338.03 Type Journal by Madisen van Dam by Madisen van Dam

Weeks of

Typography ART 338 | Winter 2016

A Journal of the Journey Introduction This journal is a reference to the topics of typography that we discussed in Art 338. It is meant to give some instruction on the ins and outs of Adobe InDesign as well as highlight what’s going on in the typographic world today. It is also meant to show process of my own work and describe what I’ve learned about typography throughout the 10 weeks of Winter quarter.

2 10 Weeks of Typography

Week One: Typography Recap

Week One: Basic Rules

Week Two: Applying Good Type

Week Two: Project One Critique

Week Three: Shortcuts

Week Three: Choosing a Typeface

Week Four: Project Two Critique

Week Four: InDesign Styles

Week Eight: Gill Sans: Eric Gill did it Wrong

Week Five: Understanding Grids

Week Eight: Combining Beauty & Ugliness

Week Five: Scala & Seria

Week Nine: Typography on Screen

Week Six: Elements of Style

Week Nine: Journal Planning

Week Six: Project Three Critique

Week Ten: Project Four Prep

Week Seven: Intro to the Zine

Week Ten: Project Four Presentation

Week Seven: Tad Carpenter

A Journal of the Week Journey One 3

Week One Typography Recap For the day week of class, we went over our basic knowledge on typography (rules and history). We took a quiz and I got an 82.5%, which I was happy about. I remembered some things from Type I. We had a lecture and discussed the quiz together and got introduced to the course syllabus, where are projects and weekly schedule are laid out for us. Our first project was introduced to us and we were given a guide to help us properly research thoughts, ideas, and rules about typography. We are to take the next couple of days to carefully read books, articles, and peer reviewed papers on anything relating to typography and record our favorite/best quotes that we can find. From there, we will design a single page with 5 or more typography quotes.

4 10 Weeks of Typography

Week One 5

Basic Rules This week we discussed and reviewed the basic rules of typography. The following things were emphasized: The importance of how the body text of the document looks. This is relevant because the document will primary be body text than anything else. The body text should be judged in four main typographic ways:

1. Point size. In print, the most comfortable

point size would be in the range of 9–12. For the web, the range is 15–25 pixels.

2. Line spacing. The line spacing should be between 120–145% of the point size. An easier way to look at it is to start with the point size 10. With 10, your leading should be between 12 and 14.5.

3. Line length should be an average of 45-90 characters or 8-13 words in a line.

6 10 Weeks of Typography

4. Font choice. Stay away from fonts that come

with your computer, and try to buy or invest in a usable and professional font.

Point Size Print: 9–12pt Web: 15–25px

Line Spacing Between 120–145% of pt. size

A A

Line Length

8–13 words per line Week One 7

Week Two Applying Good Type Today, we had another quiz that recapped a little about what we learned last week and the reading, Butterick’s Practical Typography: Why Typography Matters. This reading talked about the “butterfly ballot” from Palm Beach County, Florida. It discussed the ballot’s typographical errors and issues and provided a re-design version for readers to see the difference. This was a true example of how typography and organization matters in every scenario. This scenario specifically, since it was a document where the general public needed to read directions and vote for a representative of their choice. Due to the confusing and illegible design, participants complained that they weren’t exactly sure who they voted for and that it wasn’t clear. The reading also had an two examples of interviewee resumes. The first one was a not-so-great great example of typography, and the second one

8 10 Weeks of Typography

a great example. The second resume was better because it showed:

1. Accurate hierarchy. For example, the header words “education”, “business experience”, and “other work experience” are all shown small compared to the information within them, which is essentially more important.

2. Accurate line length. The first (bad) example shows a super long line length which allows for no white space. The better resume showed a shorter line length of information, making the navigation easier for the reader.

3. Emphasis on the right information. The better resume showed emphasis on the dates in which the activities occurred, whereas the weaker resume emphasized the place in which they took place.

4. Good choice of typeface. The typeface on the better resume is more inviting and easier to look at. It has emphasis on the right information.

5. Appropriate bullet points. The bullets are simple, un-

like the first resume that has decorative and distracting bullet points.

