338.03 Type Journal by Matt Brennan by Matt Brennan

A CRASH COURSE IN

TYPE A COMPILATION OF THINGS DEEMED IMPORTANT

WARNING: The following document may cause the reader to receive information overload, resulting in, but not limited to, minor head trauma. On the upside, if the information is processed safely, it will prevent the realm of typography from tossing the reader around like a test dummy throughout his or her career.

THE BEG PICKING A POINT SIZE • typeface proportions and weight • length of text • format of viewing (printed on paper or viewed on screen • content

GINNING SCREEN VS PRINT • body text should be larger when the text will be read on screen • sizes for print range from 9pt–12pt

“

DUMB Q

ARE…

DUM

QUOTES

…WELL

MB”

WORKHORSE TYPEFACES • have tall x heights, not too rounded or wide of characters as to not take of a lot of space • have larger type family • very legible numerals

Futura Helvetica Chaparral

TWO SPAC

A PERIO

CES AFTER

OD IS A

YTH

KEYBOARD SHORT Hyhen En Dash – Em Dash — Elipsis …

TCUTS FOR DASHES Alt + Shift + Alt + Alt + ;

BREAKING SPACES Do not break a line in the middle of a proper noun. Donâ&#x20AC;&#x2122;t allow more than 2 words to be consecutively hyphenated in a paragraph, it just looks weird.

MATH SYMBOLS Multiplication symbol and other symbols can be found in the glyphs palette. If it is not found there, you can change the keyboard preferences on your computer.

+−×÷ 15

CHOOS

TYPE

SING A

EFACE

CONTENT • What will it be about? • How long is it going to be?

AUDIENCE • Who will be reading the document? • How will I appeal to them?

TECHNICAL FACTORS • Does it possess all of the necessary factors for the job? • Foreign accented characters and glyphs? • Multiple weights and styles, large font family?

WHEN PUR

TYPE

PAY ATTENTION

CHASING A

EFACE

N TO LICENSING

WHAT CAN IT BE USED FOR? • commercial • print • online • apps • ebooks

HOW MUCH DOES IT COST?

FONT SITES • The League Of Moveable Type • Font Squirrel (all able to use commercially for free)

• Fontspring (very similar licensing) • House Industries • My Fonts • Fonts.com

DISABL

WON

SYSTEM

YOU KNOW WH

LE THE

NKY

M FONTSâ&#x20AC;¦

HAT THEY ARE

ORGANIZE Take a day to organize your fonts, disabling all of the poorly designed fonts that come with the Adobe programs.

CATEGORIZE Once you have gone through and whittled down the amount of fonts in your system, categorizing them will only increase organization and ease of use when looking for a certain typeface.

FONT MANAGEMENT SYSTEMS • Font Book • Font Explorer • Suitcase Fusion 7

* Let it be known that the latter two are better than the default FontBook at managing fonts.*

PARAG AND OTHER RE

GRAPHS LATED JARGON

SEPARATION Two ways to separate paragraphs. Either insert tabs for every new paragraph, or add space after each paragraph ending.

LINE LENGTH Very important for readability. Too long of line length can leave text feeling long-winded. Too short of line length can feel like sprinting repeatedly and wear down the reader. Optimal line length is 8-13 words per line.

BODY TEXT • decide how it will look • figure out point size and leading

IMPORTANT AND KEY COMPONENTS • attention to detail • consistency • unity

KEEP

SIM

AARON DRAP

P IT

MPLE

PLIN SAID SO

INDESIGN R PARAGRAPH STYLES • paragraph styles are paramount for organization and consistency. • responsible for all style attributes for a paragraph

TABS • leaders will fill space between text and tab with whatever character is applied. • always try and get all the text in a document (with the exception of pagination or things applied to master pages) in one text box. 34

REFRESHER SPAN COLUMNS • allows you to go from single column to multiple columns in the same text box

CHARACTER STYLES • used for styling text within a paragraph • can be helpful when calling out book titles

INDESIGN R BASIC CHARACTER FORMATS â&#x20AC;¢ allows you to change the attributes on the type quickly

REFRESHER TABLE STYLES • useful for styling multiple tables within a document

OBJECT STYLES (we get the point)

PAIRING TYPEFACES • contrast within a typeface impacts legibility and needs to be accounted for when used for the screen • x-height is also important

SANS SERIF FOR SCREEN Verdana SERIF FOR SCREEN

Georgia 38

SPECIAL CHARACTERS • some typfaces and fonts do not have special characters in order to support different types of numbers, and most importantly punctuation.

