INTRODUCTION This journal is comprised of notes from lectures and readings, exercises, and projects completed in Type 2 at California Polytechnic State University in San Luis Obispo. Throughout my time studying graphic design I have always felt like typography has been my weakest link. After taking this class I feel as my typography has improved immensely. I made several mistakes along the way but learned from them and now I am more comfortable with laying out type, whether it is in a one page spread or book.
WINTER 2017 3
LECTURE TYPOGRAPHIC REFINEMENT Our typographic measuring system was originally developed for handset metal type which was invented by Johann Gutenberg around 1450.
POINT SIZE »» French type designer Pierre Simon Fournier le Jeune introduced the point system in 1737. »» The contemporary American measurement system, adopted in the 1870s, has two basic units: points and picas.
POINTS AND PICAS 12 points=1 pica 6 picas=1 inch 1p6 means 1 pica and 6 points
FACTORS TO CONSIDER IN PICKING A POINT SIZE »» Typeface proportions and weight »» Length of text »» Format for viewing (screen or print) »» Audience/reader of the text »» Content of the text »» Screen vs Print »» For print body text is 9-12pt »» For screen body text is 14pt or larger »» A Hardworking Typeface »» Has a good regular weight.
WINTER 2017 5
»» Robust proportions. »» At least one bold weight, with noticeable contrast to compliment the text weight. »» An italic version. »» Very legible numerals. »» Economy: it should be narrow enough to fit large amounts of copy into the available space.
WAYS TO MAKE YOUR TYPE LOOK BETTER Kern type at display sizes. Customize leading. It should be 120–145% of the point size. For example, if point size is 9 then leading should be 13.
LINE LENGTH Too wide results in difficulty for reader’s eyes to focus on text. Too narrow results in reader having to travel back to often breaking their rhythm. 45-90 characters per line it optimal or 8-13 words per line.
DASHES »» Hyphen: used if a word is too long for the column length. »» En Dash: used to indicate duration. »» Em Dash: used to express a break in the flow of a sentence.
CUSTOMIZE HYPHENATION Paragraph>Hyphenation 6 TYPE JOURNAL
Words with at least: 6 letters After first: 3 letters Before last: 3 letters Hyphen limit: 2
RAGS Use discretionary hyphens, line breaks, or tracking to adjust rags.
AVOID WIDOWS AND ORPHANS »» Widow: The last line of a paragraph is called a widow if it is too short. »» Orphan: Orphans are short segments of paragraphs stranded at the top or bottom of a column.
SPELLING Always remember to check spelling.
WINTER 2017 7
READING BUTTERICK’S PRACTICAL TYPOGRAPHY TYPOGRAPHY IN 10 MINUTES Butterick gives us 5 typography rules and claims that by learning them we will be a better typographer then most professional writers and designers. »» Body text determines the quality of document. Make sure your body text looks good before you continue with your project. »» For print 10-12 points is the best range for body text. For web it is 15-25 pixels, it depends on the font. »» Line spacing is the vertical distance between lines and should be 120-145% of the point size. »» The horizontal width of the text block is known and line length and should be 45-90 characters per line or 2-3 lowercase alphabets. »» Font choice is the fastest and easiest way you can improve your typography. Ignore the free fonts on your computer and buy a professional font.
SUMMARY OF KEY RULES »» Check point size, line spacing, line length, and font. »» Use curly quotation marks. »» Only one space between sentences. »» Don’t use multiple words spaces or other white-space characters in a row. »» Never use underlining, unless it’s a hyperlink. »» Use centered text sparingly. »» Try to avoid using bold or italic text. 8 TYPE JOURNAL
»» Only use all caps for less than one line of text. »» If you don’t have real small caps, don’t use them. »» Use 5-12% extra letter spacing with all caps and small caps. »» Kerning should always be turned on. »» Use first line indents that are one to four times the point size of text, or use 4-10 points of space between paragraphs but don’t use both. »» When using justified text turn on hyphenation. »» Don’t confuse hyphens and dashes, and don’t use multiple hyphens as a dash. »» Use ampersands sparingly. »» Put a nonbreaking space after paragraph and section marks. »» Make ellipses using the proper character. »» Make sure apostrophes point downward. »» Make sure foot and inch marks are straight not curly.
