Type & Other Thoughts Rachel Martin Art 338, Winter 2016
Designed by Rachel Martin Art 338, Winter 2016 Typefaces used Trade Gothic LT Std & Clarendon
introduction This is a journal composed of my thoughts, notes and comments on typography. At the beginning of this quarter, typography was a subject I ran away from, however after 10 weeks I feel confident working with type at all scales. Throughout this journal you will see my progression and confidence build as the weeks progress. All content comes from Typography II, at California Polytechnic State University, Winter 2016.
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READIN G BUTTERICK’S PRACTICAL T YPOGRAPHY: TYPOGRAPHY IN TEN MINUTES SUMMARY OF KEY RULES FORWARD
LECTUR E TYPOGRAPHIC REFINEMENT: THE DETAILS
DISCUS S I O N COURSE EXPECTATIONS THE JOURNAL: NOTE-TAKING & DOCUMENTING YOUR PROCESS
IN -CL AS S LEGIBILITY EXERCISE
ASSIGNM E NT TYPESETTING: RULES AND PRINCIPLES OF TYPOGRAPHY
TYPE II // JOURNAL // WEEK
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1 week
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reading notes Butterick’s Practical Typography: Typography in Ten Minutes Top five typography rules that will automatically make you a better typographer »» Typography quality of your document is determined by your body text size »» Point size is the size of the letters, most common for body text is 10–12 points, on the web most common is 15–25 pixels »» Line spacing is the vertical distance between lines, should be 120–145%of the point size »» Line length is the horizontal width of the text block, should be about 45–90 characters per line »» Make sure to choose the right font, never use the favored systems typefaces
Summary of Key Rules »» The four most important typographic choices you make are: Point size, Line Spacing, Line Length and how the Body Text looks »» The easiest way to improve a document is to use a professional font »» Avoid monospaced fonts, goofy fonts, and system fonts »» Only one space between sentences
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»» Never underline a hyperlink »» Use Bold or Italic as little as possible »» If you don't have real small caps, don't use them »» Don't confused hyphens and dashes »» Make sure you're using smart quotes »» Use glyphs if you can
Forward “Typography is the visual language component of the written world” “Type is visual language” This article talks about the different views of typography, one being that is a mechanized writing, as opposed to writing by hand. The other view is that typography is letter forms, which have a relationship to the age and other visual attributions.
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type anatomy BOWL
completely enclosed round part of a letter-form ex: p, b, R
COUNTER
negative space
FONT
software that lets you use it (mechanism), delivery mechanism for letter-forms
TYPEFACE
overall design of letter-forms
LIGATURE
glyph combining two or more characters into one
KERNING
manually adjusting the individual spaces between letter pairs for legibility
ORPHANS
chunk of a paragraph separated in a column
EM DASH
emphasized pause, long dash
EN DASH
medium dash for numbers
MONOSPACE
same horizontal space between each letter
X-HEIGHT
space usually of lowercase letter x, from baseline to mean-line
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EYE
counter of the e
EAR
small stroke extending on top of lowercase g
RIVER
meandering vertical white space formed by accidentally stacking word spaces *justified usually causes rivers
POINTS
72 points is an inch
PICAS
one pica is 12 points, 6 picas is an inch
LEADING
vertical space between baselines of type
WIDOW
word or fragment ending line of paragraph
TRACKING
add/subtract white space equally amongst all characters in a word, line or paragraph
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tips on type SWISS STYLE TYPEFACES: Helvetica and Univers »» sans serif »» legible »» grid GOOD BOOK LAYOUT FONTS: Caslon and Palatino POINT SIZE measuring system for typography was originally developed for handset metal type *invented by Johann Gutenberg around 1450 point system originally developed in France, 1773 »» 12 points is equivalent to 1 pica »» 6 picas is 1 inch »» 1p6, means 1 pica and 6 points * you will never write p12, instead it would be 1p0 traditional metal type had sizes: 5 – 72 points HOW TO CHOSE A POINT SIZE look at the typeface proportions and weight length of text format for viewing (paper, screen, both?) audience / reader of text
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SCREEN VS PRINT body text: 9pt – 12 point body text on screen: 14 points HARDWORKING TYPEFACE at least one bold weight, noticeable contrast to compliment text with weight »» good regular weight »» robust proportions »» an italic version »» very legible numerals »» economy: narrow enough ADJUSTMENTS TO MAKE kern type at display sizes leading 120 – 145% of the point size line length: too long, makes reading harder, too narrow, constantly having to return optimal line length: 45 – 90 characters, 8 – 13 words per line LETTER SPACING / TRACKING all caps and small caps, can handle more spacing