Better

First D

Project One Critique During today’s critique on project one, there were a lot of common errors that occurred in many peoples’ work. The general problems were:

2. There were awkward negative spaces 3. Lack of strong focal points 4. Boring!

Legibility and readability problems:

My piece had a few of the general problems, but specifically, I need to adjust it by:

1. Type weight was too light or too bold 2. There was not enough leading 3. Body texts were set in inappropriate typefaces (monospace)

4. Some line lengths appeared too short Hierarchy problems:

1. Titles lacked strength and visual weight 2. The author’s name gets lost and is not prominent enough

3. Unimportant elements or words were given too much emphasis

Compositional problems:

1. Some margins were too small

10 10 Weeks of Typography

1. Making the title stand out 2. Making the body text a point size larger 3. Deciding if the horizontal line divider had a real purpose

4. Capitalizing the names of the authors 5. Making my composition LESS BORING

TYPO

Draft

Final Draft

typography THOUGHTS ON

Adrian Frutiger

a few thoughts on

OGRAPHY

adrian frutiger “…the best typeface is the one that impinges least on the reader’s consciousness, becoming the sole tool that communicates the meaning of the writer to the understanding of the reader.” —Typefaces: The Complete Works by S. Dickel, 2012, Page 7

rosemary sassoon “Legibility is not an absolute. It is subject to many variables and there is little that you can take for granted.” —Computers and Typography 2, 2002, Page 120

edward wright “In either case, the approach is technological rather than aesthetic; the process is —idea breakdown to elements, discovery of elements and assembly.” —The Experimental Typography of Edward Wright, 2011, Page 161

bruce willen & nolen strals “The designer’s ability to balance and control legibility, context, and creativity is the power to shape the written word.” —Lettering & Type: Creating Letters and Designing Typefaces, 2009, Page 5

gavin ambrose & paul harris “Typographer Eric Gill noted that ‘letters are things, they are not pictures of things.’” —Basics Design 03: Typography, 2005, Page 13

jan tschichold “To create a whole from many petrified, disconnected and given parts, to make this whole appear alive and of a piece—only sculpture in stone approaches the unyielding stiffness of perfect typography.” —Design Elements –Typography Fundamentals by Kristin Cullen, 2012, Page 10

“…the best typeface is the one that impinges least on the reader’s consciousness, becoming the sole tool that communicates the meaning of the writer to the understanding of the reader.” —Typefaces: The Complete Works by S. Dickel, 2012, Page 7

Rosemary Sassoon “Legibility is not an absolute. It is subject to many variables and there is little that you can take for granted.” —Computers and Typography 2, 2002, Page 120

Edward Wright “In either case, the approach is technological rather than aesthetic; the process is—idea breakdown to elements, discovery of elements and assembly.” —The Experimental Typography of Edward Wright, 2011, Page 161

Bruce Willen & Nolen Strals “The designer’s ability to balance and control legibility, context, and creativity is the power to shape the written word.” —Lettering & Type: Creating Letters and Designing Typefaces, 2009, Page 5

Gavin Ambrose & Paul Harris “Typographer Eric Gill noted that ‘letters are things, they are not pictures of things.’” —Basics Design 03: Typography, 2005, Page 13

Jan Tschichold “To create a whole from many petrified, disconnected and given parts, to make this whole appear alive and of a piece—only sculpture in stone approaches the unyielding stiffness of perfect typography.” —Design Elements–Typography Fundamentals by Kristin Cullen, 2012, Page 10

Week One 11

Week Three Shortcuts Our lecture today reviewed the assigned reading, which provided numerous tips and keyboard tricks of typographic details. Some of the tricks were a review for us, but I also discovered a lot of details I have never learned about before. The keyboard tricks are not only quick, but super satisfying to use. I feel like there is still so much about inDesign that I do not know about, and I’m excited to find out more small tricks that will save me hours behind the computer. Here are a few of the tricks that Charmaine and the class thought were the most frequently used at this time in our study of typography: –

option + hyphen

•

option +8

—

+ shift + hyphen

350˚ option + k(degrees) ©

option + g

12 10 Weeks of Typography

option + r

…

option + semicolon

™ á

option + 2

option + e,

Opti

Opti Semi

Option + R

ion + K

73˚

Option + G

ion + icolon

…

Choosing a Typeface Today, we went over fonts and typefaces and things to consider when downloading and buying fonts online. When choosing a typeface for a project, a designer should consider how long the text is as well as what the context of the text is. The audience should also determine the style and feeling of the type. In addition, a designer should understand what type of format the design will appear on (computer, iPhone, print, etc.). Some other important things & technical questions to ask about the typeface you choose:

1. 2. 3. 4. 5. 6. 7.

Does it have a full character set? Does it have foreign accented characters? Are there multiple weights and styles? Are there small caps? Are there old numerals? What is the format if the font? Does the font have a WebFont version?

14 10 Weeks of Typography

It is important to remember that the reason fonts are so expensive is because being both design and typography, they are very complex to create. When you purchase a font, you also purchase a license to use it! A designer needs to double check the license agreement in order to learn how /where the font can be used under that agreement. Some good sites to find mostly affordable fonts are:

1. 2. 3. 4. 5. 6. 7.

Google Fonts Lost-type Co-op League of Movable type Font Squirrel FontSpring House Industry (more expensive)

MyFonts

Affordable Fonts!

