338.01 Type Journal by Lucia Astiazaran

Notes

Type II: Journal

Notes

Winter 2016

4 // Journal

INTRODUCTION This is a compilation of different things I have learned throughout the quarter. This class has been a lot about trial and error. I have learned what works and what does not regarding typography. After learning the components of typography in Type I, we are now learning how to apply them to our work. I learned the most when we would talk about our projects during the pre-critiques. Throughout this journal, there are images showing pre-critique work and final work.

It is evident when comparing the first drafts of some of the projects to the final pieces.

Introduction // 5

WEEKONE Thursday 1.7. 2016 Typographic Refinement: The Details pt size: system to measure originally developed for handset metal type 12 points = 1 pica 6 picas = 1 inch 1p6 = 1 pica and 6 points traditional sizes - 5pt to 72pt Choosing a point size factors to consider - length of text, typeface proportions and weight, format, audience, content screen vs. print should be larger when they will be read on screen body text in print — 9pt to 12pt To make your type look better: kern type at display sizes Leading it should be 120 –145 of the point size Optimal line length 8-13 words per line on average Tracking — STAY AT -10 all caps — +50 fine Customized hyphenation Paragraph >hyphenation hyphenate 6 // Journal

words with at least: 6 letters after first: 3 letters before last: 3 letters hypen limit: 2

Fix rags when practical: use discretionary hyphens, line breaks, or tracking to adjust rags a couple of line breaks help add tracking ( +10) *Dynamic Spelling*

ANALYZE Legibility Exercise What effect does varying the typeface have on legibility? What effects do the changes in leading have on readability? What point sizes look best with the given column width? Which typeface in which point size and leading is the most readable? Which is the worst combination of all three and why? Type up your observations in your journal.

• Varying the typeface increases or decreases legibility. Depending on the point size and the leading there are times where one is more legible than the other.

• Changes in leading affect the speed and rhythm of the reader.

When the leading is too small the type looks crowded and unappealing. When it’s too big it creates unnecessary negative space.

• Given the column width, the point size that looks best is point 9. If it’s too small, the paragraph becomes too wide in proportion to the point size.

• In the serif typeface, the best combination is 10/13 because of Week One // 7

the size. The leading may benefit from a small increase. For my sans serif typeface, the best combination 9/14 because the type font size is bigger than the serif. • I think that out of all the combinations, the serif paragraph in 8/13 is the least legible. The point size becomes too small for the viewer to comfortably read the text.

READING Our first reading consists of basic typographic rules and how one can use them in order to be a better typographer even if we are not designers. This publication is about teaching a non-designer to be a better typographer, because everyone is a typographer because we all use typography. More specifically lawyers who type up documents. Typography can be used to make it so much easier for the reader to read these dense documents.

Some of the more basic rules that the author goes over are point size, line spacing, line length, etc.

Our in-class exercise was tied into our reading. We chose a serif and sans-serif typeface and we saw at which point size and leading combination they were more legible

8 // Journal

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.

BASKERVILLE 9/13

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

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.

BASKERVILLE 9/12

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 9/12

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

Without typography, one could argue, messages will still be

Paul Watzlawick’s first axiom of communication—“one cannot not

legible, but if one really wants to communicate rather than

communicate”—puts it very succinctly. If you fail to consider the

simply display a heap of alphanumeric data, some consider-

effect of your message on the recipient, you may inadvertently com-

ation would be helpful. Paul Watzlawick’s first axiom of com-

municate that you do not care how your message may be received.

munication —“one cannot not communicate”— puts it very

BASKERVILLE 9/14

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 9/14

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.

BASKERVILLE 9/15

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

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

that you do not care how your message may be received.

AVENIR 9/15

first axiom of communication —“one cannot not communicate”— puts it very succinctly. If you fail to consider the effect of your message on the

Without typography, one could argue, messages will still be legible,

recipient, you may inadvertently communicate that you do not care how

but if one really wants to communicate rather than simply display a

your message may be received.

heap of alphanumeric data, some consideration would be helpful.

BASKERVILLE 8/13

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 com-

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.

municate that you do not care how your message may be received.

AVENIR 8/13

Week One // 9

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,

WEEKTWO Tuesday 1.12.2016 READING In Practical Typography the author talks about how typography can affect the way people read information and how it can affect the reader’s experience. The butterfly ballot, for example, was poorly designed and caused the public to be confused by the organization of the ballot. The misalignment between the two sides caused confusion and affected the whole country by the outcome of the voters.

It might have been different if the ballot was easier to follow.

In the résumé example, the organization of the better résumé caused the employer to choose Trixie because the information on her résumé was easier to read and find. In the context of a résumé it is important for the employer to go through various résumés quickly and efficiently.

Lastly, the comparison of the Golden Goblet to typography was an effective way to compare typography to the content. I think that the average reader would not notice good typography because the information would be easy to read. I think that is a moment where typography may may be “invisible” to the average reader.

10 // Journal

Week Two // 11

Thursday 1.14.2016 Project 1: Typesetting Things that came up during this critique about my project: • My overall composition was a little small, it should be scaled up a bit more • It needs clearer hierarchy - the title of the book may need to be emphasized a bit more in comparison to the rest of the citation • There needs to be more space between the quotes, and more leading in general • since I have a few quotes from the same book, the repetition of the citations became a little confusing and combining the quotes that are found in the same book may be a possible solution Overall problems that came up were legibility problems due to typeface choice, size, and background color. Some people that used black as a background color may need to change the weight of the typeface in order for it to become clearer. A sans serif typeface may also fix that problem. There were also a few issues with alignment and relating the title to the quotes. One should be able to make sense of the organization of the title and body text of the content that is presented.

12 // Journal

thoughts on

TYPOGRAPHY “Display faces are designed primarily for heads. Their complex forms or extreme proportions become tiresome in large quantities.”

Ellen Upton Design Briefs: Type on Screen: A Guide for Designers

Developers, Writers, and Students May 2014, Page 18

“All visual messages have a hierarchal order to the information presented, that is, an order of reading information according to importance. It is essential for the designer to determine a logical hierarchal order for all elements within a message before beginning design.”

“Tensions may be created by placing elements near the edges […]

Because of the dynamic qualities of the diagonal, when placed close to an edge, there is movement in the compositions.”

Kimberly Elam Grid Systems: Principles of Organizing Type October 4, Page 97 and 74

“After drawing the viewer in with arresting display type, smaller book type assumes the more mundane task of announcing where to buy concert tickets. Since display type is less adaptable and less useful at small sizes, such partnerships between display and book letters allow compromises between typographic eye candy and legible functionality.”

“Letters are never neutral no matter how ‘neutral’ they may look.

Every style and approach is weighted with its unique baggage. Neutrality itself, a trait often praised in Helvetica and other modernist types, carries somewhat conflicting associations of both intellectuality and blandness.”

Bruce Willen and Nolen Strals Lettering and Type: Creating Letters and Designing Typefaces September 2009, Page 45 and 47

Week Two // 13

WEEKTHREE Tuesday 1.19.2016 READING Type Composition In this reading the author goes over all the proper grammatical marks. Sometimes, when writing text, the default may not be the right way to type. Things like curly quotes, spaces, and returns are things that good typographers need to be aware of in order to organize a text in the most legible and correct way.

Key shortcuts option + 8 option + k - degrees option + g - copyright opt. + r - opt. + semicolon - trademark opt + e, then type letter - accent shift + return tab: command + shift + t tab decimal align JOURNAL ENTRY Some new things I learned from the chapter on type composition are some shortcuts that I had no idea about. There are many shortcuts that come with the keyboard and although starting to use them may be a bit challenging since we have been typing since we were kids, if I make an effort to use them in my every day typing, I could become much more efficient.

14 // Journal

Key shortcuts option + 8 - • option + k - degrees option + g - copyright opt. + r - Ž opt. + semicolon - trademark opt + e, then type letter - accent shift + return tab: command + shift + t tab decimal align

Week Three // 15

Thursday 1.21.2016 READING Text Formatting Text formatting is not as rule based as what we learned in the Type Composition chapter. At this point, the typographer must learn to use better judgement in order to see what kind of formatting works best with the text. Things like which are good or bad fonts, and which ones go together well.

NOTES How to choose a typeface: Design factors to consider • Content - How long is the text, what is it about • audience - what is the age of the reader, what is the demographic of the reader • Format/context - what is the size of the page/screen, is the size set or will it vary, at what distance will the text be read Technical factors to consider • Does the font have a full character set, including all punctuation and glyphs necessary for the job?

• Does the font have foreign scented characters and glyphs?

• Does the font have multiple weights and styles?

• Does the don’t have small caps?

• Does the font have lining and old style numerals?

• What is the format of the font? OpenType fonts are cross-plat16 // Journal

form • Does the font have a Web Font version?

When buying a font, you purchase a license • a font license the owner the right to use a typeface in a specific manner as outlines in the license. As a designer, you need to ask:

- can i use this font for commercial work?

- How much does it cost?

- Can I use it online, or just in print?

- What about apps, and ebooks?

Some places to buy fonts…

• Google • Lost Type Co-op - Pay-what-you-want • League of Moveable Type - type movement that provides wellmade, free, open-source, @font-face ready fonts • Font Squirrel - free fonts for commercial use • Fontspring - fonts have very similar licenses. All of the fonts can be used for commercial projects • House industries - font collection draw attention to under-appreciated art genres and the American vernacular • my Fonts - wide range of fonts and an excellent newsletter on font trends and design • fonts.com - extensive collection of fonts and a nice blog Installing new fonts • User:~/Library/Fonts/ • each user has complete control over the fonts installed in their Home • Local: /Library/Fonts • Network:/network/library/fonts • System: /System/Library/Fonts/

Week Three // 17

Do I need a font manager…

• not technically - you can activate fonts by placing the into any of the folders • but they may be damaged if moved around a lot • Font Book - can create library sets to open fonts in place - has an automatic activation - Cons - different library sets can contain the same fonts, but they must be linked from the same location in order to activate them -resolving fonts always favors in the System folder. This makes it impossible to activate another type of font with the same name without having to first manually remove the conflicting font in the System folder -conflict resolution function may remove font from library folder • in general, you want to have the minimum number of fonts installed - programs move faster - create sets - by project or by style • if you want a more robust font management program than Font Book: - Font explorer X Pro - Suitcase Fusion JOURNAL ENTRY Today we laid out the text of the dialogue in different ways to see how the text could be organized within the paper. I did a couple of rough layouts to see how much space the text would take up within the composition. As part of our ideation, I also created some type studies to see possible ways of laying out the actual type.

