338.03 Type Journal by Monike Chan by Monike Chan

type ii journal Winter 2016

Introduction This journal is used to keep important notes from readings and lectures for Type 2 class, taught by Charmaine Martinez in Winter quarter of 2016. It also keeps a progress of projects done in the class. The notes are mainly for personal use but progress of the projects done for the class is to showcase the improvements that I have made in the projects and the process of how I ended up with the final solutions of each given project. The projects sections include a short description of the project to give insight on what was to be achieved and what was the assignment.

Notes

Week 1 – 2 R

Typography in Ten Minutes »» Point size 10 – 12 pt »» Line spacing: 120 – 145% »» Line Length: 45 – 90 characters or 2 – 3 lowercase alphabets

Summary of Key Rules »» 5 – 12% extra letterspacing with all caps and small caps »» justified text, turn on hyphenation

Why Typography Matters »» Typography is for the benefit of the reader »» Em-dashes should be connected to preceding word »» For hanging quotes, turn on optical margin alignment (Type > Story)

When writing or designing a project keep in mind...

Writer

Reader

Attention span

Long

Short

Interest in topic

High

Low

Persuadable by other opinions

Yes

Cares about your happiness

Yes

Typographic Refinement: The Details »» about 8 – 13 words per line »» Hyphen words with at least 6 letter, after first and before last 3 letters. Limit 2 hyphens »» Only use smart quotes and prime marks. Never use dumb quotes. »» Don’t go beyond -10 tracking to fix widows »» Adjust column height to force a line to the next column to fix orphans »» Hyphen: if word is too long. En Dash: indicate duration. Em Dash: break in flow of sentence »» check spelling with command + i, or turn on Dynamic Spelling in InDesign

Week 3 R

Type Composition, Special Characters, and Becoming a Type Geek »» – alt + hyphen or alt 0150 »» — alt + shift + hyphen or alt 0151 »» © alt + g or alt 0169 »» ® alt 0174 »» ™ alt 0153 »» … alt + semicolon »» tab: ctrl + shift + t

Text Formatting »» Never underline, use bold or italic instead »» Use bold and italic as little as possible »» Text in all caps or small caps, always add 5 – 12% extra letterspacing »» Mixing fonts is most successful when each font has a consistent role in the document

Choosing Typefaces and Understanding Fonts How do you choose the right typeface/font? Design factors to consider: »» context »» audience »» format/context »» Technical factors to consider: »» Does the font have... »» full character set, including punctuation and glyphs »» have foreign accented characters and glyphs »» Font have multiple weights and styles »» Have small caps »» Font have lining and old style numerals »» is it OpenType (means is it cross-platform) »» Web Font version

Where do you get fonts and why are they so expensive? »» Making fonts is complex »» When you buy a font you purchase a license to use it

Some places to buy fonts: »» Google Fonts »» Lost Type Co-op (pay what you want) »» League of Moveable Type »» Font Squirrel »» Fontspring »» House Industries »» My Fonts »» Fonts.com »» In general, have the minimum number of fonts installed »» Font managements program: Font Explorer X Pro & Suitcase Fusion 6

Week 4 R

Page Layout »» When using justified text, turn on hyphenation to avoid greusome large spaces »» Page break to ensure that a paragraph starts at the top of a new page »» Use character and paragrpah styles to help »» First decide how the body text will look like »» Be consistent »» Relate each new element to existing elements

Family Planning, or How Type Families Work by Peter Bilak Paramets that determine typeface families/groups »» Optical size »» Weight and width of the type »» Stylistic differences (sans, serif and semi-serif) »» Construstion differences (formal and informal)

Typesetting in InDesign Typesetting in InDesign: Tools and Techniques »» Paragraph Styles: deal with leading, tabs, indents, space before and after, hyphenation and justification settings, rules above and below »» Keep minimal amount of text boxes. Should only have one that flows with each other if it is one document »» Advanced Character Formats: Only thing that should be used is the baseline shift »» Span Columns: switch single to multiple columns »» Export Tagging: turns styles into CSS for Epubs and websites created in InDesign »» Character Styles: used for bold text, italic text, run-in subheads, custom bullets or numbers »» Table Styles: outside border of table, dividing lines in table, space above and below table, fills of fields in table »» Cell Styles: borders around cell, how the text is positioned within cell, style of text within cell, fill colro of cell, if the cell is x-ed out »» Primary text frame will automatically make pages flow and create enough pages to fit the text placed

