II TYPE
JOURNAL type
II journal 1
winter 2017 art 338 matt hansen
TYPE
JOURNAL
INTRO
A few years ago—if you would have asked me whether or not I was good at typography—I would have laughed and said: “I’m just an artist.” You see, it wasn’t until my senior year of high school that I even thought about going into graphic design. Art had always been my passion, but graphic design was a foreign language. This was mostly due to typography—a concept that divides art and design. Artists can speak to their viewers through images, but designers learn how to communicate based on the relationship between images and type. This class has offered me the chance to be as experimental as I could possibly be, as well as opportunities to tone down the creativity to create more minimal and professional designs. Not only did I learn the rules of type, but I also learned when to be experimental and when to be organized. All in all, Type II has helped in the way that I make design decisions, making me a smarter and more effective designer. Even though I’m still in the process, I believe that my transformation from an artist to a designer is almost complete.
TABLE OF CONTENTS
01
LECTURES
02
READINGS
03
PROJECTS
page 8
page 16
page 30
01
LECTURES
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TYPOGRAPHIC REFINEMENT:
THE DETAILS
WEDNESDAY, JAN 18
Point size: originally for handset metal type Point size: letter + space below Face: printing surface Nick: indicates bottom of letter Set width: width of letter Points & picas: 12 points in 1 pica; 6 picas in 1 inch Picking a point size: ཚཚ Typeface proportions and weight ཚཚ Length of text ཚཚ Format for viewing (printed, screen, both) ཚཚ Audience/reader of text ཚཚ Content of text ཚཚ Body text should be larger for screen (14pt+) than print (9-12pt) Hard working typeface ཚཚ Good regular weight ཚཚ Robust proportions - large x height ཚཚ At least one bold weight with noticeable contrast from regular weight ཚཚ Italic version ཚཚ Very legible numerals ཚཚ Economy: should be narrow enough to fit large amounts of copy into space
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MAKING TYPE LOOK BETTER Kerning: type at display sizes (set at metrics—kerning set by type designer/foundry). Leading: 120 –145% of point size (10 pt body=12– 14.5 pt leading). Line length: too wide—hard to find beginning, too narrow —too much back and forth (optimal line length: 45 –90 characters or 2–3 lowercase alphabets or 8 –13 words /line). Letterspacing: small/all caps can do more letterspacing than upper+lowercase. Tracking: usually fine at 0, but must adjust for all caps. Avoid fake small caps: only use them if they come with the typeface. Dashes: hyphens = used if a word is too long for column length; en dash = indicates duration; em dash: express break in flow of sentence. Hyphenation: at least 6, after first 3 before last 3, limit 2, uncheck everything. Smart quotation marks: smart quotes (curly), dumb (up&down), prime. Fix rags when possible: aiming for even back and forth, no awkward negative spaces. Spell check: cmd+i
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TYPE COMPOSITION:
SHORTCUTS WEDNESDAY, JAN 25 Open Quote: (opt + [ ) Closed Quote: (opt + shift + [)
Smart quotes: preferences (cmd + k) > type > ‘use typographer’s quotes’ Find and Replace: ( cmd + f ) Paragraph mark: (opt + 7) Section mark: (opt + 6) Hyphen: ( - ) En Dash: ( – ; opt + - ) Em Dash: (— ; opt + shift + -) Trademark: (opt + 2 ) Registered trademark: ( opt + r) Copyright: (opt + g) Nonbreaking space: ( opt + shift + space) Ampersand: use when part of a proper name, otherwise sparingly especially in formal writing Ellipsis: (opt + ;) if a sentence ends with an ellipsis, add an extra period at the end.
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CHOOSING TYPEFACES:
A HOW-TO GUIDE FRIDAY, JAN 27
How to choose fonts: ཚཚ Consider content, audience, format/context ཚཚ Technical factors ཚཚ Full character set with punctuation, glyphs, accented characters? ཚཚ Multiple weights and styles? ཚཚ Small caps, lining and old style characters? ཚཚ What is the format—OpenType? Does it have a Web Font version? Creating a font is complex + buying a font means purchasing the license Where to buy fonts: Art Server, Google Fonts (free; web and print), Lost Type Co-op (pay what you want), League of Moveable Type (free; open source; well designed), Font Squirrel (free for commercial use), Fontspring (groups fonts by license types), House Industries (not cheap but unique/retro), My Fonts (wide range; good newsletter), Fonts.com (tons of fonts + blog). Managing fonts: ཚཚ Font Book (create font sets, library sets, resolve conflicts, deactivate fonts). ཚཚ In general, you want minimum number of fonts installed. ཚཚ Use sets to keep fonts organized and categorized.