Week Three 15

Week Four

a conversation with

Bill Moyers & Joseph C

Project Two Critique In class today, we had our critique for our “A Dialogue” project. We spent the whole class going through each project. First, we presented the concept that we had and explained how it related to the text/how we executed that relationship. After, Charmaine and the rest of the class commented, giving constructive feedback. Charmaine allowed us to take the notes from the critique and created the new deadline of Friday, Jan 27(next class), in order to have better final projects. This is a list of main issues about our projects that were discussed: Lack of hierarchy: The relationship between the title and the main text was not obvious enough. The title wasn’t interesting enough to hook the reader. Lack of thorough context: Sometimes, the illustrations or imagery did not completely match or make sense with the text that went along with it. Lack of contrast: Some colors did not create enough contrast for interest and readability.

Misuse of the Text: Some parts of the text were not italicized or capitalized when they should have been.

Why are there so many stories of the he

C: 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

BORING: Some diptychs were still very boring and didn’t spark any interest for the reader. In order to fix these problems, it was suggested that we: Separate the text to make it less uninteresting (with subheads, etc). Choose contrasting colors

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.

Digital C

Bill Moyers & Joseph Campbe

Read over the text in order to treat it with the right punctuation and style Re-think/re-draw so illustrations match the context.

Why are there so in mythology?

C : Because that’s what’s popular novels, the m oine who has found o normal range of achi is someone who has thing bigger than on

M: So in all of these cultu the hero might be wea

16 10 Weeks of Typography

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?

Campbell:

HERO within

ero in mythology?

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

Final Comp

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.

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

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?

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: 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.

C: The place to find is within yourself. I learned a litM: 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: 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.”

tle 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: 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

The Journey 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”?

Comps

s worth writing about. Even in main character is a hero or heror done something beyond the ievement and experience. A hero given his or her life to someneself.

ures, whatever the local costume aring, what is the deed?

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.

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

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

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?

M: Is it my work or my life?

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: When I take that journey and go down there and slay 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.

ell:

o many stories of the hero

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 yourbliss.” 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.

those dragons, do I have to go alone?

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. 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 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:

a conversation with

Bill Moyers & Joseph Campbell:

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

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.

C C::

Well, there there are are two twotypes typesof ofdeed. deed.One Oneisisthe thephysical physical in which which the thehero heroperforms performsaacourageous courageousact act deed, in battle or or saves saves aalife. life.The Theother otherkind kindisisthe thespirispiriin battle deed, in in which whichthe thehero herolearns learnstotoexperience experiencethe the tual deed, supernormal range rangeof ofhuman humanspiritual spirituallife lifeand andthen then supernormal comes back back with with aamessage. message. comes

M: Does your your study study of of mythology mythologylead leadyou youtotoconclude conclude single human humanquest, quest,aastandard standardpattern patternofof that aa single human aspiration aspiration and andthought, thought,constitutes constitutesfor for human mankind something somethingthat thatwe wehave haveinincommon, common, all mankind whether we we lived lived aa million millionyears yearsago agoororwill willlive livea a whether thousand years years from fromnow? now? thousand

Week Four 17

Tips &

InDesign Syles Today, we learned about paragraph, character, and table styles before being introduced to our next project. The important thing to know about paragraph styles is that they save so much time and also should be used more than character styles. Paragraph styles affect several attributes of the text including: leading, tabs, indents, space before and after, and rules above and below. I have previously worked with character and paragraph styles, but this lecture refreshed me/ introduced me to: Keep options: keeping lines together/avoiding orphans and widows Hyphenation rules: when not to hyphenate/how to control hyphenation What you can do with character styles: make a character bold, italic, etc., Run sub heads, customize numbers and bullets

18 10 Weeks of Typography

We also went over table and cell styles. Tables are a great tool for positioning text and the table itself can be invisible. The table styles are specifically used for styling multiple tables within a document. They style: the outside border, the dividing lines, the space above and below, and the fills of fields in the table. The cell styles are used for styling the individual cells, or rectangular divisions of the table. They determine the borders, how the text is positions, and the color (stoke/fills).

& Tricks

Hyphenation

Settings can be found in the Paragraph options fly-out tab

Âś Styles

These can be found in the type menu. Double click on the style to edit (more commonly used than character styles)

Character Styles These can also be found in the type menu. Double click on the style to edit

Week Four 19

Week Five Understanding Grids Today’s reading was all about grids and understanding how to apply them to layout design projects. The article on designerinsights.com discussed how choosing a layout grid system is essential to repeating your look consistently. There are two types of grids: landscape and vertical. Also, you can have an odd or even amount of columns in your grid. The article also introduced the golden ratio of grids as well as the rule of thirds, which has been used in many art forms for decades to create emphasis and cohesive balance within the space. In class, we further discussed the importance of grids for our upcoming project, Elements of Style booklet. We learned that a baseline grid is based on the document’s body text leading. We also got a few lessons on how to actually set up our grids, columns, and margins. A good thing to know is that a document’s grid structure can be changed and edited at anytime. However, it is easier to

20 10 Weeks of Typography

figure out the main structure you want before you start laying your project out. With this preparation and organization, you will still be able to break the grid while keeping cohesiveness throughout the whole document.