Week 5 – 7 R

Using Layout Grids Effectively »» Use grids to keep a consistent layout and look »» Ajust your layout grid for your binding type »» Use the rule of thirds, golden ratio, and the fibonacci sequence

Lava — Voice of a Magazine by Peter Bilak »» Typeface is the sole constant characteristic that identifies the magazine »» Lava was created to be able to be read in print or digital »» Magazine Works That Work was designed around the typeface Lava

The First Thing I Ever Designed: Elena Schlenker and “Gratuitous Type” Magazine »» Magazines are a good project to showcase your skills »» Key portfolio pieces for young designers »» Creates opportunities

“Trust in yourself and your abilities.” – Elena Schlenker

My Type Philosophy by Martin Majoor »» Best solution in mixing typefaces is to use a combination of a serif and a sans that derive directly from each other

“Two typefaces, one form principle.” – Martin Majoor

Week 8 – 9 R

Beauty and Ugliness in Type Design by Peter Bilak »» Bodoni laid down the four principles of type design, regularity, clarity, good taste and charm, according to Thomas Curson Hansard. »» Didot also a beautiful typeface »» Italian, called a “typographic monstrosity” by Thomas Hansard. »» Karloff combined the high contrast of Bodoni, Didot and Italian

An Idea of a Typeface by Kai Bernau »» Neutral typefaces allow the reader to engage with content of a text

“In the end we can not create something completely neutral, something to which none of us can attribute any qualities” – Kai Bernau

A Typeface Designed to Revive the Endangered Cherokee Language »» Name: Phoreus (Greek for bearer/carrier) Cherokee »» Designer: Mark Jamra »» Foundry: Type Culture »» Release Date: 2014; version 2.0 in October 2015

Projects

Project 1

Rules of Typogrpahy »» Research scholarly articles and books to compile a list of research finding. With the text, establish a form of hierarchy in the design and layout of at least five quotes about typography.

Quotes on Typography “Letters are the throbbing heart of visual communication.” Bruce Willen, Lettering and Type: Creating Letters and Designing Typefaces, 2009, Page vi

“The circle is the most visually powerful geometric shape and the eye is inexorably attracted to it.” Kimberly Elam, Grid Systems: Principles of Organizing Type, 2004, Page 120

“Changes in scale help create visual contrast, movement, and depth as well as express hierarchies of importance.” Ellen Lupton, Thinking with Type: A Critical Guide for Designers, Writers, Editors, and Students (2nd Editions), 2010, Page 42

“The digital revolution has ushered in a typographical golden age; there is more choice than ever before — sometimes bewilderingly wide — and better, more varied typeface designs.” Simon Loxley, Type: The Secret History of Letters, 2004, Page 213

“When using more than one typeface, aim to employ maximum differentiation between the fonts.” Kathryn Coates, Introduction to Information Design, 2014, Page 101

prelim Quotes on Typography “Letters are the throbbing heart of visual communication.” —Bruce Willen Lettering and Type: Creating Letters and Designing Typefaces, 2009, Page vi

“When using more than one typeface, aim to employ maximum differentiation between the fonts.” —Kathryn Coates Introduction to Information Design, 2014, Page 101

“The circle is the most visually powerful geometric shape and the eye is inexorably attracted to it.” —Kimberly Elam Grid Systems: Principles of Organizing Type, 2004, Page 120

“Changes in scale help create visual contrast, movement, and depth as well as express hierarchies of importance.” —Ellen Lupton Thinking with Type: A Critical Guide for Designers, Writers, Editors, and Students (2nd Editions), 2010, Page 42

“The digital revolution has ushered in a typographical golden age; there is more choice than ever before — sometimes bewilderingly wide — and better, more varied typeface designs.” —Simon Loxley Type: The Secret History of Letters, 2004, Page 213

Critique Notes »» Causes of legibility/readability problems: »» type weight (too light or too bold) »» a “regular” or “book” of “medium” or “Roman” weight is typically best for task »» not enough leading »» setting body text in a monospaced typeface »» line length too short

