a few thoughts on type from a sleep deprived college kid
Created By Kiana Kraft
Introductio
Hello, and welcome! Inside this jou find a collection of information and have accumulated during the Art 3 Contents include, but are not limi notes, highlights from assigned re progressions, critique analysis, a thoughts on what I have learned quarter. Overall, I do believe that taught me a lot about typograp feel much more comfortab amounts of text. This jou informational guide for as others, when it com insights about type. S passes, and my brain dumps useful type i effort to free up spa come back to this j remind myself of w must know. So sit b dive into my though
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urnal you will nd projects that I 388 Type II class. ited to, lecture eadings, project and my general throughout the t this class has phy and I now ble with large urnal acts as an r myself, as well mes to rules and So now, as time n accidentally information in an ace, I can always journal and what I certainly back, relax, and hts on type!
I Just want to make Nice things and get enough sleep
-every designer ever
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Reading not
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Type Journal // Readings
“Butterick’s Practical Typography” Selected essays from “Typotheque”
tes
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Butterick’s Practical typography
Typography in 10 minutes •• The typographic quality of your document is deter mined largely by how the body text looks because that is most of the document! •• Point size is the size of the letters. In print, the most comfortable range for body text is 10–12 point. On the web, the range is 15–25 pixels. •• Line spacing should be 120–145% of the point size. •• Line length should be an average of 45–90 characters per line or 2–3 lowercase alphabets. •• Margins! For print, use margins larger than the tra ditional one inch. On a web page, don’t let the text to flow to the edges of the browser window. •• Font choice Ignore the fonts that came free with your computer and buy a professional font!
Summary of key rules • avoid goofy fonts, monospaced fonts, and system fonts, especially times new roman and Arial • use curly quotation marks, not straight ones • put only one space between sentences • don’t use multiple word spaces or other white space characters in a row • never use underlining, unless it’s a hyperlink • use centered text sparingly • use bold or italic as little as possible • all caps are fine for less than one line of text
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• • • • • • • • • • • • •
if you don’t have real small caps, don’t use them at all 5–12% extra letterspacing with all caps and smallcaps kerning should always be turned on use first-line indents that are 1–4 times the point size of the text, or use 4–10 points of space if you use justified text, also turn on hyphenation don’t confuse hyphens and dashes use ampersands sparingly in a docum ent longer than three pages, one exclama tion point is plenty use proper trademark and copyright symbols—not al phabetic approximations use nonbreaking space after paragraph and section marks make ellipses using the proper character, not periods and spaces make sure apostrophes point downward make sure foot and inch marks are straight, not curly
Why Typography Matters This section was helpful in outlining the importance of good design in real world scenarios. The case hi lighted was the butterfly ballot, an example of when bad design threw an election. The main issues with the ballot was a lack of hierarchy, unclear alignments, all caps lettering, and arbitrary parenthesis. All of these factors made it confusing for the voters to choose the candidate they were intending, therefore swaying the results.
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•• •• •• ••
typography is the visual aspect of the written word effective typography is good skills more than taste typography is for the benefit of the reader typography matters because it helps conserve the most valuable resource: attention The comparison of the two resumes really outlines all the points made about the importance of typography and keeping the reader‘s attention. Trixie’s resume is easier to read, just at a glance. Violet’s resume has a big, distracting gray bar, and diamond bullets with detract from the important information. There is much more emphasis on when the activities took place instead of what they are. Overall, Violet’s typeface choice and use of margins and hierarchy are just too confusing, where Trixie’s is visually more approachable, and the important information is readily available. Therefore, Trixie is much more likely to get the callback.