Grid Setup Week Five 21

Majoor on Typefaces: Scala & Seria Our reading from today was written by the designer of the typefaces Scala and Seria, Martin Majoor. In this article, Majoor gives his own input on how to mix type, that is, in terms of serif and sans serif. He believes that no one can be a good type designer if they are not a book designer. He claims this because a good type designer MUST know how type looks in a big body of text, as well as in headlines and subheads. A good type designer must also know how different typefaces behave in different printing techniques. He gave his opinion on a few bad examples of mixing type (Garamond with Univers, Bodoni with Gill Sans). Majoor writes that before mixing type, a designer must understand and know where both the sans serif and serif originated from. With this knowledge, one can find it easier to pair the two. Ideally, both typefaces should be designed from the same basis, or even from the same skeleton.

22 10 Weeks of Typography

However, the typefaces should still have enough contrast, make reading order easier, and look aesthetically pleasing for the viewer. There is a lot to consider when looking to pair a serif and sans serif together and it can take a lot of practice/trial and error to find the perfect match for your specific project.

Scala & Sca

ala Sans–Martin Majoor

Serifa Sans–Martin Majoor

Week Five 23

Style G

Week Six

NO. Styl

Madisen

Elements of Style: Styles & Details In class today, we got in our Elements of Style groups and decided what styles we would use for our final three booklets. This was pretty simple because all three of us used similar typefaces and styles in our previous individual booklets. The harder part was deciding on any graphic elements or small details we would use in the booklets. Here are the initial styles we decided on: Typefaces: Bodoni 72 and Helvetica Neue Paragraph styles Titles: Bodoni 72; Bold; 18/22; space before: .25in; space after: .3125in Intro body text: Helvetica Neue; regular; 8.5/11.5; space after: .0625in Subheads: Bodoni 72; bold; 8.5/11.5; space after: .0625in Body text: Helvetica Neue; regular; 9/12; space after: .1875in

24 10 Weeks of Typography

BASIC

Indented examples: Helvetica Neue; medium; 9/11; space after: .0625in Table styles: space before: .1475in; space after: .1875in Cell styles: cell insets; top: .0625in; bottom: .125in; right: .125in

Typefac Bodon

Margins 1in to .75in i

IN THE

Headers

Footers Bodon Helve

PARAG Titles

Basic C

Bodon

Indents

Space Space

Section

Basic C

Bodon

Intro bo

Basic C

Helvet

Indents

Space

Subhea

Basic C

Bodon

Indents

Space Space

Guide

.1â&#x20AC;&#x201C;4 le Guide

Main body text

The Elements of Style

Basic Character Formats:

Helvetica Neue, Regular, 9/12 Indents & Spacing:

Space after: .1875in Indented examples

n van Dam, Katie Metcalfe, Justin Hughes | Art 338 | Winter 2016 | Cal Poly

C DOCUMENT SETUP:

Left indent: .25in Space after: .0625in

s op, bottom, outside; inside

Helvetica Neue, Regular, 9/12 Right box table Basic Character Formats:

Helvetica Neue, Medium, 8/10 Indents & Spacing:

s ni 72 Book, 10 pt etica Neue Light, 6.5 pt

Left indent: .0625in Space after: .0925in

TABLE STYLES:

GRAPH STYLES:

Table examples Table setup:

Introduction

s & Spacing:

e before: .25in e after: .3125 in

Character Formats:

ni 72, Bold, 93

ody text

Character Formats:

tica Neue, Regular, 8.5/11.5

s & Spacing:

e after: .0625in

The candidate who best meets these requirements will obtain the place.

Basic Character Formats:

n numbers

Restrictive relative clauses are not set off by commas.

Left box table

E MASTERS:

ni 72, Bold, 18/22

Helvetica Neue, Medium, 9/11 Indents & Spacing:

ces ni 72, Helvetica Neue

Character Formats:

Basic Character Formats:

Space before: .1475in Space after: .1875in Horizontal strokes only: .25 pt line

CELL STYLES:

Cells

Enclose paranthetic expressions between commas.