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TYPESETTING IN INDESIGN:
TOOLS & TECHNIQUES FRIDAY, FEB 3
Paragraph styles: affect paragraph level attributes. General settings: overview of style settings + if the style was based on existing style. Basic character formats: font, style, size, leading, kerning, tracking, case. Advanced character formats: type bastardization warning—only use baseline shift. Indents and spacing: alignment, indents, space before/after returns. Tabs: shows all tabs and leaders (character that fills negative space before tab). Paragraph rules: shows rules (lines) that can appear above or below the paragraph. Keep options: keep all or certain number of lines together in paragraph. Hyphenation: turns on/off and customizes word hyphenation settings (6/3/3/2/x). Span columns: switch from a single to multiple columns in the same text box (& back). GREP style: (globally search a regular expression and print) allows you to use code to find and edit/style text via find/change or paragraph styles. OpenType features: choose tilting and/or swash alt figures. specify figure style.
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Export tagging: turns styles into css—for epubs and websites created in InDesign. Character styles: styling text within a paragraph. General: shows style name and if style was based on existing style. Basic character formats: font, font style, size, kerning, tracking, case. Advanced character formats: only use baseline shift. Character color: color of text, % of tint, stroke alignment. Table styles: styling multiple tables within a document. Table setup: border of table and spacing around table within paragraph. Row strokes: horizontal dividing lines in table. Column strokes: vertical dividing lines of table. Fills: color/s of fields within table. Cell styles: styling individual cells/rectangular divisions of table. Text: alignment and text insets. Strokes and fills: stroke around the cell and fill color of the cell.
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TYPOGRAPHY ON
SCREEN
WEDNESDAY, MAR 1 Typeface contrast ཚཚ Thick-thin contrast impacts legibility ཚཚ Higher contrast good in small amounts or as headlines ཚཚ Bodoni vs. Chapparal X-height ཚཚ High x-height is ideal for on screen ཚཚ Mrs. Eaves vs. Officina Serif; Futura vs. Core Rhino ཚཚ Proportions: don’t want too high of an x-height (ITC Garamond; Century Gothic) Character distinction ཚཚ Differentiating between different characters ཚཚ I, l, 1 vs. I, l, 1 Special characters ཚཚ Make sure face supports different types of numbers, correct punctuation, and special characters (esp. if your text could be set in variety of languages. ཚཚ Small caps & ligatures: use the real stuff. ཚཚ Optical sizes: face with individual designs for different types of content. Finding alternatives ཚཚ Take note of classic typefaces being overused; start to look like generic defaults. ཚཚ Helvetica vs. Museo Sans; Georgia vs. Droid Serif.
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TYP
By foll than m
Body te before fect. In these fo
02
READINGS
POINT The po by the and we 10–12 variatio
LINE SP Line sp text. It
LINE LE Line le sured line. A 45–90
FONT C Choos overall away f choosi ers) is fonts, t
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POGRAPHY IN TEN MINUTES
lowing these simple rules, you will be better most type designers.
ext is one of the most essential parts of any project, so you do anything else, make sure the body text looks perorder to achieve typographic perfection, you must follow our rules:
SIZE oint size of your body text is largely determined e platform in which it resides, therefore, print text eb text can vary tremendously. For print, use point, and for web, use 15–25 pixels (some on may occur based on the font).
PACING pacing is the vertical distance between lines of should be 120–145% of the point size.
ENGTH ength is the width of the text box, and it is meaby the amount of characters that can fit on one A good line length should hold anywhere from characters, or 2–3 lowercase alphabets.
CHOICE sing a font can dramatically effect the legibility and l look of a document. Generally speaking, staying from system fonts (Arial, Times New Roman), and ing professional fonts (fonts created by designa good rule of thumb. But, if you must use system then choose wisely.
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SUMMARY OF KEY RULES
Additional rules to consider in order to achieve typographic perfection. The four most important typographic choices you make in any docum ent are point size, line spacing, line length, and font. Point size should be 10–12 points in printed documents, 15 –25 pixels on the web. Line spacing should be 120 –145% of the point size. The average line length should be 45 – 90 characters (including spaces). Use curly quotation marks, not straight ones. Only ONE space between sentences. This is not the typewriter age anymore. Never use underlining, unless it’s a hyperlink. Use centered text sparingly. Use Bold and Italics and little as possible. Use 5–12% extra letterspacing with all caps and small caps, especially at smaller sizes. Use first-line indents that are one to four times the point size of the text, or use 4–10 points of space between paragraphs. But don’t use both.
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FOREWORD
Written by Erik Spiekermann DEFINITIONS OF TYPOGRAPHY: Typography is the visual component of the written word Type is visible language
“
Good typography is measured by how well it reinforces the meaning of the text, not by some abstract scale of merit.”
