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Introduction My journals content is based on what I have learned over the quarter. My targeted audi足 ence when designing it was primarily my足 self. I intended for this journal to be a place to store information I felt valuable for my future as a designer. This journal, like most of my work contained within it, will be used as a sort of toolbox for later works.
1.5 Tuesday
Class Notes Introduction to Type II. Survey: Basic Typography Knowledge We took a quiz this morning on Typography rules that we learned about in Type 1. I felt I did pretty good. Intro to assignment one that will be done in class the following day. The project will be a simple layout that will display my knowledge of grids and layouts using character and paragraph styles.
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1.7 Thursday Butterick’s Practical Typography: Typography in Ten Minutes The typographic quality of your document is determined largely by how the body text looks. A professional font gives you the benefit of a professional designer’s skills without hav ing to hire one.
Summary of Key Rules Never use underlining, unless it’s a hyperlink. The four most important typographic choic es you make in any document are point size, line spacing, line length, and font (passim), because those choices determine how the body text looks. The easiest and most visible improvement you can make to your typography is to use a professional font, like those found in font recommendations.
Foreword Typography is the visual component of the written word. Type is “mechanized” writing—as opposed to writing by hand. Good typography is measured by how well it reinforces the meaning of the text, not by some abstract scale of merit.
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Serif
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.
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.
MINION PRO, 9P13
Avenir, 9P13
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. MINION PRO, 9P12
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, 9P12
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. MINION PRO, 9P14
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.
Without typography, one could argue, messages will still be legible,
Avenir, 9P14
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. MINION PRO, 9P15
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
Without typography, one could argue, messages will still be legible, but
message may be received.
if one really wants to communicate rather than simply display a heap
MYRIAD PRO, 9P15
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
Without typography, one could argue, messages will still be legible,
the recipient, you may inadvertently communicate that you do not care
but if one really wants to communicate rather than simply display a
how your message may be received.
heap of alphanumeric data, some consideration would be helpful. Paul
MINION PRO, 8P13
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
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. MINION PRO, 10P13
you do not care how your message may be received. Avenir, 8P13
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, 10P13
Kris Kalar
Exercise 1
Crit Notes Watch for widows and Orphans Ragged edges are better than Justified most of the time. 3
1.12 Tuesday Butterick’s Practical Typography: Why Typography Matters If bad typography can have negative con sequences, it shouldn’t be hard to believe that good typography can have positive consequences in life. Typography can help you engage readers, guide them, and ultimately persuade them. The more you appreciate what typography can do, the better a typ ographer you can will become.
Class Notes I was able to go through some of my books that I had in my own collection, which was awesome that I got to use them again. I feel that my first go at this assignment is really weak even though it didn’t get called out for any se rious problems. My variety of solutions have unique quali ties, but I feel that I need to push the boundaries more so that they are each variation is notably different. I like all my color palettes that I chose, and I think they offer a good foundation for later renderings. I noticed some people were using lines in their compositions, so I’m going to play around with it tonight.
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Five Quotes “Typography alignment refers to the organization of text into columns with a hard or soft edge.” Ellen Lupton and Jenifer Cole Phillips, Graphic Design The New Basics, 2008, Page 16
“A grid breaks space or time into regular units.” Ellen Lupton, Thinking With Type, 2004, Page 151
“Most typefaces fall into one of two categories: serif or Roman type, and sans-serif or Gothic type.” Ralph Mayer, Art Terms & Techniques, 1991, Page 434
“Interaction between words and pictures happens as a result of their similar abstract, pictorial qualities. Images are composed of lights and darks, linear motion and volume,contours, and open or closed spaces, arranged in a particular order. Type shares these attributes.” Timothy Samara, Typography Workbook, 2004, Page 86
“Used in junction with a visual, type is often the verbal part of the design message. However, type can also be the visual itself and can express the entire message.” Robin Landa, Graphic Design Solutions, 2006, Page 94
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1.14 Thursday Final Crit: Typesetting: Rules and Principles of Typography
Project 1 Version 1
Crit Notes Using all caps and title case type for the title was a big mistake. My selection of typefaces needed to have more contrast and variations that what I have first applied. After looking at everyones compositions, the ones that stood out the most were using scale and color to signify hierarchical importances, mine was to subtle and needs to be clarified.
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Project 1 Version 2 & Final Version
Crit Notes Using a bigger gap in scaling between differ足 ent styles makes the design more interesting. Color contrast in addition with type styles helps create a good balance in the design. Grouping the information in a style and weight improves the dynamics of a comp. Using a grid that will allow you to shift chunks around is helpful, but don't be afraid to break the grid sometimes.
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1.19 Tuesday Butterick’s Practical Typography: Type Composition 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 the quot ation marks used in good typography. There are four curly quote characters: the opening single quote (‘), the closing single quote (’), the opening double quote (“), and the closing double quote (”).
How to convert all quotes to curly quotes Use the search-and-replace function to search for all instances of the straight single quote (‘) and replace it with the same char acter—a straight single quote (‘). Use the search-and-replace function to search for all instances of the straight dou ble quote (“) and replace it with the same character—a straight double quote (“).
