Typography

Kevin Nelson 000825715 Process Book Project 1: It’s in the Bag Prof. Sarah Adams

Project Description

Using typography, I will design & create a shopping bag, t-shirt band, and clothing tag. Knowledge gained from the study of units 1-4—especially of the 29 rules of type— will be demonstrated through imaginative and creative text layouts for the three aforementioned items.The text to be used will be derived from the book "Animal Farm" by George Orwell. I will attempt to create a sense of unity among the three items and the text selection as genre. theme, plot, or some sub-text of the narratives selected.

Specifications * *

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Size of clothing bag: Refer to the PDF of dimensions (428K).

Wrap around band for t-shirt: 16 inches x 3.5 inches. (Remember, this band would be a continuous loop when in use, but for design purposes you may envision it as flat band 16 inches long and 3.5 inches wide.)

Clothing tag: A rectangular piece of stock at a minimum size of 3 inches x 2 inches.

Color: 4-color process.

The design must utilize type only.

Geometric shapes may be used but should not overpower the text.

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kevin nelson • typography 2 : process book • prof. sarah adams

Research George Orwell’s “Animal Farm’ is a satirical tale on communist ideals in which the pigs,leaders of the animals‘ revolution against humans. It shows the evolution of the socialist ideal leading to an inevitable dictatorship captured in the famous declaration "All Animals Are Equal, but Some are More Equal Than Others".

Russian Communist posters were the basis for my research, and guided me to the decision to express the “animal rebellion” via a socialist motif.

These posters are located on : http://www.davno.ru/soviet-posters/propaganda/

kevin nelson • typography 2 : process book • prof. sarah adams

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Creative Brief I will attempt to highlight the political element of this book. The statements chosen capture the ideal of the animal’s revolution as well as the seemingly inevitable failure of the communist ideal.

Typographic Statements T-shirt band Text The text for the band will be as follows : "All animals are equal but some animals are more equal than others" Bag Text While I've decided on the statement on the wrapper, I am caught between "The Seven Commandments " stated below and Bag text #2 1) Whatever goes upon two legs is an enemy 2) Whatever goes upon four legs ,or has wings,is friend 3) No Animal shall wear clothes 4) No Animal shall sleep in a bed 5) No Animal shall drink alcohol 6) No Animal shall kill any other Animal 7) All Animals are equal Bag Text #2 This is an optional text that may be used on the bag or designed into the tag: “…A unanimous resolution was passed on the spot that the farmhouse should be preserved as a museum,all agree no animal must ever live there…"

Tag Text The tag will read: "Man serves the interests of no creature except himself" I will use elements of the letters in "Animal Farm" to further brand the products to convey the revolutionary themes in the story.

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kevin nelson • typography 2 : process book • prof. sarah adams

Type Studies T- Shirt Band SERPENTINE All animals are equal but some are more equal than others All animals are equal but some are more equal than others KREMLIN

CYRILLIC ROMAN "All Animals are Equal but some Animals are Better Than Others " "All animals are equal but some animals are better than others" "All animals are equal but some animals are better than others"

Bag Text HELVETICA 1) Whatever goes upon two legs is an enemy 2) Whatever goes upon four legs ,or has wings,is friend 3) No Animal shall wear clothes 4) No Animal shall sleep in a bed 5) No Animal shall drink alcohol 6) No Animal shall kill any other Animal 7) All Animals are equal SERPENTINE "A unanimous resolution was passed on the spot…"

KREMLIN

EUROSE

3) No Animal shall wear clothes

kevin nelson • typography 2 : process book • prof. sarah adams

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page b

Type Studies HELVETICA / SERPENTINE "A unANIMous resolution was passed on the Spot…"

HELVETICA / KREMLIN

CYRILLIC ROMAN 1) Whatever goes upon two legs is an enemy 2) Whatever goes upon four legs, or has wings, is friend 3) No animal shall sleep in a bed 4) No animal shall drink alcohol 6) No animal shall kill any other animal 7) All animals are equal "A unanimous resolution was passed on the spotÉ" "A unANIMous resolution was passed on the spotÉ"

Tag CYRILLIC ROMAN Animal (Animal ) Farm (Farm) KREMLIN

Single letter study

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kevin nelson • typography 2 : process book • prof. sarah adams

The 29 Rules of Type

REBELLION!