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WHY TYPOGRAPHY MATTERS Butterick’s Practical Typography
Typography isn’t just the frosting on the doughnut that is your text. Typography has consequences. Just ask the person who was responsible for the ballot used in Palm Beach County, Florida, for the 2000 presidential election. There is a utilitarian function, but it is more about good skill than it is good taste. Type is for the benefit of the reader, because the most valuable thing—the attention of the reader. One can judge a book by it’s cover because people do it all the time based on the book’s typography. People always find a reason not to read, which is why good typography is important. If knowing that bad type has negative consequences, why not also see that good type can bring positive consequences?
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TYPE COMPOSITION Butterick’s Practical Typography
Punctuation “smart quotes” vs. “dumb quotes” (“option + [ if Typographer’s quotes aren’t on, but you should turn them on.), (”option +shift + [) one space between sentences, otherwise you get funky looking paragraphs and even rivers. one exclamation point is more than enough in a paragraph unless you’re an angry teenager sending text messages. Long sections can be referred to with §, ie. standards manual, legal documents too. (parentheses), [brackets] {braces} © copyright is centered (option + g), ® registered trademark is superscript (option + r), ™ trademark is also superscript (option + 2). Ellipses (...) wrong, (. . .) wrong, (…) correct, option + ;
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TEXT FORMATING
Butterick’s Practical Typography There’s much more to typography than fonts and simi larly, there’s so much more to text formatting than what font to use. Underlining: This makes the text hard to read. If you feel the urge to underline, use bold or italic instead. In spe cial situations, like headings, you can also consider using all caps, small caps, or a change in point size. Underlining looks worse than bold or italic: underlining is mechanic ally applied by the word processor. Bold and italic styles are specially designed to match the basic style of the font. Novelty fonts, script fonts, handwriting fonts, circus fonts—these have no place in any document created by a professional writer. In a document that invites the pa tience and attention of a reader, a goofy font is as subtle as a jackhammer in a library. Monospaced fonts are harder to read because they take up horizontal space. System fonts are optimized for screen legibility, not print. Bold and Italics: Use this sparingly because these are meant for emphasis; they are designed to contrast normal text. Use all caps for short stretches of text.
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For serifs, use italics for gentle emphasis, bold for more emphasis. For sans serifs, skip the italic and use bold for emphasis. Limit yourself to three levels of heading maximum, two is better. Letterspacing: Character spacing or tracking; affects the horizontal white space between characters or a block of text. It affects letterspacing for all pairs of letters. Kerning: Adjustment of specific pairs to improve spacing and fit. Some typefaces come with tons of kerning pairs implemented by the designer(s). Body text should always be printed in black for documents such as resumes, research papers, and letters. Letterheads and business cards may use color, but use it sparingly.
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PAGE LAYOUT
Butterick’s Practical Typography Page Layout: It is about the positioning and relationship of text and other elements on the page. Centered Text: Whole paragraphs should never be cen tered. Centering makes paragraphs difficult to read because both edges of the paragraph are uneven. Centered paragraphs are also difficult to align with other page elements. Justified Text: Justified text is spaced so the left and right sides of the text block both have a straight edge. The usual alternative to justified text is left-aligned text. It adds white space between the words in each line so all the lines are the same length. This alters the ideal spac ing of the font, but in paragraphs of reasonable width it’s usually not distracting. First-Line Indents: A first-line indent is the most common way to signal the start of a new paragraph. First-line in dents and space between paragraphs have the same relationship as belts and suspenders. You only need one to get the job done. Using both is a mistake. If you use a first-line indent on a paragraph, don’t use space between. And vice versa. Space Between Paragraphs: An alternative to first line indents. A space equal to 50–100% of the body text size will usually suffice. The larger the point size, the more space you’ll need between paragraphs to make a visible difference.
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Page Margins: set the default territory your text occu pies on the page. Page margins determine the width of the text block, and thus have the greatest effect on line length. At 12 point, about 1.5–2 inch page margins will give comfortable line length. Maxims of Page Layout: ཚཚ Decide first how the body text will look. ཚཚ Divide the page into foreground and background. ཚཚ Make adjustments with the smallest visible incre ments. ཚཚ Be consistent. ཚཚ Relate each new element to existing elements. ཚཚ Keep it simple. ཚཚ Imitate what you like; Learning to see what’s good about other examples of typography makes it easier to solve problems in your own layouts. ཚཚ Don’t fear white space; If the text looks good, the white space will take care of itself.
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FAMILY PLANNING by Peter Bil’ak
Typefaces started out as moveable metal type, and have evolved as the art has become more accessible. Early 20th century is when type families came to be. Some typefaces are considered superfamilies and have as much as 105 different weights and styles (United). What we know as point size, came from “pounce,” which is the French version of the inch.