Type Composition This article cleared up a lot of questions I had about type composition. I was never sure about how to access the characters such as accented characters, math symbols, and white-space characters. Knowing these shortcuts so I can type the right characters while writing and editing, will save time and effort later on when I’m trying to for matand layout my document. How to fix dumb quotes in your document
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•• Straight quotes are the two generic vertical quotation marks located near the return key: the straight single quote (‘) and the straight double quote (“) •• Curly quotes are used in good typography. The four curly quote characters: the opening single quote (‘ ), the closing single quote ( ’), the opening double quote (“), and the closing double quote (”) •• Use the search-and-replace function to search for all instances of the straight double quote (“) and replace it with the same character—a straight double quote (“)
Text Formatting This section goes into depth about how there’s more to text formatting than what font to use. Text format ting includes everything that affects the appearance of the characters on the page like point size, bold or italic styles, small caps, letter spacing, and kerning. Typog raphy “rules,” aren’t always so clear. This reading went through possible design solutions, but ultimately it is up to the designer to make those typographic judgments based on the knowledge presented here. One part of this article I found really interesting was the section on alternate figures. I never knew that our figures were invented in India and spread westward through the influence of Persian and Arab mathematicians. I had nev er really thought about figures and how figures rely on shapes that are found nowhere in the alphabets.
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Page Layout This article talks about how page layout is about the po sitioning and relationship of text and other elements. What to consider when laying out a page: •• •• •• •• •• •• •• •• •• •• •• •• •• •• •• •• •• •• ••
centered text: use minimally justified text: always turn on hyphenation first-line indents: between 1-4 times the point size space between paragraphs: 50-100% of the body text line spacing: 120-145% the point size page margins: One inch is not enough body text: start with font, point size, line spacing, and line length hyphenation: as line length gets shorter, hyphenation becomes essential block quotes: don’t go on and on, reduce the point size and line spacing slightly bulleted and numbered lists: don’t type them by hand tables: the best tool for gridded or complex layouts rules and borders: use sparingly space above and below: use liberally winder and orphan control: up to you keep lines together: always use with headings page break before: alternative to hard page breaks columns: fine in print, not on the web line numbers: exact Line spacing is the key paragraph and character styles: eliminate complications and time
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Key principles of page layout •• Decide first how the body text will look Point size, line length, line spacing, and font deter mine the appearance of the body text and legibility. •• Divide the page into foreground and background The foreground contains the most important page elements. The background contains everything else. Don’t let the background elements upstage. •• Make adjustments with the smallest increments There’s no substitute for making samples of two op tions and getting a visual reaction. •• Be consistent Without consistent treatment of similar elements, the page will feel random and meandering. •• Relate each new element to existing elements The only time you have unfettered discretion is when the page is blank. •• Keep it simple If you think you need to clutter the edges of the page with useless nonsense, think again. •• Imitate what you like Learning to see what’s good about other examples of typography makes it easier to solve problems in your own layouts. •• Don’t fear white space If the text looks good, the white space ain’t no thang.
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Typotheque
“Family planning, or how type families work” by Peter Bil’ak Never before have we had so many typefaces that are so complex and developed. This article talks about the his tory and definition of type families, type design parame ters, and the possibilities of creating larger type systems. Peter Bil’ak defines type families by their optical size, weight, width, stylistic differences, and construction differences. The relationships between varying serifs, x-height proportions, ascenders, and descenders must also be taken into account. Each style of a type family must be clearly recognizably different in order to func tion as part of the family in its entirety. He talks about designers like Berlaen and Ferreira who have built on centuries of typographic innovation and have created groundbreaking design. It is designers like these that should inspire us to continue creating this work .
“Using Layout Grids Effectively” Designers Insights
Always use a layout grid for your design projects. No exceptions. The grid is the foundation to any design. Without a planned grid, the design will not look right.
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•• Adjusting Your Layout Grid for Your Binding Type It’s important, as you create your layout grid, that you pay special attention when choosing the type of binding to compensate for the gutter. We’ve all had the experience of losing content in the gutter of a publication, at one time or another, and have learned this lesson the hard way. Illustrated below are examples of a perfect bound spine and a doublepage layout grid, where the gutter has been taken into consideration and the proper adjustment made. •• The Rule of Thirds This rule is used by professional photographers the world over. The rule of thirds works by splitting an image into thirds, so you end up with 9 equal sections, then simply place your main subject where the lines intersect. •• The Golden Ratio and the Fibonacci Sequence The Golden Spiral is based on the Golden Ratio while the Fibonacci Spiral is a spiral based on the Fibonacci Sequence. Both are very similar, and can be used as a compositional tool.