“”REBELLION”-excerpted from the George Orwell‘s “Animal Farm” them again. In return for your four con‘There, comrades, is the answer to all finements and all your labour in the our problems. It is summed up in a sinfield, what have you ever had except gle word – Man. Man is the only real your bare rations and a stall? enemy we have. Remove Man from the ‘And even the miserable lives we lead scene, and the root cause of hunger and are not allowed to reach their natural overwork is abolished for ever. span. For myself I do not grumble, for I ‘Man is the only creature that conam one of the lucky ones. I am twelve sumes without producing. he does not years old and have had over four hungive milk, he does not lay eggs, he is too dred children. Such is the natural life of weak to pull the plough, he cannot run a pig. But no animal escapes the cruel fast enough to catch rabbits. Yet he is knife in the end. You young porkers who lord of all the animals. He sets them to are sitting in front of me. To work, he gives back to them that horror we all must the bare minimum that will ‘Man is the only come– cows, pigs, hens, prevent them from starving, creature that sheep, everyone. Even the and the rest he keeps for consumes without horses and the dogs have no himself. Our labour tills the producing. better fate. You, Boxer, the soil, our dung fertilizes it, very day that those great and yet there is not one of us muscles of yours lose their power, Jones that owns more than his bare skin. You will sell you to the knacker, who will cut cows that I see before me, how many your throat and boil you down for the thousands of gallons of milk have you fox-hounds. As for the dogs, when they given during this last year? And what has grow old and toothless, Jones ties a brick happened to that milk which should round their necks and drowns them in have been breeding up sturdy calves? the nearest pond.

Every drop of it has gone down the Is it not crystal clear, then, comrades, throats of our enemies. And you hens, that all the evils of this life of ours spring how many eggs have you laid this year, from the tyranny of human beings? Only and how many of those eggs ever get rid of Man and the produce of our hatched in chickens? The rest have all labour would be our own. Almost gone to market to bring in money for overnight we could become rich and Jones and his men. And you, Clover, free. What then must we do? Why work where are those four foals you bore, night and day, body and soul for the who should have been the support and overthrow of the human race! That is my pleasure of your old age? each was sold message to you, comrades: Rebellion! at a year old – you will never see one of

kevin nelson • typography 2 : process book • prof. sarah adams

Rule 18.

Keep word spacing fairly close.

Rule 2.

Use proper "em" dashes, "en" dashes and hyphens.

Rule 8. Use bold text properly Rule 21. Choose the alignment that best suits the text.

Rule 28. Indents.

In continuous text, mark all paragraphs after the first with an indent of at least one "em" (3 spaces).

Rule 25.

Avoid widows and orphans.

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page B

The 29 Rules of Type …After this they went back to the farm buildings, where Snowball and Napoleon sent for a ladder which they caused to be set against the end wall of the big barn. They explained that by their studies of the past three months the pigs had succeeded in reducing the principles of Animalism to Seven Commandments. These Seven Commandments would now be inscribed on the wall; they would form an unalterable law by which all the animals on Animal Farm must live for ever after.

With some difficulty (for it is not easy for a pig to balance himself on a ladder) Snowball climbed up and set to work, with Squealer a few rungs below him holding the paint-pot. The Commandments were written in the tarred wall in great white letters that could be read thirty yards away. They ran thus: THE SEVEN COMMANDMENTS 1. Whatever goes upon two legs is an enemy.

2. Whatever goes upon four legs, or has wings, is a friend.

3. No animal shall wear clothes.

4. No animal shall sleep in a bed.

5. No animal shall drink alcohol.

6. No animal shall kill any other animal 7. All animals are equal.

It was very neatly written, and except that ‘friend’ was written ‘freind’ and one of the ‘S’s’ was the wrong way round, the spelling was correct all the way through. Snowball read it aloud for the benefit of the others. All the animals nodded in complete agreement, and the cleverer ones at once began to learn the Commandments by heart.

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Rule 27.

Use kerning in headlines.

Rule 6 .

Use old style figures when appropriate.

Rule 22.

Follow the rules of hyphenation

kevin nelson • typography 2 : process book • prof. sarah adams

page C

The 29 Rules of Type

Benjamin felt a nose nuzzling at his shoulder, He looked round.

It was Clover. Her old eyes looked dimmer than ever. Without saying anything, she tugged gently at his mane and led him round to the end of the big barn, where the Seven Commandments were written. For a minute or two they stood gazing at the tarred wall with its white lettering.