Problems of Hierarchy »» title lacks strength/visual weight »» author’s name gets lost/is not prominent enough »» unimportant elements or words are given too much emphasis

Problems with composition »» margins too small »» awkward negative space »» lack of strong focal point »» a little boring

final Thoughts on

Typography

“Letters are the throbbing heart of visual communication.” Bruce Willen Lettering and Type: Creating Letters and Designing Typefaces, 2009, Page vi

“When using more than one typeface, aim to employ maximum differentiation between the fonts.” Kathryn Coates Introduction to Information Design, 2014, Page 101

“The circle is the most visually powerful geometric shape and the eye is inexorably attracted to it.” Kimberly Elam Grid Systems: Principles of Organizing Type, 2004, Page 120

“Changes in scale help create visual contrast, movement, and depth as well as express hierarchies of importance.” Ellen Lupton Thinking with Type: A Critical Guide for Designers, Writers, Editors, and Students (2nd Editions), 2010, Page 42

“The digital revolution has ushered in a typographical golden age; there is more choice than ever before — sometimes bewilderingly wide — and better, more varied typeface designs.” Simon Loxley Type: The Secret History of Letters, 2004, Page 213

Project 2

a dialogue »» Using typography to create a distinction between two different voices in a dialogue. Also making decisions about typeface selection and imagery taking into consideration the content.

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: D clud of h all m whe tho

C: T call visio ogy first Face sam you or u miss mer stay retu as y

The Hero 22

Does your study of mythology lead you to conde that a single human quest, a standard pattern human aspiration and thought, constitutes for mankind something that we have in common, ether we lived a million years ago or will live a usand years from now?

There’s a certain type of myth which one might the vision quest, going in quest of a boon, a on, which has the same form in every mytholy. That is the thing that I tried to present in the t book I wrote, The Hero With a Thousand es. All these different mythologies give us the me essential quest. You leave the world that u’re in and go into a depth or into a distance up to a height. There you come to what was sing in your consciousness in the world you forrly inhabited. Then comes the problem either of ying with that, and letting the world drop off, or urning with that boon and trying to hold on to it you move back into your social world again.

Moyers: Why are there so many stories of The Hero in mythology? 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.”

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.

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: 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: The place to find is within yourself. I learned a little about this in athletics. The athlete who is in top form has a quiet place within himself, and it’s around this, somehow, that his action occurs…. There’s a center of quietness within, which has to be known and held. If you lose that center, you are in tension and begin to fall apart.

M: Is it my work or my life?

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

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.

o 23

prelim »» With a black background, need more of everything. Increase text size, more spacing, sans serif for text preferred. »» Play with width of text. Try using columns to break up the text. Space text to break up the sections (between the question and answer) »» Spacking makes it look like stripes and makes it harder to read. »» Make use of the dragon more. Mirror image of it on both sides instead of just a decorative imagery on one side.

HE by Joseph Campbell and Bill Moyers

Critique Notes

The

Moyers: Why are there so many stories of The He

Campbell: Because that’s what’s worth writing ab is a hero or heroine who has found or done some and experience. A hero is someone who has give M: So in all of these cultures, whatever the local

C: Well, there are two types of deed. One is the p geous act in battle or saves a life. The other kind experience the supernormal range of human spir

M: Does your study of mythology lead you to con pattern of human aspiration and thought, constit in common, whether we lived a million years ago

C: There’s a certain type of myth which one migh a vision, which has the same form in every mytho the first book I wrote, The Hero With a Thousand same essential quest. You leave the world that y up to a height. There you come to what was miss inhabited. Then comes the problem either of stay returning with that boon and trying to hold on to i

“In all of these

ERO

ero in mythology?

bout. Even in popular novels, the main character ething beyond the normal range of achievement en his or her life to something bigger than oneself. costume the hero might be wearing, what is the deed?

physical deed, in which the hero performs a courad is the spiritual deed, in which the hero learns to ritual life and then comes back with a message.

clude that a single human quest, a standard tutes for all mankind something that we have or will live a thousand years from now?

ht call the vision quest, going in quest of a boon, ology. That is the thing that I tried to present in Faces. All these different mythologies give us the you’re in and go into a depth or into a distance or sing in your consciousness in the world you formerly ying with that, and letting the world drop off, or 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.

journeys... there’s a place everyone wishes to find...”

