338 03 Type Journal by Leann Hillegas

T YPOGRAPHY JOURNAL 2016

TYPE II JOURNAL

LEANN HILLEGAS WINTER 2017

INTRODUCTION This journal is a combination of all of the notes and projects I have gathered from winter quarter 2017 in Typography II. Throughout this course, I have developed new skills in understanding hierarchy, typefaces, grids, color, and overall layout in design. I now recognize how important typography is and I am excited to enhance my learning and experiences in the future. This journal is for me to look back on in case I need to refresh my memory and it is also a friendly reminder of how I designed in 2017.

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CONTENTS 06

Readings

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Lectures

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Projects

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READINGS Butterick’s Practical Typography: Typography in Ten Minutes Summary of Key Rules Foreward Type Composition How Type Families Work Page Layout Using Layout Grids Effectively Typographica Mea Culpa, Unethical Downloading Lava Gratuitous Type Magazine Beauty and Ugliness in Type Design An Idea of a Typeface Eric Gill got it wrong; a re-evaluation of Gill Sans 6

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TYPOGRAPHY IN TEN MINUTES How to be a bet­ter ty­pog­ra­pher than 95% of pro­fes­sional writ­ers and 70% of pro­fes­sional de­sign­ers.

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Body Text

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Point Size

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Line Spacing

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Line Length

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Font Choice

Most important element of your design, so make it look good.

10-12 pt for print, 15-25 px for web. This can change determining on the typeface.

120–145% of the point size.

Av­er­age of 45–90 char­ac­ters per line

Ignore fonts that came with your computer, go buy professional ones. If you use comic sans or papyrus, go jump off a cliff.

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SUMMARY OF KEY RULES • Put only one space be­t ween sen­tences.

• Never use un­der­lin­ing, un­less it’s a hyperlink.

• Use cen­tered text sparingly.

• If you don’t have real small caps, don’t use them at all.

• Use 5–12% ex­tra let­terspac­ing with all caps and small caps.

• Use first-line in­dents that are one to four times the point size of the text, or use 4–10 points of space be­t ween para­graphs. But don’t use both.

• If you use jus­ti­fied text, also turn on hy­phen­ation.

• Use am­per­sands spar­ingly, un­less in­cluded in a proper name.

• Use proper trade­mark and copy­right sym­bols—not alphabetic approximations.

• Put a non­break­ing space af­ter para­graph and sec­tion marks.

• Make el­lipses us­ing the proper char­ac­ter, not pe­ri­ods and spaces.

• Make sure apos­tro­phes point downward.

• Make sure foot and inch marks are straight, not curly.

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FOREWARD Erik Spiekermann

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The visual component of the written word.

– Butterick

Type is visible language.

– Spiekermann

The point of typography is to enhance communication by designing a legible representation. Body text may be readable, but if put against the wrong color of text or in the wrong size, it can become difficult to understand. Butterick supports the idea of typography being an element that reinforces the meaning of the text opposite to worrying if the layout is good looking.

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TYPE COMPOSITION • Straight Quotes: Two generic vertical quotation marks located near the return key.

• Curly Quotes: The quo­ta­tion marks used in good typography. There are four curly quote characters: the opening single quote, the closing single quote, the opening double quote, and the closing double quote.

• Trademark symbol (™), registered trademark symbol (®), and a copyright symbol (©). When you need these symbols, use them. Don’t use goofy alphabetic approximations like (TM) or (c).

• Ellipsis: A sequence of three dots used to indicate an omission in quoted material. They should be used instead of just periods and spaces.

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HOW TYPE FAMILIES WORK Peter Bil’ak • New innovations in technology led to the creation of superfamilies.

• Type families contain over 100 fonts in the family • Varying weights was introduced in the mid-19th century • Adrian Frutiger: Late 20th century shifted attention from the design of a single typeface to the design of a complete typeface system.

• Jan Van Krimpen: 1932, first to incorporate two different styles of typeface into one family.

• Donald Knuth: 1977, created programing language called Metafont, which defined the shapes of letterforms with geometric equations.

• Gerrit Noordzij: Taught writing and type design at the Royal Academy of Arts in the Hague. He described typeface production in three ways: translation, expansion, and rotation.

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PAGE LAYOUT • Page Layout: Emphasis on the positioning and relationship of text and other elements on the page.

• Centered text is overused.

• Hyphenation should be used if you use justified text.

• Page margins set the default territory your text occupies on the page. Don’t fear white space.

• Set your body text first. Start with font, point size, line spacing, and line length.

• Always adjust tracking so rags are even on the page.

• Don’t manually set your numbered and bulleted list.

Use the automated settings.

• Keeping parts of the same components together visually helps the reader distinguish different paragraphs.

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USING LAYOUT GIRDS EFFECTIVELY Steven Heller

• Using a grid layout helps the harmony and consistency throughout your designs.

• Make sure the layout grid compensates for the type of book binding that you are going to be applying.

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TYPOGRAPHICA MEA CULPA, UNETHICAL DOWNLOADING Steven Heller This article explains the copyright infringements of different typefaces. If you buy a font, you can’t go around sharing it with other people. Typeface licenses have a limited number of CPUS and a fixed amount of uses (web, print, etc).