Cell Insets:

Top: .0625in Bottom: .125in Left: 0in Right: .125in

The writerâ&#x20AC;&#x2122;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.

ads

Character Formats:

ni 72, Bold, 12/14.4

s & Spacing:

e before: .125in e after: .02in

Numerals

Do not spell out dates or other serial numbers. Write them in figures or in Roman notation, as may be appropriate.

Week One 25

The

Elemen of Style Project Three Critique Today, we turned in our final group Elements of Style booklets along with a printout of the styles we used throughout them. We had a class presentation and critique where we discussed what elements we used to make our booklets unique and how we combined all three of our ideas together. Next, we got back into our project groups and personally critiqued another group’s booklets. This project was very interesting and actually pretty fun to do. The only challenges we faced were creating similar meeting times in our busy schedules and producing/printing the booklets. UGS helped us produce them, but we had several problems with our files that took a long time to sort out—longer than we had expected. Next, we will be moving onto our final project, which will be a short magazine design.

Lessons learned from EOS project:

1. Consider each teammates design decisions

right off the bat, then narrow down 2. Put group project’s before other work so you don’t let your teammates down! 3. Revise, revise, revise. Look for minor mistakes and spelling errors 4. Don’t wait until the last minute to print and produce! Enough said.

The Elements of Style 26 10 Weeks of Typography

3 4 AN D

MATTERS OF FORM

HEADINGS Leave a blank line, or its equivalent in space, after the title or heading of a manuscript. On succeeding pages, if using ruled paper, begin on the first line.

nts e

NUMERALS Do not spell out dates or other serial numbers. Write them in figures or in Roman notation, as may be appropriate. August 9, 1918 Chapter XII Rule 3 352d Infantry

PARENTHESES A sentence containing an expression in parenthesis is punctuated, outside of the marks of parenthesis, exactly as if the expression in parenthesis were absent. The expression within is punctuated as if it stood by itself, except that the final stop is omitted unless it is a question mark or an exclamation point. I went to his house yesterday (my third attempt to see him), but he had left town. He declares (and why should we doubt his good faith?) that he is now certain of success.

(When a wholly detached expression or sentence is parenthesized, the final stop comes before the last mark of parenthesis.)

The Elements of Style

34 AN

NO. 3

A Few Matters of Form

m Headings

Leave a blank line, or its equivalent in space, after the title or heading of a manuscript. On succeeding pages, if using ruled paper, begin on the ﬁrst line.

Numerals

Final Group EOS

Do not spell out dates or other serial numbers. Write them in ﬁgures or in Roman notation, as may be appropriate. August 9, 1918 Chapter XII Rule 3 352d Infantry

Parentheses

A sentence containing an expression in parenthesis is punctuated, outside of the marks of parenthesis, exactly as if the expression in parenthesis were absent. The expression within is punctuated as if it stood by itself, except that the ﬁnal stop is omitted unless it is a question mark or an exclamation point. I went to his house yesterday (my third attempt to see him), but he had left town. He declares (and why should we doubt his good faith?) that he is now certain of success.

(When a wholly detached expression or sentence is parenthesized, the ﬁnal stop comes before the last mark of parenthesis.)

Elements of Style

Week Six 27

Zine-s

Week Seven Intro to the Zine Today, we got together as a class to start brainstorming concepts for our final magazine project. In this project, each designer in the class will make a contribution. These contributions can be photo essays, heavy-text articles, small blurbs, etc. that have to do with typography. These articles can be found on the internet or written by us (it was suggested by Charmaine that we find them, so we spend more time on the look and layout of our zine rather than writing the content). Designers are allowed to pair up and work on these articles together if needed. All of the content will be shared in a Google doc so everyone will have access to the text and high quality images. Here is the original list of possible topics that will exist in our zine:

1. Who did it best?

Comparing 2 businesses using a typeface

2. In good taste

Examples of bad typeface used here in SLO

28 10 Weeks of Typography

3. Typographer profile

Highlight of some of the best today

4. So you need a typeface?

Map for choosing a typeface

5. Top 5 Type Instagrams/blogs 6. Supermarket type exploration 7. Exploring type in other languages 8. Revival of hand-painted signs 9. Giant Signage 10. Type on curved surfaces 11. The evolution of the &/Type in Film 12. Helvetica in everyday life 10. Type in tattoos 11. Designers with go-to typefaces 12. Free fonts that donâ&#x20AC;&#x2122;t suck 10. Olympic game typography 11. Local restaurant menus 12. Type quizâ&#x20AC;&#x201C;what typeface are you?

spiration

Week Seven 29

Tad Carpenter Today, after finishing gathering our content for our specific zine sections, we started to make add to the Google doc and map out how we would order the spreads. As a class, we decided that we would use these four sections for the magazine (with a later addition of an Introduction section).

1. 2. 3. 4.