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KNOW YOUR DASHES hyphens »» used if a word is too long for the column length en dash »» used to indicate duration, ex: 1892 – 1893 em dash »» used to express a break in the flow of a sentence »» ex: The fourth was furnished and lighted with orange — the fifth was white — the sixth was violet. *if it can stand on its own, use a semicolon (;) PARAGRAPH HYPHENATIONS adjust settings hyphenate »» words with at least: 6 letters »» after first: 3 letters »» before last: 3 letters »» hyphen limit: 2 SMART QUOTATIONS “ ‘ ’ ” smart quotes " ' ' " dumb quotes prime marks
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TRACKING Fix rags when practical , you want a gentle back and fourth * don’t adjust tracking beyond +/- 10 SPELL CHECK command + i »» turn dynamic spelling in InDesign on
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exercise Legibility & Readability Study *see example to the right After doing this exercise, I realized how important it is to adjust the leading. Depending on the font size and whether or not it is a sans serif or serif typeface, the typeface may need more or less leading. I chose to compare Bitter and Century Gothic, Century Gothic is a more geometric typeface with wider letters. After laying out all the text, it is apparent that Bitter needs more
TYPE II // JOURNAL // WEEK 1
leading, at 9pt the ideal leading would be 14. However, for Bitter, since the letters have more white space, the legibility is ideal with 12pt leading. this exercise was also a great example of how too much leading can cause readability problems, for example when I put Century Gothic at 9pt with 13pt leading, there was too much space between the lines.
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 effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. BITTER 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 effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. BITTER 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 effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. BITTER 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 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 effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. BITTER 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 effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. BITTER 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 Watzlawick’s first axiom of communication — “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. BITTER 10/13
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 effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. CENTURY GOTHIC 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 effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. CENTURY GOTHIC 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 effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. CENTURY GOTHIC 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 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 effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. CENTURY GOTHIC 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 effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. CENTURY GOTHIC 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 Watzlawick’s first axiom of communication —“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. CENTURY GOTHIC 10/13
Rachel Martin
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READIN G BUTTERICK’S PRACTICAL TYPOGRAPHY: WHY TYPOGRAPHY MATTERS
DISCUS S I O N WHY TYPOGRAPHY MATTERS & WHAT MAKES GOOD TYPOGRAPHY
IN -CL AS S REVIEW RESEARCH SELECT FINAL TEXT & DO MORE RESEARCH IF NECESSARY CRITIQUE JOURNAL LAYOUTS CRITIQUE TYPESETTING: RULES & PRINCIPLES OF TYPOGRAPHY
ASSIGNM E NT A DIALOGUE
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2 week
reading notes Butterick’s Practical Typography: Why typography matters This article shows by examples how good typography can be the difference between making documents legible and not. Typography is the visual component of the written word, and text is a sequence of words. This is designed for the reader, to make their reading experience easier, and as a typographer you should ask yourself — what does my reader want? »» Attention span, short »» Interest in topic, low »» Persuadedable by other opinions, yes »» Cares about your happiness, no Good typography enforces the meaning of the text
TYPE II // JOURNAL // WEEK 2
GOOD TYPE
BAD TYPE
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discussion BUTTERFLY BALLADS FROM PALM BEACH COUNTY, FLORIDA These ballads were very hard to read. A number of reasons play into the readability issue, the arrows are hard to follow, text is too condensed, there is too much white space and the boxes and making circles do not line up. The ballad could be condensed onto one page, which would help the legibility. RESUME DESIGN Violets resume appears to be a stock format from word, the shaded headers are too distracting, along with the unnecessary designed bullet points. There is too much emphasis on the subject topics, rather than her actual work and skill set. Trixie’s resume has better hierarchy, there is enough space for each margin, which creates nice breathing room for the text. There is also minimal design, and emphasis on the content rather than the headers.