LOOKING FOR DISTINCTION • avoid pairing typefaces that look similar

GILL S WHAT

l I

SANS EVEN

CHARACTER DISTINCTION • some typefaces have characters that look similar and make telling them apart difficult • Gill Sans is a perfect example of this, as the previous page shows an L, a capitol i, and a 1

PAIR DISPLAY AND TEXT FACES • use heavy display typefaces to add personality and create a clear distinction between what is being used

USE A FAMILY • some typefaces are designed with both serif and sans serif fonts that are built on the same structure

BUILD OUTWARD • Lock in one typefaces and expand from there

DON’T BE AFRAID TO TRY DIFFERENT THINGS.

EVALUATE TYPEFA LEARN TO TRUST

EXPERI

ACES CRITICALLY. YOUR INSTINCTS.

IMENT.

PROJ

JECTS

PROJECT 1 With this first project I started out by playing with a circle motif but after trying a few different layouts, I abandoned that idea. The reworked version emulated somewhat of a seeing eye exam to tie into the title and create a theme. TYPOGRAPHY Professional thoughts on the matter

Don’t confuse legibility with communication. Just because something is legible doesnt mean it communicates and, more importantly, doesnt mean it communicates the right thing.

For me typography is a triangular relationship between design idea, typographic elements, and printing technique – Wolfgang Weingart

There are now about as many different varieties of letters as there are different kinds of fools

Don’t confuse legibility with communication. Just because something is legible doesnt mean it communicates and, more importantly, doesnt mean it communicates the right thing.

– David Carson

– Eric Gill

– David Carson

“The aim of typography must not be expression, least of all self-expression…In a masterpiece of typography, the artist’s signature has been eliminated. What some may praise as personal styles are in reality small and empty peculiarities, frequently damaging, that masquerade as innovations”

For me typography is a triangular relationship between design idea, typographic elements, and printing technique

– Jan Tschichold, Stylepedia, 2006, p. 218

– Wolfgang Weingart

“The basic rules of typography have been set long ago but as beautiful scores they have been played in different ways by many talented artists, all making a mark and opening a new way with their interpretations.”

There are now about as many different varieties of letters as there are different kinds of fools.

– Massimo Vignelli, The Vignelli Canon, 2010, p. 70

– Eric Gill

PROFESSIONAL INSIGHT ON

“For me typography is a triangular relationship between design idea, typographic elements, and printing technique.” – Wolfgang Weingart

“There are now about as many different varieties of letters as there are different kinds of fools.” – Eric Gill

1 “Don’t confuse legibility with communication. Just because something is legible doesnt mean it communicates and, more importantly, doesnt mean it communicates the right thing.” – David Carson

“For me typography is a triangular relationship between design idea,

– Massimo Vignelli, The Vignelli Canon, 2010, pg. 70

What some may praise as personal styles are in reality small and empty peculiarities, frequently damaging,

“There are now about as many differ-

that masquerade as innovations”

ent varieties of letters as there are

– Jan Tschichold, Stylepedia, 2006, p. 218

different kinds of fools.” – Eric Gill

“Don’t confuse legibility with communication. Just because something is legible doesn’t mean it communicates and, more importantly, doesnt mean it communicates the right thing.” – David Carson

expression, least of all self-expression… artist’s signature has been eliminated.

– Wolfgang Weingart

“The aim of typography must not be In a masterpiece of typography, the

typographic elements, and printing technique.”

TYPE QUOTES PROFESSIONAL INSIGHT ON

1 2 3

“For me typography is a triangular relationship between design idea, typographic elements, and printing technique.”

“There are now about as many different varieties of letters as there are different kinds of fools.”

“Don’t confuse legibility with communication. Just because something is legible doesn’t mean it communicates and, more importantly, doesnt mean it communicates the right thing.”

1. Wolfgang Weingart, Weingart: Typography, 2000, p. 272

4. Jan Tschichold, Stylepedia, 2006, p. 218

2. Eric Gill, An Essay on Typography, 1988, p. 57

5. Massimo Vignelli, The Vignelli Canon, 2010, p. 70

3. David Carson, End of Print, 1995, p. 102

PROJECT 2 For this project, I knew that I wanted to call upon some elements of an illuminated manuscript while keeping a contemporary look. The use of a large blackletter H was something that I knew I wanted to do from the begining. As far as the body text, I chose to put a contemporary sans serif to counteract the blackletter dropcaps. The layout is supposed to also call upon an old scroll through its vertical orientation and layout.