FORWARD Spiekermann compares Butterick’s and his definition of typography. Good typography is measured by how well it reinforces the meaning of the text, not by some abstract scale of merit.
WINTER 2017 9
EXERCISE LEGIBILITY AND READABILITY STUDY In this exercise, we examined how small changes in point size, leading, and typeface selection impact legibility. Typefaces chosen were Adobe Garamond Pro and Helvetica. I found that a 9pt font size worked best for Adobe Garamond Pro with a leading of 12pt. 13pt also worked but anything above that had too much space. For Helvetica both 9pt and 8pt font size were good, I personally liked 8pt better with a 12pt leading, or 9pt with a 13pt leading. The reason for the 1pt difference in leading between the two fonts is the overall size or x-height is greater in Helvetica.
10 TYPE JOURNAL
Serif
Sans Serif
Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the efect of your message on the recipient, you may inadvertently com municate that you do not care how your message may be received.
Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consider ationwouldbehelpful.PaulWatzlawick’sfirstaxiomofcom munication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received.
ADOBE GARAMOND PRO, 9/13
HELVETICA, 9/13
Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the efect of your message on the recipient, you may inadvertently com municate that you do not care how your message may be received. ADOBE GARAMOND PRO, 9/12
Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consider ationwouldbehelpful.PaulWatzlawick’sfirstaxiomofcom munication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. HELVETICA, 9/12
Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the efect of your message on the recipient, you may inadvertently com municate that you do not care how your message may be received. ADOBE GARAMOND PRO, 9/14
Without typography, one could argue, messages will still be
legible, but if one really wants to communicate rather than
simply display a heap of alphanumeric data, some consider
ationwouldbehelpful.PaulWatzlawick’sfirstaxiomofcom munication—“one cannot not communicate”—puts it very
succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received.
Without typography, one could argue, messages will still be legible,
HELVETICA, 9/14
but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the efect of your message on the recipient, you may inadvertently com municate that you do not care how your message may be received. ADOBE GARAMOND PRO, 9/15
Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consider ationwouldbehelpful.PaulWatzlawick’sfirstaxiomofcom munication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that
Without typography, one could argue, messages will still be legible, but if
you do not care how your message may be received.
one really wants to communicate rather than simply display a heap of
HELVETICA, 9/15
alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the efect of your message on the
Without typography, one could argue, messages will still be legible,
recipient, you may inadvertently communicate that you do not care how
but if one really wants to communicate rather than simply display a
your message may be received.
heap of alphanumeric data, some consideration would be helpful.