TYPE II // JOURNAL // WEEK 2
BUTTERFLY BALLAD
RESUME — BEFORE
RESUME — AFTER
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project 1 critique CAUSES OF LEGIBILITY / READABILITY PROBLEMS Type weight (too light / bold), a regular, book, roman or medium weight is typically the best for test Not enough leading Line length too short PROBLEMS OF HIERARCHY Title lacks strength/visual weight Authors name gets lost, or isn’t prominent enough Unimportant elements or words are given too much emphasis PROBLEMS WITH COMPOSITION Margins are too small Awkward negative space, don’t end up with holes Lack of strong focal point A little boring IN GENERAL Make headline less wimpy – more scale Scan: what it is, who said what (give different level of importance to numbers, quotes, etc Use negative space to create emphasis Do not italicize the author’s name, if possible put on one line to create more emphasis
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Typefaces, if using two, make sure they work together Line length and type size, make sure cohesive If reverse type, compensate with larger point size, more tracking or a heavier weight After listening to the critique, and seeing everyone else's projects I realized we all were too cautious. I have a fear of making things too bold, and out there, but for our revision I took the critique notes into consideration and applied those concepts and more to the final project.
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project 1
FIRST DRAFT
TYPOGR APHY 5 quotes, 5 designers
Ellen Lupton
“While a designer can apply every “rule” or typographic axiom literally, what makes lettering and type design endlessly fascinating is the flexibility to interpret and sometimes even break these rules.” Design Briefs: Type of Screen: A Guide for Designers, Developers, Writers and Students page 19, 2014
Christian Schwartz
“A good typeface doesn’t make you wonder what you might do with it, or why it exists.” Lettering and Type - Creating Letters and Designing Typefaces Bruce Willen and Nolen Strals page 125, 2009
Shaun Flynn
“It’s pretty infinite what you can do to letters, and it’s amazing what your brain will read.” Lettering and Type - Creating Letters and Designing Typefaces Bruce Willen and Nolen Strals page 95, 2009
TYPE II // JOURNAL // WEEK 2
Nancy Harris Rouemy
“As we become more and more entrenched in our computer era, lettering offers an infusion of freshness and surprise. There’s a soulfulness, a humanistic quality that connects the reader to lettering.” Lettering and Type - Creating Letters and Designing Typefaces Bruce Willen and Nolen Strals page 85, 2009
Ken Barber
“Lettering offers a remarkable amount of flexibility in terms of letterform construction, since only specific letters interact directly with one another. Typographic forms, on the other hand, must work within a comparatively less accommodating system; this demands sensitivity to the variable context in which the characters will appear.” Lettering and Type - Creating Letters and Designing Typefaces Bruce Willen and Nolen Strals page 75, 2009
FINAL
3.
TYPE. 5 quotes 5 designers
1.
“While a designer can apply every “rule” or typographic axiom literally, what makes lettering and type design endlessly fascinating is the flexibility to interpret and sometimes even break these rules.”
KEN BARBER Lettering and Type - Creating Letters and Designing Typefaces Bruce Willen and Nolen Strals page 75, 2009
4.
2.
“A good typeface doesn’t make you wonder what you might do with it, or why it exists.”
“It’s pretty infinite what you can do to letters, and it’s amazing what your brain will read.”
SHAUN FLYNN Lettering and Type - Creating Letters and Designing Typefaces
ELLEN LUPTON Design Briefs: Type of Screen: A Guide for Designers, Developers, Writers and Students page 19, 2014
“Lettering offers a remarkable amount of flexibility in terms of letterform construction, since only specific letters interact directly with one another. Typographic forms, on the other hand, must work within a comparatively less accommodating system; this demands sensitivity to the variable context in which the characters will appear.”
Bruce Willen and Nolen Strals page 95, 2009
5.
“As we become more and more entrenched in our computer era, lettering offers an infusion of freshness and surprise. There’s a soulfulness, a humanistic quality that connects the reader to lettering.”