Using the correct special characters helps to create a more academic approach with any design.
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Type Studies Project 2
Class Notes Type composition is better used in conjunc足 tion with a grid and helps create a unification when needed, or diversity within a design. Special Characters help designers use stay within an system that is already in place. Reading type forums will help with future design work.
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1.21 Thursday Butterick’s Practical Typography: Text Formatting In a printed document, don’t underline. Ever. It’s ugly and it makes text harder to read. Neither your word processor nor your web browser suffers from these shortcomings. If you feel the urge to underline, use bold or italic instead. In special situations, like head ings, you can also consider using all caps, small caps, or a change in point size. Novelty fonts, script fonts, handwriting fonts, circus fonts—these have no place in any document created by a professional writer. The system fonts Courier, Monaco, and Consolas are examples of monospaced fonts, so named because every character is the same width. Most other fonts are pro portionally spaced, meaning the characters vary in width. All-caps text—meaning text with all the let ters capitalized—is best used sparingly.
When Purchasing a font, look at how many styles it contains. If it only a few than there is probably a better font out there to choose from.
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Class Notes Font Managers are a necessity for any de足 signer planning on using typefaces and fonts other than what comes on your computer stock. Font Explorer and Suitcase fusion are two great font managers. Adobe Typekit is start足 ing to evolve into the next gen. of font man足 agement. Using folders in the font manager helps to organize client projects and favorites. Font releases are pretty straight forward, yet there is a huge rate of piracy involved with typefaces and fonts. Personal use means you can't profit from using the font, but you can use it for your own projects. Business releases are expensive , but are necessary for situations where you want to make a profit using someone else's hard work. All releases are different, so read the small writing with them. Giving someone else your fonts off your computer is illegal.
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1.26 Tuesday Butterick’s Practical Typography: Page Layout Type comp osition was about picking the right chara cters. text form atting was about the visual app earance of those characters. Page layout is about the posi tioning and relationship of text and other elements on the page. Whole paragraphs should never be centered. If you’re using justified text, you must also turn on hyphenation so you don’t get grue somely large spaces between words. A first-line ind ent is the most comm on way to signal the start of a new paragraph. The other common way is with space be tween paragraphs. Is space before a paragraph equivalent to space after? Pretty much, though I prefer to rely on space after, and reserve space be fore for special circumstances. For instance, a block quotation may need space before and after to look vertically aligned.
Use type as an image rather than trying to work around it!
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Project 2 Final Version
Crit Notes Use less dark color/fills. Type needs more hierarchy and alignment modifications to be successful. Illustrations need more work and look un足 finished due to lack of detail. Astronaut looks good, maybe use him but drop the rest of the illustrations. The illustrations are too overpowering for the type treatment.
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1.28 Thursday “Family planning, or how type families work” by Peter Bil’ak The first mention of types being organized into ‘families’ also originates with Fourni er’s work. The commercial pressures of the industrial revolution inspired the creation of different weights of typefaces. The work of Adrian Frutiger uniquely shift ed attention from the design of a single typeface to the design of a complete type face system. The incorporation of two different styles of typeface into one family was probably first explored in 1932, by Jan van Krimpen in his Romulus project.
Class Notes Typesetting in InDesign is easy when using character and paragraph styles. There are techniques for categorizing information in a hierarchical pattern.
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Project 2 Final Version
Crit Notes The title needed to be Italicized . Some of the type was to large. Pull a few words out that are significant and show hierarchy using scale and weight! There needs to be bigger changes in weight and scale to be effective.
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2.2 Tuesday Grid, Thinking with Type by Ellen Lupton This article was unsearchable due to malware warning...
Using Layout Grids Effectively, Designers Insights If you can’t apply a layout grid system to a particular concept, you’ll never be able to re peat that look consistently, then it’s art and not design. Always use a layout grid for your design projects. No exceptions.
“Typographica Mea Culpa, Unethical Downloading” by Steven Heller Before the computer type was bought di rectly from type-shops. All typefaces, from almost every foundry (from Adobe to House), are automatically licensed for a specific number of output devices and CPUs at one location. Hey what about a box on my desk? Then I’ll never pay for type again. And low and be hold the Macintosh was invented and type was available in a box on my desk.
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Type Studies Project 3
Class Notes Paragraph styles are used for adjusting al足 lignments and leading. Character styles are used more for color options, weight, and style. Table styles are pretty useful when trying to align multiple chunks of information. num足 bers and results, or differences are good uses for grids.
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2.5 Thursday “My Type Design Philosophy” by Martin Majoor It was mostly quite useful to take a sans and a serif typeface, but the problem was always which ones to choose. It would seem that the Futura was influ enced by the ideas of the Bauhaus move ment and by constructivism. Redesigning an old successful typeface is something a type designer maybe never should consider. Today we had the opportunity to look at each others sections we designed. I got a lot of inspiration from other peoples work, and I felt that my section was pretty reason able but could use a little improving.
Grids don't always have to be made up of even numbers sometimes it's better to use an odd number...
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Project 3 Final Version 1
Crit Notes Always try to print the night before! Show足 ing up an hour early for printing was not the best choice every printer was down. I noticed that most of the really good de足 signs had a consistency in their layouts which strengthened their design concept.