“Typographica Mea Culpa, Unethical Downloading” by Steven Heller I am certainly guilty of what Steven Heller describes as “unethical downloading.” Sometimes it is just so
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easy to download a free font instead of paying the pricey amount for the licensing. Heller now advocates for the respect of designer’s copyrights and their hard work. He is concerned that younger designers are too accustomed to downloading typefaces and fonts for free without considering the possible repercussions. Ultimately, violating licensing agreements is unfair to the individuals, who have worked hard to create the type we all use on a regular basis. While I completely agree with Heller on all of these points, and can completely empathize with the designers who are having their designs stolen, it doesn’t change the fact that I am writing this out in one of those stolen typefaces. As a college student, it is simply not realistic for me to drop upwards of hundreds of dollars on purchasing the copywrites for typefaces I can find online for free. This is definately an issue, but I think there is more to it if we are actually going to solve the problem.
“Type Design Philosophy” by Martin Majoor Martin Majoor is a book designer who has made several complex books where more than one typeface had to be used in order to clarify things in the text. This article is a personal account of his approach to type design. He says that he can best sum up his type design philosophy with,
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‘Shake hands and work together in harmony.’ Majoor believes that you cannot be a good type designer if you are not a book typographer. Majoor’s type philosophy is that a type designer must know how type works in a piece of text, know what happens with the type on different sorts of paper, know how a typeface behaves with different printing techniques. After all of his experience, Majoor believes the best solution for text is to use a combination of a serif and sans serif that derive directly from each other. Mixing serif with sans serif typefaces only makes sense when they are designed from the same basis or skeleton. He finishes by saying that the last 15 years have in a way been revolutionary for the sans serifs. More and more type designers have become aware of the basis of sans serifs and for the first time sans serif designs have become full partners of seriffed designs. There is room to keep learning.
“A View of Latin Type in Relationship to the World” by Peter Bil’ak This short essay scrutinizes the general misconceptions of western typography, and the appropriateness of Eu ro-centric type terminology. This short essay explored the fact that we have forgotten that there are parallel his tories outside of europe; the first recorded movable type
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system was more likely created in china around 1040 AD by Bi Sheng. His early type was made of wood, which was later abandoned in favor of baked clay, which provided smoother imprints. Even today, typography as a discipline continues to be plagued by a Euro-centric bias. We are not giving enough credit to only latin based typography. Most of the existing typographic classification systems also ap ply exclusively to Latin Type. as you can see in the terms “Roman” or “Italic” used to describle type. This creates a new opportunity for artists to explore “non-latin” type. There is interest in Arabic, cyrillic, greek, and indic. Before reading this essay I had never even thought about the appropriation and prejudice that is present in type. Once it was pointed out, however, it became blatantly obvious. It just shows that there is so much more to ex plore as far as “non-Latin” type today. We can be inspired by these types much like how cooks experiment with by referencing the old cultures and forgotten cuisine.
“Lava, Voice of a Magazine” by Peter Bil’ak Lava was designed to bridge the digital and print editions of a newly designed magazine “Works that Work.” Peter first focused on the typeface, in which greatly evolved to fit the magazine’s personal voice.
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This typeface could stretch across multiple platforms, which made it so special. It would go for long distances of type and short captions. Lava looks closely at system fonts such as times and georgia and aspired to work on screen and in print. Lava delivers something that default UI fonts usually lack: refines details, tinely tuned proportions and meticulous spacing that let the reader forget about the typefaces and pay attention to the text. After over a year of testing, Peter and his team now feel confident enough to relase it publically as a typeface that can handle large quantitities of text.