CHRISTIAN SCHWARTZ
NANCY HARRIS ROUEMY
Lettering and Type – Creating Letters and Designing Typefaces
Lettering and Type - Creating Letters and Designing Typefaces
Bruce Willen and Nolen Strals page 125, 2009
Bruce Willen and Nolen Strals page 85, 2009
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READIN G BUTTERICK’S PRACTICAL TYPOGRAPHY: TYPE COMPOSITION & TEXT FORMATING
LECTUR E CHOSING TYPEFACES INSTALLING FONTS MANAGING FONTS
DISCUS S I O N TYPE COMPOSITION SPECIAL CHARACTERS BECOMING A TYPE GEEK
IN -CL AS S WORK ON A DIALOGUE PROJECT
ASSIGNM E NT DIALOGUE PROJECT
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3 week
reading notes Butterick’s Practival Typography TEXT FORMATTING »» good typography starts with good type »» extra characters the computer can produce: »» accented characters »» math symbols »» white space characters QUOTATIONS »» curly quotes, are the ones you want to use »» straight quotes, were designed from a typewriter »» always put one space between each sentence, not two SEMICOLONS »» two primary uses »» separates list elements »» sentence conjunction SECTION MARK »» citing documents with numbered or lettered sections PARAGRAPH MARK, ¶ »» used to cite paragraphs
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PARENTHESIS, ( ) »» used to separate citations BRACKET, [ ] »» changes with in quoted material BRACES, { } »» technical/mathematical writing HYPHEN »» occurs at the end of line when word breaks into the next »» multiple words are spelled with a hyphen »» used in phrasal adjectives which can ensure clarity DASH »» en dash: indicates a range of values (ex. 1809 – 1940) »» em dash: the longer dash, makes break between parts of a sentence AMPERSAND, & »» this is half way between a ligature, use sparingly APOSTROPHE »» indicates possessive case »» takes the pace of letters 29
chosing typefaces DESIGN FACTORS TO CONSIDER FOR TEXT »» Content, how long is the text? »» Audience, what's the demographic? »» Format/Context, what is the size of the page/ screen? TECHNICAL FACTORS A good font to use is one with a full character set, varying weights, styles and smalls caps. Look for fonts that are cross-platform. INSTALLING AND MANAGING FONTS Purchase a license, which will dictate how the font can be used Where to get fonts »» Google fonts, free »» Lost Type Co-op, pay what you want (donation based) »» League of Movable Type, free »» Font Squirrel, free for commercial use »» Fontspring, not free, similar licensing »» House Industries, nice fonts, expensive (1940's – 60's Americana) »» My Fonts, range of prices »» Fonts.com, expensive
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You can deactivate fonts to prevent any application from seeing them Font Book cons »» Fonts all have to be linked to the same location, it will always give priority to what is in the system folder In general, you want to have the minimum number of fonts installed »» Programs will move faster »» Easier to find fonts you need Use sets and groups to keep fonts organized and categorized Robust font managers: »» Font Explorer X Pro »» Suitcase Fusion Your fonts are your children. Take care of them and understand their licensing
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READIN G BUTTERICK’S PRACTICAL TYPOGRAPHY: PAGE LAYOUT “FAMILY PLANNING, OR HOW TYPE FAMILES WORK” BY PETER BIL’AK
LECTUR E TYPESETTING IN INDESIGN: TOOLS AND TECHNIQUES
IN -CL AS S CRITIQUE PROJECT 2 WORK ON ELEMENTS OF STYLE
ASSIGNM E NT ELEMENTS OF STYLE BOOKLET
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4 week
reading notes Butterick’s Practical Typography: page layout Page layout is the positioning of text and other elements on the page THINGS TO CONSIDER »» Centered text »» Justified text »» First-line indents »» Space between paragraphs »» Line spacing »» Line length »» Page margins »» Body text »» Hyphenation »» Block quotations »» Bulleted and numbered lists »» Tables »» Rules and borders »» Space above and below »» Widow and orphan control »» Keep lines together »» Page break before »» Columns »» Paragraph and character styles »» Maxims of page layout TYPE II // JOURNAL // WEEK 4
"family planning, or how type familes work" by peter bil'ak This essay showed an overview on the history and definition of type families, type design parameters and the possibilities of creating larger type systems today. Some of the earliest versions of movable type include versions cut specifically for certain point sizes. The idea of varying the weight of a single typeface happened mid–19th century. Before then, heavy typefaces did not exist. Nowadays, typefaces range from extended widths, eights and optical size. Each of these styles must adhere to the consistency of the original typeface
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typesetting in indesign How to properly present your work »» Articulate what you want to accomplish »» “Sell” your client »» Confidence is key »» Be committed to your idea and concept, never show work you're not 99.9% proud of »» Figure out why, you pulled out the text, used a pop of color, decided on graphics, etc.