Final

HERO

The

by Joseph Campbell and Bill Moyers

M: Is it my work or my life? 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.

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.”

“The ulTimaTe dragon is wiThin you, iT is your ego clamping you down.” 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.

“someTimes we look for greaT wealth … a greaT power … or greaT

ideas To save us …” 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”.

elements of style: part 1 ÂťÂť Develop a grid structure to create consistency in a multiple page document. Designing a booklet for a saddle stitch publication while applying paragraph and character styles properly. Establishing hierarchy and clarity in the text using typographic techniques.

prelim

Project 3

William Strunk, Jr.

The Elements of Style

Section II: Elementary Principles of Composition New York 1918

Introduction

This book is intended for use in English courses in which the practice of composition is combined with the study of literature. It aims to give in brief space the principal requirements of plain English style. It aims to lighten the task of instructor and student by concentrating attention (in Chapters II and III) on a few essentials, the rules of usage and principles of composition most commonly violated. The numbers of the sections may be used as references in correcting manuscript.

Elementary Principles of Composition

The book covers only a small portion of the field of English style, but the experience of its writer has been that once past the essentials, students profit most by individual instruction based on the problems of their own work, and that each instructor has his own body of theory, which he prefers to that offered by any textbook. The writer’s colleagues in the Department of English in Cornell University have greatly helped him in the preparation of his manuscript. Mr. George McLane Wood has kindly consented to the inclusion under Rule 11 of some material from his Suggestions to Authors. The following books are recommended for reference or further study: in connection with Chapters II and IV, F. Howard Collins, Author and Printer (Henry Frowde); Chicago University Press,Manual of Style; T. L. De Vinne Correct Composition (The Century Company); Horace Hart, Rules for Compositors and Printers (Oxford University Press); George McLane Wood, Extracts from the Style-Book of the Government Printing Office (United States Geological Survey); in connection with Chapters III and V, Sir Arthur Quiller-Couch, The Art of Writing (Putnams), especially the chapter, Interlude on Jargon; George McLane Wood, Suggestions to Authors (United States Geological Survey); John Leslie Hall, English Usage (Scott, Foresman and Co.); James P. Kelly, Workmanship in Words (Little, Brown and Co.). It is an old observation that the best writers sometimes disregard the rules of rhetoric. When they do so, however, the reader will usually find in the sentence some compensating merit, attained at the cost of the violation. Unless he is certain of doing as well, he will probably do best to follow the rules. After he has learned, by their guidance, to write plain English adequate for everyday uses, let him look, for the secrets of style, to the study of the masters of literature.

Make the paragraph the unit of composition: one paragraph to each topic.

If the subject on which you are writing is of slight extent, or if you intend to treat it very briefly, there may be no need of subdividing it into topics. Thus a brief description, a brief summary of a literary work, a brief account of a single incident, a narrative merely outlining an action, the setting forth of a single idea, any one of these is best written in a single paragraph. After the paragraph has been written, it should be examined to see whether subdivision will not improve it. Ordinarily, however, a subject requires subdivision into topics, each of which should be made the subject of a paragraph. The object of treating each topic in a paragraph by itself is, of course, to aid the reader. The beginning of each paragraph is a signal to him that a new step in the development of the subject has been reached. The extent of subdivision will vary with the length of the composition. For example, a short notice of a book or poem might consist of a single paragraph. One slightly longer might consist of two paragraphs: A. Account of the work. B. Critical discussion. A report on a poem, written for a class in literature, might consist of seven paragraphs: A. Facts of composition and publication. B. Kind of poem; metrical form. C. Subject. D. Treatment of subject. E. For what chiefly remarkable. F. Wherein characteristic of the writer. G. Relationship to other works.

As a rule, begin each paragraph with a topic sentence; end it in conformity with the beginning.