18 // Journal

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

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

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

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

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

Campbell: There’s a certain type of myth which one might call the vision

Campbell: Well, there are two types of deed. One is the physical deed, in which the hero performs a courageous act in battle or saves a life. The other kind is the spiritual

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

Campbell: 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.

deed, in which the hero learns to experience the supernormal range of human spiritual life and then comes back with a message.

Campbell: Because that’s what’s worth writing about. Even in popular novels, the main character is a hero or heroine who has found or done something beyond the normal range of achievement and experience. A hero is someone who has given his or her life to something bigger than oneself.

Campbell: If you have someone who can help you, that’s fine, too. But, ultimately, the last deed has to be done by oneself.

Psychologically, the dragon is one’s own binding of oneself to one’s ego. We’re captured in our own dragon cage. The problem of the psychiatrist is to disintegrate that dragon, break him up, so that you may expand to a larger field of relationships. The ultimate dragon is within you, it is your ego clamping you down.

Campbell: Because that’s what’s worth writing about. Even in popular novels, the main character is a hero or heroine who has found or done something beyond the normal range of achievement and experience. A hero is someone who has given his or her life to something bigger than oneself.

Campbell: That’s all you need—an Ariadne thread.

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

Moyers: Sometimes we look for great wealth to save us, a great power to save us, or great ideas to save us, when all we need is that piece of string.

Campbell: That’s not always easy to find. But it’s nice to have someone who can give you a clue. That’s the teacher’s job, to help you find your Ariadne thread.

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

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

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

Moyers: 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”?

Moyers: In all of these journeys of mythology, there’s a place everyone wishes to find. The Buddhists talk of Nirvana, and Jesus talks of peace, of the mansion with many rooms. Is that typical of the hero’s journey - that there’s a place to find?

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

Campbell: If the work that you’re doing is the work that you chose to do because you are enjoying it, that’s it. But if you think, “Oh, no! I couldn’t do that!” that’s the dragon locking you in. “No, no, I couldn’t be a writer,” or “No, no, I couldn’t possibly do what So-and-so is doing.”

Campbell: That’s all you need—an Ariadne thread.

Moyers: How do I slay that dragon in me? What’s the journey each of us has to make, what you call “the soul’s high adventure”?

Moyers: Sometimes we look for great wealth to save us, a great power to save us, or great ideas to save us, when all we need is that piece of string.

unwinds as he goes into the labyrinth, and then follows to find the way out. You say, “All he had was the string. That’s all you need.”

Campbell: That’s 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.

Campbell: My general formula for my students is “Follow your bliss.”

Find where it is, and don’t be afraid to follow it.

Campbell: The place to find is within yourself. I learned a little about this in athletics. The athlete who is in top form has a quiet place within himself, and it’s around this, somehow, that his action occurs…. There’s a center of quietness within, which has to be known and held. If you lose that center, you are in tension and begin to fall apart.

Moyers: Is it my work or my life?

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 v back into your social world again.

Moyers: Is it my work or my life?

Campbell: If the work that you’re doing is the work that you chose to do because you are enjoying it, that’s it. But if you think, “Oh, no! I couldn’t do that!” that’s the dragon locking you in. “No, no, I couldn’t be a writer,” or “No, no, I couldn’t possibly do what So-and-so is doing.”

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

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

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

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

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

Moyers: I like what you say about the old myth of Theseus and Ariadne.

Theseus says to Ariadne, “I’ll love you forever if you can show me a way to come out of the labyrinth.” So she gives him a ball of string, which he

Campbell: The place to find is within yourself. I learned a little about this in athletics. The athlete who is in top form has a quiet place within himself, and it’s around this, somehow, that his action occurs….There’s a center of quietness within, which has to be known and held. If you lose that center, you are in tension and begin to fall apart.

Moyers: In all of these journeys of mythology, there’s a place everyone wishes to find. The Buddhists talk of Nirvana, and Jesus talks of peace, of the mansion with many rooms. Is that typical of the hero’s journey - that there’s a place to find?

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

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

is, and don’t be afraid to follow it.

Moyers: Is it my work or my life?

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.

Campbell: Because that’s what’s worth writing about. Even in popular novels, the main character is a hero or heroine who has found or done something beyond the normal range of achievement and experience. A hero is someone who has given his or her life to something bigger than oneself.

Campbell: If the work that you’re doing is the work that you chose to do because you are enjoying it, that’s it. But if you think, “Oh, no! I couldn’t do that!” that’s the dragon locking you in. “No, no, I couldn’t be a writer,” or “No, no, I couldn’t possibly do what So-and-so is doing.”

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

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

Campbell: Well, there are two types of deed. One is the physical deed, in which the hero performs a courageous act in battle or saves a life. The other kind is the spiritual deed, in which the hero learns to experience the supernormal range of human spiritual life and then comes back with a message.

Campbell: If you have someone who can help you, that’s fine, too. But, ultimately, the last deed has to be done by oneself.

Psychologically, the dragon is one’s own binding of oneself to one’s ego. We’re captured in our own dragon cage. The problem of the psychiatrist is to disintegrate that dragon, break him up, so that you may expand to a larger field of relationships.

The ultimate dragon is within you, it is your ego clamping you down.

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

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

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

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

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

Campbell: Because that’s what’s worth writing about. Even in popular novels, the main character is a hero or heroine who has found or done something beyond the normal range of achievement and experience. A hero is someone who has given his or her life to something bigger than oneself.

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

Campbell: Well, there are two types of deed. One is the physical deed, in which the hero performs a courageous act in battle or saves a life. The other kind is the spiritual deed, in which the hero learns to experience the supernormal range of human spiritual life and then comes back with a message.

Moyers: 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?

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

Campbell: 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.

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

Campbell: That’s all you need—an Ariadne thread.

Moyers: Sometimes we look for great wealth to save us, a great power to save us, or great ideas to save us, when all we need is that piece of string.

love you forever if you can show me a way to come out of the labyrinth.” So she gives him a ball of string, which he unwinds as he goes into the labyrinth, and then follows to find the way out. You say, “All he had was the string. That’s all you need.”

Campbell: That’s all you need—an Ariadne thread.

Moyers: Sometimes we look for great wealth to save us, a great power to save us, or great ideas to save us, when all we need is that piece of string.

Campbell: That’s not always easy to find. But it’s nice to have someone who can give you a clue.

That’s the teacher’s job, to help you find your Ariadne thread.

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

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

Moyers: In all of these journeys of mythology, there’s a place everyone wishes to find. The Buddhists talk of Nirvana, and Jesus talks of peace, of the mansion with many rooms. Is that typical of the hero’s journey - that there’s a place to find?

Campbell: The place to find is within yourself. I learned a little about this in athletics. The athlete who is in top form has a quiet place within himself, and it’s around this, somehow, that his action occurs…. There’s a center of quietness within, which has to be known and held. If you lose that center, you are in tension and begin to fall apart.

Moyers: How do I slay that dragon in me? What’s the journey each of us has to make, what you call “the soul’s high adventure”?

Campbell: That’s not always easy to find.

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

Moyers: How do I slay that dragon in me? What’s the journey each of us has to make, what you call “the soul’s high adventure”?

Moyers: Is it my work or my life?

Campbell: My general formula for my students is “Follow your bliss.” Find where it

Campbell: If the work that you’re doing is the work that you chose to do because you are enjoying it, that’s it. But if you think, “Oh, no! I couldn’t do that!” that’s the dragon locking you in. “No, no, I couldn’t be a writer,” or “No, no, I couldn’t possibly do what So-and-so is doing.”

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

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

Moyers: I like what you say about the old myth of Theseus and Ariadne. Theseus says to Ariadne, “I’ll

Campbell: Well, there are two types of deed. One is the physical deed, in which the hero performs a courageous act in battle or saves a life. The other kind is the spiritual deed, in which the hero learns to experience the supernormal range of human spiritual life and then comes back with a message.

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

Campbell: There’s a certain type of myth which one might call the vision quest, going in quest of a boon, a vision, which has the same form in every mythology. That is the thing that I tried to present in the first book I wrote, The Hero With a Thousand Faces.

All these different mythologies give us the same essential quest. You leave the world that you’re in and go into a depth or into a distance or up to a height. There you come to what was missing in your consciousness in the world you formerly inhabited. Then comes the problem either of staying with

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Because that’s worth writing about.

Even in popular novels, the main character is a hero or heroine who has found or done something beyond the normal range of achievement and experience. A hero is someone who has given his or her life to something bigger than oneself.

M:

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”?

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

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

Moyers: I like what you say about the old myth of Theseus and Ariadne. Theseus says to Ariadne, “I’ll love you forever if you can show me a way to come out of the labyrinth.” So she gives him a ball of string, which he unwinds as he goes into the labyrinth, and then follows to find the way out.

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Moyers: Sometimes we look for great wealth to save us, a great power to save us, or great ideas to save us, when all we need is that piece of string.

Campbell: That’s not always easy to find.

But it’s nice to have someone who can give you a clue. That’s the teacher’s job, to help you find your Ariadne thread.

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

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

Moyers: In all of these journeys of mythology, there’s a place everyone wishes to find.

The Buddhists talk of Nirvana, and Jesus talks of peace, of the mansion with many rooms. Is that typical of the hero’s journey that there’s a place to find?

Campbell: The place to find is within yourself. I learned a little about this in athletics.

The athlete who is in top form has a quiet place within himself, and it’s around this, somehow, that his action occurs….There’s a center of quietness within, which has to be known and held. If you lose that center, you are in tension and begin to fall apart.

Because that’s worth writing about.

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Because that’s worth writing about.

Even in popular novels, the main character is a hero or heroine who has found or done something beyond the normal range of achievement and experience. A hero is someone who has given his or her life to something bigger than oneself.

M:

How do I slay that DRAGON in me?

What's the journey each of us has to make, what you call “the soul’s high adventure” ?

Campbell:

If the work that you’re doing is the work that you chose to do because you are enjoyig it, But if you think, “Oh, no! I couldn’t do that!” that’s the DRAGON locking you in.

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Moyers: How do I slay that dragon in me?

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

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

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.

CAMPBELL

Campbell: Because that’s what’s worth writing about. Even in popular novels, the main character is a hero or heroine who has found or done something beyond the normal range of achievement and experience.

A hero is someone who has given his or her life to something bigger than oneself.

CAMPBELL

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

Moyers I like what you say about the old myth of Theseus and Ariadne. Theseus says to Ariadne,

"I'll love you forever if you can show me a way to come out of the labyrinth."

So she gives him a ball of string, which he unwinds as he goes into the labyrinth, and then follows to find the way out. You say, “All he had was the string. THAT’S ALL YOU NEED.”

Moyers

I like what you say about the old myth of Theseus and Ariadne.