Typesetting You can control and customize your typography by using styles, which can save you time by automating your text formatting
Paragraph Styles AFFECT PARAGRAPH LEVEL ATTRIBUTIONS leading, tabs, indent, space between, hyphenation and justification, rules above and below settings »» Most styles in a document will be paragraph styles GENERAL SETTINGS Shows an overview of the style settings and if the style was based on an existing style
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BASIC CHARACTER FORMATS Basic test formatting: font, font style, size, etc. ADVANCED CHARACTER FORMATS Horizontal scale and vertical scale, make sure they both are always 100% INDENTS AND SPACING Defines alignment, indents, and space before or after paragraph returns TABS Shows all tabs and leaders ( a character that fills the negative space before the lab) PARAGRAPH RULE Shows rules (lines) that can appear above or below the paragraph, if you are putting lines in your text, use this KEEP OPTIONS If you want to keep all or a certain number of lines together in one paragraph HYPHENATION Turns hyphenation on or off and customizes word hyphenation settings, use these hyphenation settings
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JUSTIFICATION Customizes justified type spacing SPAN COLUMNS If you want to switch from single column to multiple columns in the same text box DROP CAPS AND NESTED STYLES Large initial caps and styles within a style GREP STYLE Globally Search a Regular Expression and Print, allows you to code to find and edit or style text through Find/ Change Box BULLETS AND NUMBERING Set up lists with auto bullet points or numbers CHARACTER COLOR Color of text, stroke alignment can also be defined here OPEN TYPE FEATURES Chose titling and/or swash alternative characters UNDERLINE OPTIONS Self explanatory EXPORT TAGGING Turns style into CSS and HTML for Epubs and websites designed in InDesign
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Character Styles These are used for stylizing text within in the paragraph, such as bold text, italic text, run-in subhead, customs bullets or numbers. GENERAL Shows the name of style BASIC CHARACTER FORMATS Basic text formatting ADVANCED CHARACTER FORMATS Baseline shifts
Table styles Used for stylizing multiple tables within a document. The style defines the outside border or the table, the dividing lines in the table, and the space above or below the tables and fills.
Cell styles Primarily used for stylizing individual cells or rectangular divisions of the table, borders around a cell, the text positioning in a cell and color.
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project 2 critique Overall the critique made me realize that I should use the design of the spread to make the reader want to use the text. Being able to see all the different ways the text was used, and which elements everyone pulled out in their design showed how many options there were to create a dynamic layout. During this critique we discussed readability issues, such as pairing certain typefaces with a reversed background, the use of columns in your body text and what an appropriate body text would be. Along with this we talked about the use of pull quotes, how to appropriately use them, along with making sure your title isn't too vague.
TYPE II // JOURNAL // WEEK 4
A HER JOU
“SOMETIMES WE LOOK FOR GREAT WEALTH TO SAVE US, A GREAT POWER TO SAVE US,
RO’S UR
OR GREAT IDEAS TO FACE US, WHEN ALL WE NEED IS THAT PIECE OF STRING.” Is it my work or my life?
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.” When I take that journey and go down there and slay those dragons, do I have to go alone?
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: Why are there so many stories of the hero in mythology?
C: 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.
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.”
So in all of these cultures, whatever the local costume the hero might be wearing, what is the deed?
That’s all you need—an Ariadne thread.
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. 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?
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. 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”?
My general formula for my students is “Follow your bliss.” Find where it is, and don’t be afraid to follow it.
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.
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.