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USING LAYOUT GRIDS Steven Heller
Grids: Always use a layout grid for your design projects. No exceptions. Using a grid helps maintain consistency and harmony within designs. This system is always the first test to see if that idea will work well and be applicable to a real world application. Any high-quality design project, campaign or identity/ branding system needs a strong, tested and perfected layout grid system to make it possible to split the work to many designers at one time, so that they all produce the same quality end result with consistency and visual harmony. It is critical when you go from print, where you have total control over your layout, and apply your design to the web, where you have less control. your layout grid system is extra flexible for responsive websites, where your designs can go from four columns to one and still keep its integrity and the client’s message. A layout grid is the invisible force that gives the visible its structure and holds everything in its proper place. When creating a layout grid, pay special attention when choosing the type of binding to compensate for the gutter.
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UNETHICAL DOWNLOADING Steven Heller
Design is an honorable profession. We are not the cutthroat garment industry where styles and fabrics are routinely stolen by both big and small. Designers tend to respect one another’s intellectual property lines and do not as a rule engage in extreme larceny. We have a skeweed sense of entitlement when it comes to type. Perhaps because type is the most common means of written communication we assume the license to usurp it at will and without ramification. “I paid my money and got the font. What I did not know, however…was the limitations imposed on my ‘ownership.’” “I reckoned that whenever I used a legitimately purchased font, it was mine to do with as I pleased and had the right to pass it along to anyone.” Type sharing is akin to tapping into cable TV. “All typefaces, from almost every foundry (from Adobe to House), are automatically licensed for a specific number of output devices and CPUs at one location. It is an industry standard,” explains Rudy Vanderlans, founder of Émigré Fonts. “If you gave the font to someone else to carry through the designs, that means that they now have a free, illegally obtained copy on their computer. Most likely they will use it for another design job sometime in the future without remembering or being concerned where that font originally came from. It’s a scenario we come across nearly every single day.”
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MY TYPE DESIGN PHILOSOPHY by Martin Majoor
“…You cannot be a good type designer if you are not a book typographer. I am not talking here about display types but about text types.” A little history of typeface design: The first sans-serif typeface was published in 1816 by William Caslon, but it wasn’t until one-hundred years later that sans-serif fonts were used substantially. Next, came Akzidenz Grotesk, which was created in 1898. While it was incredibly successful, it was originally meant to be a display font. Futura came along in 1928, and was designed by Paul Renner. It was believed to be heavily influenced by the Bauhaus movement, even though the artist based his characters on roman inscriptions. In 1957 came Univers and Helvetica, two of the most commonly used typefaces. Univers included 21 different weights, all of which were well though out. Mixing and matching: Serif and sans-serif typefaces should really only be paired if they share the same skeleton. One example of this is Scala and Scala sans. It wasn’t until the 1980s that serif/sans families started to appear.
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THE
BEAUTY OF TYPOGRAPHY.
TYP “ OGR APHY is an intermediate domain between art and technology, between seeing and understanding, and it is one of the most obvious means for the permanent psychophysiological auto-instruction of human beings. Raoul Hausmann Typography, 1998 page 71
Typogra
BEA AS
not like of the te It gives between the room
BRE
03
PROJECTS
Typography is the use of type to
ADVOCATE, COMMUNICATE, CELEBRATE, EDUCATE, ELABORATE, ILLUMINATE, & DISSEMINATE.
From all these experiences the most im thing I have
TYP pag LEGIB
Along the way, the words and pages become art. - Raoul Hausmann
EOS pag
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is the craft of endowing “ Typography human language with a durable
VISUAL FORM ” Robert Bringhurst Elements of Typographic Style, 1992
aphy must be as
AUTIFUL A FOREST,
the concrete jungle enements. distance n the trees, m to
&
EATHE
ALLOW FOR
LIFE. Adrian Frutiger Interview with KlausPeter Nicolay, 1992
PE QUOTES ge 32 BILITY
s mportant e learned is that
&BEAUTY
S ge 42
A DIALOGUE page 36
stand close together and that type design, in its restraint, should be only felt but not perceived by the reader. - Raoul Hausmann
TYPE ZINE page 50
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01
PROJECT DES
TYPE
QUOTES weeks 1-3
Research and do ideas, or principle possible. The find one side of an 8.5 A minimum of five on the page.
OBJECTIVES:
ཚཚ To research sc books about ty
ཚཚ To compile a l
ཚཚ To establish in design and lay about typogra
ཚཚ To consider le when selecting
SPECIFICATIO
ཚཚ Size: 8.5" x 11
ཚཚ Colors: B/W +
32 type II journal
THE
BEAUTY OF TYPOGRAPHY.
is the craft of endowing “ Typography human language with a durable
TYP “ OGR
VISUAL FORM ”
THE SOLUTION:
Robert Bringhurst Elements of Typographic Style, 1992
APHY is an intermediate domain between art and technology, between seeing and understanding, and it is one of the most obvious means for the permanent psychophysiological auto-instruction of human beings.