Again, the object is to aid the reader. The practice here recommended enables him to discover the purpose of each paragraph as he begins to read it, and to retain the purpose in mind as he ends it. For this reason, the most generally useful kind of paragraph, particularly in exposition and argument, is that in which A. the topic sentence comes at or near the beginning; B. the succeeding sentences explain or establish or develop the statement made in the topic sentence; and C. the final sentence either emphasizes the thought of the topic sentence or states some important consequence. Ending with a digression, or with an unimportant detail, is particularly to be avoided. If the paragraph forms part of a larger composition, its relation to what precedes, or its function as a part of the whole, may need to be expressed. This can sometimes be done by a mere word or phrase (again; therefore; for the same reason) in the topic sentence. Sometimes, however, it is expedient to precede the topic sentence by one or more sentences of introduction or transition. If more than one such sentence is required, it is generally better to set apart the transitional sentences as a separate paragraph. According to the writer’s purpose, he may, as indicated above, relate the body of the paragraph to the topic sentence in one or more of several different ways. He may make the meaning of the topic sentence clearer by restating it in other forms, by defining its terms, by denying the converse, by giving illustrations or specific instances; he may establish it by proofs; or he may develop it by showing its implications and consequences. In a long paragraph, he may carry out several of these processes.

Example 1 Now, to be properly enjoyed, a walking tour should be gone upon alone.

Topic sentence.

If you go in a company, or even in pairs, it is no longer a walking tour in anything but name; it is something else and more in the nature of a picnic.

The meaning made clearer by denial of the contrary.

A walking tour should be gone upon alone, because freedom is of the essence; because you should be able to stop and go on, and follow this way or that, as the freak takes you; and because you must have your own pace, and neither trot alongside a champion walker, nor mince in time with a girl.

The topic sentence repeated, in abridged form, and supported by three reasons; the meaning of the third (“you must have your own pace”) made clearer by denying the converse.

And you must be open to all impressions and let your thoughts take colour from what you see.

A fourth reason, stated in two forms.

In treating either of these last two subjects, the writer would probably find it necessary to subdivide one or more of the topics here given. As a rule, single sentences should not be written or printed as paragraphs. An exception may be made of sentences of transition, indicating the relation between the parts of an exposition or argument.

You should be as a pipe for any wind to play upon.

The same reason, stated in still another form.

The contents of paragraphs C and D would vary with the poem. Usually, paragraph C would indicate the actual or imagined circumstances of the poem (the situation), if these call for explanation, and would then state the subject and outline its development. If the poem is a narrative in the third person throughout, paragraph C need contain no more than a concise summary of the action. Paragraph D would indicate the leading ideas and show how they are made prominent, or would indicate what points in the narrative are chiefly emphasized. A novel might be discussed under the heads: A. Setting. B. Plot. C. Characters. D. Purpose. A historical event might be discussed under the heads: A. What led up to the event. B. Account of the event. C. What the event led up to.

In dialogue, each speech, even if only a single word, is a paragraph by itself; that is, a new paragraph begins with each change of speaker. The application of this rule, when dialogue and narrative are combined, is best learned from examples in well-printed works of fiction.

Final The Elements of Style

Section

Elementary Principles of Composition

William Strunk, Jr.

Introduction This book is intended for use in English courses in which the practice of composition is combined with the study of literature. It aims to give in brief space the principal requirements of plain English style. It aims to lighten the task of instructor and student by concentrating attention (in Chapters II and III) on a few essentials, the rules of usage and principles of composition most commonly violated. The numbers of the sections may be used as references in correcting manuscript. The book covers only a small portion of the field of English style, but the experience of its writer has been that once past the essentials, students profit most by individual instruction based on the problems of their own work, and that each instructor has his own body of theory, which he prefers to that offered by any textbook. The writerâ&#x20AC;&#x2122;s colleagues in the Department of English in Cornell University have greatly helped him in the preparation of his manuscript. Mr. George McLane Wood has kindly consented to the inclusion under Rule 11 of some material from hisÂ Suggestions to Authors. The following books are recommended for reference or further study: in connection with Chapters II and IV, F. Howard Collins, Author and Printer (Henry Frowde); Chicago University Press,Manual of Style; T. L. De Vinne Correct Composition (The Century Company); Horace Hart, Rules for Compositors and Printers (Oxford University Press); George McLane Wood, Extracts from the Style-Book of the Government Printing Office (United States Geological Survey); in connection with Chapters III and V, Sir Arthur Quiller-Couch, The Art of Writing (Putnams), especially the chapter, Interlude on Jargon; George McLane Wood, Suggestions to Authors (United States Geological Survey); John Leslie Hall, English Usage (Scott, Foresman and Co.); James P. Kelly, Workmanship in Words (Little, Brown and Co.). It is an old observation that the best writers sometimes disregard the rules of rhetoric. When they do so, however, the reader will usually find in the sentence some compensating merit, attained at the cost of the violation. Unless he is certain of doing as well, he will probably do best to follow the rules. After he has learned, by their guidance, to write plain English adequate for everyday uses, let him look, for the secrets of style, to the study of the masters of literature.