ADOBE GARAMOND PRO, 8/13
PaulWatzlawick’sfirstaxiomofcommunication—“onecannotnot communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently com
Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some considera tion would be helpful. Paul Watzlawick’s first axiom of com munication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the efect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. ADOBE GARAMOND PRO, 10/13
municate that you do not care how your message may be received. HELVETICA, 8/13
Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Wat zlawick’sfirstaxiomofcommunication—“onecannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. HELVETICA, 10/13
WINTER 2017 11
QUIZ 1
QUESTION: In typesetting, a widow refers to: ANSWER: a word or word fragment by itself on the ending line of a paragraph. QUESTION: You are designing a book. Which of the following typefaces would be appropriate to use for the body text? (You may choose more than one.) ANSWER: Caslon, Palatino QUESTION: How would type nerds describe the difference between an eye and an ear? ANSWER: The eye is similar to the counter, but refers to the enclosed part of the letter e, and an ear is the small stroke extending off the upper part of a lowercase g QUESTION: What’s a font? ANSWER: The delivery mechanism for letterforms. QUESTION: In typesetting, what’s a river? ANSWER: Text that has a noticeable continual, meandering vertical white space formed by accidentally stacked word spaces. QUESTION: What does the term “x-height” refer to? ANSWER: The height of a lowercase character, usually the x, from the baseline to the top of the character. QUESTION: In typography, what’s a ligature? ANSWER: A glyph combing two or more characters that are difficult to fit properly, such as f followed by i, into a single, more elegant shape. QUESTION: How many points are in one pica? 12 TYPE JOURNAL
ANSWER: 12 Points QUESTION: What does the term monospace refer to? ANSWER: Each character is the same horizontal width. QUESTION: Is it okay to use a text typeface as display in a headline sized at 72 points. ANSWER: Sometimes, if it looks alright and if the default letter spacing is reduced. QUESTION: Which of the following typefaces are associated with the International, or Swiss Style? ANSWER: Helvetica, Univers QUESTION: How do you type an em-dash? ANSWER: Option + Shift + Hyphen QUESTION: What is leading? ANSWER: The vertical distance between baselines of type. QUESTION: If you asked a typesetter what an orphan is, he/she would say that while there’s some disagreement, it usually refers to: ANSWER: A paragraph opening or ending line that appears by itself at the bottom or top of a page or column, separated from the rest of the text. QUESTION: An en-dash is used: ANSWER: between numbers when indicating a duration of time.
WINTER 2017 13
READING B.P.T: WHY TYPOGRAPHY MATTERS THE BUTTERFLY BALLOT The butterfly ballot appeared in the 2000 presidential election. The layout was terrible and had the potential for a large margin of error. The candidates were split on the right and left sides and the area to mark your vote was in the middle. The area to mark however wasn’t directly lined up with each party, they would overlap with each other causing confusion. The simple solution for this was to put all the parties on the left and have the area to mark your vote on the right. If bad typography can have negative consequences, it shouldn’t be hard to believe that good typography can have positive consequences.
TRIXIE OR VIOLET’S RESUME Credentials are the same but, Trixie’s resume looks more professional, neater, and better organized. Trixie’s has wide margins with guides breaking up the sections but not as big and bulky as Violet’s Trixie emphazies the more important informaiton. For example, the word education is small and UCLA and Hartford are a much larger size because they are more important. Butterick’s First Law of Type: Given multiple documents, readers will make more judgments based on typography since it’s harder to make judgments based on substance. Butterick’s Second Law of Type: Judgments based on substance require reader attention, so under the First Law, readers with limited attention are more likely to WINTER 2017 15
make judgments based on typography.
CRITIQUE PROJECT 1: TYPE QUOTES My first draft had diagonal text, but diagonal text works for words but not paragraphs. My body type was also a little to big and I was missing some information. In the final draft, I kept the diagonal title but I changes the paragraphs so that they were straight. I also changed the point size of the author and source to help separate it from the body text.
ar
“All rules can be broken in the most divinely
successful ways.”
—Jessica Glaser & Carolyn Knight, Typography: Practical Considerations and Design Patterns, 2013.
Y Q
Q
U
“Type is so much a part of our daily life that it’s invisible, yet quite visible.”
U
— Steven Heller & Jason Tselentis, Type, Form & Function: a Handbook on the
Fundamentals of Typography, 2011.
the richness of the way we speak.”
— Phil Baines & Andrew Haslam, Type and Typography, 2002, page 23.
AFTER
S
S
TE
TE
O
O
16 TYPE JOURNAL
“Letterforms make words, and words have meaning.”
— Donald Jackson, Ina Saltz, Typography Essentials: 100 Design Principles for Working with Type, 2009, page 8.
Y
BEFORE
— Robert Bringhurst The Elements of Typographic Style,1992.
H
PH
E
liveliness, laiughter, grace and joy.”