Theseus says to Ariadne, "I'll love

you forever if you can show me a way to come out of the labyrinth."

So she gives him a ball of string, which he unwinds as he goes into the labyrinth, and then follows to find the way out. You say, “All he had was the string. THAT’S ALL YOU NEED.”

Week Three // 19

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WEEKFOUR Tuesday 1.26.2016 READING Page Layout This particular reading was about the positioning and relationship of text and other elements on the page. The author talks about how there are defaults in the programs we use. We must try to break those defaults and try to make successful layouts through other way of layout. Some factors that contribute to layout are alignment, line length, tables, space above and below, etc. He goes into more detail.

CRITIQUE During the critique, we talked about little typographic details that we might have missed. We talked about a lot about smart quotes and italicizing book titles.

During my critique, we noticed that handwritten text ad sketch were two different styles and it looked very disconnected from the title and body text. It was a challenge to unify something that, in the beginning, I thought was. However, I did see how the title and the illustration may look a little bit off. Instead of changing the lighthouse to the same style of the text, I decided to incorporate some of the lighthouse sketch look into the hand lettered type instead. I believe that that helped unify the illustration further. To unify the illustration with the title, I decided to simplify the illustration to only line work and one color. By changing the color to white without fill, I think I was able to unify the illustration with the title.

20 // Journal

The The last last deed deed has has to to be be done done by by oneself. oneself. within within you, you, itit isis your your ego ego clamping clamping you you down down

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Because that’s

If the work that you’re doing Follow your bliss.

what’s what’s worth worth writing writing about about.. isis the the work work that that you you chose chose to to do do because because you you are are enjoying enjoying it, it, that’s that’s it. it.

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

returning with that boon and trying to hold on to it as you move back into your social world again.

Campbell: Because that’s what’s worth writing about. Even in popular novels, the main character is a hero or heroine who has found or done something beyond the normal range of achievement and experience. A hero is someone who has given his or her life to something bigger than oneself.

Moyers: 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”?

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

Campbell: Well, there are two types of deed. One is the physical deed, in which the hero performs a courageous act in battle or saves a life. The other kind is the spiritual deed, in which the hero learns to experience the supernormal range of human spiritual life and then comes back with a message.

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

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

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

Moyers: Is it my work or my life?

Campbell: If the work that you’re doing is the work that you chose to do because you are enjoying it, that’s it. But if you think, “Oh, no! I couldn’t do that!” that’s the dragon locking you in. “No, no, I couldn’t be a writer,” or “No, no, I couldn’t possibly do what So-and-so is doing.”

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

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

Moyers: I like what you say about the old myth of Theseus and Ariadne. Theseus says to Ariadne, “I’ll love you forever if you can show me a way to come out of the labyrinth.” So she gives him a ball of string, which he unwinds as he goes into the labyrinth, and then follows to find the way out.

Don’t Lose the Center A talk with Joseph Campbell

Don’t Lose The Center A talk with Joseph Campbell

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

Campbell: Because that’s what’s worth writing about. Even in popular novels, the main character is a hero or heroine who has found or done something beyond the normal range of achievement and experience. A hero is someone who has given his or her life to something bigger than oneself.

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

Campbell: Well, there are two types of deed. One is the physical deed, in which the hero performs a courageous act in battle or saves a life. The other kind is the spiritual deed, in which the hero learns to experience the supernormal range of human spiritual life and then comes back with a message.

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

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

You say, “All he had was the string. That’s all you need.”

Campbell: That’s all you need—an Ariadne thread.

Moyers: Sometimes we look for great wealth to save us, a great power to save us, or great ideas to save us, when all we need is that piece of string.

Campbell: That’s not always easy to find. But it’s nice to have someone who can give you a clue.

That’s the teacher’s job, to help you find your Ariadne thread.

soul’s high adventure”?

Sometimes we look for great wealth to save us, a great power to save us, or great ideas to save us, when all we need is that piece of string.

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

Campbell: That’s not always easy to find. But it’s nice to have someone who can give you a clue. That’s the teacher’s job, to help you find your Ariadne thread.

Moyers: Is it my work or my life?

Campbell: If the work that you’re doing is the work that you chose to do because you are enjoying it, that’s it. But if you think, “Oh, no! I couldn’t do that!” that’s the dragon locking you in. “No, no, I couldn’t be a writer,” or “No, no, I couldn’t possibly do what So-and-so is doing.”

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

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

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

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

Moyers: In all of these journeys of mythology, there’s a place everyone wishes to find. The Buddhists talk of Nirvana, and Jesus talks of peace, of the mansion with many rooms. Is that typical of the hero’s journey - that there’s a place to find?

Campbell: The place to find is within yourself. I learned a little about this in athletics. The athlete who is in top form has a quiet place within himself, and it’s around this, somehow, that his action occurs….There’s a center of quietness within, which has to be known and held. If you lose that center, you are in tension and begin to fall apart.

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

Campbell: That’s all you need—an Ariadne thread.

Moyers:

Moyers: How do I slay that dragon in me?

What’s the journey each of us has to make, what you call “the

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

Campbell: But it’s got to be your way, not his.

The Buddha can’t tell you exactly how to get rid of your particular fears, for example. Different teachers may suggest exercises, but they may not be the ones to work for you. All a teacher can do is suggest. He is like a lighthouse that says, “There are rocks over here, steer clear. There is a channel, however, out there”.

Moyers: In all of these journeys of mythology, there’s a place everyone wishes to find. The Buddhists talk of Nirvana, and Jesus talks of peace, of the mansion with many rooms. Is that typical of the hero’s journey - that there’s a place to find?

Campbell: The place to find is within yourself. I learned a little about this in athletics. The athlete who is in top form has a quiet place within himself, and it’s around this, somehow, that his action occurs….There’s a center of quietness within, which has to be known and held. If you lose that center, you are in tension and begin to fall apart.

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

Campbell: Because that’s what’s worth writing about. Even in popular novels, the main character is a hero or heroine who has found or done something beyond the normal range of achievement and experience. A hero is someone who has given his or her life to something bigger than oneself.

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

C: Well, there are two types of deed. One is the physical deed, in which the hero performs a courageous act in battle or saves a life. The other kind is the spiritual deed, in which the hero learns to experience the supernormal range of human spiritual life and then comes back with a message.

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

C: There’s a certain type of myth which one might call the vision quest, going in quest of a boon, a vision, which has the same form in every mythology. That is the thing that I tried to present in the first book I wrote, The Hero With a Thousand Faces. All these different mythologies give us the same essential quest. You leave the world that you’re in and go into a depth or into a distance or up to a height. There you come to what was missing in your consciousness in the world you formerly

inhabited. Then comes the problem either of staying with that, and letting the world drop off, or returning with that boon and trying to hold on to it as you move back into your social world again.

M: How do I slay that dragon in me?

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

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

M: Is it my work or my life?

C: If the work that you’re doing is the work that you chose to do because you are enjoying it, that’s it. But if you think, “Oh, no! I couldn’t do that!” that’s the dragon locking you in. “No, no, I couldn’t be a writer,” or “No, no, I couldn’t possibly do what So-and-so is doing.”

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

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

M: I like what you say about the old myth of Theseus and Ariadne. Theseus says to Ariadne, “I’ll love you forever if you can show me a way to come out of the labyrinth.” So she gives him a ball of string, which he unwinds as he goes into the labyrinth, and then follows to find the way out.

You say, “All he had was the string. That’s all you need.”

C: That’s all you need — an Ariadne thread.

M: Sometimes we look for great wealth to save us, a great power to save us, or great ideas to save us, when all we need is that piece of string.

C: That’s not always easy to find. But it’s nice to have someone who can give you a clue. That’s the teacher’s job, to help you find your Ariadne thread.

is like a lighthouse that says, “There are rocks over here, steer clear. There is a channel, however, out there”.

M: In all of these journeys of mythology, there’s a place everyone wishes to find.

The Buddhists talk of Nirvana, and Jesus talks of peace, of the mansion with many rooms. Is that typical of the hero’s journey — that there’s a place to find?

C: The place to find is within yourself. I learned a little about this in athletics. The athlete who is in top form has a quiet place within himself, and it’s around this, somehow, that his action occurs….There’s a center of quietness within, which has to be known and held. If you lose that center, you are in tension and begin to fall apart.

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

C: But it’s got to be your way, not his. The Buddha can’t tell you exactly how to get rid of your particular fears, for example.

Different teachers may suggest exercises, but they may not be the ones to work for you. All a teacher can do is suggest. He

Week Four // 21

Thursday 1.28.2016 READING It’s always interesting to read about the history of printing and the early typographers. I feel that designers today take the ability to have such large type families for granted. It’s crazy to think that men built the different letter blocks in various point sizes and weights in order to print publications. Large type families are practical in order to have type variation in a design but have it look cohesive and unified. However, I can see how a type family that has her a 100 fonts can be a bit overwhelming and problematic.

NOTES colophon - name and typefaces recto - right hand page verso - left hand page Typesetting and design - control and customize your typography by using styles - save time by automating your text formatting Paragraph Styles • affect paragraph level attributes • leading • tabs • indents • space before and after • hyphenation and justification settings • rules above and below 22 // Journal

• most styles in your document will be paragraph styles General settings • shows an overview of the style settings and if the style was based on an existing style • basic text formatting: font, font style, size, leading, kerning, tracking and case • advanced character formats - type bastardization warning ! the only thing you should use is baseline shift • indents and soaring - defines alignment, indents, and space before or after paragraph returns - bullets - left indent ex. 35px, first line indent ex. -35 px • tabs - shows all tabs and leaders (a character that fils the negative space before the tab ex. a period) • paragraph rules - shows rules (lines) that can appear above or below the paragraph • paragraph shading - text highlighting. you never know when you might use it. Saucing can be customized • keep options - if you want to keep all or a certain number of liens together in one paragraph. avoids orphans • span columns - if you want to switch from a single column to multiple columns in the same text box • Bullets and numbering - set up lists with auto bullet points or numbers • export tagging - turns into styles into CSS. For pubs and websites - Character styles • are used for styling text within a paragraph, for things like - bold text - italic text - run-in subheads - custom bullets or numbers • General - shows style name Week Four // 23

• basic character formats - basic text formatting: font, font style, size, kerning, tracking, and case. Leading is inherited from a paragraph style Tables styles • used for styling multiple tables waiting a document • style defines - outside border of the table - diving lines in the table • tables are great tool for positions text. table itself can be invisible - cell styles • used for styling individual cells, or rectangular divisions of the table • defines: - borders around the cell - how the test is positioned within the cell the style of the test within the cell - the fill color - if the cell is exed out - body text studies - basic grid - determine all the styles you need - make a list of all style names - show a visual example with description - font, size, leading spacing JOURNAL ENTRY Although I somewhat knew how to use character styles and paragraph styles, this assignment/project has really forced me to explore it further and develop my InDesign skills. Once you get the hang of it, it make the document so much easier to manage.