Section II

Make the paragraph the unit of composition: one paragraph to each topic. If the subject on which you are writing is of slight extent, or if you intend to treat it very briefly, there may be no need of subdividing it into topics. Thus a brief description, a brief summary of a literary work, a brief account of a single incident, a narrative merely outlining an action, the setting forth of a single idea, any one of these is best written in a single paragraph. After the paragraph has been written, it should be examined to see whether subdivision will not improve it. Ordinarily, however, a subject requires subdivision into topics, each of which should be made the subject of a paragraph. The object of treating each topic in a paragraph by itself is, of course, to aid the reader. The beginning of each paragraph is a signal to him that a new step in the development of the subject has been reached. The extent of subdivision will vary with the length of the composition. For example, a short notice of a book or poem might consist of a single paragraph. One slightly longer might consist of two paragraphs:

A. Account of the work. B. Critical discussion. A report on a poem, written for a class in literature, might consist of seven paragraphs:

Elementary Principles of Composition indicate the leading ideas and show how they are made prominent, or would indicate what points in the narrative are chiefly emphasized. A novel might be discussed under the heads:

A. Setting. B. Plot. C. Characters. D. Purpose. A historical event might be discussed under the heads:

A. What led up to the event. B. Account of the event. C. What the event led up to. In treating either of these last two subjects, the writer would probably find it necessary to subdivide one or more of the topics here given. As a rule, single sentences should not be written or printed as paragraphs. An exception may be made of sentences of transition, indicating the relation between the parts of an exposition or argument. In dialogue, each speech, even if only a single word, is a paragraph by itself; that is, a new paragraph begins with each change of speaker. The application of this rule, when dialogue and narrative are combined, is best learned from examples in well-printed works of fiction.

A. Facts of composition and publication. B. Kind of poem; metrical form. C. Subject. D. Treatment of subject. E. For what chiefly remarkable. F. Wherein characteristic of the writer. G. Relationship to other works. The contents of paragraphs C and D would vary with the poem. Usually, paragraph C would indicate the actual or imagined circumstances of the poem (the situation), if these call for explanation, and would then state the subject and outline its development. If the poem is a narrative in the third person throughout, paragraph C need contain no more than a concise summary of the action. Paragraph D would

Project 3 (continued)

Covers

elements of style: part 2 ÂťÂť Collaborate with other designers to create a series of booklets that is unified in style and layout.

inside cover & Introduction

William Strunk, Jr.

The elemenTs of sTyle ยง 02 / Elementary Principles of Composition

IntroductIon This book is intended for use in English courses in which the practice of composition is combined with the study of literature. It aims to give in brief space the principal requirements of plain English style. It aims to lighten the task of instructor and student by concentrating attention (in Chapters II and III) on a few essentials, the rules of usage and principles of composition most commonly violated. The numbers of the sections may be used as references in correcting manuscript. The book covers only a small portion of the field of English style, but the experience of its writer has been that once past the essentials, students profit most by individual instruction based on the problems of their own work, and that each instructor has his own body of theory, which he prefers to that offered by any textbook.