SCRIPTION:
ocument as many rules, es about typography as dings will be typeset on 5” × 11” piece of paper. e examples are required Raoul Hausmann Typography, 1998 page 71
Typography is the use of type to
ADVOCATE, COMMUNICATE, CELEBRATE, EDUCATE, ELABORATE, ILLUMINATE, & DISSEMINATE.
cholarly articles and ypography
Along the way, the words and pages become art.
list of research findings - Raoul Hausmann
nformation hierarchy in the yout of at least five quotes aphy
egibility and readability g typefaces
ONS:
1", portrait or landscape
+ 1 accent color
Typography must be as
BEAUTIFUL AS A FOREST, not like the concrete jungle of the tenements. It gives distance between the trees, the room to
&
BREATHE
ALLOW FOR
LIFE.
From all these experiences the most important thing I have learned is that
Adrian Frutiger Interview with KlausPeter Nicolay, 1992
PROCESS:
&
LEGIBILITY
I began this project by researching BEAUTY stand close together and that different typographers scouring type design, inand its restraint, should be only felt but not through their books and interviews. After perceived by the reader. seeing hundreds- Raoul of Hausmann quotes, I finally had a good sense of the story I wanted to tell through my design. I wanted to display powerful quotes with beautiful language, all illustrating the importance of typography. Then, I widdled my list down to five quotes and began the design process. I started by sketching possible compostitions and looking for typefaces that fit the theme of my piece. Eventually, I landed on an expiremental and unique approach for the composition; and Univers and Sonder Sans for my typefaces.
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FIRST DRAFT:
FINAL DRAFT:
Typography must be as
BEAUTIFUL AS A FOREST, not like the concrete jungle of the tenements. It gives distance between THE
“
TYP OGR APHY
TREES, the room to breathe and allow for life.
is an intermediate domain between art and technology, between seeing and understanding, and it is one of the most obvious means for the permanent psycho-physiological auto-instruction of human beings. - Raoul Hausmann
is the craft of endowing “ Typography human language with a durable
From all these experiences the most important thing I have learned is that
&BEAUTY
LEGIBILITY
Along the way, the words and pages become art. - Raoul Hausmann
stand close together and that type design, in its restraint, should be only felt but not perceived by the reader.
“
TYP OGR APHY is an intermediate domain between art and technology, between seeing and understanding, and it is one of the most obvious means for the permanent psychophysiological auto-instruction of human beings.
Raoul Hausmann Typography, 1998 page 71
I got very positive feedback from the in-class critique and so there wasn’t much for me to change visually. I really wanted to push the boundaries in terms of composition and if there’s one thing I hate, it’s playing it safe. The only constructive notes that I received were to add a title and play with the space in the middle of the page, as it appeared to be somewhat empty. I accounted for this feedback and am very happy with the final product.
V
Ro El
Typography must b
BEAUT
AS A FO
not like the concre of the tenements. It gives distance between the trees the room to
&
BREAT
- Raoul Hausmann
CRITIQUE NOTES:
34 type II journal
OF TYPOGRAPHY.
“ Tyhu
- Raoul Hausmann
ADVOCATE, COMMUNICATE, CELEBRATE, EDUCATE, ELABORATE, ILLUMINATE, & DISSEMINATE.
BEAUTY
- Raoul Hausmann
VISUAL FORM ”
Typography is the use of type to
THE
Typography is the use of type to
ADVOCATE, COMMUNICATE, CELEBRATE, EDUCATE, ELABORATE, ILLUMINATE, & DISSEMINATE. Along the way, the words and pages become art. - Raoul Hausmann
From all these experiences the most important thing I have learned is
LEGIBILIT
ypography is the craft of endowing
uman language with a durable
VISUAL FORM ”
obert Bringhurst lements of Typographic Style, 1992
be as
TIFUL
OREST,
ete jungle
s,
&
THE
ALLOW FOR
LIFE. Adrian Frutiger Interview with KlausPeter Nicolay, 1992
s that
&BEAUTY
TY
stand close together and that type design, in its restraint, should be only felt but not perceived by the reader. - Raoul Hausmann
REFLECTION: This project definitely proved to me how important it is to follow to the guidelines. I was very confident with the design, specifically it’s level of visual interest, but I ended up recieving a lower grade then I would have liked. I then realized that I hadn’t properly cited my sources, which was a mistake with both negative and positive implications. I didn’t follow the rules, which is a huge problem that I need to improve upon. When I’m working for a firm I must always keep project guidelines in mind. However, the strength of my design would have earned me high marks, so I wasn’t very upset with the grade that I received. I realize that it was a learning experience, and I won’t be making that mistake again.