AP
RA
g
that gives its living energy to the page. It takes various forms and goes by various names, including serenity,
GR
G
id
“One of the principles of durable typography is always legibility; another is something more then legibility: some earned or unearned interest
PO
PO
ar
C ns in ier Co eat l H en m ed Cr sua di s Vi o- , ba ina d w g n t re is ctu ima s a apf y e d e Z l h t u ap chi an y r ann r e og ar nc d b rm e ly yp al ie de ai .” “T ion per gui —H ” s x d r d le , e n ity. ou sib pe n l a o , of e vi , Ty on bi n t a s t r ok ls i ti tio ead pa qu len dbo nta r a e h yet se an m uc le, on T a H nda m b s ct u : so isi Ja on e F fle .” is inv r & cti th re ak , to spe lam . pe t’s elle Fun y s i as e 23 “T at n H & ed e ne ay w ew H pag th e rm y e tev Fo r y, lif S da w d — to the An aph y f & r ph s o es og ra es in yp og hn Ba T yp ic hil nd “T e r P pe a h — y t T
TY
TY
e th s.” in y n wa ke ful z, o is y hen br ess alt 0 ph t at be cc na S : 10 ing ra re th us an y su n, I als ork o g m o e s t r i o e nc l i p s o t ty ng er va er t le ine ks en r W le thi int es g s er ru div Jac Ess s fo ab e d ak in ob ll le d ur om ne t t lud R . “A ost nal phy cip e 8. f d is s ear e. I inc .” — yle m Do gra rin ag o n ag s, oy St — po n P e, p es er u j c pl oth or e p me nd phi Ty sig Typ h a ci e in ; an ned to t s n ce a gra D ith r p ity ar y ou ra po w e g l e i y g r i e e ar r, f T th ib ds of leg om en y v te s o or ne ys y: s ing s b ugh ent w d “O wa ilit liv goe lai em al an er & tic al gib its nd ss, e El , c ds las ra s: le ves s a ine Th or a G : P tern gi rm vel rst, w y c t h a e si fo , li hu ak Jes rap n P al ity ing g g u s m .” — po esi us Br rm g Ty D Un fo nin ht, and nd r te ea nig ns g a t e m K o n “L ve yn ati citi hies c ha ol er x
QUIZ 2
QUESTION: What are some ways to fix a widow? (You may choose more than one answer.) ANSWER: Try setting the tracking to -10 to force the widow up to the previous line. ANSWER: Try adding some line breaks in the paragraph to force more text down to the line with the widow. QUESTION: How many points are in a pica? ANSWER: 12 QUESTION: When should you use the Character Panel flyout menu in InDesign to generate a small caps version of your typeface? ANSWER: Never, you should only set text in small caps if your font contains a small caps version. QUESTION: Our measuring system for typography comes from handset metal type and Johann Gutenberg’s printing press. When did Gutenberg invent the printing press? ANSWER: around 1450 QUESTION: What was the primary design flaw of the Florida “Butterfly Ballot”? ANSWER: The fill-in dots to select a candidate did not clearly line up with the candidate’s names. QUESTION: You are designing an electronic book for the iPad. Which of the following would be a good choice for the body text in terms of on screen legibility? ANSWER: 15pt Georgia with 19pt leading. QUESTION: What is a good general rule for leading? WINTER 2017 17
ANSWER: It should be 120–145% of the point size. QUESTION: In a paragraph, is it okay to have two hyphens in a row? ANSWER: Yes, two hyphens in a row is not problematic in a block of text. QUESTION: Who proposed that good typography should be “invisible”? ANSWER: Beatrice Warde in her essay “The Crystal Goblet” QUESTION: On average, how long should a line of text be? (You may choose more than one answer.) ANSWER: 8–13 words or 45-90 characters
18 TYPE JOURNAL
LECTURE CHOOSING TYPEFACES, INSTALLING FONTS AND MANAGING FONTS FACTORS TO CONSIDER WHEN CHOOSING TYPE »» Content »» Audience »» Format/context.