24 // Journal

Week Four // 25

WEEKFIVE Tuesday 2.2.2016 READING Grids are not made to make your design boring or rigid. It is an aid to organize the content of the design, but still make it dynamic and interesting. Once you learn how to use the grid, you can use that same grid to make different layouts allowing them to look unified.

JOURNAL ENTRY We went over our first draft of our book, in groups we gave each other feedback on how we can improve it for when the final is due.

Many of my potential improvements were margins, leading, and my tables. Tables were a challenge, and that is something I will need to work on for the next couple of days.

Another thing that was missing from most of the books was concept behind the covers. The strongest books we saw were the ones that had a concept behind their covers. Readers are attracted to the covers of books and something that they can recognize or tie in with the book will definitely help the reader be interested in the content of the book.

26 // Journal

II:

Elementary Principles of Composition

9. Make the paragraph the unit of composition: one paragraph to each topic.

9. And so long as a 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.— Stevenson, Walking Tours.

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

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

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

1. Topic sentence.

2. Historians then came to believe that their task was not so much to paint a picture as to solve a problem; to explain or illustrate the successive phases of national growth, prosperity, and adversity.

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

3. 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.

3. The definition expanded.

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

4. The definition explained by contrast.

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

5. The definition supplemented: another element in the new conception of history.

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 composition. For example, a short notice of a book or poem might consist of a single paragraph. One slightly longer might consist of two paragraphs: A. Account of the work.

B. Critical discussion.

A report on a poem, written for a class in literature, might consist of seven paragraphs: 8 | The Elements of Style

Section II | 9

A. Facts of composition and publication.

B. Kind of poem; metrical form.

C. Subject.

The latter sentence is less direct, less bold, and less

In treating either of these last two subjects, the writer would probably find it necessary to subdivide one or

The breeze served us admirably.

The campaign opened with a series of reverses.

The next ten or twelve pages were filled with a curious set of entries.

printed as paragraphs. An exception may be made of sentences of transition, indicating the relation between

E. For what chiefly remarkable.

Section II | 15

more of the topics here given.

As a rule, single sentences should not be written or

D. Treatment of subject.

14 | The Elements of Style

it becomes indefinite: is it the writer, or some person

the parts of an exposition or argument.

F. Wherein characteristic of the writer.

G. Relationship to other works.

But this device, if too often used, would become a man-

In dialogue, each speech, even if only a single word, is

nerism. More commonly the opening sentence simply

a paragraph by itself; that is, a new paragraph begins

The contents of paragraphs C and D would vary with the poem. Usually, paragraph C would indicate the actual or imagined circumstances of the poem (the situation),

with each change of speaker. The application of this rule, when dialogue and narrative are combined, is best

rative in the third person throughout, paragraph C need contain no more than a concise summary of the action.

Paragraph D would indicate the leading ideas and show

Again, the object is to aid the reader. The practice here recommended enables him to discover the purpose of

A novel might be discussed under the heads:

each paragraph as he begins to read it, and to retain the

quently convenient and sometimes necessary.

A. the topic sentence comes at or near the beginning;

D. Purpose.

B. the succeeding sentences explain or establish or develop the statement made in the topic sentence; and

B. Account of the event.

C. What the event led up to.

The first would be the right form in a paragraph on the dramatists of the Restoration; the second, in a paragraph

in these examples, determine which voice is to be used.

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

11. Use the active voice.

as there is, or could be heard.

The active voice is usually more direct and vigorous than the passive: I shall always remember my first visit to Boston.

Ending with a digression, or with an unimportant detail, is particularly to be avoided.

This is much better than

If the paragraph forms part of a larger composition, its 10 | The Elements of Style

The break between them serves the purpose of a rhetorithe action.

C. the final sentence either emphasizes the thought of the topic sentence or states some important consequence.

A. What led up to the event.

Modern readers have little esteem for the dramatists of the Restoration.

particular word the subject of the sentence will often, as often without even this semblance of a topic sentence. cal pause, throwing into prominence some detail of

C. Characters.

The dramatists of the Restoration are little esteemed to-day.

on the tastes of modern readers. The need of making a The brief paragraphs of animated narrative, however, are

purpose in mind as he ends it. For this reason, the most tion and argument, is that in which

A historical event might be discussed under the heads:

should entirely discard the passive voice, which is fre-

He picked up the heavy lamp from the table and began to explore.

generally useful kind of paragraph, particularly in exposi-

B. Plot.

principally concerned.

Another flight of steps, and they emerged on the roof.

how they are made prominent, or would indicate what

A. Setting.

This rule does not, of course, mean that the writer

At length I thought I might return towards the stockade.

10. As a rule, begin each paragraph with a topic sentence; end it in conformity with the beginning.

points in the narrative are chiefly emphasized.

undisclosed, or the world at large, that will always remember this visit?

indicates by its subject with what the paragraph is to be

learned from examples in well-printed works of fiction.

if these call for explanation, and would then state the subject and outline its development. If the poem is a nar-

concise. If the writer tries to make it more concise by omitting “by me,” My first visit to Boston will always be remembered,

My first visit to Boston will always be remembered by me.

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.

Section II | 11

12 | The Elements of Style

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.

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

3. 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 mince in time with a girl.

3. 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.

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

4. A fourth reason, stated in two forms.

cific instances; he may establish it by proofs; or he

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

5. The same reason, stated in still another form.

may develop it by showing its implications and consequences. In a long paragraph, he may carry out several of these processes.

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

1. Topic sentence.

2. 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.

2. The meaning made clearer by denial of the contrary.

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

7. 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.

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

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.

Confirmation of these reports cannot be obtained.

These reports cannot be confirmed.

Compare the sentence, “The export of gold was prohibited,” in which the predicate “was prohibited” expresses something not implied in “export.”

As a rule, avoid making one passive depend directly

by restating it in other forms, by defining its terms, by denying the converse, by giving illustrations or spe-

Section II | 13

6-7. The same reason as stated by Hazlitt.

12. Put statements in positive form.

upon another.

Make definite assertions. Avoid tame, colorless, hesiGold was not allowed to be exported.

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

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

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.

8. Repetition, in paraphrase, of the quotation from Hazlitt.

A common fault is to use as the subject of a passive construction a noun which expresses the entire action, leaving to the verb no function beyond that of completing the sentence.

A survey of this region was made in 1900.

This region was surveyed in 1900.

Mobilization of the army was rapidly carried out.

The army was rapidly mobilized.

tating, non-committal language. Use the word not as a means of denial or in antithesis, never as a means of evasion.

He was not very often on time.

He usually came late.

He did not think that studying Latin was much use.

He thought the study of Latin useless.

The Taming of the Shrew is rather weak in spots. Shakespeare does not portray Katharine as a very admirable character, nor does Bianca remain long in memory as an important character in Shakespeare’s works.

The women in The Taming of the Shrew are unattractive. Katharine is disagreeable, Bianca insignificant.

The last example, before correction, is indefinite as well as negative. The corrected version, consequently, is simply a guess at the writer’s intention.

12 | The Elements of Style

Section II | 13

14 | The Elements of Style

Section II | 15

Week Five // 27

Thursday 2.5.2016 READING “My type design Philosophy” I found this article very helpful and interesting. It’s perfect for the project we are working on now. Every time I start a new project thats usually the first step, choosing typefaces, and I always choose a sans and a serif. However, I had never thought about how to choose those types and how to combine them. I always just eye it out. This article was really interesting in that there is a system and there are characteristics that you need to pay attention to when combining these two different typefaces.

JOURNAL ENTRY We went over our individual books today and we critiqued and said what we had to improve. Some things we said needed improvement overall were the title pages and the covers. We talked about how the most successful ones had an overall concept. Some people were missing footers. There were still people who needed to edit their body text as well; things like size, leading, and line length. This also tied in with We also talked about how to differentiate the body text from the examples that are given. We also went over some issues that were going within the tables and the cells themselves.

28 // Journal

ts

eE Th

LtEion II Y T Sec

n me

le

S

of

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

9. And so long as a 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.— Stevenson, Walking Tours.

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

1. Topic sentence.

2. Historians then came to believe that their task was not so much to paint a picture as to solve a problem; to explain or illustrate the successive phases of national growth, prosperity, and adversity.

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

3. 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.

3. The definition expanded.

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

4. The definition explained by contrast.

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

5. The definition supplemented: another element in the new conception of history.

14 | The Elements of Style

II:

Elementary Principles of Composition

9. 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

Section II | 15

6. 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 depend. —Lecky, The Political Value of History.

6. Conclusion: an important consequence of the new conception of history.

cal pause, throwing into prominence some detail of the action.

11. Use the active voice.

The active voice is usually more direct and vigorous than the passive:

In narration and description the paragraph sometimes begins with a concise, comprehensive statement serving to hold together the details that follow.

need of subdividing it into topics. Thus a brief descrip-

The break between them serves the purpose of a rhetori-

tion, a brief summary of a literary work, a brief account

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.

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

The breeze served us admirably.

The campaign opened with a series of reverses.

The next ten or twelve pages were filled with a curious set of entries.

subdivision will not improve it.

Ordinarily, however, a subject requires subdivision into

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,

topics, each of which should be made the subject of a paragraph. The object of treating each topic in a para-

But this device, if too often used, would become a man-

graph by itself is, of course, to aid the reader. The begin-

nerism. More commonly the opening sentence simply

undisclosed, or the world at large, that will always

ning of each paragraph is a signal to him that a new step

indicates by its subject with what the paragraph is to be

remember this visit?

in the development of the subject has been reached.

principally concerned.

This rule does not, of course, mean that the writer should entirely discard the passive voice, which is fre-

The extent of subdivision will vary with the length of the composition. For example, a short notice of a book or poem might consist of a single paragraph. One slightly longer might consist of two paragraphs: A. Account of the work.

At length I thought I might return towards the stockade.

quently convenient and sometimes necessary.

He picked up the heavy lamp from the table and began to explore.

The dramatists of the Restoration are little esteemed to-day.

Another flight of steps, and they emerged on the roof.

B. Critical discussion.

The brief paragraphs of animated narrative, however, are

A report on a poem, written for a class in literature,

often without even this semblance of a topic sentence.

might consist of seven paragraphs: 8 | The Elements of Style

Section II | 9

A. Facts of composition and publication.

In treating either of these last two subjects, the writer

in these examples, determine which voice is to be used.

forcible writing. This is true not only in narrative princi-

sentences of transition, indicating the relation between

E. For what chiefly remarkable.

pally concerned with action, but in writing of any kind.

the parts of an exposition or argument.

F. Wherein characteristic of the writer.

G. Relationship to other works.

The contents of paragraphs C and D would vary with the poem. Usually, paragraph C would indicate the actual or imagined circumstances of the poem (the situation),

Many a tame sentence of description or exposition can

In dialogue, each speech, even if only a single word, is

be made lively and emphatic by substituting a transitive

a paragraph by itself; that is, a new paragraph begins

in the active voice for some such perfunctory expression

with each change of speaker. The application of this

as there is, or could be heard.

rative in the third person throughout, paragraph C need contain no more than a concise summary of the action.

Paragraph D would indicate the leading ideas and show

There were a great number of dead leaves lying

points in the narrative are chiefly emphasized.

recommended enables him to discover the purpose of

A novel might be discussed under the heads:

each paragraph as he begins to read it, and to retain the

The sound of the falls could still be heard.

The reason that he left college was that his

tion and argument, is that in which

B. Plot.

A. the topic sentence comes at or near the beginning;

D. Purpose.

B. the succeeding sentences explain or establish or develop the statement made in the topic sentence; and

B. Account of the event.

C. What the event led up to.

Failing health compelled him to leave college.

He soon repented his words.

he had said what he

A common fault is to use as the subject of a passive construction a noun which expresses the entire action,

A survey of this region was made in 1900.

This region was surveyed

Mobilization of the army was rapidly carried out.

The army was rapidly

Confirmation of these reports cannot be obtained.

These reports cannot be

in 1900.

mobilized.

confirmed.

Compare the sentence, “The export of gold was prohibited,” in which the predicate “was prohibited” expresses something not implied in “export.”

had.

As a rule, avoid making one passive depend directly upon another.

C. the final sentence either emphasizes the thought of the topic sentence or states some important consequence.

A. What led up to the event.

It was not long before he was very sorry that

C. Characters.

A historical event might be discussed under the heads:

The sound of the falls still reached our ears.

health became impaired.

purpose in mind as he ends it. For this reason, the most generally useful kind of paragraph, particularly in exposi-

A. Setting.

building.

ject of the first.

Dead leaves covered the ground.

on the ground.

10. As a rule, 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

he was seen to enter the

properly related to the second passive is made the sub-

ing the sentence.

learned from examples in well-printed works of fiction.

how they are made prominent, or would indicate what

It has been proved that

In both the examples above, before correction, the word

leaving to the verb no function beyond that of complet-

rule, when dialogue and narrative are combined, is best

if these call for explanation, and would then state the subject and outline its development. If the poem is a nar-

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

The habitual use of the active voice, however, makes for

printed as paragraphs. An exception may be made of

D. Treatment of subject.

dramatists of the Restoration; the second, in a paragraph Section II | 17

particular word the subject of the sentence will often, as

more of the topics here given.

As a rule, single sentences should not be written or

Modern readers have little esteem for the dramatists of the Restoration.

The first would be the right form in a paragraph on the

16 | The Elements of Style

on the tastes of modern readers. The need of making a

would probably find it necessary to subdivide one or

B. Kind of poem; metrical form.

C. Subject.

it becomes indefinite: is it the writer, or some person

12. Put statements in positive form.

Make definite assertions. Avoid tame, colorless, hesitating, non-committal language. Use the word not as a

Gold was not allowed to be exported.

Ending with a digression, or with an unimportant detail, is particularly to be avoided.

It was forbidden to export gold (The export of gold

means of denial or in antithesis, never as a means of evasion.

was prohibited).

If the paragraph forms part of a larger composition, its 10 | The Elements of Style

Section II | 11

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.

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

3. 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 mince in time with a girl.

3. 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.

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

4. A fourth reason, stated in two forms.

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

5. The same reason, stated in still another form.

18 | The Elements of Style

He was not very often on time.

He did not think that studying Latin was much use.

The Taming of the Shrew is rather weak in spots.

Shakespeare does not portray Katharine as a very admirable character, nor does Bianca remain long in memory as an important character in Shakespeare’s works.

Section II | 19

He usually came late.

He thought the study of Latin useless.

The women in The Taming of the Shrew are unattractive.

Katharine is disagreeable, Bianca insignificant.

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.

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

1. Topic sentence.

2. 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.

2. The meaning made clearer by denial of the contrary.

12 | The Elements of Style

The last example, before correction, is indefinite as well as negative. The corrected version, consequently, is simply a guess at the writer’s intention.

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

7. 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.

All three examples show the weakness inherent in the word not. Consciously or unconsciously, the reader is 6-7. The same reason as stated by Hazlitt.

dissatisfied with being told only what is not; he wishes to be told what is. Hence, as a rule, it is better to express a negative in positive form.

not honest 8. There should be no cackle of voices at your elbow, to jar on the meditative silence of the morning.

8. Repetition, in paraphrase, of the quotation from Hazlitt.

Section II | 13

not important

dishonest trifling

did not remember

forgot

did not pay any attention to

ignored

did not have much confidence in

distrusted

20 | The Elements of Style

Week Five // 29

WEEKSIX Tuesday 2.9.2016 READING By 1000, the Chinese had already invented the printing press, yet we only learn about Gutenberg’s printing press from 1400.

It’s interesting to see how influenced typography is by European culture and type. I feel like we may be too arrogant in thinking that our language and our characters are the only ones people

JOURNAL ENTRY In our group, we have decided in an overall style for our book and we have all the paragraph and character styles. Our next step is applying those to our individual files, then checking they are all the same and fixing any slight differences between our documents.

30 // Journal

Alex Braica Ashley Vong Lucia Astiazaran

PARAGRAPH STYLES

Sections

Tracking: 40 Alignment: center

Folders: Title Page

THE ELEMENTS OF STYLE

Title Page Header Font Family: Gotham Black Font Style: Regular Point Size: 38 Leading: 45 Tracking: 45 Case: all caps Alignment: left Space after: 3p0 Section Header Font Family: Gotham Black Font Style: Regular Point Size: 10 Leading: 15 Tracking: 40 Case: all caps Alignment: left

SECTION 2

ELEMENTARY PRINCIPLES OF COMPOSITION

Section Description Font Family: Gotham Medium Font Style: Regular Point Size: 10 Leading: 15 Tracking: 40 Case: all caps Alignment: left

Section Number Font Family: Gotham Black Font Style: Regular Point Size: 400 Leading: 30 Alignment: center Space after: 2p0

New York 191

Section Description_body Font Family: Gotham Black Font Style: Regular Point Size: 12 Leading: 14 Tracking: 40 Case: all caps Alignment: center Space after: 2p0

Intro Page Intro Header Font Family: Gotham Black Font Style: Regular Point Size: 10 Leading: 40 Tracking: 50 Case: all caps Alignment: center Left Indent: 1p7 Space before: 1p8 Space after: 2p0 Intro Body Font Family: Chaparral Pro Font Style: Regular Point Size: 10.5 Leading: 14 Alignment: left Left Indent: 1p7 Space after: 1p3

William Strunk Jr

Author's Name Font Family: Chaparral Pro Font Style: Bold Point Size: 10 Leading: 15

Date Font Family: Chaparral Pro Font Style: Regular Point Size: 10 Leading: 15 Tracking: 0 Alignment: center

INTRODUCTION

2

E LEMENTARY PRINCIPLES OF COMPOSITION

Rule

This book is intended for use in English courses in which the practice of composition is combined with the study of literature

Rule Body Font Family: Gotham Black Font Style: Regular Point Size: 20 Leading: 29 Tracking: 20 Case: all caps Alignment: left Left Indent: 1p7 Space before: 1p0 Space after: 0p6 Rule Number Font Family: Gotham Blold Font Style: Regular Point Size: 100

MAKE THE PARAGRAPH THE UNIT OF COMPOSITION: ONE PARAGRAPH TO EACH TOPIC

9

CELL STYLES Table Paragraph

Leading: 30 Alignment: left Left Indent: 1p7 Space after: 1p0 Body_Text Modern readers have little esteem for the dramatists of the Restoration.

Body_Below Example Font Family: Chaparral Pro Font Style: Regular Point Size: 10.5 Leading: 13 Alignment: left Left Indent: 1p7 Space before: 1p4 Space after: 0p6 Example Font Family: Chaparral Pro Font Style: Light Point Size: 9.5 Leading: 12 Alignment: left Left Indent: 1p7 First Line Indent: -1p7 Space after: 0p6

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

ex

Body Font Family: Chaparral Pro Font Style: Regular Point Size: 10.5 Leading: 13 Alignment: left Left Indent: 1p7 Space after: 0p6

My first visit to Boston will always be remembered by me.

it becomes indefinite: is it the writer, or some person undisclosed, or the world at large, that will always remember this visit?

Numbered Tables

Left Cell Font Family: Chaparral Pro Font Style: Light Point Size: 9 Leading: 12 Alignment: left Right Cell Font Family: Chaparral Pro Font Style: Light Point Size: 9 Leading: 12 Alignment: left Left Indent: 1p0 Table Left Indent: 1p7 Space Before: 0p7 Space After: 0p7

Cell Numbers Top: 0p9 Bottom:0p9 Left: 0p0 Right: 0p6 Top Cell Stroke: 0.25, black, solid A survey of this region was made in 1900.

This region was surveyed in 1900.

Mobilization of the army was rapidly carried out.

The army was rapidly mobilized.

Confirmation of these reports cannot be obtained.

These reports cannot be confirmed.

Tables left cell style Top: 0p9 Bottom:0p9 Left: 0p0 Right: 0p6 Right Cell Stroke: 0.25, black, solid bottom cell stroke: 0.25, black, solid

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

1. Topic sentence.

2. 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.

2. The meaning made clearer by denial of the contrary.

There were a great number of dead leaves lying on the ground.

Dead leaves covered the ground.

left bottom style Top: 0p9 Bottom:0p9 Left: 0p0 Right: 0p6

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.

left top style Top: 0p9 Bottom:0p9 Left: 0p0 Right: 0p6

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

He soon repented his words.

right cell Top: 0p9 Bottom:0p9 Left: 0p0 Right: 0p6 Top Cell Stroke: 0.25, black, solid

right bottom cell right top cell Comparison right Top: 0p9 Bottom:0p9 Left: 0p0 Right: 0p6 left Top: 0p9 Bottom:0p9 Left: 0p0 Right: 0p6 right Cell Stroke: 0.25, black, solid

Formerly, science was taught by the textbook method, while now the laboratory method is employed.

Formerly, science was taught by the textbook method; now it is taught by the laboratory method.

Week Six // 31

Thursday 2.11.2016 CRITIQUE We put all the books down on the table and did a little show-andtell of our collaborative EOS books. It was fun to see how everyone had a different concept behind their covers and theme for the set.

I also noticed how much we all improved our original books and styles. Truly showed how much we improved our InDesign skills

For Thursday: brainstorm and research for zine project Issue site where you will be posting your final design Work for final layout for journal ( 6.75in x 9in) Due: printout of sample from your journal showing your grid plan

32 // Journal

ELEMENTS OF STYLE

ELEMENTS OF STYLE

ELEMENTS OF STYLE

ELEMENTS OF STYLE

section one

section two

section three & four

9

THE ELEMENTS OF STYLE

MAKE THE PARAGRAPH THE UNIT OF COMPOSITION: ONE PARAGRAPH TO EACH TOPIC

SECTION 2 ELEMENTARY PRINCIPLES OF COMPOSITION

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 composition. For example, a short notice of a book or poem might consist of a single paragraph. One slightly longer might consist of two paragraphs: A. Account of the work.

B. Critical discussion.

William Strunk Jr New York 1918 8

elements of style 9

section 2

A report on a poem, written for a class in literature, might consist of seven paragraphs: A. Facts of composition and publication.

B. Kind of poem; metrical form.

C. Subject.

INTRODUCTION

F. Wherein characteristic of the writer.

G. Relationship to other works.

The contents of paragraphs C and D would vary with the poem. Usually, paragraph C would indicate the actual or imagined circumstances of the poem (the situation), if these call for explanation, and would then state the subject and outline its development. If the poem is a narrative in the third person throughout, paragraph C need contain no more than a concise summary of the action. Paragraph D would indicate the leading ideas and show how they are made prominent, or would indicate what points in the narrative are chiefly emphasized.

The book covers only a small portion of the field of English style, but the experience of its writer has been that once past the essentials, students profit most by individual instruction based on the problems of their own work, and that each instructor has his own body of theory, which he prefers to that offered by any textbook.

B. Plot.

C. Characters.

D. Purpose.

10

elements of style 11

section 2

10 AS A RULE, BEGIN EACH PARAGRAPH WITH A TOPIC SENTENCE; END IT IN CONFORMITY WITH THE BEGINNING.

It is an old observation that the best writers sometimes disregard the rules of rhetoric. When they do so, however, the reader will usually find in the sentence some compensating merit, attained at the cost of the violation. Unless he is certain of doing as well, he will probably do best to follow the rules.

After he has learned, by their guidance, to write plain English adequate for everyday uses, let him look, for the secrets of style, to the study of the masters of literature.

section 2

In dialogue, each speech, even if only a single word, is a paragraph by itself; that is, a new paragraph begins with each change of speaker. The application of this rule, when dialogue and narrative are combined, is best learned from examples in well-printed works of fiction.

A. Setting.

The following books are recommended for reference or further study: in connection with Chapters II and IV, F. Howard Collins, Author and Printer (Henry Frowde); Chicago University Press, Manual of Style; T. L. De Vinne Correct Composition (The Century Company); Horace Hart, Rules for Compositors and Printers (Oxford University Press); George McLane Wood, Extracts from the Style-Book of the Government Printing Office (United States Geological Survey); in connection with Chapters III and V, Sir Arthur Quiller-Couch, The Art of Writing (Putnams), especially the chapter, Interlude on Jargon; George McLane Wood, Suggestions to Authors (United States Geological Survey); John Leslie Hall, English Usage (Scott, Foresman and Co.); James P. Kelly, Workmanship in Words (Little, Brown and Co.).

4

B. Account of the event.

In treating either of these last two subjects, the writer would probably find it necessary to subdivide one or more of the topics here given.

As a rule, single sentences should not be written or printed as paragraphs. An exception may be made of sentences of transition, indicating the relation between the parts of an exposition or argument.

A novel might be discussed under the heads:

The writer’s colleagues in the Department of English in Cornell University have greatly helped him in the preparation of his manuscript. Mr. George McLane Wood has kindly consented to the inclusion under Rule 11 of some material from his Suggestions to Authors. elements of style 3

A. What led up to the event.

C. What the event led up to.

D. Treatment of subject.

E. For what chiefly remarkable.

This book is intended for use in English courses in which the practice of composition is combined with the study of literature. It aims to give in brief space the principal requirements of plain English style. It aims to lighten the task of instructor and student by concentrating attention (in Chapters II and III) on a few essentials, the rules of usage and principles of composition most commonly violated.

The numbers of the sections may be used as references in correcting manuscript.

A historical event might be discussed under the heads:

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

elements of style 5

12

elements of style 13

section 2

such sentence is required, it is generally better to set apart the transitional sentences as a separate paragraph.

2

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.

3. 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 mince in time with a girl.

3. 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.

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

4. A fourth reason, stated in two forms.

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

1. Topic sentence.

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

2. 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.

2. The meaning made clearer by denial of the contrary.

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

E LEMENTARY PRINCIPLES OF COMPOSITION

7. 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.

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

14

section 2

5. The same reason, stated in still another form.

6-7. The same reason as stated by Hazlitt.

8. Repetition, in paraphrase, of the quotation from Hazlitt.

elements of style 15

Week Six // 33

WEEKSEVEN Tuesday 2.16.2016 NO CLASS

Thursday 2.18.2016 READING Magazine publications are a different kind of design because there is a lot of text accompanied with many images. One needs to find the balance between those two elements. Another thing that I had not realized, is the typeface choice for an online publication. I had not realized that the typefaces used for online articles have a distinct serif characteristic. They are also a little bit bigger in order to be able to read in high contrast settings.

JOURNAL ENTRY We looked at all the journal layouts and we talked about how we need to work a little bit more on our grids. We need to use the grid to our advantage and use it to have a more organized layout.

34 // Journal

Week Seven // 35

WEEKEIGHT Tuesday 2.23.2016 READING Gill Sans - It’s interesting to see how fonts are made and how they change over the years. Sometimes when we have a familiar typeface, it’s important to know that even if we’re comfortable with it, we must realize if they are a technically successful typeface. It’s important to remember that we must choose typefaces and fonts with a critical eye instead of thinking they’re visually appealing.

JOURNAL ENTRY Today we started picking typefaces for our online zines. It took a while to find something that would be appropriate for body text in an online publication. I started with Garamond but ended up choosing PT Serif, which was similar to Georgia which was designed for online publications.

36 // Journal

Thursday 2-25 READING I liked how the designers brought two extremes and made a neutral design. They took the elegance from high contrast serifs such as Didot and the ugliness of the Italian type and came with a usable design that people could use in the everyday.

Week Eight // 37

WEEKNINE Tuesday 3.1.2016 READING The article which revives the Cherokee language through a typeface is really interesting because it kind of ties in the fact that we are so involved with the roman language. Just like the past article that talks about other types of characters. It just opens your eyes to all the variations of type.

The other article, that questions whether any typeface is truly neutral, was kind of ironic given that just a weeks ago I talked about how the beauty of a typeface plus the ugliness of a typeface can make a neutral typeface. It reinforces the fact that every typeface has a connotation and a certain feel that shows through the design.

Which is another reason why typeface choice is such an important decision during the design process.

PROGRESS ON ZINE I have an overall theme that I want to portray throughout the whole magazine layout. However, I still have a lot to do to improve the overall visual language and hierarchy through typography NOTES legibility on screen: two typefaces designed for the screen - Georgia and Verdana Things to think about: 38 // Journal

• typeface contrast • x-height: when choosing a typeface for text, a high x-height is ideal, especially for use on interfaces or way finding • beware of x-height extremes • character distinction - differentiating between different character is essential for on screen legibility • numbers, punctuation, special characters • small caps and ligatures - some fonts contain alternate styles or characters like small caps and ligatures. Using small caps on the web usually means specifying a separate font file with just the small caps.

• optical sizes - some typefaces have family members that suit a specific size range, called optical sizes • finding alternatives: classic typefaces are sometimes so overused that they begin to look like generic defaults. Look for typefaces that share some similar traits to your favorite classics • look for distinction - avoid waiting typefaces that are too similar • pair display and text faces - take advantage of display type • look for harmony - find typefaces with inherit visual relationships in their structure

Thursday 3.3.2016 In class, we critiqued each other and had a check list in order to see if we had the basic typographic elements down on our zine. From there, we continued working on our projects.

Week Nine // 39

WEEKTEN Tuesday 3.8.2016 ZINE PRE-CRITIQUE The cover has to give off a more magazine feel. It should have more magazine elements, like an actual title, some featured articles to indicate what the reader will find inside, and maybe the issue of the magazine, like a season, number, or a month.

I also had to reorganize my ToC because it looked too much like a book.

I was missing folios, although that was just because I was not finished We went over some of my articles and the organization and the layouts of them. I had to change a few things, I had some consistent issues in treating some of the article too differently when they were in the same section. I also gave more importance to smaller articles, when the featured articles should be the most important visually.

40 // Journal

FEATURED FEATURED

FEATURED

Table of Contents

LETTER FROM THE EDITOR

FEATURED

Fili, who grew up in an Italian-American household in New Jersey, remembers carving letterforms into the wall above her bed at age three or four: Even then, she simply loved making letters. In high school, she taught herself calligraphy with a Speedball guide and an Osmiroid pen. She enrolled at Skidmore College to study studio art, but discovered graphic design instead. Presciently, her senior project was a hand-lettered Italian cookbook.

5

9

Louise Fili 10 Jon Contino 14

BEST OF TYPE 2015

21

Book Edition 22

CULTURE

25

Graffiti Art 26 Type Around the World: Arabic Typography 30

Louise Fili designs with unmatched grace and elegant craftsmanship, unifying old and new to create contemporary forms in typography.

Surf & Type 34 Nike Typography 38 Mid-Century Modern Type: An Ode to Charles and Ray Eames 40

LIFESTYLE

In the 1970s, Fili left Skidmore for New York City and completed her final semester at the School of Visual Arts (now SVA). It was during a freelance assignment with Knopf that she first discovered her love of designing books. At 25, she was hired as a senior designer by Herb Lubalin, if only because, as Fili modestly remembers it, ‘someone had been given notice on the day I happened to walk in the door.’ Being in an atmosphere where type was paramount had

a transformative effect on the development of her voice and style.

Fili joined Random House as art director for Pantheon in 1978. When her quiet cover design for Marguerite Duras’ The Lover helped make the book a runaway best seller in 1984, she was granted carte blanche. She designed nearly 2,000 book jackets, proving again and again that design doesn’t have to shout to be noticed. Paula Scher recalls, ‘I wondered who this terrific art director was who was designing all the book jackets with exquisite typography at Pantheon and winning so many awards. I was so impressed, and I competed with her. Then I really met her in 1982… She became my friend and has been so ever since.

Steven Heller, design historian, writer and Fili’s now-husband and collaborator, says, ‘I noticed Louise’s work long before we met. In fact, it was the work that prompted me to write her, and later meet her. What I saw in the work was

LouiseFili

43

Typesetter’s Match 44 Quiz: What kind of typeface are you? 46 Handlettering 48 Budweiser Redseign 50

Elizabeth Danzico, AIGA March 1, 2014

10

11

FEATURED:

Louise Fili

This Month’s Rising STARS a distinctive flair. It had bits of the past, but entirely reinterpreted.… More important, in a sea of book jackets and covers…her designs stood out for their precision, humanity and aesthetic joy.’ The two have since co-authored more than a dozen books, including Italian Art Deco and Shadow Type.

LETTER LETTER FROM FROM THE THE EDITOR EDITOR

Fili opened her own studio in 1989, focusing on restaurant identity, food-related logos and packaging. There weren’t many femalerun studios then, and she knew it could be problematic if she named the studio after herself. But she decided to send a clear message: ‘If you have a problem with my being female, then I don’t want you as a client.’

Louise Fili Ltd has since redesigned the Good Housekeeping Seal of Approval, designed an iconic ‘Love’ stamp and created legendary identities for New York City eateries

including Pearl Oyster Bar, the Mermaid Inn and Artisanal. She has received medals from the Art Directors Club and the Society of Illustrators, as well as three James Beard Award nominations. In 2004, she was inducted into the Art Directors Club Hall of Fame.

Today she teaches in graduate and undergraduate programs at SVA and at the school’s masters workshop in Rome.

Nolan Next’s streamlined features, designed primarily for display use, will appeal to a broader audience looking for a typeface that performs in a wide range of applications—from branding and corporate identity to editorial and web design.

Its clear structure, narrower proportions and extended character set make Nolan Next suitable for text setting as well. Add to that a nice sequence of eight weights with carefully drawn obliques, and you have a versatile family that will accommodate all your typographic needs.

When asked how she’s been able to master so many new fields, Fili says, ‘No matter how much you may love your profession, you have to be ready for change.’ As students of this graceful master of craft, we can’t wait to see what’s next. ◊

[Jeremy Dooley’s] Haboro puts a modern twist on the high-contrast [Didone] style, with slightly wedgeshaped serifs and leaf-shaped terminals that give the typeface a unique look. OpenType features allow the user to switch between these default terminals and the more traditional ball-shaped ones, as well as between sharp and blunt points on the capital ‘A’, ‘M’, ‘V’ and ‘W’. The type family comes in an impressive 54 styles: 9 weights in three widths—Normal, Condensed and Extended—all with matching italics.

Every member of the type family has an extended character set including small caps, numerous ligatures and alternates, and several figure styles.

The latest release by Nootype is a warm, fun all-caps typeface inspired by the sans serifs from the late 19th century. The family consists of a base font and seven surprising variants that can be layered to create striking multi-colour effects. These variants run the gamut from stencil via multiple inline versions to a beveled font mimicking extruded letters — think disco album sleeves, shop signs from the sixties, vintage posters, and so on. Nico Inosanto designed alternate letter forms, located in the lowercase slots, that cause the appearance of the typeface to shift from grotesque to humanist sans. Devinyl feels perfectly at ease in editorial layouts, posters, packaging… any display application that takes advantage of its inventive style. ◊

12

LETTER FROM THE EDITOR

13

FEATURED

Why is Typography important to our everyday life?

Most people know nothing about typography, even though they interact with it all day, everyday. How can something so prevalent in our everyday life, be so invisible to so many people? And, if it seemingly doesn’t matter to them, then why should it matter to designers?

Design is a means to communicate content and the most straightforward and unambiguous way to communicate is through words and text. As a result, typography is the most powerful tool that designers have at their fingertips. Typography determines legibility, creates hierarchy, and communicates meaning.

The next designer to step into the Typography Spotlight definitely falls into the “already famous within the design community”: the ‘New Yawk’ alphastructaesthetitologist and ADC Young Guns 9 winner.

transcends the literal content of the design.

Different typefaces and ways that type is combined can have very specific connotations. As a result, designers can use typography in very clever ways to provide the type with additional meaning. However, this also means that typography can be misused and create an effect that clashes heavily with content (think Comic Sans for everyday usage.)

Jon Contino

While not every viewer may consciously realize that they are being influenced by typography, they absolutely are. And because of this, typography matters. ◊

Don’t call this ADC Young Guns winner a “letterer”

For most design, it is essential that the viewer be able to read text easily. The use of great typography is how designers can maximize readability, and as result communicate literal content. Text that is too small, too big, too tight, too loose, and so on, creates a barrier between the viewer and the information. Bad typography can severely hinder a viewer from understanding content.

You laugh now, but in kindergarten, that is exactly what I was doing. I had an intense obsession with sports branding and movie posters from before I even started any type of schooling, and would literally sit on the floor and draw monograms and logos all day. Come to think of it, I don’t know if I even knew how to read or write yet, but I loved the shapes and was constantly tracing and trying to copy things that grabbed my attention.

As for making a living, I’m not quite sure.

When I started working professionally at 14 years old, it still didn’t dawn on me that it could be a career. It was a part time job doing something I liked for cash.

I don’t think it was until college when I realized that all of my projects could gang up and become a yearly salary.

How much of your ability is selftaught versus through schooling?

Everything I know from a technical aspect is self-taught. My mother and grandmother had a big part in supplying the tools, buying me books, and taking me to exhibits at a young age. Everything

The first week of ADC and Monotype‘s Typography Month has

been cruising along, giving love to the type addicts and lettering

Good typography creates hierarchy, which makes clear to the viewer the differing levels of importance each bit of information in the design holds. In a design problem with a lot of information, typography can make the information less intimidating and more easily digested.

geeks within the ADC community (we know there’s a lot of you!)

Just like last year’s Photography Month and Illustration Month, ADC Typography Month features a daily Typography Spotlight, highlighting ADC Members and Young Guns who love working with words and letters. Some of the names are already famous within the design community, while others will be new for you to discover, but all of them are card-carrying ADC Members from

Typography can also convey meaning that

6

Where did your interest in typography begin? It’s generally not something kids in kindergarten aspire to be.

When did you discover that you could actually make a living out of it?

My mother and grandmother got me hooked on calligraphy at a really young age as well, so I just enjoyed drawing letters. I can even remember old sketchbooks that had various stylized “alphabets” for pages and pages. Just me drawing letters in all different ways.

around the world.

7

14

15

Week Ten // 41

Thursday 3.10.2016 FINAL PRESENTATION I used a 12-column grid with top and bottom margins in order to have more flexibility with the layouts. It allowed me to organize the content in various ways within the same grid.

For the typefaces, I used PT Serif for the body text, Avenir for the headers or titles, and Abril Text, which is a display slab serif I used for some contrast within some titles.

For my cover concept, I found that most of the articles where alluding to the fact that we are surrounded by typography, even though not a lot of people notice it, when it is pointed out, one may realize how important good typography is to the everyday world. Therefore, I spelled out the word “TYPE” with found type and added some images as texture of some signage which is repeated in the “Letter from the Editor” page.

I tried to give off a more modern feel with the big blocks of color and the sans serif headers and titles.

I tried to lead the reader with hierarchy and movement with the typography. In some cases, I incorporated the title with the given images in order to create movement and unity.

42 // Journal

TYPEmag.

FEATURED: Jon Contino

Don’t call this ADC Young Guns winner a “letterer”

Jon Contino The first week of ADC and Monotype‘s Typography

Issue: March 2016

Month has been cruising along, giving love to the type

FEATURED:

addicts and lettering geeks within the ADC community (we know there’s a lot of you!)

Just like last year’s Photography Month and Illustration Month, ADC Typography Month features a daily Typography Spotlight, highlighting ADC Members and Young Guns who love working with words and letters.

Some of the names are already famous within the design

Louise Fili

community, while others will be new for you to discover,

Jon Contino

but all of them are card-carrying ADC Members from around the world.

Mid-Century Modern Type: An Ode to Charles and Ray Eames

10 | Type Mag

March 2016 | 11

FEATURED: Jon Contino LETTER FROM THE EDITOR

Table of Contents LETTER FROM THE EDITOR

Arabic Typography 28

FEATURED

Nike Typography 36

Louise Fili 6 This Month’s Rising Stars 9 Jon Contino 10 Mid-Century Modern Type: An Ode to Charles and Ray Eames 18 BEST OF TYPE

The next designer to step into the Typography Spotlight definitely falls into the “already famous within the design community”: the ‘New Yawk’ alphastructaesthetitologist and ADC Young Guns 9 winner.

Surf & Type 32

LIFESTYLE Typesetter’s Match 42 Quiz: What kind of typeface are you? 44

Where did your interest in typography begin? It’s generally not something kids in kindergarten aspire to be.

When did you discover that you could actually make a living out of it?

Handlettering 46 Budweiser Redseign 48

Why is Typography important to our everyday life?

Best of Type 2015: Book Edition 20 CULTURE

Most people know nothing about typography, even though they interact with it all day, everyday. How can something so prevalent in our everyday life, be so invisible to so many people? And, if it seemingly doesn’t matter to them, then why should it matter to designers?

Graffiti Art 24

Design is a means to communicate content and the most straightforward and unambiguous way to communicate is through words and text. As a result, typography is the most powerful tool that designers have at their fingertips. Typography determines legibility, creates hierarchy, and communicates meaning.

For most design, it is essential that the viewer be able to read text easily. The use of great typography is how designers can maximize readability, and as result communicate literal content. Text that is too small, too big, too tight, too loose, and so on, creates a barrier between the viewer and the information. Bad typography can severely hinder a viewer from understanding content.

You laugh now, but in kindergarten, that is exactly what I was doing. I had an intense obsession with sports branding and movie posters from before I even started any type of schooling, and would literally sit on the floor and draw monograms and logos all day. Come to think of it, I don’t know if I even knew how to read or write yet, but I loved the shapes and was constantly tracing and trying to copy things that grabbed my attention.

Good typography creates hierarchy, which makes clear to the viewer the differing levels of importance each bit of information in the design holds. In a design problem with a lot of information, typography can make the information less intimidating and more easily digested.

Typography can also convey meaning that transcends the literal content of the design.

Different typefaces and ways that type is combined can have very specific connotations. As a result, designers can use typography in very clever ways to provide the type with additional meaning. However, this also means that typography can be misused and create an effect that clashes heavily with content (think Comic Sans for everyday usage.)

My mother and grandmother got me hooked on calligraphy at a really young age as well, so I just enjoyed drawing letters. I can even remember old sketchbooks that had various stylized “alphabets” for pages and pages. Just me drawing letters in all different ways.

As for making a living, I’m not quite sure.

When I started working professionally at 14 years old, it still didn’t dawn on

While not every viewer may consciously realize that they are being influenced by typography, they absolutely are. And because of this, typography matters. ◊

me that it could be a career. It was a part time job doing something I liked for cash.

I don’t think it was until college when I realized that all of my projects could gang up and become a yearly salary.

How much of your ability is selftaught versus through schooling?

Everything I know from a technical aspect is self-taught. My mother and grandmother had a big part in supplying the tools, buying me books, and taking me to exhibits at a young age. Everything after that was just the lack of control over my obsession with design.

How would you best describe your style? How did you foster that style?

Do you tend to lean towards one type of lettering?

I’ve always been kind of sloppy when it comes to drawing anything. I’m not a tight, technical artist by any means. I’ve always embraced the idea of raw concept through art, but the designer in me is dedicated to organizing and compartmentalizing all of that stuff. One of my professors in college called my style “organized chaos” and I always thought that fit me well. When you actually look at my work it might not come across that way, but in my head that’s how I see it.

Clean, minimal, Swiss-style design has always been a favorite of mine, so I just

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FEATURED: Jon Contino

kind of put my spin on that. I do however love a good turn-of-the-century print ad though. I can’t deny that from seeping into my work.

“I hate the term ‘letterer.’ It might as well be ‘letterererererer.’ I always thought it sounded lazy and awkward. I refuse to refer to myself with that term.”

Walk us through your usual type design process.

Everything starts on paper first. I draw rough concepts in a sketchbook, I start fine-tuning on paper, and I finalize on paper. Once I’m happy with the work, I bring it into the computer to clean it up and digitize it. Sometimes it’s vector and sometimes it’s not, but typically this is more of the icing on the cake than anything else.

FEATURED FEATURED

What is your favorite ‘practical’ font, one for everyday use?

The funny this is that I’ve been lettering everything for so long, that I kind of stopped using fonts for everyday use. When I designed the Standard Memorandum, I had to choose a font that I thought I could use every day and never get sick of, and that font is Columbia Titling by Typetanic Fonts. It’s the perfect amount of slab, history, and style all rolled into one insanely flexible typeface.

Do you have a favorite letter of the alphabet when it comes to experimenting with design?

That’s a great question. My initial thought is probably an uppercase ‘R’.

There’s just so much you can do with it.

It can get out of hand pretty quickly actually.

Who wins in a fight: serif or sans serif?

Serif. Always. So much style, so much class.

The obvious difference between an illustrator and a letter or typographer is that the latter works mainly with words and letters. Name a not-so-obvious difference between the artforms, one that certainly applies to you.

I honestly can’t tell the difference between my illustration and lettering work. I think I’m the guy that walks the line right down the middle. When I draw an object or I draw a letter, I’m approaching it in exactly the same fashion. To me, there is no difference between lettering and illustration because the processes and goals are exactly the same. Tell a

story using pictures, and to me, an illustrated word is just as much a picture as anything else. There’s certainly another side to that argument, but from my point of view, it’s all one in the same. The second I try to separate it is the second I become someone else. I mean honestly, alphabets started as pictures of things anyway, right? How is that any different?

What other artistic passions do you have? Where else do you find inspiration?

Anything that has to do with design in general. I’ve been designing men’s clothes for years now. I’ve also started getting into interior design with my wife and photography for her brand, Past Lives. Anything you can put a creative spin on is something I enjoy. At this

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FEATURED: Jon Contino FEATURED: Louise Fili

Fili, who grew up in an Italian-American household in New Jersey, remembers carving letterforms into the wall above her bed at age three or four: Even then, she simply loved making letters. In high school, she taught herself calligraphy with a Speedball guide and an Osmiroid pen. She enrolled at Skidmore College to study studio art, but discovered graphic design instead. Presciently, her senior project was a hand-lettered Italian cookbook.

Louise Fili designs with unmatched grace and elegant craftsmanship, unifying old and new to create contemporary forms in typography.

In the 1970s, Fili left Skidmore for New York City and completed her final semester at the School of Visual Arts (now SVA). It was during a freelance assignment with Knopf that she first discovered her love of designing books. At 25, she was hired as a senior designer by Herb Lubalin, if only because, as Fili modestly remembers it, ‘someone had been given notice on the day I happened to walk in the door.’ Being in an atmosphere where type was paramount had

point in my life, I learned that you don’t have to apply different styles to different mediums just because you’re not proficient. I’ve become really comfortable with the type of artist I am and the style I gravitate towards, so anything creative I put my hands on will generally have the same approach as something I letter or illustrate.

a transformative effect on the development of her voice and style.

Fili joined Random House as art director for Pantheon in 1978. When her quiet cover design for Marguerite Duras’ The Lover helped make the book a runaway best seller in 1984, she was granted carte blanche. She designed nearly 2,000 book jackets, proving again and again that design doesn’t have to shout to be noticed. Paula Scher recalls, ‘I wondered who this terrific art director was who was designing all the book jackets with exquisite typography at Pantheon and winning so many awards. I was so impressed, and I competed with her. Then I really met her in 1982… She became my friend and has been so ever since.

Which professionals do you look up to the most in the typography/lettering world?

Oh man, there are so many. Of course the Herb Lubalins and Doyald Youngs of the world are a no brainer, but I’ll spare everyone the history lesson and name a few contemporary artists instead. Kimou Meyer, Todd Radom, Michael Doret, Ken Barber, Andy Cruz, Aaron Horkey,Benny Gold and Parra.

Steven Heller, design historian, writer and Fili’s now-husband and collaborator, says, ‘I noticed Louise’s work long before we met. In fact, it was the work that prompted me to write her, and later meet her. What I saw in the work was

What is the most challenging thing about your career?

Keeping up with the pace I set for myself.

I seem to be constantly ten steps ahead of myself in terms of what I’m thinking versus producing, so it’s a never ending struggle to try and reach an unreachable goal. Sometimes I just need to sleep and my desire to become better won’t let me.

The work is easy, the mental exhaustion through self-competition is the hard part.

LouiseFili

At the end of the day, what do you love most about being a typographer or letterer?

This seems like as good a platform as any to say that I hate the term “letterer.”

It might as well be “letterererererer.” I always thought it sounded lazy and awkward. I refuse to refer to myself with that term. I think “lettering artist” is acceptable, or my preference, “designer.”

Anyway, I just love the fact that lettering is all about creating something custom.

Like cabinet making or building a hot rod.

You’re taking something that anyone in the world can buy off a conveyor belt and be perfectly happy with, but putting a unique spin on it so it exists for one purpose and one purpose only. The idea of customization is the beautiful part, and to be able to customize a word to enhance the emotion behind it is just an added bonus. ◊

JON CONTINO New York, NY, USA joncontino.com studio@joncontino.com

Elizabeth Danzico, AIGA March 1, 2014

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BEST OF TYPE

FEATURED: Louise Fili

March: Rising Stars: a distinctive flair. It had bits of the past, but entirely reinterpreted.… More important, in a sea of book jackets and covers…her designs stood out for their precision, humanity and aesthetic joy.’ The two have since co-authored more than a dozen books, including Italian Art Deco and Shadow Type.

Fili opened her own studio in 1989, focusing on restaurant identity, food-related logos and packaging. There weren’t many femalerun studios then, and she knew it could be problematic if she named the studio after herself. But she decided to send a clear message: ‘If you have a problem with my being female, then I don’t want you as a client.’

Louise Fili Ltd has since redesigned the Good Housekeeping Seal of Approval, designed an iconic ‘Love’ stamp and created legendary identities for New York City eateries

including Pearl Oyster Bar, the Mermaid Inn and Artisanal. She has received medals from the Art Directors Club and the Society of Illustrators, as well as three James Beard Award nominations. In 2004, she was inducted into the Art Directors Club Hall of Fame.

Today she teaches in graduate and undergraduate programs at SVA and at the school’s masters workshop in Rome.

When asked how she’s been able to master so many new fields, Fili says, ‘No matter how much you may love your profession, you have to be ready for change.’ As students of this graceful master of craft, we can’t wait to see what’s next. ◊

Nolan Next’s streamlined features, designed primarily for display use, will appeal to a broader audience looking for a typeface that performs in a wide range of applications— from branding and corporate identity to editorial and web design. Its clear structure, narrower proportions and extended character set make Nolan Next suitable for text setting as well. Add to that a nice sequence of eight weights with carefully drawn obliques, and you have a versatile family that will accommodate all your typographic needs.

Best of Type 2015: Book Edition

Jeremy Dooley’s Haboro puts a modern twist on the high-contrast Didone style, with slightly wedge-shaped serifs and leaf-shaped terminals that give the typeface a unique look. OpenType features allow the user to switch between these default terminals and the more traditional ballshaped ones, as well as between sharp and blunt points on the capital ‘A’, ‘M’, ‘V’ and ‘W’. The type family comes in an impressive 54 styles: 9 weights in three widths—Normal, Condensed and Extended—all with matching italics. Every member of the type family has an extended character set including small caps, numerous ligatures and alternates, and several figure styles.

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1. KL Designed by: Alex Merto 2. Voices in the Night Designed by: Janet Hansen 3. Almost Famous Women Designed by: Na Kim 4. The Dismantling Designed by: Zoe Norvell 5. Drinking in America Designed by: Rex Bonomelli

The latest release by Nootype is a warm, fun all-caps typeface inspired by the sans serifs from the late 19th century. The family consists of a base font and seven surprising variants that can be layered to create striking multi-colour effects. These variants run the gamut from stencil via multiple inline versions to a beveled font mimicking extruded letters — think disco album sleeves, shop signs from the sixties, vintage posters, and so on. Nico Inosanto designed alternate letter forms, located in the lowercase slots, that cause the appearance of the typeface to shift from grotesque to humanist sans. Devinyl feels perfectly at ease in editorial layouts, posters, packaging… any display application that takes advantage of its inventive style. ◊ 8 | Type Mag

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6. How to Run a Government Designed by: Barnbrook 7. One Day in the Life of English Language Designed by: Chris Ferrante 8. Syriza Designed by: Jaimie Keenan 9. The Early Stories of Truman Capote Designed by: David Pearson ◊

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Week Ten // 43

Designed Lucia Astiazaran Typefaces Univers Chaparral Pro Published March 2016