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02
PROJECT
A
DIALOGUE weeks 3-5
Using the dia diptych that emphasizes than one voic typographic influence the to make it as as possible.
OBJECTIVE
ཚཚ To use typ ction betw
ཚཚ To consid important selection
ཚཚ To demon of good ty setting tex
SPECIFICA
ཚཚ Size: 11" x page is 11
ཚཚ Imagery: a illustration
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THE SOLUTION:
DESCRIPTION:
alogue provided, design a utilizes all of the text and the fact that there is more ce. Think about and utilize hierarchy. As a designer, e viewer’s reading of the text s seemless and interesting
ES:
pography to create a distinween two different voices.
der content when making t decisions about typeface and imagery.
nstrate an understanding ypographic practice when xt.
ATIONS:
x 15" two page diptych (each 1" x 15", portrait or landscape).
any imagery used (photos, ns, etc.) must be original.
PROCESS: This project began like many others, with a ton of text. But instead of normal paragraphs, it was an interview with back and forth dialogue. After reading the document, I decided that I wanted to highlight the dragon metaphor—as it was used throughout the interview. I had originally wanted to create a silahoutte of a hero that was made up of dragons, but later changed the idea because it wasn’t being recieved in the way that I wanted it to be. After more expirementation, I came up with an idea for an illustration that would accurately showcase the dragon metaphor while also adding visual interest. In order to match the style of illustration, I chose not to add any color to the piece, leaving it completely black and white.
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SKETCHES:
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TYPE STUDIES:
CAMPBELL: Because that’s what’s worth writing about. Even in popular novels, the main character is a hero or heroine who has found or done something beyond the normal range of achievement and experience. A hero is someone who has given his or her life to something bigger than oneself.
campbell: 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.
GILL SANS 11/15
MONTSERRAT 11/ 15
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. Baskerville 11/15
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.
DIN 12/16
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. REEF 11/ 16
campbell: Because that’s what’s worth writ-
ing 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. CHOPLIN 10/15
CAMPBELL: Because that’s what’s worth writing about. Even in popular novels, the main character is a hero or heroine who has found or done something beyond the normal range of achievement and experience. A hero is someone who has given his or her life to something bigger than oneself.
campbell: Because that’s what’s worth writing about. Even in popular novels, the main character is a hero
ELEGANT LUX 11/15
DIN 10/15
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.
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e-
FINAL DRAFT FIRST DRAFT:
of
us
e
DRAGON WITHIN
do I have to go alone?
C:
or her life to something bigger than oneself.
M: So in all of these cultures, whatever the
Campbell: If you have someone who local costume the hero might be wearing, can help you, that’s fine, too. But, what is the deed? 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 ofM:relationHOW DO I SLis AYwithin ships. The ultimate dragon THAT you, it is your ego clamping you down.
e. Moyers: I like what you say about the old myth of Theseus and Ariadne. Theseus says to Ariadne, “I’ll love you forever if you can show me a way to come out of the labyrinth.” So she gives him a ball of string, which he unwinds as he goes into the labyrinth, and then follows to find the way out. You say, “All he had was the string. That’s all you need.”
y
ti-
ed
CRITIQUE NOTES:
Campbell: That’s all you need—an Ariadne thread.
The first critique was interesting. My peers liked the illustrations that I had done, but didn’t understand their significance. So, I knew that I was close but at the same time I had a lot of work ahead of me. I decided to scrap the silahouette concept and try something more eye catching and literal. I really wanted to drive home the metaphor of “Taming the Dragon Within” and so I showcased it as big as I could get it so that viewers had no choice but to take a closer look.
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Bill wit
Moyers: Sometimes we look for gre wealth to save us, a great power to save us, or great ideas to save us, w Campbell: If the work that you’re WHY all we need is that piece of string. doing is the work that you choseARE to do Campbell: That’s not always easy t THERE because you are enjoying it, that’s it. SO MANY areto two have types of deed. One find. But Well, it’sthere nice someone But if you think, “Oh, no! I couldn’t do STORIES is the physical deed, in which the hero who can performs give you a clue. That’s a courageous act in battle or the that!” that’s the dragon locking you in. HERO OF THE a life. The other kind is the spiriMYTHOLOGY? teacher’ssaves job, to help you find your “No, no, I couldn’t be a writer,” orIN “No, tual deed, in which the hero learns to experience the supernormal range of Ariadne thread. no, I couldn’t possibly do what CAMPBELL: Because that’s what’s human spiritual life and then comes worth writing about. Even in popular So-and-so is doing.” back with a message. novels, the main character is a hero or heroine who has found or done Moyers: Like all heroes, the Buddha something beyond the normal range you truthlead itself, h Does your studythe of mythology you Moyers: When I take that journey and and experience. A doesn’t of achievement M:show to conclude that a single human quest, is someone who has given his shows you the way to truth. go down there and slay thosehero dragons, a standard pattern of human aspiration Moyers: Is it my work or my life?