TECHNICAL FACTORS TO CONSIDER »» Does it have a full character set? »» Does it have foreign accented characters and glyphs? »» Does the font have multiple weight and styles? »» Does the font have small caps? »» Does the font have lining and old style numerals? »» What is the format of the font? Open type fonts are cross-platform. »» Does the font have a Web Font version?
WHERE TO GET FONTS Art department has fonts we can use (Cal Poly Art Department Fonts) Google fonts has a wide variety that are mostly free Lost Type co-op League of Moveable Type Font Squirrel: almost all are free for commercial use. Font Spring House Industries 20 TYPE JOURNAL
My Fonts (has a lot of good deals) Fonts.com
MANAGING YOUR FONTS Fontbook is free and easy to use. Font Explorer X Pro Suitcase Fusion 6 You want to have the minimum number of fonts installed, it slows down your programs.
WINTER 2017 21
READING B.P.T: TYPE COMPOSITION QUESTION: What are three new things you learned from the chapter on type composition? ANSWER: Make sure type quotes are turned on. in Illustrator it’s in document setup, in InDesign it’s in preferences. ANSWER: To convert all quotes to curly quotes use, find and replace. ANSWER: A paragraph mark (¶) or section mark (§) should always be followed by a nonbreaking space (control + shift + space bar). if the mark comes at the beginning of a paragraph or sentence spell it out instead. QUESTION: Do you think you will use any of the keyboard combinations you learned to create different symbols? ANSWER: Using find and replace will come in handy, also overriding smart quotes for when I’m using feet and inches.
KEYBOARD SHORTCUTS »» – En dash option + hyphen »» — Em dash option + shift + hyphen »» ™ Trademark option + 2 »» ® Registered trademark option + r »» © Copyright option + g »» … Ellipsis option + semicolon »» nonbreaking space option + shift + space bar
22 TYPE JOURNAL
TEXT FORMATTING This section focuses on the importance of typography and fonts, Butterick lists eighteen different factors to consider when working with fonts. He tells us when there are good and bad times to use things such as bold or italic, or when we should kern our type.
WINTER 2017 23
LECTURE TYPESETTING IN INDESIGN PARAGRAPH STYLES Affect paragraph level attributes: »» Leading »» Tabs »» Indents »» Space before and after »» Hyphenation and justification settings »» Rule above and below
CHARACTER STYLES Used for styling text within a paragraph, for things like: »» Bold text »» Italic text »» Run-in subheads »» Custom bullets or numbers
TABLE STYLES Used for styling multiple tables within a document. The style defines: »» The outside border of the table »» The dividing line in the table »» The space above and below the table »» The fills of fields in the table
WINTER 2017 25
CELL STYLES Used for styling individual cells, or rectangular divisions of the table. The cell defines: »» The borders around the cell »» How the text is positioned within the cell »» The style of the text within the cell »» The fill color of the cell »» If the cell is x-ed out
26 TYPE JOURNAL
READING B.P.T: PAGE LAYOUT Page layout is about positioning and relationship of text and other elements of the page.
CENTERED TEXT Safe but Boring Rare to see text centered in a book, newspaper, or magazine, except for the occasional headline or title. If you like use centered text you should learn to use the hard line break. Never center whole paragraphs.
JUSTIFIED TEXT Justified text is spaced so left and right sides of text have a straight edge. Gives text a cleaner and more formal look. Turn on hyphenation when using justified text
FIRST LINE INDENT Most common way to signal start of new paragraph. Frist line indent should be no smaller than the point size of the text and no bigger than four times it. Don’t use word spaces or tabs to indent the first line.
SPACE BETWEEN PARAGRAPHS It is an alternative to a first line indent for signaling start of a new paragraph. Space should be about 50-100% of the body txt size.
WINTER 2017 27
LINE SPACING Line spacing is the vertical distance between lines of text. Optimal spacing is between 120-145% of the point size.