GRATUITOUS TYPE MAGAZINE Elana Schlenker • She felt that the U.S. lacked a graphic designfocused magazine with a more international perspective and aesthetic.

• Emphasize playfulness over dry editorial objectivity • Created white space and movement

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LAVA – VOICE OF A MAGAZINE (2013) Peter Bil’ak

• Lava was designed to work well on both digital and print versions of a magazine.

• Useful for high and low resolutions.

• References the typefaces Times and Georgia for their legibility on-screen.

• Wanted it to define Works That Work Magazine, because he was so confident in it.

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BEAUTY AND UGLINESS IN TYPE DESIGN Peter Bil’ak • Peter designed a typeface that combines aspects of ugly and beautiful typefaces.

Bodoni | Didot Considered classically beautiful for having contrasting proportions.

• ‘Italian’ was picked as an ugly unconventional typeface because it doesn’t obey letterform convention.

• Ugliness in type: Depends on where the contrasting thick and thin strokes are placed.

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AN IDEA OF A TYPEFACE Kai Bernau

• Kai Bernau attempted to create a neutral typeface (somewhat similar to Univers or Helvetica) • She was inspired by the question of why certain typefaces age better.

• Neutrality: A construction that describes things that seem free of connotation to a specific group at a certain time.

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ERIC GILL GOT IT WRONG; A RE-EVALUATION OF GILL SANS Ben Archer

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Gill Sans is the Helvetica of England; ubiquitous, utilitarian and yet also quite specific in its ability to point to our notions of time and place.

– Ben Archer

• Eric Gill was key to developing the model for Gill Sans, Johnston, in 1916 for the London Underground.

• Gill Sans has various formal issues compared to Johnston – x-heights are too low, certain characters have lost character-defining terminal stroke details in medium weights.

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LECTURE NOTES Typographic Refinement Keyboard Shortcuts Typesetting in InDesign Type on Screen Type II Journal

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TYPOGRAPHIC REFINEMENT January 18 Point Size Typeface and weight Length and context of text How it will be viewed (printed, screen or both) Who is reading it Screen vs. Print Screen text should be larger (14 pt or bigger) than print (9-12 pt) Have at least one noticeable contrast from regular weight Legible numerals Colors appear different on print vs. screen Refining Type Customize the leading: 120-145% of point size (Print: 10 pt body = 12-14.5 pt leading; Screen 16 pt = 20 pt) Manually fix tracking to create correct rags Don’t use fake small caps: Only use if they come with the typeface Hyphens: Used if a word is too long for column length En dash: Duration, Em dash: Break in flow of sentence Quotes: Should hang and be curled not straight lines

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KEYBOARD SHORTCUTS January 25 • Shortcut for Page Break: fn + return • Shortcut for Paste in Place: shift + opt + command + v • Open Quote: opt + [ • Closed Quote: opt + shift + [ • Smart Quotes: Preferences ( cmd + k ) > type > use typographer’s quotes • Paragraph mark ¶: opt + 7 • Hyphen: • En Dash: –; opt + • Em Dash: —; opt + shift + • Trademark ™: opt + 2 ) • Registered Trademark ®: opt + r • Copyright ©: opt + g • Nonbreaking Space: opt + shift + space • Ampersand: Apply when part of a proper name, use sparingly especially in formal writing (ie. Art and Design, not Art & Design) • Ellipsis: opt + ; not ... or . . . ; at the end of a sentence add a period at the end ….

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CHOOSING TYPEFACES January 27 • Decide based on what the content is about, who the audience is, what format it will be designed in • Consider if full sets of characters is needed such as punctuation and glyphics • Multiple weights and styles • Small caps, lining and old style characters • Handlettering: takes time to perfect • Purchasing the license if you want to buy the font • Where to buy fonts: Art Server, Google Fonts (free; web and print), Lost Type Co-op (pay what you want), League of Movable Type (free; open source; well designed), Font Squirrel (free for commercial use), Fontspring (groups fonts by license types), Fonts.com (tons of fonts + blog)

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TYPESETTING IN INDESIGN February 3 • Basic Character Formats: Font, style, size, leading, kerning, tracking, case • Indents and Spacing: Alignment, indents, space before and after returns • Paragraph Rules: Shows lines that can appear above or below the paragraph • Character Styles: Styling text within a paragraph • Basic Character Formats: Font, font style, size, kerning, tracking, case • Table Setup: Border of table and spacing around table within paragraph • Row Strokes: Horizontal dividing lines in table • Column Strokes: Vertical dividing lines of table • Colophon: Name, location, date, typefaces used

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TYPE ON SCREEN March 3 • Legibility with thick-thin contrast in typefaces • Higher contrast in headlines • High x-height is ideal for on screen • Differentiating between different characters (ie. I, l, 1 vs. I, l, 1) • Small caps & ligatures should only be used if the typeface offers them.

• Classic typefaces can be overused and cause the design to look like generic defaults.