MOYERS:
Campbell: There’s a certain type of myth which one might call the vision quest, going in quest of a boon, a vision, which has the same form in every mythology. That is the thing that I tried to present in the first book I wrote, The Hero With a Thousand Faces. All these different mythologies give us the same essential quest. You leave the world that you’re in and go into a depth or into a distance or up to a height. There you come to what was missing in your consciousness in the world you formerly inhabited. Then comes the problem either of staying with that, and letting the world drop off, or returning with that boon and trying to hold on to it as you move back into your social world again.
TAMING THE
and thought, constitutes for all mankind something that we have in common,
Campbell: But it’s got to be your w WHETHER WE LIVED A MILLION YEARS AGO not his. The Buddha can’t tell you OR WILL LIVE A exactly how to get rid of your parti THOUSAND YEARS lar fears, FROM for example. NOW? Different tea ers may suggest exercises, but the may not be the ones to work for yo All a teacher can do is suggest. He like a lighthouse that says, “There a rocks over here, steer clear. There i channel, however, out there”. Moyers: In all of these journeys of mythology, there’s a place everyon wishes to find. The Buddhists talk Nirvana, and Jesus talks of peace, o the mansion with many rooms. Is t typical of the hero’s journey - that there’s a place to find?
Campbell: The place to find is with yourself. I learned a little about thi athletics. The athlete who is in top form has a quiet place within hims and it’s around this, somehow, tha 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 begi fall apart.
? ME IN HE ’S T CH AT A O WH E Y E A S T AT N SH L WH C AL H UR J O O F U KE , IG U YO L’S H URE”? MA U NT O E S DV E A “TH
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: 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.
T:
N
l Moyers’ Interview th Joseph Campbell
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.
REFLECTION:
C: My general formula for my students is
F
YOUR
BLISS. Find where it is, and don’t be afraid to follow it.
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.
After getting very positive feedback from this poster, I realized that I had proven something to myself: you don’t need color to create an effective design. I was initially worried about turning in a sans-color project, but I definitely learned that following my gut instinct was the best thing to do. I also learned (once again) that experimenting and not playing it safe is the best road to take. In the future I will continue to push the boundaries without completely abandoning the rules of typography—when the design calls for it of course. I had a lot of fun illustrating for this project even though I had to go through an entire pack of micron pens. Also, fun fact: this was the first project where I used a serif font for display and also the first project where I used hand-drawn illustrations.
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03
PROJECT
Develop a de high school a There are two will require yo will require yo a single relate
ELEMENTS OF STYLE weeks 3-5
OBJECTIVE
ཚཚ To develo ensures c page doc
ཚཚ To proper character
ཚཚ To use typ establish given text
SPECIFICA
ཚཚ Pages: 5.5 will be de must be d
ཚཚ Color: inte colors, co
ཚཚ Typeface than two t
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DESCRIPTION:
esign that would appeal to andcollege-aged students. o phases of the project, one ou to work alone and the other ou to work in teams to create ed series of booklets.
THE SOLUTION:
ES:
op a grid structure that consistency in a multiple cument.
rly apply paragraph and r styles.
pographic techniques to hierarchy and clarity in a t.
ATIONS:
5" x 8.5" / number of pages etermined by your design, but divisible.
erior pages: black / cover: 2 over weight paper.
Requirement: use no more typefaces for the project.
PROCESS: I began this project in the hopes to create a book that was as visually interesting as it was easy to read. After sketching and ideation, I realized that I wanted full bleed pages for each of the rules, an approach that I thought would both give the reader a much needed break as well as act as a space for experimentation. I wanted to have small line lengths for easy reading, and so I chose to have two columns. When designing my cover, I wanted a simple and minimalistic feel while also having a bold sensation: hence the red.
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SKETCHES:
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PROCESS:
INITIAL NOTES: I was happy with the bold red that I chose for the cover and inside spreads. However, I had forgotten about the specifications that basically forbode me from using color inside the book. Therefore, I had to go back to the drawing board and come up with a solution that fit the guidelines.
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FIRST DRAFT:
FINAL DRAFT (P
1918
new york
02 the elements of
the elements of William Strunk, Jr. 1
CRITIQUE NOTES: Not to play the “I had the flu” card, but I really did have the flu, and that made this project a nightmare. I had a ton of mistakes in my first draft, and I mean a ton. I had included information that I wasn’t supposed to on the cover, my colophon was placed incorrectly, and my font was one size too big. Overall, the first run-through was ver uncharacteristic of me, and I wasn’t happy with the overall feel of the book. I ended up making the changes and feeling a little more confident with the book, but I was never completely satisfied with the look.