BILL MOYERS
+ JOSEPH CAMPBELL
Like all heroes, the Buddha doesn’t show you the truth itself, he shows you the way to truth.
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”. 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?
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.
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READIN G GRID, THINKING WITH TYPE BY ELLEN LUPTON USING LAYOUT GRIDS EFFECTIVELY, DESIGNERS INSIGHTS “TYPOGRAPHICA MEA CULPA, UNETHICAL DOWNLOADING” BY STEVEN HELLER “MY TYPE DESIGN PHILOSOPHY” BY MARTIN MAJOOR
DISCUS S I O N UNDERSTANDING AND USING GRIDS
IN -CL AS S TEAM ASSIGNMENTS, BEGIN WORK ON COLLABORATIVE ELEMENTS OF STYLE LAYOUT ELEMENTS OF STYLE CRITIQUE
ASSIGNM E NT ELEMENTS OF STYLE
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5 week
reading notes Grid, thinking with type by Ellen Lupton Grids can be as simple or complex as one desires, examples of grids include »» single column girds »» multicolumn grid »» modular grid »» baseline grid When designing a spread, grids are important in guiding where to place elements, so you can maintain consistency and unity to all your spreads.
Using layout grids effectively, designers insights There are two main types of grid layouts, landscape and vertical. It is important to always use a grid for your design projects, so you can repeat the look consistently, ensuring your projects to have visual harmony. You should also leave room for the binding method, be aware of the rule of thirds and the golden ratio.
“Typographica mea culpa, unethical downloading” by Steven Heller Steven Heller describes the guilty revelation experienced when he learned that typeface software licenses are sold for use of specific, not unlimited numbers of CPU's. He calls for the ethical treatment of type designers. He mentions how designers give other designer typefaces,
TYPE II // JOURNAL // WEEK 5
and that half of the designers aren't aware they are using an illegal version of a typeface. It is important to be aware of the ethics behind design, typefaces specifically.
“My type design philosophy” by Martin Majoor This article by the designer of Scala and Seria is as much a typographic guide and history lesson as it is a personal account of his approach on type. It is okay to mix a serif typeface with a sans serif typeface, but it is important to note that some combinations work better than others. The article takes a closer look at typefaces such as Futura, Akzidenz Grotesk, and Univers. Univers is given recognitions for having a family that consists of so many different weights. Type should “shake hands and work together in harmony.”
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grid structure GOLDEN SECTION A:B=B: (A+B) The smaller of two elements relates to the larger element in the same way that the larger element relates to the two parts combined Used to create grids, page formats, deriving sized and proportions SINGLE-COLUMN GRID Simplest grid, one column of text Experiment with margins and add guides to your master pages Books and magazines should be designed as spreads — mirror image (facing pages) MULTICOLUMN GRID Provides a flexible format and can integrate text and illustrations The more columns, the more flexible your grid can be Text or time can span one column or several
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MODULAR GRID Most complicated Contents, type of text and imagery can be the deciding factor whether or not you use a modular grid Common points of alignment TABLES STYLES Cell Options > strokes and fills (option + click off of blue lines)
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project 3 critique Elements of style critique Some basic problems found through this critique were with the assembly of the actual book. Paper wants to fold with the grain, not against, which will mean it the paper will need extra scoring. Make sure to only put the name of the book and section number on the cover. Overall, the text size of our booklets was relatively small, along with the margins being small. Things learned from this critique was to make generous margins, watch for orphans and widows along with watch for line length issues. Overall, less is more, which was a common phrases that was repeated throughout the whole critique, along with consistency, which should be maintained throughout the entire project.
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The Elements of Style [ section two ] Elementary Principles of Composition
[ NINE ]
INTRODUCTION
Make the paragraph the unit of composition: one paragraph to each topic.
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.
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.
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.
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 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
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.
Co.); James P. Kelly, Workmanship in Words (Little, Brown and Co.).
A report on a poem, written for a class in literature, might consist of seven paragraphs:
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
A. Facts of composition and publication. B. Kind of poem; metrical form. C. Subject.
of the masters of literature.
William Strunk, Jr. New York 1918 elements of style section two
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 indicate the leading ideas and show how they are made prominent, or would indicate what points in the narrative are chiefly emphasized.