“The First Thing I Ever Designed: Elena Schenker and ‘Gratuitous Type’ Magazine” By Madeleine Morley Schenker designs her own independent magazine. In this article she talks about how she realized that she wanted each follow up each issue evolve in its own way. This included changing the typefaces, grid, and other typographic elements. Although challenging, working on the magazine reminded her to have trust in her own abilities and launched her career.
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“Eric Gill got it wrong; a re-evaluation of Gill Sans” by Ben Archer The central argument of this article is that an earlier font/typeface by edward Johnston, Eric Gill’s mentor, is superior to the current version. Archer analyzes the inconsistencies of the weights of Gill Sans, compared to earlier variants. For example, Gill Sans changed the proportions between capital hight,stroke width, and character width.
“Beauty and Ugliness in Type design” by Peter Bil’ak This article is on the process of designing the Karloff typeface, and just how closely related beauty and ugliness are. It explores why viewers consider some typefaces to be beautiful and others to be ugly. But also an exploration of conceptual type and if it exists. It is important to keep in mind that these considerations tend to be extremely personal and subjective. Bil’ak recognizes that many consider high contrast typefaces to be beautiful because of their decorative and classic qualities. On the other end of the spectrum, typeface “Italian” was found to be historically distasteful. It was
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designed to deliberately attract reader’s attention by defying their expectations. So a typeface’s perceived “beauty” or “ugliness” can be used as a design element in itself to convey a message.
“7 Striking Design Pairings” By Perrin Drumm This article shows examples of beautiful and surprising juxtapositions of designs from various places in the world and points in time. It was great to see how designs influence each other in unexpected ways. My favorite pairing was the IDCN (International Design Center, Nagoya) poster, by Koichi Sato (1996) and 5 Finger Hat Die Hand poster, by John Heartfield for the German Communist Party (1928).
“An Idea of a typeface” by Kai Bernau This article brought up a discussion about why certain typefaces seem to “age better” or “age less” than others. It also questioned whether or not a typeface can be considered neutral. At the end of the day, typefaces serves as both a tool for designing and a tool for reading. Fewer distracting details there are within a typeface the clearer the text becomes. Neutral typeface explores how the absence of stylistic associations can help the reader to engage with the content of a text.
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A Typeface Designed to Revive the Endangered Cherokee Language By Angela Riechers Designer Mark Jamra rose to his call to action to save an endangered language through design. The Cherokee language is disappearing, especially with the younger generations. The idea was to create a new digital Cherokee typefaces that could make the language more accessible to the younger people, but also to people who are not of Cherokee descent. Designer Mark Jamra was moved by the need for a typeface that would help preserve a nation’s language and culture, and began by adapting a Latin typeface titled Phoreus Cherokee which simplified the existing historic glyphs to improve legibility. Non-Cherokee readers will benefit from this typeface because it provides and easy way to learn the language. This is a great example of how design can be used to make a real difference in the world. Design absolutely matters and this is such a beautiful example of that very idea.
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Ah! Look at that white space!