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PERSONAL):
e s f
02 REFLECTION: This project proved to be quite the challenge, and I wasn’t entirely happy with the final product. However, the cover is a different story—I genuinely am very proud of it. I took inspiration from the Swiss International movement and was able to create a simple but visually attractive cover. The interior of my book ended up being well-designed but certainly not stellar work. Throughout the course of this project I got better and better at setting up the document, but time was definitely an issue. This was only my second time setting up a book, and I really need some more practice. I realize that book design is my weakness when it comes to design, so I will work on turning it into a strength.
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FINAL DRAFT (GROUP):
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REFLECTION: My group was really excited to combine aspects of my cover and aspects of my teammate’s cover—a decision that I think really paid off. A lot of groups decided to just recycle their previous designs, but we wanted to create something new. I think that the pairing of the crisp type with the large numbers works well. Also, the color pairing was successful, as all of the colors pop. My group had some issues, but that’s to be expected when working on a tight schedule with teammates. Our books weren’t as consistent as they could be, and so it was definitely a learning experience for me. In the future I will make sure that the group has a schedule and a list of responsibilities that will be divvied out to different members of the team. That will ensure that we work as a well-oiled machine and don’t lose too much sleep in the process.
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04
PROJECT DES
TYPE ZINE weeks 3-5
Create a digital m of: Typography, D Social Justice. Yo lecting and creati magazine, includi photographs (all o erly cited).
OBJECTIVES:
ཚཚ To develop typ by content.
ཚཚ To increase un layout, the imp hierarchy and document.
ཚཚ To develop a v propriate for o
SPECIFICATIO
ཚཚ Page Size: iPa Portrait Orienta spread will be
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THE SOLUTION:
SCRIPTION:
magazine with the themes Design, Activism and ou’re responsible for coling all the assets for the ing: text, illustrations, and of which have to be prop-
pography that is informed
nderstanding of page portance of a grid use, pacing in a multiple page
visual design that is apon screen viewing.
ONS:
ad (768 px × 1024 px), ation, Facing Pages: The 1538 px × 1024 px.
PROCESS: After some research and ideation, I felt very confident with the approach that I had come up with. I immediately had the idea of creating a large-scale illustration as the cover of the magazine with an illustrated spread inside. I also knew that I wanted my zine to be expiremental and unique from spread to spread. The biggest challenge was finding a way to visually connect each article together. But after a few rounds of critique and many hours of ideation I finally came up with a design language that I was happy with. Using all-caps headers mixed with a rectangular-box aesthetic, I feel as though I was able to activate the composition and create some consistency from spread to spread. I’m very proud of my work in this project, and I feel as though my zine reflects the countless hours of work that I put into it.
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SKETCHES:
TYPE STUD
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DIES:
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FIRST DRAFT:
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CRITIQUE NOTES: The first critique was incredibly helpful because it led me to select a design language for the whole magazine. I received positive feedback on the treatment of the header for the Disney article, which blended all-caps with bold-colored boxes. In the second critique, I had more to show, and a lot more to change. My design wasn’t very unified, and each spread appeared to be out of a different magazine. My goal was to create unique designs for every spread, but they definitely still had to be tied together. Because I hadn’t completely delved into the text, I had missed some of the em dashes, which was an easy fix later on. The second critique was helpful because it showed me that my spreads were interesting, they just had to be connected more effectively. Originally, I had planned on only including the candidate caricatures on the cover, but it was too empty and the space wasn’t being used as well as it could have been. I decided to add some supplemental elements that would tie everything together: like signs, significant architecture and a waving flag.
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FINAL DRAFT:
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REFLECTION: This project was easily my favorite of the year, even though I can say that it was also easily the hardest. The amount of work that I put into this project was absurd, with the illustrations taking as long as the magazine itself. But this only proved to me how important it is to follow through. I had the political cartoon idea immediately, and everyone told me not to do it. I started doubting myself, but in the back of my head I knew how cool it could look. I’m very glad that I kept pushing through and staying up late all of those nights in a row because this will be such an important portfolio piece. I also learned the importance of unification. Had I not tied everything together, the magazine would have looked unorganized and disconnected. Conversely, this project taught me the importance of differenciation. If every spread had looked the same, then where’s the excitement and interest. In the end, I learned that there’s a balance between chaos and organization, and wielding the two together makes for effective design.
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MATT HANSEN, 2017 TYPEFACES USED: HELVETICA, HELVETICA NEUE
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