Everyday Type

History & Culture

Entertainment/fun stuff Resources

However, the most important part of today was the artist talk that occurred in the evening with Tad Carpenter. Even though I was not able to make it to the talk on Friday night, I was lucky enough to sign up in time for a 30 student-slot workshop with this amazing designer and illustrator! The workshop was from 10am–3pm on that Saturday. Carpenter talked all about branding and logos. He described and defined a brand as 30 10 Weeks of Typography

“a person’s gut feeling about a product, service, or company.” Its three primary functions are to: navigate, reassure, and represent. In the remainder of the workshop, he had us design a logo with very minimal information or direction. We were presented with a specific animal and a city in America. His advice and steps on the process of designing this logo went a little like this:

1. Find meaning to the objects given 2. Create rules and restrictions within your process 3. Find behavioral characteristics of your objects Altogether, this workshop made me feel very inspired, excited, but also intimidated by the process of designing a logo. It was good for me because I stepped out of my comfort zone and Carpenter helped me to continue through the day with good, constructive feedback on the development of my logo. It was a great experience listening and working with a very successful designer in the field. His

work as also featured in the gallery for a while, which allowed me to take strolls through when I was feeling unmotivated or uninspired during the tough weeks of the quarter.

Week One 31

Week Eight Gill Sans: Eric Gill did it Wrong Our reading for today was a very interesting review of the typeface Gill Sans by Ben Archer. In this article, Archer starts by highlighting the obsession and overuse of Gill Sans, calling it the “Helvetica of England; ubiquitous, utilitarian and yet also quite specific in its ability to point to our notions of time and place.” However, in his opinion, this typeface is a flawed masterpiece. Archer starts by critiquing Eric Gill himself. He believes that Gill’s claim that Gill Sans was superior to Edward Johnston’s original sans serif lettering is false. In fact, he believes that Gill Sans only became successful because it was associated wit Johnston and the mighty marketing clout of the Monotype Corporation. One of the biggest issues that Archer reviews about the typeface is that Gill deleted the foot serif of the letter ‘l’ as well as the diagonal detail of the number ‘1’ that originally existed in Johnston’s lettering. In result, it is almost impossible to

32 10 Weeks of Typography

distinguish the difference between the lowercase ‘l’, capital ‘i’, and the number ‘1.’ In addition, Gill obliterated the terminus endings of the vertical stroke in ‘b’, ‘d’, ‘p’ and ‘q’, which was preserved in the medium weight by the Monotype drawing office. This change can be seen on early samples of the series 262, however, today, this feature only persists in the lightest weight of GillSans. Another example of Gill Sans and its inconsistency, according to Archer, is the variation of the eyeglass (two story) lowercase ‘g’. From the lightest weight to the ultra bold weight of GillSans, the ‘g’ changes from a two story to a continental or italic ‘g.’ Also, the treatment and directional stress on the lower bowl is not consistent from weight to weight. When it comes to the ultra bold weight, the overall fatness of the letter does not allow for the strokes and counters to fit within the alloted vertical space, which creates strange optical spacing.

Typeface Brandby in Metal Week Eight 33

Combining Beauty & Ugliness Today’s reading “Beauty and Ugliness in Type Design” by Peter Bilak is an article that discusses the process of designing the Karloff typeface. Bilak was interested in how two extremes in typography, beauty and ugliness, could be combines into a coherent whole. With the help of Pieter van Rosmalen and Nikola Djurek, he did research on the prettiest typeface he could find as well as the ugliest. He looked at Bodoni and Didot because of their high contrasting stroke weights with the hideous and repulsive Italians typeface that had reversed contrast. The mathematical work that Bilak and van Rosmalen did to combine both of the typefaces resulted in Karloff, a surprisingly neutral low contrast version of the two. I thought that this invention was quite wonderful and an awesome way to look at the process of designing typefaces. Bilak’s goal to prove that beauty and ugliness was definitely a success.

34 10 Weeks of Typography

Karloff was the artistic name of the British actor William Henry Pratt.

Week Eight 35

Week Nine Typography on Screen Today’s quick lecture was about typography on screen, since our final zine project is going to be designed for digital publication only. Here are a few important things to note about typography on the screen, rather than on printed material: Two typefaces great for the screen: Georgia & Verdana Attributes to consider: Typeface contrast: The amount of contrast between the thick and thin strokes of characters in a typeface impacts legibility. Higher contrast typefaces can be useful in small amounts or as headlines, but extreme variation in stroke width is burdensome in long text. Ex: Chaparral is a better choice to Bodoni X-height: When choosing a typeface for text, a high x-height is ideal, especially for use on interfaces or way finding. Ex: Officina Serifa is a better choice to Mrs. Eaves 36 10 Weeks of Typography

X-height extremes: If the x-height is too high, there is less room for other distinctive characteristics. The letters n and h, or a and d, can become difficult to distinguish as the x-height increases. Ex: ITC Garamond and Century Gothic have x-height extremes. Character distinction: Differentiating between different characters is essential for on screen legibility. Ex: Verdana’s characters as opposed to Gill Sans’ Numbers, punctuation & special characters: Strive to use typefaces that support different types of numbers, correct punctuation,and special characters, especially if your text will be set in a variety of languages Small caps & Ligatures: Using small caps on the web usually means specifying a separate font with just the small caps.