NEw York 1918

The writerâ&#x20AC;&#x2122;s colleagues in the Department of English in Cornell University have greatly helped him in the preparation of his manuscript. Mr. George McLane Wood has kindly consented to the inclusion under Rule 11 of some material from his Suggestions to Authors. The following books are recommended for reference or further study: in connection with Chapters II and IV, F. Howard Collins, Author and Printer (Henry Frowde); Chicago University Press, Manual of Style; T. L. De Vinne Correct Composition (The Century Company); Horace Hart, Rules for Compositors and Printers (Oxford University Press); George McLane Wood, Extracts from the Style-Book of the Government Printing Office (United States Geological Survey); in connection with Chapters III and V, Sir Arthur Quiller-Couch, The Art of Writing (Putnams), especially the chapter, Interlude on Jargon; George McLane Wood, Suggestions to Authors (United States Geological Survey); John Leslie Hall, English Usage (Scott, Foresman and Co.); James P. Kelly, Workmanship in Words (Little, Brown and Co.).

ElEmEntary

principlEs of composition

It is an old observation that the best writers sometimes disregard the rules of rhetoric. When they do so, however, the reader will usually find in the sentence some compensating merit, attained at the cost of the violation. Unless he is certain of doing as well, he will probably do best to follow the rules. After he has learned, by their guidance, to write plain English adequate for everyday uses, let him look, for the secrets of style, to the study of the masters of literature.

NiNe Make the paragraph the unit of composition: one paragraph to each topic.

F. Wherein characteristic of the writer. G. Relationship to other works.

A historical event might be discussed under the heads: A. What led up to the event. B. Account of the event. C. What the event led up to.

A. Account of the work. B. Critical discussion.

A report on a poem, written for a class in literature, might consist of seven paragraphs: A. Facts of composition and publication. B. Kind of poem; metrical form. C. Subject. D. Treatment of subject. E. For what chiefly remarkable.

6 The Elements of Style

Â§ 02 Elementary Principles 7

inside pages & colophon

monike chan collaborated with Shania Cheng & Deric Shindledecker

2016 The type in this book is set in Univers & Minion Pro.

28 The Elements of Style

Project 4

type zine magazine »» Along with fellow classmates, research topics to create content for the magazine. Use page layout, grid use, hierarchy and pacing in a multiple page document. Develop a document that is appropriate for on screen viewing.

Process »» Zine conent brainstormed and organized »» Grid plans for magazine »» Draft of magazine spreads and final content »» Final content (text and images) finalized »» Use book map to estimate number of spreads needed »» Rough draft of whole magazine (style, layout and grid plan) »» Final magazine uploaded to ISSUU

Design Process At first I had wanted the body text to be reversed out on colored background throughout the whole magazine. This was an idea that I had gotten from another magazine on ISSUU, but when I tried it out, there was no consistency in the background colors and it was hard doing reversed out text on every page. There was also no good pacing in the rough draft and no consistency in the typefaces I used for titles. For the final, I decided to pull back on the colored background and only used the reversed out text on the titles to make a banner like header for the articles. I limited my colors to only blue and red. To fix pacing, I made some images a whole page or spread. I wanted a simple layout that could easily be followed and used lines and boxes as a general shape throughout the magazine. 36

cover

Think Type

Winter 2016

Typefaces 路 Handlettering

table of contents

Table of ConTenTs Everyday Type 6

Why Hand–Lettering is Making a Comeback

10 The Revival of America’s Hand–Painted Sign Industry 14 Tats and Type

History/Culture 16 Top Five Typographers 28 Harir – Reducing Noise in Arabic Script 32 The Evolution of the Ampersand 34 Type in Film

Resources 40

Top Five Type Instagrams

Designers with Go-To Fonts

Free Fonts That Don’t Suck

Table of Contents 5

inside pages Why hand-Lettering is Making a CoMebaCk Now that digital has largely taken over the world’s communications, cursive is nearly obsolete in schools, and putting pen to paper is a rare experience for a large part of the planet – so, what hope does handwriting have? In a world created by coding, can beautiful letters made by hand still have their place? Cristina Vanko, a designer and art director at Y&R Chicago, believes hand lettering is still relevant, and in-fact, is even making a comeback, which she beautifully describes and teaches in her new book Hand-Lettering For Everyone: A Creative Workbook published last week by Perigee Trade/Penguin Random House. “From the best modern book covers out there, to your favorite local restaurant menus, to a priceless form of personalized self-expression, the beauty of writing by hand reminds us just how alive words and letters can be,” said Vanko. Hand-Lettering for Everyone is a creative, interactive workbook aimed to teach everyone (and anyone) hand-lettering. “Trust me, it’s possible,” Vanko said. “It’s full of informative bits, inspiration, pep talks, and fun lettering exercises. This book opens readers up to the myriad ways to apply newfound lettering skills and boosts confidence along the way.”