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2.9 Tuesday “A View of Latin Typography in Relationship to the World” by PeterBil’ak The first recorded movable type system was more likely created in China around 1040 AD by Bi Sheng. Johannes Gutenberg of Mainz, who invent ed movable type a decade later. Typefaces other than Latin are referred to as “Orientales”. According to 2006 Encarta statistics, the number of native English speakers is less than the number of native Hindi and Arabic speakers, and roughly one-third the number of native Chinese speakers.
Class Notes Start on Magazine project as soon as possi ble. It will require a lot of man hours and will make for a great portfolio piece. Start looking at magazines for ideas. Good magazines though not crappy ones. Think of a subject that will be a good section for a type magazine.
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2.11 Thursday
Project 3 Final Team Version
Crit Notes Tables needed to be better formatted to match the rest of the project. Paragraph style were off a little bit in parts. Closer attention to alignment would help in some areas in my section. The section two was twice as big as the other two sections and was made up of more complex parts.
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2.18 Thursday “Lava — Voice of a Magazine” by Peter Bil’ak Lava was design to bridge the digital and print editions of a newly designed magazine. Lava was designed to perform optimally in both high- and low- resolution environments. Lava looks closely at system fonts such as Times and Georgia and aspires to work on screen as well as they do. In print, Lava de livers something that default UI fonts usually lack: refined details, finely tuned proportions and meticulous spacing that let the reader forget about the typeface and pay attention to the text.
The First Think I Ever Designed: Elena Schenker and “Gratuitous Type” Magazine It’s really nice to make something for your self that others respond to, and it’s always an exciting moment when someone says, “We want you to do this or that for us.” Issue no. 1 taught me how important it is to trust in yourself and your abilities. You know what’s in your mind, and it might take a while to realize it in precisely the way you’ve imagined it, but trust in your instincts and give yourself the time you need to get it right.
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Journal Page & Grid Layout
Class Notes Spreads that were working better looked like odd column grids. Trying to fit all to much information will cause problems down the road. It's better to space the information out and use more pages when needed.
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2.23 Tuesday “Eric Gill got it wrong; a re-evaluation of Gill Sans” by Ben Archer Gill Sans achieved its pre-eminence because of the mighty marketing clout of the Mono type Corporation and the self-serving icono clasm of its author. One of the abiding eccentricities of Gill Sans is that its range of weights appears darker and less evenly distributed than any compa rable face. Meanwhile, students should be urged to approach Gill Sans with caution; it is a hard typeface to use well without making consid erable effort.
Class Notes Pairing a San Serif with a Serif font is usually the easiest way to create hierarchy. When pairing two typefaces together, look at the their weights and styles next to each other, this will allow you to see subtle differ ences and commonalities between a pair.
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Type Studies Magazine
Class Notes Paragraph styles are used for adjusting al足 lignments and leading. Character styles are used more for color options, weight, and style. Table styles are pretty useful when trying to align multiple chunks of information. num足 bers and results, or differences are good uses for grids.
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2.25 Thursday “Beauty and Ugliness in Type Design” by Peter Bil’ak There is no such thing as conceptual type, since type design is a discipline defined by its ability to execute an outcome; the process that transforms the pure idea into a functional font is a critical part of the discipline. Bodoni was one of the most widely-admired printers of his time and considered amongst the finest in the history of the craft. In his Manuale Tipografico of 1818, Bodoni laid down the four principles of type design “from which all beauty would seem to pro ceed”, namely: regularity, clarity, good taste, and charm. No other style in the history of typography has provoked such negative reactions as the Italian. The difference between the attractive and repulsive forms lies in a single design pa rameter, the contrast between the thick and the thin.
Make sure there is variations between spreads...not all two page and not all single page.
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Artist Spotlight Spread
Graffiti as Art Spread 27
3.1 Tuesday “An Idea of a typeface” by Kai Bernau Plato posits that these idealised, abstracted forms enable us to identify real-world in stances of their type by comparison, and I imagined that this had to be true for typefac es as well. Conceptual art, simply put, had as its basic tenet an understanding that artist, work with meaning, not shapes, colours, or materials. Neutrality can be regarded as an auxiliary construction that lets us describe things and events that appear free of connotations to a specific social and cultural group at a specif ic point in time.
A Typeface Designed to Revive the Endangered Cherokee Language Why’s it called Phoreus Cherokee? Pho reus is the ancient Greek word for bearer or carrier and refers to type (and the Cherokee syllabary) as a vehicle of language and visual culture. This serif face is a harmonious mix of closed and open shapes, straight strokes, and play ful curves.
ART 338 ART 338 ART 338 ART 338 ART 338 ART 338 ART 338 ART 338 ART 338 ART 338 ART 338 ART 338 ART 338 ART 338 ART 338 ART 338 ART 338 ART 338 ART 338 ART 338 ART 338 ART 338 ART 338 ART 338 ART 338 Designed by Kris Kalar Cal Poly Dept. of Art & Design Art 338 Typography II, Winter 2016 Typefaces used: