338.01 Type Journal by Marie Chrisman by Marie Chrisman

T YPE

WEEK 1

Art 338 Typography II Journal Professor Charmaine Martinez Winter 2016 Marie Chrisman

4 Type II Journal

Introduction This journal summarizes content from class lectures, key points in assigned readings, images and notes relevant to design process for each class project, and recaps of project critiques that took place in Typography II from January to March 2016. It shows what I have learned about typography from taking this class, and demonstrates my understanding in the form of a clear and consistent layout using a grid, and paragraph and character styles.

WEEK 1

Week 1 1.4.16–1.8.16

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In-Class Quiz Notes 1/5

Quiz 1 ·· A font is a delivery mechanism for letterforms ·· International/Swiss style: Helvetica, Univers ·· A widow is a word or fragment by itself on the ending line of a paragraph ·· A river is text that has a noticeable, continual, meandering vertical white space formed by accidentally stacked word spaces ·· Monospace fonts are derived from typewriter keys, every character is the same width

Reading Notes Due 1/7

Type in Ten Minutes from Butterick’s Practical Typography ·· Start every project by making the body text look good (pt. size 1012 for print, 15-25 pixels for web, line spacing 120-145%, line length 45-90 characters, and font choice)

WEEK 1

Summary of Key Rules from Butterick’s Practical Typography ·· ·· ·· ··

Never underline unless it is a hyperlink Center text sparingly as well as bold and italic Use 5-12% extra letterspacing with all caps and small caps First line indents are 1-4 times point size, or 4-10 points between paragraphs

Foreword from Butterick’s Practical Typography ·· Typography is an arrangement of elements on a page to reinforce hierarchy and your message

In-Class Lecture Notes 1/7

Typographic Refinement: The Details ·· Point size is bigger than the face of the letter because it accounts for the height of the lead block

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·· 12 points in 1 pica and 6 picas in 1 inch, therefore 1 inch is 72 points ·· Text and display type grow in increments from 5 pt. to 72 pt. ·· When choosing a point size, consider typeface proportions and weight, length of text, viewing format, audience/reader, and content ·· Print is usually 9-12 point, screen 14 pt. or larger ·· A workhorse typeface has a good regular weight, robust proportions, at least one bold weight with contrast to compliment the text weight, an italic version, legible numerals, narrow enough to fit a large amount of copy into the available space ·· Kern type at display sizes ·· Leading 120-145% of point size ·· Extreme leading can be used to differentiate blocks of text from body text ·· About 8-13 words per line on average ·· All caps and small caps can handle more tracking and usually need a bit extra ·· A well designed typeface should be fine at 0 tracking ·· Never use fake small caps ·· Hyphens break up words, en dashes indicate a duration of time, and em dashes break a flow in a sentence or thought ·· Customize hyphenation settings found in the paragraph options flyout menu to words with at least 6 letters, break after first 3 letters, before last 3 letters, and a 2 hyphen limit ·· Quotes are curly, prime marks are straight but slanted (have to use straight up and down for prime marks if the typeface doesn’t have proper slanted prime marks already in glyphs menu. A trick is to italicize vertical ones to make them better) ·· Fix rags when practical ·· Rags are less noticeable at smaller sizes ·· Shift + return for a soft return ·· Never track tighter than -10, can usually fix a widow with this ·· Orphans are short segments of paragraphs at the top or bottom of a column ·· Turn on dynamic spelling in InDesign (command + i)

WEEK 1

In Class Critique Notes 1/7

Legibility Exercise Serif ·· ·· ·· ·· ·· ··

9/13: Good ratio of size to leading 9/12: Too tight 9/14: Too loose, by a bit 9/15: Too loose 8/13: A little small, too loose for size of text 10/13: Too big of text, needs more leading to accommodate Sans Serif

·· ·· ·· ·· ·· ··

9/13: Comfortable 9/12: Not bad, a little too tight 9/14: Not bad 9/15: A little too loose 8/13: A little too small and a little too loose 10/13: A little big and a little tight, ascenders and descenders almost touching

·· Visually sans serifs can have a little bit tighter of leading ·· Serifs need a bit more space ·· Really depends on the typeface and height of ascenders and descenders ·· Both best at 9/13: 145% leading ·· Increase space between em dashes and word before or after

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Week 2 1.11.16–1.15.16

WEEK 2

Reading Due 1/12

Why Typography Matters from Butterick’s Practical Typography ·· Type has consequences: bad type leads to bad consequences, and good type leads to good consequences ·· Engage readers, guide them, persuade them ·· Reader attention is key ·· Good type leads to more attention paid to your message ·· Ballots need to be extremely clear ·· Resumes need consistency and clearness ·· Beatrice Warde’s essay on “The Crystal Goblet” talks about invisible vessel type versus showing the message through type— Matthew Butterick agreeing more with the latter

In-Class Quiz Notes 1/12

Quiz 2 ·· A line of text should be on average 8-13 words, 45-90 characters ·· It is okay to have 2 hyphens in a row in a block of text

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In-Class Critique Notes 1/14

Typesetting: Rules and Principles of Typography Minor Class Issues: ·· ·· ·· ··

Leading too tight or loose Typos in quotes Lack of hierarchy/separation in the attribution Minor spacing issues Bigger Class Issues:

·· Legibility problematic with typeface, type size, and background color ·· Headline/title lacks weight ·· Name of person who said the quote lacks emphasis ·· Hierarchy of text is confusing ·· Organization of elements and awkward negative spaces ·· Boring layout Personal Issues: ·· More of a connection with headline and body needed, maybe make a subhead ·· Layout a little boring, how to create interest with title treatment?

WEEK 2

TYPOGRAPHY

“

TYPOGRAPHY

“What might look quite obvious and normal to you when you read your daily paper is the result of careful planning and applied craft.” “What might look quite obvious and normal to you when you read your daily paper is the result of careful planning and applied craft.”

–Erik Spiekermann & E.M. Ginger Stop Stealing Sheep & Find Out How Type Works, 1993, Page 15

—ERIK SPIEKERMANN & E.M. GINGER —Stop Stealing Sheep & Find Out How Type Works, 1993, Page 15 “Typography can not only enhance the message but be beautiful in and of itself.” –David Brier Great Type and Lettering Designs, 1992, Page 2

“Typography can not only enhance the message but be beautiful in and of itself.” —DAVID BRIER —Great Type and Lettering Designs, 1992, Page 2

“Contemplated free of sentence and paragraph, the word illuminates itself; it becomes the picture.” “Contemplated free of sentence and paragraph, the word illuminates itself; it becomes the picture.”

–Mark Soppeland Words, 1980, Page V

—MARK SOPPELAND —Words, 1980, Page V “A wayward cow on the tracks will stop the train, just as an errant period in the middle of a sentence will cause the reader to stop and ponder its purpose.” “A wayward cow on the tracks will stop the train, just as an errant period in the middle of a sentence will cause the reader to stop and ponder its purpose.”

–Susan G. Wheeler & Gary S. Wheeler Type Sense: Making Sense of Type on the Computer, 2001, Page 104

—SUSAN G. WHEELER & GARY S. WHEELER —Type Sense: Making Sense of Type on the Computer, 2001, Page 104

–Marion March Creative Typography: How to Add Impact to Your Typographic Message, 1988, Page 18

“

“Self awareness is another vital tool, since typography is neither an automatic nor mechanical process nor generated by magic. It is an activity produced by thought, imagination and skill, and its degree of creativity depends on the personal attitude of the designer, so make sure that you know what your own attitude to any job is, or is likely to be.”

TYPOGRAPHY Quotes & Advice

“What might look quite obvious and normal to you when you read your daily paper is the result of careful planning and applied craft.” — ERIK SPIEKERMANN & E.M. GINGER —Stop Stealing Sheep & Find Out How Type Works, 1993, Page 15

“Typography can not only enhance the message but be beautiful in and of itself.” — DAVID BRIER —Great Type and Lettering Designs, 1992, Page 2

“Contemplated free of sentence and paragraph, the word illuminates itself; it becomes the picture.” — MARK SOPPELAND —Words, 1980, Page V

“A wayward cow on the tracks will stop the train, just as an errant period in the middle of a sentence will cause the reader to stop and ponder its purpose.” — SUSAN G. WHEELER & GARY S. WHEELER —Type Sense: Making Sense of Type on the Computer, 2001, Page 104

The large quotes on my first version were generally distracting. Though my second version was better, I still needed more of a connection between the big header and the body text, so I created a subhead to marry the two.

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Week 3 1.18.16–1.22.16

WEEK 3

Reading Due 1/19

Type Composition from Butterick’s Practical Typography ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ··

·· ·· ··

Good typography starts with good typing Smart quotes are usually turned on by default Search and replace function to change all at once Don’t use quotes for emphasis Straight quotes are acceptable in email One exclamation point per 3 page document Semicolon for joining sentences and to separate list elements Colon connects the introduction of an idea with its completion Parentheses are used for separating citations or other asides from the body of text, and brackets show changes in the quoted material Curly brackets are only used in technical and mathematical writing Hyphens are for words breaks, multi-part words, and phrasal adjectives En dash for range of dates/values, and connection or contrast between pairs of words Em dash separates thoughts, and breaks parts of a sentence Trademark symbol is option + 2, registered trademark is option + r Copyright symbol is option + g Use ampersands sparingly except if in a company name An ellipsis is a sequence of three dots used to show an omission in quoted material (option + semicolon), if you end a sentence with it, it’s an ellipsis and a period Make signature lines by holding down shift + hyphen until desired length Use closing smart quote as apostrophe in the Hawaiian language Can italicize straight quotes on feet and inch marks for an even

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·· ·· ·· ·· ·· ··

better approximation of sloped foot and inch marks Show white space characters for control and predictability Non-breaking space: option + shift + space bar Put the word at the top of a new page: command + shift + return Non-breaking hyphen: command + shift + hyphen Use the en dash as a minus sign Ligatures are largely stylistic

In-Class Lecture Notes 1/19

Special Characters Bullet point: option + 8 Degrees symbol: option + k Accented letter: option + e then type the letter Shift + return is a hard line break, a soft return, and a discretionary line break ·· Can find special characters in the glyphs menu and in the type > insert special character, or type > insert white space ·· Tab menu: command + shift + t, to customize settings for left, center, right, and decimal alignments ·· ·· ·· ··

WEEK 3

Reading Due 1/21

Text Formatting from Butterick’s Practical Typography ·· ·· ·· ·· ·· ·· ··

Don’t ever underline Use proportional not mono-spaced fonts Bold or italic, not both Limit to three levels of headings, preferably two Separate headings with space not point size Always use metrics spacing Thin/small fonts can take more intense color than a heavy or large one ·· Dark colors need bigger adjustments

In-Class Lecture Notes 1/21

Choosing Typefaces & Understanding Fonts ·· Choose a font with a full character set with multiple weights and styles ·· When you buy a font it comes with a license—read it ·· Licenses define whether it can be used for commercial work, the cost, and if it can be used for online or print

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Places to buy fonts: ·· ·· ·· ·· ·· ·· ·· ··

Google Fonts: for print and web Lost Type Co-op: by donation League of Moveable Type: free Font Squirrel: free fonts for commercial use Font Spring: similar licensing, commercial use House Industries: specialized, unique, expensive, Americana My Fonts: huge range, newsletter on font trends Fonts.com: extensive collection, nice blog Different places font files live:

·· ·· ·· ·· ·· ·· ·· ··

··

User/library/fonts Local/library/fonts Network/network/library/fonts System/system/library/fonts (folder for system use and displays so do NOT alter or remove) Font Book is a good font manager, can create font sets Try to keep the minimum number of fonts installed Use sets to keep fonts organized and categorized More robust font management programs include Font Explorer XPro, and Suitcase Fusion Option + go reveals library

WEEK 4

Week 4 1.25.16–1.29.16

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Reading Due 1/26

Page Layout from Butterick’s Practical Typography ·· ·· ·· ·· ·· ·· ·· ··

Positioning and relationship of text and other elements on the page First line indent between 1-4 times the point size Space between paragraphs 50-100% of the text size Line spacing 120-145% point size Line length 45-90 characters At 12 point, margins on the left and the right need to be 1.5-2" Web pages need big margins too for legibility Block quotes need decreased size and line spacing, and should be indented

In-Class Critique Notes 1/26

A Dialogue Group/general notes: ·· ·· ·· ··

Leading too tight Hyphenation (no two letter chunks) Proper punctuation Type is too big

WEEK 4

·· ·· ·· ·· ·· ··

Margins are too small Typos Weak hierarchy Spacing lacks consistency/structure Reading order unclear Make title bold and interesting Individualized/personal notes:

·· Change hand lettered title: too sharp, disconnected, needs to match illustrations and body text ·· Decrease middle margins ·· Tweak illustration for concept ·· No more black bar, add subhead to fill blank space ·· Book title italic

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.

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: 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.

I Imported watercolors and a line based illustration that I created and incorporated them into my document. Combined with hand lettering and a body text that I made modest to look like a conversation more than an interview. However, I again needed to make the title and the body text relate more, and the black bar at the top was somewhat too dominating.

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FOLLOW YOUR BLISS

A Conversation Between Bill Moyers & Joseph Campbell

M: Is it my work or my life? Moyers: Why are there so many stories of the hero in mythology?

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

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.

For my final I incorporated a subhead to tie the body text in with the header as a middle hierarchical treatment. I also got rid of the dominating black bar, and changed the hand lettering to a more elegant typeface

Reading Due 1/28

Family Planning, or How Type Families Work by Peter Bil’ak ·· Optical size and weight of type determines typeface appearance ·· Also, width, stylistic differences, and construction differences determine typeface appearance

WEEK 4

In-Class Lecture Notes 1/28

Typesetting in InDesign: Tools & Techniques ·· Control and customize type using styles; it will save time and increase efficiency ·· Paragraph styles control most: leading, tabs, indents, space before and after, hyphenation, justification, rules above and below ·· First line indent is the negative of what the left indent is ·· Character styles control styling within a paragraph for bold text, italic, run-in subheads, and custom bullets or numbers ·· Leading is inherited from the paragraph style so don’t change it in character styles ·· Table styles are used for styling multiple tables in a document, including the outside border, dividing lines, space above and below, and the fills or fields in the table ·· Tables are a great tool for positioning the test because the table can be invisible ·· Cell styles style individual cells or rectangular divisions in the table, like borders, position of text, style of text within the cell, fill color of cell, if cell is crossed out ·· When creating a booklet, odd numbers are always on the right, do body text studies, and determine all of the styles you need and make a list of the style names

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Week 5 2.1.16–2.5.16

WEEK 5

Reading Due 2/2

Using Layout Grids Effectively by Designers Insights ·· Gutter of spine 0.5" non-usable space ·· Spiral binding 0.375" non-usable space ·· Saddlestitch poses no problems

Reading Due 2/5

My Type Design Philosophy by Martin Major ·· Useful to use a combination of serif and sans serif ·· Italic (has different letter shapes) vs. slanted roman (oblique version, same as roman but sloped) ·· Certain degree of irregularity leads to better legibility

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In-Class Critique Notes 2/5

Critique of Elements of Style pamphlet, Version 1 ·· Need cover (which has title and section number), and title page ·· Footer with title on the left, section numbers on the right, same positioning in group ·· Blank pages in weird spots ·· Cover needs a concept ·· Title page: group and separate information ·· Italicize book titles in introduction ·· Unify way to start each section in group ·· Make the type desirable to read ·· Good margins, not too much text on each page ·· Breathing room around cell strokes and text ·· Lines/strokes in table should not be too prominent

III A Few 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. 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

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

Quotations. Formal quotations, cited as documentary evidence, are introduced by a colon and enclosed in quotation marks. The provision of the Constitution is: “No tax or duty shall be laid on articles exported from any state.”

Quotations grammatically in apposition or the direct objects of verbs are preceded by a comma and enclosed in quotation marks. I recall the maxim of La Rochefoucauld, “Gratitude is a lively sense of benefits to come.” Aristotle says, “Art is an imitation of nature.”

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.

Quotations of an entire line, or more, of verse, are begun on a fresh line and centered, but not enclosed in quotation marks. Wordsworth’s enthusiasm for the Revolution was at first unbounded:

I went to his house yesterday (my third attempt to see him), but he had left town.

Bliss was it in that dawn to be alive,

He declares (and why should we doubt his good faith?) that he is now certain of success.

But to be young was very heaven!

Section III–IV 5

6 The Elements of Style

WEEK 5

Quotations introduced by that are regarded as in indirect discourse and not enclosed in quotation marks.

After the killing of Polonius, Hamlet is placed under guard (IV. ii. 14). 2 Samuel i:17-27

Keats declares that beauty is truth, truth beauty.

Proverbial expressions and familiar phrases of literary origin require no quotation marks.

These are the times that try men’s souls. He lives far from the madding crowd.

The same is true of colloquialisms and slang.

References. In scholarly work requiring exact references,

Othello II.iii 264-267, III. iii. 155-161

Titles. For the titles of literary works, scholarly usage prefers italics with capitalized initials. The usage of editors and publishers varies, some using italics with capitalized initials, others using Roman with capitalized initials and with or without quotation marks. Use italics (indicated in manuscript by underscoring), except in writing for a periodical that follows a different practice. Omit initial A or The from titles when you place the possessive before them. The Iliad; the Odyssey; As You Like It; To a Skylark; The Newcomes; A Tale of Two Cities; Dickens’s Tale of Two Cities.

abbreviate titles that occur frequently, giving the full forms in an alphabetical list at the end. As a general practice, give the references in parenthesis or in footnotes, not in the body of the sentence. Omit the words act, scene, line, book, volume, page, except when referring by only one of them. Punctuate as indicated below. In the second scene of the third act

In III.ii (still better, simply insert III.ii in parenthesis at the proper place in the sentence)

Section III–IV 7

8 The Elements of Style

For my individual EOS version, the text in the tables needed more breathing room between the text and the cell strokes. The strokes of the tables also needed to be less prominent, and there needed to be a fully unified system for how headers and subheads were treated.

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Week 6 2.8.16–2.12.16

WEEK 6

Reading Due 2/9

A View of Latin Typography in Relationship to the World by Peter Bil’ak ·· Evokes the history of Italian type ·· New interest in Arabic, cyrillic, Greek, or Indic scripts (all non-Latin) ·· There is a whole world of type outside of our traditions ·· 1000 AD for printing (Chinese) ·· 1400 for Western European version of printing (Germans) ·· “Roman” for book weight is not necessarily true

In-Class Critique Notes 2/11

Critique of Elements of Style, Team Version Typography ·· ·· ·· ··

Hierarchy (contrast helps) Breathing room needed Display text requires extra tweaking (spacing, leading) No hyphenation of proper nouns

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·· Typeface weight and leading affect readability ·· Italic type is harder to read Grammar ·· Read updated version of EOS ·· Pay attention to details InDesign ·· Import palettes from Illustrator ·· Logical naming of styles ·· Pressing alt while in the text tool allows you to drag around pages

SECTION III

SECTION III A Few Matters of Form

THE ELEMENTS OF STYLE

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 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.)

For our team version, we gave our headers full page treatments to allow for ample breathing room, and differentiated subheads through size, weight, and space differences.

WEEK 7

Week 7 2.15.16–2.19.16

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Reading Due 2/18

Lava—Voice of a Magazine by Peter Bil’ak ·· Designed to bridge digital and print ·· Typeface gave the magazine its voice ·· The typeface was the sole constant characteristic since it bridged many platforms, languages, sizes, and styles ·· A workhorse typeface

The First Think I Ever Designed by Elena Schenker & “Gratuitous Type” Magazine ·· ·· ·· ·· ··

Journal of typographic smut Started own independent magazine Showcases a range of skills, so it is good for portfolio Design evolves with each issue Trust yourself and give yourself time to get it right

WEEK 7

In-Class Notes 1/18

Zine Magazine Ideas ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ··

Articles about designers* Graffiti art* Type on stickers Bio: type designers* Improving type for the visually impaired Timeline of popular type* Best serif/sans serif pairings* How to hand letter* NYC signage photos* Why typography is important* Type in film/t.v. Type around the world (pictures)* Best of type: movies, books, magazines* Type trends in surf culture by decade* Evolution of Vogue covers* NIKE typography* Mid-century modern type, article and images* Why Apple abandoned the beloved Helvetica Neue Type in packaging—how it affects sales*

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Sections of magazines: ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ·· ··

Culture Trends Lifestyle Advice column Dating/romance Horoscope Gallery Letter from the editor Game/crossword Contributor bios Table of contents Feature article DIY Recipes Staff picks/favorites Events Spot the difference Music (reviews) Tips and tricks

WEEK 7

Graffiti as Art GrafďŹ ti serves as a way to comment on love, art, social issues, and even serve as a voice of

opposition to mainstream society.

Any passerby in an urban cityscape has observed the colorful, provocative, illegal "eyesore" that is graffiti. Although many consider the spray-painted pieces a nuisance, graffiti has been gaining recognition from the art world more and more as a legitimate form of art. When most people think of graffiti, they imagine "tags," or a stylized writing of a person's name. While tags are probably the most popular forms, graffiti art is much more than that. It can mean a colorful mural with a message of diversity or a black and white stencil piece protesting police brutality. In each case, graffiti art makes a statement. George C. Stowers wrote that based on aesthetic criteria, graffiti has to be considered an art form. He makes a distinction between simple tags and more complicated pieces, stating that tags have little aesthetic appeal and probably should not be considered art. However, larger pieces require planning and imagination and contain artistic elements like color and composition. Stowers provides the example of wildstyle, or the calligraphic writing style of interlocking letters typical of graffiti, to show the extent of artistic elements that are present in these works. "Wildstyle changes with each artist's interpretation of the alphabet, but it also relies on the use of primary colors, fading, foreground and background, and the like to create these letters," he writes. The artist's intention is to produce a work of art, and that must be taken into account when considering street art's legitimacy. Stowers explains that graffiti cannot be disregarded because of its location and illegality.

â&#x20AC;&#x153;The manner in which graffiti art is executed is the only obstacle it faces in being considered an art form.â&#x20AC;? People are used to seeing graffiti art in public spaces, after all, that's what makes it graffiti. However, after years of gaining recognition by the art community, graffiti art has been shown in various galleries in New York and London, and artists are often commissioned to do legal murals and other work for art shows. One of the most famous graffiti artists, Banksy, has had his work shown in galleries such as Sotheby's in London. Despite his anonymity, the British artist has gained tremendous popularity. Celebrities such as Angelina Jolie and Brad Pitt have purchased his work for a hefty price. Recognition by the art world and inclusion in galleries and auctions is one way that graffiti art is legitimized as "real" art. In addition, this exposure has helped the graffiti movement to become launched into the rest of the world.

12 TYPOGRAPHY AND THE EVERYDAY

Like all other artistic forms, graffiti has experienced movements or changes in style. From the first tag scribbled on a subway train to the large, complex mural on a billboard, the movement has experienced change. The tools and the means have changed as well. Markers were traded in for spray paint, and stencils and stickers were introduced to make pieces easier to execute in a hurry. The messages have also evolved. Graffiti has always been somewhat political, but it has come a long way from simply tagging one's name to parodying world leaders to make a statement. This is further proof that graffiti is a form of art and not just a result of random acts of vandalism. The graffiti community moves in different directions and the resultant artwork moves with it. By Noel Sanchez

My initial zine layout featured a full page photo spread as introduction to an article, graphic line elements, bright pull quotes, and photos. The line elements and the two column grid were aspects that I kept throughout my design project even though colors and photo arrangement changed quite a bit.

36 Type II Journal

Week 8 2.22.16–2.26.16

WEEK 8

Reading Due 2/23

“Eric Gill got it wrong: a re-evaluation of Gill Sans” by Ben Archer ·· Earlier typeface designed by his mentor Edward Johnston is arguably superior ·· Gill Sans is the Helvetica of England ·· Became the English national style of the mid-century ·· Monoline sans serif based on humanist structures ·· Lowercase’l,’ the number ‘1,’ and uppercase ‘I’ all look the same ·· Flattening of bowls between light weight and regular weight ·· Directional stress on the lower bowl of the lowercase ‘g’ is not consistent from weight to weight, and changes form entirely in the ultra bold weight ·· Each weight is darker and bolder than its name ·· Distortion of letterforms in the heaviest weights ·· Different proportions between capital height, stroke width, and character width ·· Different proportions on capital letters: some narrower, some have extra white space ·· Granby is the competition

38 Type II Journal

In Class Quiz Notes 2/23

Quiz 5 ·· Scala and Scala Sans are both humanistic typefaces ·· Multicolumn grids are not just for text ·· It is false that multicolumn grids are used for book layout and modular grids are used for magazine layout ·· Multicolumn grids have vertical division of space ·· A modular grid has consistent vertical horizontal divisions from top to bottom in addition to vertical divisions

In Class Lecture Notes 2/23

What makes a good typeface? Look for: ·· Counter spaces—if they are open or tight ·· x-height (smaller proportions are harder to read, heavier is better for the screen) ·· Proportions of ascenders and descenders ·· A good family doesn’t need to be too big, but should have book weight, bold, semibold, and light weights

WEEK 8

Reading Due 2/25

“Beauty and Ugliness in Type Design” by Peter Bil’ak ·· ·· ·· ··

Beautiful: Bodoni and Didot Ugly: “Italian” from the Industrial Revolution Goal to show how related the beautiful and the ugly are Result of experiment: typeface Karloff: high contrast combined with the monstrous Italian ·· Beauty + ugliness = neutral, low contrast

In Class Lecture Notes 2/25

Magazine Planning ·· Shift + W for full screen preview ·· Text size for the screen is about 15 pt. ·· Digital publishing layout, iPad size in document setup

40 Type II Journal

Week 9 2.29.16–3.4.16

WEEK 9

Reading Due 3/1

“An Idea of a Typeface” by Kai Bernau ·· Absence of stylistic associations can help the reader engage with the content of a text ·· “Neutral” as a typeface free of all connotations and associations that could distract the reader from the text ·· Neutral has different meanings in different places ·· Distinguishable but unobtrusive, coherent, simple, plain ·· Even, unobtrusive, great for body text and smaller sizes ·· Typeface as a tool both for designing and for reading ·· The more invisible the typeface, the clearer the text ·· Can’t be fully neutral to everyone, has to be approximate

“A Typeface Designed to Revive the Endangered Cherokee Language” ·· ·· ·· ·· ·· ··

Largest tribal nation gets its own font “Phoreus Cherokee” typeface designed by Mark Jamra Typeface to preserve the nation’s language and culture Name meaning as a vehicle of language and visual culture Lowercase with different weights and styles, also small caps Pairings: News Gothic, New Century Schoolbook, Forza

42 Type II Journal

In Class Lecture Notes 3/1

Typography On-Screen ·· Georgia and Verdana designed by Matthew Carter for on-screen purposes (very widely used) ·· Both have open counters and apertures ·· High x-height is desired ·· If x-height is too high, it is hard to distinguish between characters like lowercase ‘n’ ‘h’ ‘a’ and ‘d’ —will not work as well for body text ·· Character distinction is essential for on-screen legibility ·· Some typefaces have family members that suit a specific size range (optical proportions)—called optical sizes, like caption, subhead, and display weights ·· Instead of using overused typefaces, pick typefaces that have similar characteristics to your favorite typeface ·· Helvetica like Museo Sans ·· Georgia like Droid Serif ·· Pairing typefaces: ·· Avoid pairing typefaces that are too similar ·· Take advantage of display type ·· Look for visual relationships, harmony

WEEK 9

FEATURES Articles About Designers

WHY IS TYPOGRAPHY IMPORTANT To our everyday life?

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

By ELLEN FABINI

ost 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. 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

Typography Spotlight: Jon Contino By ADC YOUNG GUNS

information. Bad typography can severely hinder a viewer from understanding content. 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.) While not every viewer may consciously realize that they are being influenced by typography, they absolutely are. And because of this, typography matters.

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?

he first week of ADC and Monotype‘s Typography Month has been cruising along, giving love to the type 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 community, while others will be new for you to discover, but all of them are card-carrying ADC Members from around the world. 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.

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. 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 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 self-taught versus through schooling? Everything I know from a technical aspect is selftaught. 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?

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 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.”

I’ve always been kind of sloppy when it comes to

4 TYPOGRAPHY AND THE EVERYDAY

FEATURES Articles About Designers

Typography Spotlight: Louise Fili

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.

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.

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?

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.

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 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.

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

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

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

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.

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.

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

Kimou Meyer, Todd Radom, Michael Doret, Ken Barber, Andy Cruz, Aaron Horkey,Benny Gold and Parra.

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.

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 (718) 395-2480 studio@joncontino.com New Business: Ben Arditti (773) 818-4438 ben@satelliteoffice.tv Source: ADC YOUNG GUNS. “Typography spotlight: Jon Contino.” ADC Global. 2015.

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

6 TYPOGRAPHY AND THE EVERYDAY

By ELIZABETH DANZICO

ili, 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.

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

8 TYPOGRAPHY AND THE EVERYDAY

FEATURES Articles About Designers

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. 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 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.

BEST OF TYPE Best Movies, Books, and Magazines of 2015

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.”

STEVE JOBS DESIGNED BY: BLT COMMUNICATIONS, LLC MOVIE POSTERS OF 2015

Danzico, Elizabeth, “Lousie Fili,” AIGA, March 1, 2014.

Fili opened her own studio in 1989, focusing on restaurant identity, food-related logos and packaging. There weren’t many female-run studios then, and she knew it could be problematic if she named the studio after herself. But she decided

THE DIARY OF A TEENAGE GIRL DESIGNED BY: CARDINAL COMMUNICATIONS USA MOVIE POSTERS OF 2015

ME AND EARLY AND THE DYING GIRL DESIGNED BY: BLT COMMUNICATIONS, LLC POSTER ARTWORK: NATHAN MARCH MOVIE POSTERS OF 2015

10 TYPOGRAPHY AND THE EVERYDAY

By the end of class 3/3 I had a finalized idea of my layout and book map, and had all my text and images placed into my document. Working on headers and hierarchy was still one of my main focuses.