LINE LENGTH It is the distance between the left and right edges of a text block. Aim for a line length of 45-90 characters.
FAMILY PLANNING, OR HOW TYPE FAMILIES WORK By Peter Bil’ak
In 1737 Pierre Simon Fournier introduced the first-ever standardized system for producing and using type. After the early 20th century it was common to have several weights of a typeface. In the later 20th century Adrian Frutiger released the typeface Univers in 1957 with 21 variants. Jan van Krimpen was likely the first to explore the incorporation of two different styles of typeface in 1932 with his Romulus project. In 1977, Donald Knuth conceived a programming language that he called Metafont, which defined the shapes of letterforms with powerful geometric equations.
28 TYPE JOURNAL
CRITIQUE PROJECT 2: A DIALOGUE For the first check in my manipulation of the text over the image for my title was good. It was suggested to potentially change the title to something shorter and making it bigger. The second page of the document did not relate at all to first page. For the second checkpoint the idea of doing the whole spread as one big photo was good. The new title was good, nice and big over the photo. The body text was good but hard to read in some parts due to the star background. Suggested adding a low opacity black box behind the text so you can still see the photo but it makes the text a little more legible. I also needed to add a subtitle with who the speakers are. An interview with Bill Moyers and Joseph Campbell MOYERS: Why are there so many stories of the hero in mythology?
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 Soand-so is doing.”
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. MOYERS: So in all of these cultures, whatever the local costume the hero might be wearing, what is the deed? CAMPBELL : 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. MOYERS: 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?
MOYERS: When I take that journey and go down there and slay those dragons, do I have to go alone? CAMPBELL : 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. 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.” CAMPBELL : That’s all you need—an Ariadne thread.
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.
MOYERS: 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.
MOYERS: 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”? CAMPBELL :
CAMPBELL : 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”.
“The string is all you need.” My general formula for my students is “Follow your bliss.” Find where it is, and don’t be afraid to follow it. MOYERS: Is it my work or my life? CAMPBELL : 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!
CAMPBELL : 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. MOYERS: Like all heroes, the Buddha doesn’t show you the truth itself, he shows you the way to truth.
MOYERS: 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? CAMPBELL : 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.
FINAL VERSION
WINTER 2017 29
QUIZ 3
QUESTION: To signal the start of a new paragraph, you can: ANSWER: add extra space between paragraphs or indent the first line of the new paragraph QUESTION: What is a good general rule for leading? ANSWER: It should be 120–145% of the point size. QUESTION: Why is it important to organize your fonts into sets? ANSWER: So you can easily turn on and off fonts depending on what project you are working on. ANSWER: So you can categorize fonts and easily find them by style. ANSWER: So you can keep a minimum number of fonts open on your computer, thus improving the speed of the Adobe programs. QUESTION: Paragraph and Character Styles allow you to: ANSWER: Define sets of formatting attributes that get applied together. So instead of selecting a heading, changing it to 13 point, bold, and all caps, you can define a style that includes these three attributes, and apply the style to the heading. ANSWER: Change formatting across a class of related elements. ANSWER: Inherit formatting from other styles. A change to the parent style will propagate to all the substyles. But a change to the substyle will only affect that one style. 30 TYPE JOURNAL
QUESTION: How a table looks is primarily defined by: ANSWER: the formatting of cell borders and cell margins QUESTION: When you buy a font, you are purchasing: ANSWER: a license that grants the owner the right to use the typeface in a specific manner. QUESTION: The semicolon (;) is used ANSWER: instead of a conjunction to combine two sen tences (example: He did the crime; he must do the time.) ANSWER: to separate list elements with internal com mas (example: We visited Tulsa, Oklahoma; Flint, Michi gan; and Paducah, Kentucky.) QUESTION: Which of following should be styled with a Character Style? ANSWER: An italic style of body text that will be used for both emphasis and styling book/movie/song titles. QUESTION: When should you put two spaces after a period? ANSWER: Never. Extra spaces disrupt the balance of white space and are unnecessary. QUESTION: An ampersand ANSWER: is typographic shorthand for the word “and” ANSWER: is a stylized depiction of the Latin word et (in fact, traditional ampersands take the shape of the letters et) ANSWER: should be used when it is part of a proper name (Fromage & Cracotte Inc.)
