin moveable type

Much of typographic history excludes non-European histories Language + terminology has shifted to be more inclusive of "Non-Latin" cultures in many artistic areas, but not typography

Confident but not showing off Comfortable, relaxed manner of engaged storyteller Capable of handling long stories and also small captions Benefits of Lava: Optimal performance in high- and low-resolution output Refined details, finely tuned proportions, meticulous spacing

This also leads to contradictory and ignorant labels Great books to read on this subject: John Berry, Language Culture Type, 2002 Robert Bringhurst, The Solid Form of Language, 2004

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READING NOTES

GRATUITOUS TYPE MAGAZINE

BEAUTY & UGLINESS IN TYPE

madeleine morley, aiga eye on design

peter bil'al, typotheque

Elana Schlenker's Gratuitous Type, self-initiated journal

Attempt to create conceptual type by melding beautiful and ugly type into one face

Connect with designers she admired + steal their secrets under the guise of gathering information She wanted lots of white space, lots of movement, and a sense of playfulness more than editorial authority

Beautiful: regularity, clarity, good taste, and charm; Didot Ugly: reversed thick/thin, deceptive, and freakish; Italian The two extremes produced a neutral, low-contrast face

Allow the magazine's design to evolve with each issue; change typefaces, grid, and graphic elements Producing a magazine design as inspiring as its content Helped her get full-time job in publishing + client projects Trust in yourself and your abilities & give yourself time

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READING NOTES

REEVALUATING GILL SANS

STRIKING DESIGN PAIRINGS

ben archer, typotheque

perrin drumm, aiga eye on design

Very closely related to Johnston, but worse in almost every way

Recently released condensed version of Graphic: 500 Designs that Matter creates interesting pairings of work

The least satisfactory lowercase 'a' was chosen Uppercase i, lowercase L, and 1 all look the same Regular weight loses terminal strokes from light weight Lowercase g is two story until it gets to ultra bold Gill Sans was never intended to be a "jobbing" typeface Use with caution: hard face to use without making effort Recent type designs are more inspired by Johnston Gill Sans Nova: fixes many, but not all, issues (2015)

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READING NOTES

AN IDEA OF A TYPEFACE

CHEROKEE LANGUAGE FACE

kai bernau, typotheque

angela riechers, aiga eye on design

Neutral typeface: an attempt to create a typeface free of all connotations or associations so the reader can better engage with the content of the text

Designer Mark Jamra designed a Cherokee language typeface Includes bolds, italics, and a matching Latin face

Neutrality is an elusive, ambiguous quality

Phoreus Cherokee: bearer or carrier, as in a vehicle of language and visual culture

To keep personal bias out, he developed a system of typeface genres to establish what kind of face to create

Studied Cherokee syllabary + 180 years of manuscripts to understand language; added lowercase, bold, italics

Keep everything the same, but change all of it A typeface is a tool for designing and for reading The plain, reserved nature of the face will be fairly neutral to a fair amount of people, but nothing can be truly neutral, due to existing biases and opinions

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thanks for reading! designed by kelli chollar typefaces: carton + rubik typography ii â&#x20AC;˘ winter 2017