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Lectures
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The Details Typefaces and Fonts Typesetting in InDesign Type on Screen
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The Details 01.12.17 points and picas • 12 points = 1 pica • 6 picas = 1 inch • 1p6 = 1 pica + 6 points
Choosing a Point Size
• typeface proportions and weight • length of text • format for viewing (printed on paper or viewed on screen or both) • audience/reader of the text • content of the text
Screen vs Print body text
• screen: 14 pt or larger • print: 9 – 12 pt • phones are a different challenge
Kerning
• kern type at display sizes • metrics vs manual
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leading
it should be 120–145% of the point size
line Width
• if a line of text is too long the reader’s eyes will have a hard time focusing on the text; the long line length makes it hard to gauge where the line starts and ends • if a line is too short the eye will have to travel back too often, breaking the reader’s rhythm
Optimal line length • 45–90 characters per line • 8–13 words per line
letterspacing
• if letters are too close together, the text is hard to read • type set in small caps or all caps can handle more letterspacing than type set in upper and lowercase
Avoid fake small caps do not style text as “SmallCaps”
Know your dashes - Hyphen: used if a word is too long for the column – En Dash: used to indicate duration — Em Dash: used when break in the flow of sentence
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Hyphenate • • • •
words with at least: 6 letters after first: 3 letters before last: 3 letters hyphen limit: 2
quotation marks • always use smart quotes • never use dumb quotes • know your prime marks
Avoid widows
last line of a paragraph is called a widow if it is too short
Fix rags when practical
use discretionary hyphens, line breaks, or tracking to adjust rags
Avoid orphans
orphans are short segments of paragraphs stranded at the top or bottom of a column
Always check spelling command + i, or turn on dynamic spelling
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Typefaces and fonts 01.26.17 consider • content • audience • format/context
Technical factors
• does the font have full character set, including all punctuation and glyphs necessary for the job? • are there foreign accented characters and glyphs? • does the font have multiple weights and styles? • does the font have small caps? • does the font have lining and old style numerals? • what is the format of the font? • does the font have a Web Font version?
Font Organization
you want to have the minimum number of fonts installed and use sets to keep fonts organized
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Typesetting in Indesign 02.02.17 Use Styles
you will save time by automating your text formatting
Paragraph Styles • • • • • •
leading tabs indents space before and after hyphenation and justification settings rules above and below
General Settings
shows a overview of the style settings and if the style was based on an existing style
Indents and Spacing
defines alignment, indents, and space before or after
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g
Keep Options
if you want to keep all or a certain number of lines together in one paragraph
Span Columns
if you want to switch from a single column to multiple columns in the same text box
GREP Style
means Globally search a Regular Expression and Print; allows you to use code and edit or style text through the find/change dialog box or via Paragraph Styles
Bullets and Numbering set up lists with auto bullet points or numbers
Character Color • color of text • percentage of tint • stroke alignment
OpenType Features
• chose Titling and/or Swash alternative characters • specify figure (number) style
Export Tagging
turns styles into CSS for Epubs and websites
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Character Styles • • • •
bold text italics text run-in subheads custom bullets or numbers
Basic Character Formats
font, font style, size, leading, kerning, tracking and case
Advanced Character Formats
type bastardization warning! The only thing you should use is Baseline Shift
Table Styles • • • •
the outside border of the table the dividing lines in the table the space above and below the table the fills of fields in the table
Cell Styles • • • • •
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the borders around the cell how the text is positioned within the cell the style of the text within the cell the fill color of the cell if the cell is x-ed out
Type Journal // Lectures
type on screen 02.28.17 contrast
higher contrast typefaces can be useful in small amounts or as headlines
x height
• high x-height is ideal • If the x-height is too high, there is less room for other distinctive characteristics
character distinction
Differentiating between different characters is essential for on screen legibility
special characters • different types of numbers • correct punctuation • special characters
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small caps and ligatures Use the real stuff
optical sizes
A typeface with individual designs for different types of content
Finding alternatives Classic typefaces are sometimes so overused that they begin to look like generic defaults
pairing rules • • • • • •
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distinction display and text harmony use a family build outward experiment
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Experiment trust your instincts Evaluate typefaces
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Projects
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LegibilitY Type Rules Dialogue booklet Type Zine
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Legibility Exercise 1 Description In this exercise, investigate and analyze text set in para graph form (“body text” or “text blocks”). Using serif and sans serif text typefaces, create different versions of those settings by altering the leading and point size.
Objectives • to examine how small changes in point size, leading, and typeface selection impact legibility. • to set up an InDesign document according to given measurements and instructions. • to use tools in InDesign to refine your text. • to demonstrate attention to details.