Finding alternatives: Look for typefaces that share some similar traits to your favor ite classics, to avoid overused typefaces.

Pairing Typefaces

1. Look for distinction 2. Pair display and text faces 1. Look for distinction 3. Look for harmony

Strategies for pairing typefaces:

2. Pair display and text faces 3. Look for harmony Zine process:

We were told to place all of our text into the document in order to develop a book map. I flowed all my text in from the Google docs and can see the general number of pages I am going to be using. So far, I think I am going to have full cover spreads for many of the articles. Since the emphasis of this project is on typography and reading hierarchy, cover pages will be appropriate to introduce new content of the magazine. It will allow for quick and interesting reading order, and excite the viewer with introductory imagery as well. Week Nine 37

WEEK SIX february 12

orem ipsum dolor sit amet, has te reque postea, modo omnium vel an, id partem periculis appellantur ius. Pri luptatum delicata intellegat at. Maiorum volumus delicata et usu. Ea nusquam eleifend pro, wisi ullum possim ut qui. Aeque nostro forensibus his ea, has solet appareat atomorum id. Probo fierent convenire mea ex. Choro volumus atomorum ius id, magna persequeris ad pri. Inani harum principes duo ea, meis delicata in pro. Pri at noster tamquam sapientem, vis quod docendi appetere in.

Journal Planning In addition to considering and planning out our layouts for the zine project, we have also been planning out what our journals (this neat thing) would look like. Some process images are shown on the right. Today, we are also continuing to finalize and eliminate some of the content that is on the Google doc. We realized that there are a lot of articles that donâ&#x20AC;&#x2122;t fit in with our zines as well as ones we would never want to see in a typography magazine.

Eu eam regione voluptua. Eu eius mucius splendide pro, his esse nullam tincidunt ut. Duo no etiam evertitur temporibus. Vidit bonorum definitiones qui te, vix in ullum. Illud inimicus pertinacia eum ea, cu pri verear adipiscing intellegebat. Quo fuisset luptatum ex. Elitr invenire dissentiet eam et, nostrud appetere sapientem mel et. No qui case viris hendrerit. Scripta apeirian eos at, mollis corpora molestiae has in.

week six

6 february 10, 2016

february 12, 2016

L orem ipsum dolor sit amet, has te reque postea, modo omnium vel an, id partem periculis appellantur ius. Pri luptatum delicata intellegat at. Maiorum volumus delicata et usu. Ea nusquam eleifend pro, wisi ullum possim ut qui. Aeque nostro forensibus his ea, has solet appareat atomorum id.

Probo fierent convenire mea ex. Choro volumus atomorum ius id, magna persequeris ad pri. Inani harum principes duo ea, meis delicata in pro. Pri at noster tamquam sapientem, vis quod docendi appetere in.

Eu eam regione voluptua. Eu eius mucius splendide pro, his esse nullam tincidunt ut. Duo no etiam evertitur temporibus. Vidit bonorum definitiones qui te, vix in ullum.

Illud inimicus pertinacia eum ea, cu pri verear adipiscing intellegebat. Quo fuisset luptatum ex. Elitr invenire dissentiet eam et, nostrud appetere sapientem mel et. No qui case viris hendrerit. Scripta apeirian eos at, mollis corpora molestiae has in.

38 10 Weeks of Typography

Art 338 Journal

week six

week 1 january 8, 2016 This week we discussed and reviewed the basic rules of typography. The following things were emphasized: The importance of how the body text of the document looks. This is relevant because the document will primary be body text than anything else. The body text should be judged in four main typographic ways:

1 2

3 4

Point size. In print, the most comfortable point size would be in the range of 9–12. For the web, the range is 15–25 pixels. Line spacing. The line spacing should be between 120–145% of the point size. An easier way to look at it is to start with the point size 10. With 10, your leading should be between 12 and 14.5. Line length should be an average of 45-90 characters or 8-13 words in a line. Font choice. Stay away from fonts that come with your computer, and try to buy or invest in a usable and professional font.

weekly journal entries

01 january 27, 2016

Illud inimicus pertinacia eum ea, cu pri verear adipiscing intellegebat. Quo fuisset luptatum ex. Elitr invenire dissentiet eam et, nostrud appetere sapientem mel et. Illud =.