SOME BEASTS DESIGNED BY: OTTO IS THE ONE MOVIE POSTERS OF 2015

44 Type II Journal

Week 10 3.7.16–3.11.16

WEEK 10

In Class Critique Notes 3/8

Pre-Crit of Zine Group/general notes: ·· Cover needs to have issue number, date, and subhead or description of magazine ·· Table of contents page doesn’t need to be in order ·· Footer should have the name of magazine and date ·· Name and website only for Jon Contino sourcing ·· Louise Fili byline by Elizabeth Danico ·· Eames credits might need unique styling ·· If the book cover is white, it needs a light border/shadow ·· Budweiser by Brand New and CNN Money ·· Hyperlinks? ·· Back cover with designer and date ·· Visual queue of being done with article like a bullet ·· Blank pages can be magazine end sheets with patterns Individualized/personal notes: ·· ·· ·· ·· ·· ·· ·· ·· ··

Best book covers title on two lines or break it apart Tone down citations on this month’s rising stars page Footer with the date Fix widows Outline on light or white photos Sourcing edit on Arabic type article Smaller photo credits Different answers, not upside-down for quiz Italicize book titles

46 Type II Journal

Best Book Covers of 2015 CULTURE

My zine in progress mostly needed small tweaks for widows and orphans and the small typographic details. I also still needed to work on the hierarchy of headers and subheads, along with using that hierarchy to show which articles were of more importance.

BOOK COVERS OF 2015

DRINKING IN AMERICA DESIGNED BY: REX BONOMELLI

VOICES IN THE NIGHT DESIGNED BY: JANET HANSEN

KL DESIGNED BY: ALEX MERTO

Source: CASUAL OPTIMIST

Grafﬁti as Art CULTURE

GRAFFITI AS ART Grafﬁti serves as a way to comment on love, art, social issues, and even serve as a voice of opposition to mainstream society.

By NOEL SANCHEZ

ny passerby in an urban cityscape has observed the colorful, provocative, illegal "eyesore" that is graffiti. Although many consider the spray-painted pieces a nuisance, graffiti has been gaining recognition from the art world more and more as a legitimate form of art. When most people think of graffiti, they imagine "tags," or a stylized writing of a person's name. While tags are probably the most popular forms, graffiti art is much more than that. It can mean a colorful mural with a message of diversity or a black and white stencil piece protesting police brutality. In each case, graffiti art makes a statement.

AESTHETICS George C. Stowers wrote that based on aesthetic criteria, graffiti has to be considered an art form. He makes a distinction between simple tags and more complicated pieces, stating that tags have little aesthetic appeal and probably should not be considered art. However, larger pieces require planning

PERSONALITY QUIZ What Typeface Are You?

CULTURE Grafﬁti as Art

and imagination and contain artistic elements like color and composition. Stowers provides the example of wildstyle, or the calligraphic writing style of interlocking letters typical of graffiti, to show the extent of artistic elements that are present in these works. “Wildstyle changes with each artist’s interpretation of the alphabet, but it also relies on the use of primary colors, fading, foreground and background, and the like to create these letters,” he writes. The artist’s intention is to produce a work of art, and that must be taken into account when considering street art’s legitimacy.

“The manner in which graffiti art is executed is the only obstacle it faces in being considered an art form.” Stowers explains that graffiti cannot be disregarded because of its location and illegality. The manner in which graffiti art is executed is the only obstacle it faces in being considered an art form.

A NOD FROM THE ART CROWD People are used to seeing graffiti art in public spaces, after all, that’s what makes it graffiti. However, after years of gaining recognition by the art community, graffiti art has been shown in various galleries in New York and London, and artists are often commissioned to do legal murals and other work for art shows. One of the most famous graffiti artists, Banksy, has had his work shown in galleries such as Sotheby’s in London. Despite his anonymity, the British artist has gained tremendous popularity. Celebrities such as Angelina Jolie and Brad Pitt have purchased his work for a hefty price. Recognition by the art world and inclusion in galleries and auctions is one way that graffiti art is legitimized as “real” art. In addition, this exposure has helped the graffiti movement to become launched into the rest of the world.

A STYLE ALL ITS OWN Like all other artistic forms, graffiti has experienced movements or changes in style. From the first tag scribbled on a subway train to the large, complex mural on a billboard, the movement has experienced change. The tools and the means have changed as well. Markers were traded in for spray paint, and stencils and stickers were introduced to make pieces easier to execute in a hurry. The messages have also evolved. Graffiti has always been somewhat political, but it has come a long way from simply tagging one’s name to parodying world leaders to make a statement. This is further proof that graffiti is a form of art and not just a result of random acts of vandalism. The graffiti community moves in different directions and the resultant artwork moves with it.

QUIZ: WHAT TYPEFACE ARE YOU? 1. WHAT WOULD YOU CHOOSE FOR BREAKFAST? A. A Warm Croissant with Tea B. Eggs, Bacon, and Toast C. Eggs Benedict D. Black Coffee

2. IF YOU COULD ONLY BRING 1 ITEM ON A PLANE, WHAT WOULD IT BE? A. Journal B. your phone C. headphones D. a snack and a neck pillow

3. PICK YOUR FAVORITE SONG: A. Hello by Adele B. Blank Space by Taylor Swift C. Hotline Bling by Drake D. Me Myself & I by GEazy