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Critique Notes • • • •
pay attention to details and instructions don’t hyphenate proper nouns kern around dashes when too tight to text don’t forget to save PDF without crop marks
analysis I chose to use Baskerville as my serif and Helvetica Neue as my sans serif. I found the serif typefaces much less legible at the smaller size than the sans serif. Too little leading makes the test illegible because it is too close together, and sometimes the ascenders and ascenders touch. Too loose of leading is also problematic however because it makes it difficult to read. I found that the best size and leading for the Serif font was 10/13 or 9/14, and the best combination for the sans serif font was 9/14. The worst combination was the 8/13 and 9/12 for both type faces, as the text was either too small, or the leading too tight. Make sure to read the instructions carefully and follow instruction. It is easy to miss those small mistakes. Train your eye to see those small type adjustments.
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TYPE rules Project 1 Description For this project, research and document as many rules, ideas, or principles about typography as possible. Your findings should be typeset on one side of an 8. 5” × 11” piece of paper with a minimum of five examples. Each entry must have come from a different source, and must have unique entries. Credit the author and the source, including the page number on which it appeared and the year it was published. Books and scholarly articles should be used as the primary references. Consideration should be given to the typesetting and design of the page.
Objectives • to research scholarly articles and books about type • to compile a list of research findings • to establish information hierarchy in the design and layout of at least five quotes about typography • to consider legibility when selecting typefaces
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Process
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Final Design
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Critique Notes • • • •
don’t forget the small details proofread the text address hang quotes fix alignments
analysis For this project I tried to experiment and create a dy namic composition while still maintaining legibility and a clear hierarchy. Adding the numbers and the color helped with the hierarchy. One of the biggest challeng es was working with the references that had really long book titles. Finding a way to separate and organize the information typographically proved to be a big chal lenge, but I settled on a solution where the credits were in all caps. I tried a title treatment which acts as a graph ic element. Adding the red boarder really helped the composition and activated the space. I still need to work on proof reading and catching small type errors such as alignments and hang quotes and spelling errors. There was some noticeable inconsistencies that I did not catch.
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dialogue Project 2 Description Using the dialogue provided, design a diptych that uti lizes all of the text and emphasizes the fact that there is more than one voice. Use color, and images to help sup port the design, but be careful to make sure the typog raphy is intentional and refined. Think about how all of the typographic elements influence the interpretation of the text and how you, as a designer, can in influence the viewer’s reading of the text.
Objectives • to use typography to create a distinction between two different voices • to consider content when make decisions about typeface selection and imagery • to demonstrate an understanding of good typographic practice when setting text
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Process I was inspired by a photo I found of this young woman being torn away and under there being a photo of an older woman. I wanted to use this concept with a new meaning of finding one’s bliss. I used the photo studio to achieve the same kind of professional lighting. I wanted to find a way to combine that I was learning in artificial lighting with what I was learning in Type II. I took a series of photos in an attempt to capture the two emotions in a way that I could combine. I also began experimenting with the type. I decided I wanted Moyers and Campbell to be represented with different typefaces. So I chose Avenir for Campbell and Caslon for Moyers.
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Final design
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Critique Notes • • • •
italic type could use more tracking pull quote too big “is” should come to the second line Ariadne should not be hyphenated
analysis This project was a lot of fun. I really enjoyed combining my photography interests with my design. With this project I actually was able to execute my vision. I also put a lot of thought into creating a connection between the imagery and the text. I achieved this by overlapping the image over the title, and wrapping some of the dia logue around the shoulders. I tried to go into the mean ing of the dialogue past the metaphorical imagery the article provided. As much of the article discussed being brave enough to follow your bliss, I wanted to create imagery that showed someone digging deep into them selves and revealing their bliss, essentially being the hero by being happy. The main take away I learned from the critique is to just keep perfecting the type, and train ing my eye to catch those small tracking mistakes.
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Booklet Project 3 Description The Elements of Style is a classic reference book about grammar for students and conscientious writ ers. Develop a design that would appeal to high school and college-aged students. Each student will be as signed a portion of the text to be used in the creation of a small reference booklet. The second phase of the project will require you to work in teams to create a single related series of booklets.