1.
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.
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.
A. Setting. B. Plot. C. Characters.
Ending with a digression, or with an unimportant detail, is particularly to be avoided.
D. Purpose. A historical event might be discussed under the heads:
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.
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.
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
As a rule, single sentences should not be written or printed as paragraphs. An exception may be made of sentences of tran-
elements of style section two
3.
[ TEN ]
sition, indicating the relation between the parts of an exposition or argument.
A novel might be discussed under the heads:
4.
elements of style section two
elements of style section two
5.
elements of style section two
7.
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READIN G “A VIEW OF LATIN TYPOGRAPHY IN RELATIONSHIP TO THE WORLD” BY PETER BIL’AK
IN -CL AS S WORK ON COLLABORATIVE ELEMENTS OF STYLE FINAL CRITIQUE, TEAM VERSION
ASSIGNM E NT COLLABORATIVE ELEMENTS OF STYLE BOOKLET
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6 week
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reading notes “A view of latin Typography in Relationship to the World” by Peter Bil’ak »» Printing was invented in China around 1040 AD »» Thousands of Chinese characters, which makes it much more complex to print a Chinese document »» Gutenberg Press, 1436, in Germany, even though we think of this as the first printer, we need to take into consideration of other cultures (ex: Chinese) »» Ancient Greek came before ancient Roman Even today, typography as a discipline continues to be Eurocentric bias. Many of typography history books are limited to Western Europe, but typefaces that are not Latin, called “Orientales” are ignored in this history.
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project 3 critique Elements of style collaboration critique TEAM MEMBERS »» Mike Miller »» Zach Baker TYPOGRAPHY Breathing room/margins help readability A single typeface can go a long way Spacing between paragraphs Contrast between typefaces, but not too much It's okay to have blank pages GRAMMAR Use the active voice Making sure book titles are italicized Don't hyphen proper nouns INDESIGN How to redefine paragraph styles Table styles Sharing paragraph styles Tabs Cell Styles
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Make sure to check print blank pages Print to double check everything is looking good off screen, as it does on screen Correct number of pages for booklet TIME MANAGEMENT LOL Make sure to allow for 2x as much time as you think you'll need for printing
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THE ELEMENTS OF STY L E
THE ELEMENTS OF STYL E
TH E E L EM E N TS OF STY L E
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INTRODUCTION
THE ELEMENTS OF STYLE S E C T I O N I I : E L E M E N TA R Y PRINCIPLES OF COMPOSITION
WILLIAM STRUNK, JR. N E W YO R K 19 18
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 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.).
2
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.
F. Wherein characteristic of the writer. G. Relationship to other works.
NINE
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.
M A K E T H E PA R A G R A P H T H E U N I T O F C O M P O S I T I O N : O N E PA R A G R A P H T O E AC H TO P I C .
E L E M E N TA R Y P R I N C I P L E S OF COMPOSITION
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.
A novel might be discussed under the heads: A. Setting. B. Plot. C. Characters. D. Purpose.
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.
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.
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:
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.
A. Account of the work. B. Critical discussion. A report on a poem, written for a class in literature, might consist of seven paragraphs:
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.
ELEMENTS OF STYLE
|
S E C T I O N T WO
1.
2.
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READIN G “LAVA — VOICE OF A MAGAZINE” BY PETER BIL’AK THE FIRST THINK I EVER DESIGNED: ELENA SCHENKER AND “GRATUITOUS TYPE” MAGAZINE
IN -CL AS S PRESENT ZINE CONCEPTS, PLAN SECTIONS AND FORMAT GRID STUDIES FOR ZINE PROJECT
ASSIGNM E NT ZINE PROJECT
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reading notes “Lava — Voice of a Magazine” by Peter Bil’ak Lava — Voice of a Magazine explains the story behind thy typeface, Lava. It was created by Peter Bil’ak who wanted to design a typeface that was a modified version of Gil Sans, Plantin and Trade Gothic. Lava was turned into the voice of this specific magazine, which was an important part of the creation of Lava. The typeface was deigned for both print and screen, to ensure the consistency of the magazine both as a print and online.