‘My sight is failing’ she said finally. ‘Even when I was young I could not have read what was written there. But it appears to me that that wall looks different. Are the Seven Commandments the same as they used to be Benjamin?’

For once Benjamin consented to break his rule, and he read out to her what was written on the wall. There was nothing there now except a single Commandment. It ran: ALL ANIMALS ARE EQUAL BUT SOME ANIMALS ARE MORE EQUAL THEN OTHERS

Rule 1.

Insert only a single space after all punctuation.

Rule 3.

Use proper quote and apostrophe marks.

Rule 5.

Add letterspacing to capitalised text and small caps if needed.

Rule 7. Use caps properly

After that it did not seem strange when the next day the pigs who were supervising the work of the farm all carried whips in their trotters. It did not seem strange to learn that the pigs had bought themselves a wireless set, were arranging to install a telephone, and had taken out subscriptions to John Bull, Tit-Bits, and the Daily Mirror…

Rule 10.

Use the ellipsis character when appropriate

Rule 19.

Choose the ideal column width

kevin nelson • typography 2 : process book • prof. sarah adams

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definitions A

The 29 Rules of Type The following rules are essential when designing with type.

1. Insert only a single space after all punctuation.

Inserting two spaces after a period was common when typing on a typewriter. Monospace typefaces were designed to occupy the same amount of space no matter the width of the character. Therefore, two spaces were needed to identify the end of a sentence and the beginning of another sentence.

With the introduction of the Mac and digital type, characters are designed proportionally which allows for the correct practice of using one space after all punctuation.

2. Use proper "em" dashes, "en" dashes and hyphens.

An "em" is a unit of measure equal to the point size that you are using. An "em" dash is a type of punctuation used to offset clauses in a sentence or to indicate an abrupt change in thought. An "en" dash is equal to half the length of an "em" dash. "En" dashes are used to denote duration. You may kern small spaces before and after "en" and "em" dashes if you feel it is too tight. But do not give full spaces. Hyphens are used for hyphenating words. Make sure the hyphenation is in the correct place.

Do not rely on the software.

3. Use proper quote and apostrophe marks.

Use true quotation marks and apostrophes instead of using inch marks and feet marks. Place all punctuation marks, except colons and semi-colons, inside the quotation marks.

4. Use true small caps.

When setting text that contains acronyms, select a typeface with small caps as a family. Selecting small caps from the style menus is a poor choice because the computer reduces the overall size of the type by 80%. This changes the stroke weight and the feel of the font. Expert sets in the Adobe Type Library have small caps options.

5. Add letterspacing to capitalized text and small caps if needed.

Letterspacing is the amount of space between characters in a word. Some software programs call letterspacing tracking. Use positive number values to open up the letterspacing for capitalized text and small caps to about 2 or 3.

6. Use old style figures when appropriate.

Old style figures, also known as non-lining figures, do not line up on the baseline as do regular or lining numerals. Old style figures can be found in various fonts. If the body text has a lot of numbers, research a font family where old style figures are included. If non-lining numerals are not available use a slightly smaller point size for the lining numbers. Think of lining numbers as uppercase numbers and non-lining numbers as lowercase numbers.

7. Use caps properly.

Use capital letters very rarely. With the options given by type families such as bold, larger point sizes, etc.; you will seldom need to use all caps to draw attention to your text. When type is set in all caps, readers have to read each individual letter rather than recognizing groups of letters. This slows the reader and the amount of information they are retrieving. Also, not all typefaces are readable when set in all caps. This is especially true about script typefaces and the most decorative typefaces. Short headlines may be one exception to this rule.

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kevin nelson • typography 2 : process book • prof. sarah adams

definitions B

The 29 Rules of Type 8. Use bold text properly.

Use bold text sparingly. Bold text stands out from body text and is meant to show emphasis. Bold text is better used in headlines, captions, logos, drop caps, or other special type treatments. Do not bold entire paragraphs of body text. Usually italics are a more subtle way to separate text from the rest of the body without drawing too much attention.

9. Use copyright, register and trademark marks properly.

The copyright (©), register (®) and trademark ((TM)) characters need to be reduced to work with body text. At times, depending on the typeface, you may need to reduce the mark between 50% and 70%.

The goal is to try to match the x-height. The © symbol should be approximately 70% of the surrounding text. Again, trying to set the size of the symbol to the x-height. Unlike the (TM) symbol, the © symbol should not be superscripted. It should remain on the baseline. The (TM) symbol is usually superscripted for the chosen font. The (TM) and ® symbols are normally set higher than other marks. If you choose to superscript ®, reduce it to 60% of the size.