6 Think Type: Winter 2016

The book covers typography and hand-lettering basics, the art of sketchploration, fearless self-expression through playfulness, creative process tips, inspiring advice from top illustrators, and inspiration for adding personal touches to any kind of hand-lettered text. The book, Vanko says, is full of creative prompts to take your hand-lettering for a test drive. “In advertising, hand-lettering can be a different way to bring messages to life,” she said. “We’re a tech savvy culture, and we’ve grown so accustomed to type in print and on screen - and now, even emojis! - that today, using your hands to create is considered a novelty. With hand-lettering, the letters itself are a piece of art. The formation of each letter is formed differently from letter to letter and crafted carefully to bring a brand’s meaning to life through lettering.” With Hand-Lettering for Everyone, Vanko begins with an approachable brief overview of the history of type and design and its fundamentals. Surprisingly enough, this is something that a lot of published books leave out. Vanko believes readers should have a basic understanding of typography, type anatomy, design, and layout before jumping into lettering. “Most importantly, having this bit of background knowledge helps readers make the most of their newfound lettering skills,” Vanko said.

Everyday Type 7

Vanko’s book isn’t her first foray into the seemingly lost art of hand-lettering, she conducted a social experiment in 2013 she dubbed Modern Day Snail Mail. For one week, Vanko created handwritten text messages (no using the keyboard on her phone to send a message) and would write out her reply message on paper and then text back a photo of her message. Vanko’s project received notable media attention that ultimately led to her doing a TEDx talk hosted by the University of Chicago the following year. “Brand to brand, hand-lettering is able to touch on a range of emotional feelings,” Vanko said. “From the organic lines and gritty textures that make up fresh, homemade, and local looks to the swashy, painterly strokes that could make up a badass ad, hand-lettering is a great way to personify your client’s brand by using hand-lettered type that speaks for itself.”

8 Think Type: Winter 2016

Everyday Type 9

Top Five

Typographers

began overwhelming my life and my desire to do side projects became too much to bear. I ventured out on my own and embarked on a little project that would end up changing my career and earning me the moniker “That Drop Cap Girl”.

Jessica HiscHe I grew up in Pennsylvania, raised by two non-creatives that decided it would be OK to let their little girl pursue a seemingly impractical career. I ended up attending a wonderful art school thanks to an amazing high school teacher and an admissions counselor that took a chance on my under-developed portfolio. Though I fell in love with every artistic discipline Freshman and Sophomore year, I declared as a Graphic Design major when I found myself procrastiworking on painting projects to work on posters and identities. I annoyed the heck out of my fellow classmates, doing way more work than assignments generally called for, but it all paid off in the end

18 Think Type: Winter 2016

I’ve been on my own as a letterer, illustrator, type designer, and relentless procrastiworker since 2009 and have worked for (and continue to work for) a lot of wonderful clients like Wes Anderson and Penguin Books. I’ve shared studios with amazing people including the folks over at Studiomates and of course my beloved Pencil Factory, where I continue to spend time on return trips to Brooklyn. I split my days (not evenly enough) between Brooklyn and San Francisco—the place I now call home and where I’ve set up a collaborative studio and workshop space with my brother from another mother, Erik Marinovich. When I’m not manipulating beziers or working on fun projects, you can find me at the airport en route to a speaking engagement. I love what I do for a living and try as hard as I can to help others find a way to do what they love.

and most of them have since forgiven me for ruining the curve. In 2006, I graduated and landed a job as a freelance designer for a little studio in Philadelphia where I helped design fancy books and re-affirmed my passion for illustration and image-making. By winter, unsure if they wanted to take on another full-time employee, my hours were cut and I put together an illustration promo to get freelance work. That promo ended up landing me an illustration rep and a job for one of my heroes; I migrated to Brooklyn to work for her. After two and a half years of very little sleep and a lot of lettering, freelance work

History/Culture 19