CAMPBELL INTERVIEW

PROJECT 2

The

HEROâ&#x20AC;&#x2122;S QUEST

CAMPBELL INTERVIEW A round table discussion with

JOSEPH CAMPBELL AND BILL MOYERS. OYERS: Why are there so many stories of the hero in mythology?

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

AMPBELL: 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.

AMPBELL: 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.

OYERS: So in all of these cultures, whatever the local costume the hero might be wearing, what is the deed? AMPBELL: 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. OYERS: Does your study of mythology lead you to conclude that a single human quest, a standard pattern ofhuman 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? AMPBELL: 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.

OYERS: 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.” AMPBELL: That’s all you need — an Ariadne thread. OYERS: 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.

There’s a certain type of myth which one might call the vision quest.

OYERS: 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”?

AMPBELL: My general formula for my students is “Follow your bliss.” Find where it is, and don’t be afraid to follow it. OYERS: Is it my work or my life? AMPBELL: 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.”

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

OYERS: 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? AMPBELL: 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.

PROJECT 3 With this project I wanted the cover to be very simple yet have the ability to grab attention without being loud. I knew I wanted to use Clarendon because it has beautiful numbers that I wanted to utilize. Adding texture and using a craft paper gave it the old timey and inviting look I wanted. For the inside, I wanted to keep the Clarendon for the headers and pair it with Caslon to stick with a more antique look as well as legibility.

ELEMENTS OF STYLE

PROJECT 3

3. Enclose parenthetic expressions

3. Enclose parentheti

between commas.

Example: The best way to see a country, unless you are pressed for time, is to travel on foot. This rule is difficult to apply; it is frequently hard to decide whether a single word, such as however, or a brief phrase, is or is not parenthetic. If the interruption to the flow of the sentence is but slight, the writer may safely omit the commas. But whether the interruption be slight or considerable, he must never omit one comma and leave the other. Such punctuation as Marjorie’s husband, Colonel Nelson paid us a visit yesterday, OR My brother you will be pleased to hear, is now in perfect health, is indefensible. Non-restrictive relative clauses are, in accordance with this rule, set off by commas.

between commas.

Example: In 1769, when Napoleon was born, Corsica had but recently been acquired by France. The best way to see a cou time, is to born, travelCorsica on foot.h In 1769, when Napoleon was recently been acquired by France. This rule is difficult to apply; it is Nether Stowey, whereaColeridge wrote h whether single word, suchThe as R Ancient Mariner , is a few miles from Bridgew not parenthetic. If the interrupti but slight, the writer may safely o , In these sentences the introduced by which theclauses interruption be slight or cons when, and where arecomma non-restrictive; do not lim and leave they the other. application of the words on which they depend, but punctuationthose as in the pri thetically, statementsSuch supplementing Each sentence is a combination of two statements w Marjorie’s husband, Colo have been made independently. visit yesterday, The audience was at first indifferent. Later it OR and more interested.

brother pl Napoleon was born My in 1769. At you that will timebeCo in perfect health, recently been acquired by France.

The Rime of the Ancient Ma Coleridge wrote is indefensible. Nether Stowey. Nether Stowey is only a few m Non-restrictive relative clauses a Bridgewater. set off by commas.

The audience, which had more and more interested

The audience, which had at first been indifferent, became more and more interested. Similar clauses introduced by where and when are similarly punctuated

The Elements of Style

Similar clauses introduced by wh similarly punctuated

The Elements of Style

Section 1: Eleme

ELEMENTS OF STYLE

ic expressions

untry, unless you are pressed for

s frequently hard to decide owever, or a brief phrase, is or is ion to the flow of the sentence is omit the commas. But whether siderable, he must never omit one

onel Nelson paid us a

leased to hear, is now

are, in accordance with this rule,

at first been indifferent, became d.

In 1769, when Napoleon was born, Corsica had but recently been acquired by France.

Nether Stowey, where Coleridge wrote The Rime of the Ancient Mariner, is a few miles from Bridgewater.

In these sentences the clauses introduced by which, when, and where are non-restrictive; they do not limit the application of the words on which they depend, but add, parenthetically, statements supplementing those in the principal clauses. Each sentence is a combination of two statements which might have been made independently. The audience was at first indifferent. Later it became more and more interested.

MATT BRENNAN

Napoleon was born in 1769. At that time Corsica had but recently been acquired by France.