10. Use the ellipsis character when appropriate.

Use the ellipsis character and not three periods. You can access the ellipsis character on a mac by typing option + : (colon.) Allow a small amount of space before or after, not a full space. If the ellipsis character doesn't seem to be crowding the text, leave no space at all.

11. Avoid underlined text.

Back in the typewriter days, underlining was the only way to draw attention to the text. Now, with digital type and their families, you have the options of using bolds, italics, or obliques.

12. Increase line spacing to improve readability in body text.

Line spacing or leading refers to the space between lines of text. It is important for the purpose of readability and appearance. Leading is measured from baseline to baseline. As a rule of thumb, allow leading that equals 120% of point size. For sans serif, you may need 135%. Leading should be increased proportionally as line length increases. When setting headlines, negative or solid leading may be appropriate. Solid leading means that the leading equals the point size.

13. Choose appropriate body text size.

You can probably set body text to a point size smaller than your original choice. Body text is usually set from 9–12 points. When you print text, it is usually larger than what it looked like on the screen.

So, print out your text before finalizing your layout. Type studies will help you determine the proper size before you proceed with your layout.

14. Don't alter fonts.

Don't alter the widths, weight, or shapes of the characters. Type design is an art. Each character has been carefully designed taking into consideration the width, weight and the shape of each character (stress, stroke and serif.) Graphic software allows us to destroy/alter the original design. Inexperienced designers use this option to "force" type to fit. Select typefaces with large families if you need the flexibility in widths and weights.

kevin nelson • typography 2 : process book • prof. sarah adams

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definitions C

The 29 Rules of Type 15. Choose the appropriate font.

Sans serif typefaces are often less legible than serif fonts. In the western world, we learn to recognize shapes as opposed to words. Therefore, serifs help link the shapes making type easier to read. Sans serif typefaces work well for headlines and to set text that is aligned to vertical/horizontal lines. Certain sans serif typefaces, which are not very geometrical, work well for body text. These include Gill Sans, Optima and Goudy Sans.

16. Decrease line length and increase margins.

Line length is the measure of text on one line. Any measure between 45 and 75 characters is comfortable for single column widths. The ideal measure for body text length is 66 characters (counting both letters, punctuation and spaces). For multiple columns, a measure between 40 to 50 characters is ideal.

17. Avoid letterspacing lowercase body text.

As a rule, don't add letterspacing in body text. It hampers legibility. These formatting instances should only be applied when working with all caps, small caps, numbers and display text where looser type spacing may increase legibility.

18. Keep word spacing fairly close.

The amount of space between words of text meant for extended reading should be fairly close—about the width of a lowercase "i." If the word spacing is too close, it appears as one giant word and legibility is hampered. To aid legibility, keep the spaces between words not only fairly thin, but also consistent and even.

19. Choose the ideal column width.

For single-column pages, 4.25 inches is ideal. For two-column width, columns can be as narrow as 2 inches. Turning on the hyphenation feature can improve word spacing.

20. Use justification when appropriate.

Justification can be appropriate in certain places. However, justification can create certain problems such as rivers and word spacing. Some solutions may work but, they need to fit into whatever guidelines the design of the page is requiring. Adjusting the size of your margins, decreasing the size of your text, turning on auto-hyphenate and manually hyphenating the text are all examples of solutions.

Again, if the guidelines of the design require 2 margins and none of the other solutions work, then change the text into a different alignment.

21. Choose the alignment that best suits the text.

Make sure that the alignment chosen for all areas of text are legible and consistent with the design and guidelines. Left-aligned text is easier to read and easier to set. Justified text is more difficult to set without the inevitable word spacing problems. Right-aligned and centered are generally not used for body text due to hampered legibility.

With every alignment, the designer's determination of rag is an important factor in typography.

With any alignment you want to work with your H&Js. The H&J setting are in both Adobe InDesign and in QuarkXpress.

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kevin nelson • typography 2 : process book • prof. sarah adams

definitions D

The 29 Rules of Type 22. Follow the rules of hyphenation.

Do not rely on software to judge where hyphens should be placed. At the end of lines, leave at least two characters behind and take at least three forward. For example, "ele-gantly" is acceptable, but "elegant-ly" is not because it takes too little of the word to the next line. Avoid leaving the stub end of a hyphenated word or any word shorter than four letters as the last line of a paragraph. Avoid more than three consecutive hyphenated lines. Avoid hyphenating or breaking proper names and titles. Creating a non-breaking space before and after the name will ensure that the name will not break.