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READING USING LAYOUT GRIDS EFFECTIVELY ALWAYS USE A LAYOUT GRID Without using a grid you wont be able to have a consistent fell it your project resulting in a lack of visual harmony.
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ADJUSTING YOUR LAYOUT GRID FOR YOUR BINDING TYPE Make sure you don’t lose any content in the gutter.
THE RULE OF THIRDS Rule used by photographers, it works by splitting and image into thirds leaving you with 9 equal sections and you want your main subject to be at one of the intersection points.
THE GOLDEN RATIO AND THE FIBONACCI SEQUENCE They are very similar and can be used as a compositional tool.
IMAGES TAKEN FROM ARTICLE 34 TYPE JOURNAL
TYPOGRAPHICA MEA CULPA, UNETHICAL DOWNLOADING By Steven Heller
This is an article discusses licensing of typeface software. He and other designers ignore type licenses and trade fonts with each other and this is easy to do because everything is digital. Just because you can doesn’t mean it right to do it. Design in an honorable profession and we need to honor the work other people have done. He assumed once he bought it he could do whatever he wanted with it and give it to whoever but this is not true, that is copyright infringement. There is a way to give your design to a service bureau without breaching the font license. You supply them with and EPS file or Adobe Acrobat file with the fonts embedded. People are copying fonts made by the big companies renaming them and selling them for a cheaper price, this is also wrong.
MY TYPE DESIGN PHILOSOPHY By Martin Majoor
You cannot be a good type designer if you are not a book typographer. The best solution for text is to use a combination of a serif and a sans that derive directly from each other. The very first sans serif typeface to be used for printing was published around 1816 by the William Caslon iv English typefoundry.
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Akzidenz Grotesk, published in 1898 by the German Berthold type foundry in Berlin. Akzidenz Grotesk became very popular and was copied by many typefoundries. In 1928 Paul Renner designed Futura. Futura was based on classic principles like roman inscriptional capitals. Gill Sans one of the first sans serifs that has true italic characteristics. Eric Gill designed it in 1928. He goes on to reiterate his earlier point that when you use a sans serif and a serif they should be derived from the same basis
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READING A VIEW OF LATIN TYPOGRAPHY IN RELATIONSHIP TO THE WORLD By Peter Bilak
Article on the misconceptions of western typography, and the appropriateness of Euro-centric type terminology. It is generally acknowledged that Gutenberg invented movable type printing in 1436. But it was more likely created in China around 1040 AD by Bi Sheng. People seem to want to believe it originated in Europe and always disregard China. Garamont, Didot, and Romain du Roi typefaces are referred to as “Orientales” or “Non-Latin” They describe foreign scripts in Negative terms. Linotype offers a type called Sabon Greek Roman and Sabon Greek Italic but they contradict each other. Roman is customarily used to describe typefaces from the early Italian renaissance period. Italic refers to the cursive typefaces inspired by the handwriting of Italian humanists. The introduction of the Unicode system and OpenType font format has inspired designers. In the last decade, more Greek fonts were created then in the entire preceding century. Lots of new exciting possibilities to come when working with “Non-Latin” type.
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CRITIQUE PROJECT 3: ELEMENTS OF STYLE BOOKLET The original version I completed by myself needed some more excitement. Need to separate all the text better so it attracts the reader more. The section dividers were too boring and could have been better. As far as information I think it was still fairly easy to understand the examples but the text could’ve been broken apart in a more creative way. When it came to the group project we took elements from Emily’s and Mariahlyn books and then we worked together to figure out the best way to style it so that it’s consistent in all three books. Our books came out looking great with metallic paper with cutouts to see the title and section.