02 february 3, 2016

Illud inimicus pertinacia eum ea, cu pri verear adipiscing intellegebat. Quo fuisset luptatum ex. Elitr invenire dissentiet eam et, nostrud appetere

03 february 10, 2016 Illud inimicus pertinacia eum ea, cu pri verear adipiscing intellegebat. Quo fuisset luptatum ex. Elitr invenire dissentiet eam et, nostrud appetere sapientem mel et. Illud inimicus pertinacia eum ea, cu pri verear adipiscing intellegebat. Quo fuisset luptatum

january

Digital Comps

Week Nine 39

Week Ten

Graphic Elements: Circles & Lines

Project Four Prep We have filled out an image map in order to figure out how many pages we will be using for our magazine layout. The map gave us an idea on how we can lay things out. We could add lines for dummy text and circles or squares in place of shaped images. This was a great way of finalizing the look and feel on paper before moving onto the digital file. To the right are my image maps as well as some graphic elements I am thinking of using in my zine.

Headline Example 40 10 Weeks of Typography

Image Maps

WHAT TYPEFACE

ARE YOU?

Week Ten 41

VOL 1 | SPRING 2016

Project Four Presentation Today we presented our fourth and final project, the zine. During our presentations, we had to describe why we made certain design decisions. I learned that it is very important to have meaning being each decision. In the end, having elements that support a concept will make your design more successful. This is briefly what I talked about/wished to talk about in my presentation. Meaning behind my Title: I named my zine Layers for the reason the typography has many rules and layers of meaning. The average population does not know that typography is so important, and I wanted to emphasis this. I also physically layered many elements in this magazine, including color blocks, images, text boxes, and patterns. Colors chosen: The colors I chose correspond with the title. They create layers and also make it easier to split up my pages/make them more interesting.

42 10 Weeks of Typography

Graphic Elements chosen: I chose to put many images and pieces of information in circles in order to break up the continuity of rectangular shapes. I also used the line element to connect the circles when the existed together/related to each other on that page. Title spreads: I used an entire spread that included text and a low opacity background in order to introduce the next section/article. The bold titles in white (treated the same each time) made it easier to distinguish when a new section started.

TYPE IN

LA EVERYDAY TYPE

HAND-L

MAKING

TABLE OF

CONTENTS

INTRODUCTION Letter to the editor

HISTORY & CULTURE Type in Film A Brief History of the Ampersand Today's Top 5 Typographers

37 32 18

EVERYDAY TYPE Tats & Type Handlettering: Making A Comeback The Revival of Hand-Painted Signs

30 12 6

RESOURCES

AYERS

Designers with Go-to Typefaces Free Fonts that Don't Suck 5 Instagrams to Follow

48 53 44

ENTERTAINMENT What typface are you?

Final Spreads RESOURCES

LETTERING: A COMEBACK

Small businesses are increasingly relying on visual artists to convey that their products aren’t mainstream or mass-produced.

INSTAGRAMS TO

FOLLOW THE DAILY TYPE @thedailytype This self-styled biggest Instagram collection of typography pictures appears to live up to its name, with a pleasing variety of typography on show, covering everything from hand lettering and typographical illustrations through to print design and those type-laden motivational posters that everyone loves. If you want a couple of pieces of quality type to turn up in your stream every day, you’ve come to the right place.

JACKSON ALVES @jackdzn Jackson Alves is a type designer and teacher based in south Brazil. Showing oﬀ his calligraphy and lettering skills, you’ll be hard pressed to find a better Instagram account for such examples. We’ve been drooling over his creations all afternoon and we think you will too.

TYPOGRAPHY INSPIRED @typographyinsired Arguably one of the most popular typography Instagram accounts, Typography Inspiration is the perfect burst of illustrated fonts for just about every style. Already amassing over 23,000 followers, Typography Inspiration is clearly doing something right. Join in on the font fun and you won’t regret it.

JESSICA HISCHE @jessicahische

BEST DRESSED SIGNS

The queen of typography, she creatives beautiful fonts for a wide range of clients. The account oﬀers up some sneak previews as well as finished pieces. If you’re interested in seeing more from Jessica - namely cats, leggings, scrummy food and the occasional baby, then you’d better get following.

@bestdressedsigns If hand-painted typography is your bag, you’ll instantly want to follow Boston-based Instagrammers Best Dressed Signs. Rustling up a range of colourful and creative signage, the typography on oﬀer is absolutely delicious. Throw in a couple of cats and you know you’re doing the internet right.

Week Ten 43

Typefaces: Bodoni Std Bold Italic Bodoni Std Poster Italic Helvetica Regular March 2016

ART 338 | Winter 2016