Coleridge wrote The Rime of the Ancient Mariner at Nether Stowey. Nether Stowey is only a few miles from Bridgewater. Typefaces used:

Adobe Caslon Pro Clarendon URW

here and when are

Section 1: Elementary Rules of Usage

PROJECT 4 Titled OVELAP due to its contents having to do with both design and social activism, my magazine can be described as open, rigid, and overlapped. I maintain a rectangle motif throughout the magazine in order to create unity a cohesive layouts. The content of the article determined each layout and how spread out each one would be. Articles with more photography have more attention placed on the images, while others ones more text lean toward more editorial layouts. This treatment helped create variety while maintaining a cohesive visual style.

MAGAZINE

OVERLAP

Volume 1 March 16, 2016

PROJECT 4

When he would visit African societies that practice scarification, and he would ask locals who they thought was the most beautiful woman or the most handsome man, they would inevitably point to the most scarred. Often, body modifications go beyond vanity, reflecting a necessary part of the transition to adulthood. He photographed one group of Papua New Guineans who believe all of mankind originated from crocodiles, and therefore have their young initiates scar their skin to resemble the scales of a reptile. To varying degrees, the same is true even of cultures that practice less extreme versions of tattooing. As Smithsonian wrote regarding Rainier’s work, “In

OVERLAP

Shepard Fairey reveals new posters to protest Trump by Stephy Chung, CNN Shepard Fairey—the artist behind the 2008 “Hope” poster depicting then presidential candidate Barack Obama— has produced a new set of images in time for President-elect Donald Trump’s inauguration this Friday.

Fairey, along with artists Jessica Sabogal and Ernesto Yerena, teamed up with the non-profit Amplifier Foundation— a self-described “art machine for social change”—to produce works for the organization’s We the People campaign.

The three posters feature Muslim, Latino, and African-American women.

“It’s really about making sure that people remember that ‘we the people’ means everyone, it means all the people,” Fairey said. “I think the campaigns were very divisive, more from one side than the other. But (it’s) just reminding people to find their common humanity, and look beyond maybe one narrow definition of what it means to be American.”

“We thought (they) were the three groups that had been maybe criticized by Trump and maybe were going to be most, if not necessarily vulnerable in a literal sense, most feeling that their needs would be neglected in a Trump administration,” Fairey told CNN.

OVERLAP

MAGAZINE

JR ACTIVISM AND

The Artist On A Crusade by Ana Bambic Kostov

He started on the houses of Paris by writing his name on rooftops. After realizing he could make use photography to tell a wider story, he began pasting images he took on walls in numerous illegal sidewalk galleries. When Paris was caught by the riot fire in the mid 2000s, his social consciousness reached a new level of lucidity, and his activist crusade began. His moniker is JR and he is probably the most globally spread street artist.

OVERLAP

It’s obvious that JR’s art comes from activism, but the manner in which this TED prize winner conducts his affairs is entirely different. He does not focus only on several concrete issues as Keith Haring did, nor does he engage in advocating revolution in style of Carrie Reichardt. JR thinks wider, always bearing a universal picture in mind, even if he focuses on concrete, local issues in any of his continuous travels. Recognized by the art world as a prodigy, JR is today known as an activist for women’s rights, peace and equality, always having one common quality in all his projects — an idealistic belief in humanity. OVERLAP

THE DRAW OF WAR Walt Disney and World War Two In December 1941, Time magazine was about to print its end of year issue, its front cover carrying a big picture of Dumbo—that loveable elephant with the gigantic ears who had helped The Walt Disney Studio achieve soaring box office figures that year. But on 7 December, Japanese aircraft attacked Pearl Harbour, abruptly bringing America into World War Two—and ousting Walt’s latest creation from the front page. Yet, if the war led to a dip in Disney’s fortunes, it was only a temporary one. Within just six months, The Walt Disney Studio in Burbank, California, was declared a war plant. Its filmmaking capacity was given over to the Allied effort and its well-loved cartoon characters all enlisted to do their bit for their country - from Donald Duck and Pluto to Mickey Mouse, Snow White and beyond. Through a mix of groundbreaking military training films, features and propaganda shorts, as well as insignia, books, posters, and much more, Disney sought to boost troops’ morale on the frontline and promote government policies on the home front. 76

OVERLAP

DESIGN

MATT BR

TYPEFACE

Futura Extra B

Frut

NED BY

RENNAN

ES USED:

Bold Condensed

tiger