• Helvetica vs. Avenir; Georgia vs. Droid Serif • When pairing typefaces, avoid using ones that look too similar • Look for Visual relationships in structure such as Helvetica Neue and Bauer Bodoni • Some typefaces have sans + serif version (Officina Serif, Officina Sans)

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PROJECTS Legibility and Readability Study Typesetting: Rules of Typography A Dialogue Elements of Style Booklet Type Zine Type II Journal

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LEGIBILITY AND READABILITY STUDY Objective Use serif and sans serif typefaces to examine how adjustments in point size and leading effect legibility.

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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.

GEORGIA, 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.

HELVETICA, 9/13

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Final Serif

Sans Serif

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

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

GEORGIA, 9/13

HELVETICA, 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.

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.

GEORGIA, 9/12

HELVETICA, 9/12

Without typography, one could argue, messages will still be

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

legible, but if one really wants to communicate rather than

simply display a heap of alphanumeric data, some consider-

ation 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

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

you do not care how your message may be received.

GEORGIA, 9/14

HELVETICA, 9/14

Without typography, one could argue, messages will still be

Without typography, one could argue, messages will still be

legible, but if one really wants to communicate rather than

legible, but if one really wants to communicate rather than

simply display a heap of alphanumeric data, some consid-

simply display a heap of alphanumeric data, some consider-

eration would be helpful. Paul Watzlawick’s first axiom of

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

communication—“one cannot not communicate”—puts it

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

very succinctly. If you fail to consider the effect of your mes-

succinctly. If you fail to consider the effect of your message

sage on the recipient, you may inadvertently communicate

on the recipient, you may inadvertently communicate that

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

you do not care how your message may be received.

GEORGIA, 9/15

HELVETICA, 9/15

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

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

but if one really wants to communicate rather than simply display

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

a heap of alphanumeric data, some consideration would be helpful.

heap of alphanumeric data, some consideration would be helpful.

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

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

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

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

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

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

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

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

GEORGIA, 8/13

HELVETICA, 8/13

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.

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.

GEORGIA, 10/13

HELVETICA, 10/13

Leann Hillegas

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TYPESETTING : RULES OF TYPOGRAPHY Objective For this project, you will research and document as many rules, ideas, or principles about typography as possible.

Your findings must be typeset on one side of an 8.5” × 11” piece of paper.

A minimum of five examples must be presented on the page. Each entry must come from a different source, and each student must do their best to have unique entries. You must credit the author as well as the source,including the page number on which it appeared and the year it was published. Books and scholarly articles must be used as your primary reference, not the Internet.

Consideration should be given to the typesetting and design of the page.

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Process

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Critique • Composition and use of red as an accent color work well.

• Overall, the layout is nicely organized.

• The author’s names should be more prominent and distinct from the other bibliographic info.

• Remember that subtle changes in type styles can aid clarity and help with readability.

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Final

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A DIALOGUE Objective For this project, use typography to create a distinction between two voices. Use images or illustrations to depict the tone and relate to the context. The purpose of this assignment is to comprehend good typography in relation to images, hierarchy and color.

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Process

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Critique • The image is dramatic and leads nicely to text • Dynamic – Adventure is moving forward like an arrow • Placement of photo is a good solution • Text is different weights top right corner • Remove quotes on pull quote • “Souls” type should have ’ • Adventure reads well, but other part of title is too small • Rags are done well • Incorporate a subtitle so we know who is “C” and “M”.

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Final

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ELEMENTS OF STYLE BOOKLET Objective This booklet focuses on the development of a grid structure that ensures consistency in a multiple page document. It uses the principles of composition and requires proper use of paragraph and character styles. The text must be styled using typographic techniques to establish hierarchy and clarity. The text is broken up into smaller sections that a group of three students will organize. Then each student will pick which elements are working and modify one design to have the strongest solution for the series of booklets.

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Process

We matched our books. Such designer things.

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Critique • The overall design looks good, but the outside margin are a little tight. • Having only one table seems somewhat random and inconsistent with the other example styles.

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TYPE ZINE Objective The class will work on different articles to collaborate on group content for a magazine Each student will develop typography that is informed by content. This project will increase understanding of page layout, the importance of a grid use, hierarchy and pacing in a multiple page document. The zine will have a visual design that is appropriate for on screen viewing.

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ZINE PROJECT LECTURE February 22 • Inspiration Board: Imagery, page layout, type treatments, color palette ideas, typeface ideas • Concept Sketches: Cover design, image-heavy layout, text-heavy layout, different ideas for composition • Content: Upload what you have to Google folder, all images must have artist credit/ caption, all articles must have author, date, source.

Critique • Tracking with bold text • No light text for body • Use ticker weight for reversed out text • Don’t forget hang quotes • Hyphenation rules – hand kern them • Actually read the text to design • Vertical line rule

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Process

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Critique • Table of Contents – Capitalize Women and Worth • Em dashes have too much space • Album cover names italicize • New York Magazine Italicize • Page 38 there’s an orphan • Add campaign logos

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Final

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LEANN HILLEGAS CAL POLY SAN LUIS OBISPO ART 338.03 T YPEFACES USED: RALEWAY AND UNIVERS