4. WHERE DO YOU FALL IN YOUR FAMILY’S BIRTH ORDER? A. Only child B. Middle C. Youngest D. Oldest

Grafﬁti as Art CULTURE

6. IF YOU COULD INSTANTLY MASTER 1 INSTRUMENT, WHAT WOULD IT BE? A. Piano B. Guitar C. Drums D. Singer

7. WHAT’S YOUR FAVORITE COLOR? A. Lavender B. Turquoise C. Indigo D. Red

8. WHERE IS YOUR DREAM VACATION DESTINATION? A. Paris B. Australia C Taiwan D. New York

9. WHAT GENRE OF MUSIC CAN YOU USUALLY BE FOUND LISTENING TO? A. Jazz B. Country C. Alternative D. Classic Rock

10. WHAT TYPE OF DOG WOULD YOU ADOPT? A. I’m more of a cat person B. A yellow lab C. A rescue from a shelter D. A Great Dane

5. HOW OFTEN DO YOU SWEAR?

11. WHAT IS YOUR FAVORITE FRUIT?

A. Never B. Sometimes C. Often, but I can control myself D. Rarely

A. Raspberry B. Tangerine C. Avocado D. Apple

Find the answer on page XX! 14 TYPOGRAPHY AND THE EVERYDAY

WEEK 10

Grafﬁti as Art CULTURE

March 2016 LETTER TO THE EDITOR

TABLE OF CONTENTS March 2016

TYPE TODAY

TABLE OF CONTENTS

WHY IS TYPOGRAPHY IMPORTANT TO OUR EVERYDAY LIFE?

By ELLEN FABINI, Editor in Chief

Issue #1: March 2016

IN EVERY ISSUE

CULTURE

4 Best Design: Best Book Covers of 2015 5 This Month’s Rising Stars 15 Best Serif/Sans Serif Pairings 35 Typeface Quiz

16 Arabic Type 20 Mid-Century Modern Type

TYPOGRAPHY SPOTLIGHTS

8 Nike & Type 10 Design Flashback: Evolution of Vogue Covers 12 Surf Culture Typography by Decade

22 Jon Contino 26 Louise Fili

CURRENT TRENDS 30 Hand Lettering 32 Graffiti

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.)

OVER THE YEARS

CASE STUDY

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

6 Budweiser Packaging Design

2 TYPE TODAY March 2016

This Month’s Rising Stars IN EVERY ISSUE

IN EVERY ISSUE Best Design

THIS MONTH’S RISING STARS!

BOOK COVERS OF 2015

DRINKING IN AMERICA DESIGNED BY: REX BONOMELLI

VOICES IN THE NIGHT DESIGNED BY: JANET HANSEN

KL DESIGNED BY: ALEX MERTO

SOURCE: CASUAL OPTIMIST

I was happy with the way that my final zine came out. I strived to create a grid and layout plan that could be flexible for many article types and levels of importance. Most of the work that I put in at the end was for typos and hyphenation settings, and small details like photo captioning.

BEST DESIGN

NOLAN NEXT

HABORO

DEVINYL

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.

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 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 multicolour 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.

EXCERPTED FROM THE MYFONTS RISING STARS NEWSLETTER, FEBRUARY 2016

4 TYPE TODAY March 2016

Grafﬁti as Art CULTURE

CASE STUDY: PACKAGING DESIGN Budweiser

Excerpted from BRAND NEW & CNN MONEY

he can redesigns had gotten a fairly decent reception in 2011 and, in a way, it aimed for some of the same goals as does the new one, but it still suffered from too much designing. The new can establishes consistency with Bud Light by having the seal and legend tightly cropped on the top of the can and in this can it might even look better than it did for Bud Light (which already looked hot). The logo spans wide beyond the visible edges of the can, which is really rare as I’m sure most can-clients want everything to be visible inside the can. The logo has so much space that you could put a bunch of those Clydesdale horses to pasture around it. The “King of Beers” tag line has changed from the overused Bank Gothic to something custom and glorious. The combination of elements, the spacing, the muted colors, it’s all just absolutely great. As has been the case with most big brands, Budweiser has stripped back all unnecessary decorations and finishes off of the logo. In this case, the

6 TYPE TODAY March 2016

process reveals an elegant and classic script word mark that looks far better than it has in decades. The letters look so crisp and curvaceous with the ‘B’ now standing out beautifully instead of being jammed into the bow tie shape, which also looks remarkably good as a single-line stroke. From here, things just get better. All the typographic details were done by Toronto based Typographer Ian Brignell. Brignell even create a typeface for Budweiser known as Bud Bold. Anheuser-Busch InBev, the owner of Budweiser and Bud Light, said that sales of its two top beers have continued to fall “in the low single digits” in the United States in the second quarter—despite a ton of marketing for both brands. But it’s not all bad news for the company. Overall sales were up in the quarter despite the struggles in the U.S., problems in Europe and tough comparisons in Brazil following last year’s World Cup tournament. With 2016 rolling in and bringing with it a new branding overhaul to rival designs of the growing micro brewery movement, Budweiser is drawing on a new, younger crowd while trying to maintain true to its “hard way” crafted beer and established clientele. •

48 Type II Journal

Colophon This journal was created by Marie Chrisman at California Polytechnic State University in Winter 2016 in Typography II. The typefaces used were Trade Gothic LT Std and Clarendon.

50 Type II Journal

Typography II Winter 2016