23. Avoid beginning three consecutive lines with the same word.

Since software programs deal with line breaks automatically based upon a number of variables, it is possible to have paragraphs with consecutive lines beginning with the same word. When this happens simply adjust the text to avoid the problem.

24. Always, always spell check.

Once the design is complete, spell check all of the text. This is done two ways, and both must be used. First, in most software programs, there is spell check available. Use it. Second, print the document and read through the text. The monitor and design of the document will make text look perfect when in actuality, it may not be. Even if it is text given to you by a client, spell check it. Never assume that it is correct. Keep a dictionary nearby and use it.

25. Avoid widows and orphans.

A widow is either a single word alone on a line or a single sentences alone on a new page or column.

Orphans are single lines of copy alone at the end of a page.

26. Establish clear hierarchy.

Decide what to emphasize. Which elements will receive the most emphasis? Which one or two messages do you want to get attention? Play up these elements. Everything else is secondary to those pieces of information. Use white space to bring the elements closer together or to isolate the elements and draw attention to them.

27. Use kerning in headlines.

Adjust the space between two particular letters to allow for more consistent negative space.

28. Indents.

In continuous text, mark all paragraphs after the first with an indent of at least one "em" (3 spaces).

29. Items in a Series.

Items in a series do not use a comma before the word "and." For example: apples, oranges and grapes.

kevin nelson • typography 2 : process book • prof. sarah adams

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Thumbnail Sketches Feedback- S.Adams: “Try not to go so literal. For instance, the use of the pig snout is too visual for the piece. Why not give ‘pig qualities’ to the letters themselves. For instance, I like what you have going on with the second design. Featuring the a is a nice play. You do not have to put the title of the piece on the bag, but it is certainly fine…”

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kevin nelson • typography 2 : process book • prof. sarah adams

Roughs Feedback: J. Kwon “I’m a big fan of over-blown, cut text in general, so I really loved the second concept you have. I especially like the F that takes up the whole side of the bag. Perhaps the text from the book can be filled inside the F to achieve the shape? Also, the Slavic text in the third is great.

“These are nicely done! I am not crazy about the yellow/black combination, and I think that the inclusion of red is definitely a better choice. I love the kremlin font for this project, since it seems so appropriate for ‘Animal Farm’!”

kevin nelson • typography 2 : process book • prof. sarah adams

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page B

Roughs

This design was selected since the colours and bold Cyrillic letters suggested the authority of the animals portrayed in George Orwell’s “Animal Farm” Feedback: D.Foster “The third design is the strongest for me. I like the way the oversized 'a' wraps around the bag, as if it's suggesting you follow it. I'm not sure you need the rest of the word. It could be interesting to use the 'a' and the 'f' on the sides of the bag, and use the seven commandments on the front and/or back of the bag.”

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kevin nelson • typography 2 : process book • prof. sarah adams

Revisions It was suggested at a Breeze session the spine panels of the bag were too plain so the motif on the t-shirt band was added to enhance the texture.of the design. There was problem with the rag text in the Cyrillic “A” and the placement of the quotations on the bag,

Feedback : L. Forest “This seems very Russian in nature- the red and black and the typographic elements combined look like Russian characters- which seems to fit the anti-communist rhetoric of the book perfectly. I love your choice of listing the rules on the side panel…” kevin nelson • typography 2 : process book • prof. sarah adams

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page b

Revisions

The suggestions at a Breeze session was applied and the Kremlin screen of the seven commandments were echoed on the t-shirt band & tag. The widows on the bag spines were corrected as well.

Feedback: Lyn Pulford “…these turned out great! I think the overall design and predominant red color express this book and your passages very well. "All animals are equal but some are more equal than others" really stands out in the white - what a great quote.”

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kevin nelson • typography 2 : process book • prof. sarah adams

Finals The following pages are various profiles of the finished project #1 “Its in the Bag”

Feedback: J.Fidler “These came out great, Kevin! I really like how you changed the sides of the bag.” kevin nelson • typography 2 : process book • prof. sarah adams

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page b

Finals

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kevin nelson • typography 2 : process book • prof. sarah adams

page C

Finals

kevin nelson • typography 2 : process book • prof. sarah adams

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