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The Elements of Style Section III & IV
ORIGINAL BOOKLET
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TEAM BOOKLET
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READING LAVA—VOICE OF A MAGAZINE By Peter Bilak
Works That Work was a Magazine he launched in 2013. Available online, eBook, PDF and Print He wanted to the typeface to be the voice of the magazine. He named this typeface Lava. He approached Susana Carvalho and Kai Bernau to design the magazine everything was up to them except they had to use Lava. Lava was designed to preform optimally on both high and low resolution environments. When it comes to print, Lava was better than other UI fonts because it has refined details, finally tuned proportions and meticulous spacing.
THE FIRST THING I EVER DESIGNED: ELANA SCHLENKER AND GRATUITOUS TYPE MAGAZINE By Madeleine Morley
She puts what she loves first and figures out money later Gratuitous Type was Schlenker own independent magazine and after her first issue her career took off, and she now works as a senior designer at Princeton Architectural Press. This article talks about her struggles along the way of making her magazine.
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“The name came out of something I observed, particularly in mainstream editorial work—a tendency to throw a large, decorative letter on the page and call it a day.” She wanted the magazine design to evolve with each issue. She didn’t anticipate how long it would take and she paid for it all herself. After she was done the magazine had a great impact on her career and helped her get a full-time position in publishing as well as other clients projects she works on independently. The first issue taught her how important it is to trust in yourself and your abilities.
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READING ERIC GILL GOT IT WRONG; A REEVALUATION OF GILL SANS By Ben Archer
Gill Sans is the Helvetica of England, it is part of the British visual heritage. Has problems however when it comes to picking a well-rounded typeface. It was designed based on Johnston in 1928. Numeral 1, uppercase I, and lowercase l are all the same. The lower bowl in the g is not consistent among the different weights causing a lack in consistency. Moral of the story be careful while using Gill Sans.
BEAUTY AND UGLINESS IN TYPE DESIGN By Peter Bilak
This article is about the process of designing the Karloff typeface. Many High contrast typefaces are beautiful. The eccentric ‘Italian’ from the middle of the Industrial Revolution was designed to deliberately attract readers’ attention by defying their expectations. Strokes that were usually thick were thin and vice versa. So, he combined the high contrast type of Bodoni and Didot with the Italians and he hot Karloff.
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READING A TYPEFACE DESIGNED TO REVIVE THE ENDANGERED CHEROKEE LANGUAGE By Angela Riechers
Name of Typeface: Phoreus Cherokee Designer: Mark Jamra Foundry: Type Culture The Cherokee language was dying off they had 316,000 members but only 22,000 native speakers remained. They were having trouble getting the youth interested. They went to a type conference in need of a new digital Cherokee typeface. Mark Jamra was intrigued and decided to help. QUESTION: Why’s it called Phoreus Cherokee? ANSWER: Phoreus is the ancient Greek word for bearer or carrier and refers to type (and the Cherokee syllabary) as a vehicle of language and visual culture.
AN IDEA OF A TYPEFACE By Kai Bernau
“Neutrality can be regarded as an auxiliary construction that lets us describe things and events that appear free of connotations to a specific social and cultural group at a specific point in time. ” He wanted to create a neutral typeface that he would be excited to use.
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CRITIQUE FINAL ZINE PROJECT 3/15/2017 Make more room for a footer. Put footer on layer 2 if you want it to go on top of images. Don’t have 3 pages in a row with full bleed, unless the footer shows through images. Think more about color palette. Don’t save as spreads for www.issuu.com save as pages, however the pdf we turn in on polylearn is saved as spreads. 3/17/17 Fix all dashes. Be careful with magazine title Kraft because of the food company. Page 18 had a lot of strange line breaks. Fix captions
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