Objectives • to develop a grid structure that ensures consistency in a multiple page document • to design for a saddle stitched publication • to use paragraph and character styles • to use typographic techniques to establish hierarchy and clarity in a given text • to evaluate each other’s work and modify one’s design based on the strongest solution
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process excerpts My first draft had text that was far too small and leading that was too tight. When I reworked it, I tried to fix both of these observations. While white space isn’t bad, it was not being used effectively in this first draft. As far as the cover, although the texture was interesting, it used more than two colors which exceeded the amount we were allowed on this project. For the final I decided to go for a cover which used interesting papers. On the original cover I was experimenting with referencing the periodic table of “elements,� but in the end I went for a more designed and classic cover that created a cohesive look.
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My Design excerpts
THE ELEMENTS OF STYLE
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Group Design excerpts
THE ELEMENTS OF STYLE
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Critique Notes • • • •
don’t forget the small details proofread the text adjust the spacing around the subtitles good hierarchy
analysis This project really emphasized the importance of having clear styles when working in a group or with a team, so that the design can remain consistent across the board. This project really helped me figure out parts of spread design which I was still a little shaky on. It also helped me develop my skills when working with large amounts of text and combining my design with other people’s content and ideas. Overall, I once again missed some small details. So I just need to continue training my eye to catch those mistakes so I can catch them. As far as process, our group worked together very well and was able to create a cohesive style even though all of our sections had very different content. Our design styles came together pretty seamlessly. Changes I made to my original design included a different pagination treatment, different typefaces, and splitting up the sections up differently. All three of our sections came together smoothly and looked like a cohesive group.
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Type zine Project 4 Description In this project, you will be creating a digital magazine. The theme of the magazine is: Typography, Design, Ac tivism and Social Justice. Students in the class will be re sponsible for collecting and creating all the assets for the magazine, including: text, illustrations, and photographs. All found images and text (articles, interviews, etc.) must be properly credited. Include author bylines and captions for all images.
Objectives • • • •
to collaborate on planning and creating of a Zine to develop typography that is informed by content to improve and refine typographic techniques to increase understanding of page layout, the importance of a grid use, hierarchy and pacing in a multiple page document • to create an InDesign file using paragraph and character styles • to develop a visual design that is appropriate for on screen viewing
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Process excerpts
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I settled on the color scheme and the basic layout con cept pretty early on in my process. I knew I liked the bright electric blue color and wanted to try turning the images into a monotone tint of that hue. My first process layouts had all one weight and size titles and really tight text. I fit every layout on two page spreads. I decided to make the text larger and increase the leading to make it easier to read. I also decided to break up the layouts more so that most of the articles took up four pages in stead of two. This made the text more approachable. I also tried to bring in more color and use more of the full color pieces to remain more true to the artists in the end.
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Final Design excerpts
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BEBAS NEUE BOLD Clarion MT Italic Officina Sans Std Book 15/19
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Final Design excerpts continued
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d
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Critique Notes • • • •
missed some type errors minimize the artist credits have consistent leading remain true to the artwork
analysis The Zine project helped me refine my layout skills and refresh my memory as far as working with grids. It was challenging to create a cohesive style for the wide range of articles. I went with a 12 column grid which I tried to work with differently on each page. This project helped me really work with grids and layout. I settled on a color ful concept that has graphic bars of color and monotone and tinted images. I worked with creating more interest ing title treatments. As far as process, I originally had many of my pictures in a blue monotone, but I added in more full color images to remain more true to the artists and the original artwork. I changed a lot of the original article titles to try and make them more creative. I like looking at my before and after designs because I thought that it looked okay before, but after splitting up the text more and adding interesting title treatments, it was no question what looked better. It was really fun for me to try and make each article fit together in a cohesive de sign. Overall, I like how it turned out and am glad I ex perimented with layout and color.
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Type Journal // Projects
do not forget the small details!
Projects // Type Journal
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That’s all folks!
Colophon Designed By Kiana Kraft Art 388 Type II // March 2017 Typefaces Used // Archer and Moon