The First Think I Ever Designed: Elena Schenker and "Gratuitous Type" Magazine Elana Schlenker created Gratuitous Type Magazine, which started off as a personal project. She wanted to create a type magazine that have more of an international perspective and aesthetic. This article talked about the steps she took to create the magazine along with tips she learned along the way. »» Trust yourself and your abilities »» You know what's in your mind, trust your instincts »» Give yourself the time you need to get it right
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magazine structure Magazine article options Who did it best? In good taste — examples of bad type Typographer profile Modern-day hand lettering So you need a typeface‌ Top 5 typography instagrams Supermarket type exploration Revival of hand-painted signs Type blown upon huge skyscrapers Photos of type on curved surfaces Evolution of the ampersand Star wars movie type evolution Gravestone typography Free fonts that don't suck Olympic game typography Blogs to follow Restaurant menus Type quiz Design studio showcase Photos of designers handwriting Text and tattoos
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TYPES OF MAGAZINE SECTIONS Photo essays Social Media Technical Stuff 1–2 featured articles Photos Advertisements
Grid analysis After completing this project, I realized how each magazine has an overall grid structure that can be broken up in many different ways. It was very interesting to see how the widths of the columns of text were related. After this assignment I have a clearer understanding of how a grid can assist in your design, and will help you create a number of spreads, that may not appear to be related at first glance, but actually are.
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READIN G “ERIC GILL GOT IT WRONG; A RE-EVALUATION OF GILL SANS” BY BEN ARCHER “BEAUTY AND UGLINESS IN TYPE DESIGN” BY PETER BIL’AK
DISCUS S I O N SELECTING TYPEFACES WITH A CRITICAL EYE MAGAZINE PLANNING: CHALLENGES AND STRATEGIES TAD CARPENTER
IN -CL AS S START EXPERIMENTING WITH LAYOUT AND DEVELOPING MAGAZINE GRID
ASSIGNM E NT ZINE
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reading notes “Eric Gill got it wrong; a re-evaluation of Gill Sans” by Ben Archer Gil Sans is the Helvetica of England; utalitarian and yet also specific in its ability to point our notions of time and place. Although other writers have celebrated the individual qualities of Gill Sans Q, R, a, g and t. The author of this article argues that the majority of character shapes in Gill Sans are actually worse than in Johnston’s design of fifteen years previous. Encouraging students to approach Gil Sans with caution, as it is hard to use without making considerable effort.
“Beauty and Ugliness in Type design” by Peter Bil’ak This article examines the idea of a conceptual typeface. It shoes examples of the most beautiful typefaces (Bodoni and Didot) and some of the ugliest typefaces (Italian), trying to figure out how to combine the two. Overall the goal is to show how closely related the beautiful and ugly typefaces are.
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tad carpetner Tad Carpenter workshop notes “CUSTOMERS MUST RECOGNIZE THAT YOU STAND FOR SOMETHING” Tad Carpenter, a designer and illustrator came to Cal Poly, where he showed his work in the University Art Gallery and held a logo workshop. During his workshop, before we started working on our logo design Tad talked to us about how to design a brand. The three pieces to creating a conceptually strong idea is research, positioning and writing. “A brand is a person's gut feeling about a product, service or company.” A brand holds three primary functions, navigation, reassurance, and engagement. He went into explaining what the types of brands exist: founder, descriptive, fabricated, metaphor, acronym, magic spell and combination. These can be paired with a tag line which can be more descriptive if the brand name a more abstract, and visa versa. Another important idea to take into consideration when creating a logo is asking yourself constantly, “Does this mark need to be there?” and if it doesn't, remove it!
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selecting typefaces When selecting a typeface it is very important to consider the use of the document you are creating. You want a typeface with a good weight and a tall x-height. The tall x-height ensures good readability whereas typefaces with short x-heights are difficult for long passages. You should avoid generic typefaces, along with avoiding picking two typefaces that are very similar.
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READIN G “AN IDEA OF A TYPEFACE” BY KAI BERNAU A TYPEFACE DESIGNED TO REVIVE THE ENDANGERED CHEROKEE LANGUAGE
IN -CL AS S ZINE CRITIQUE, FIRST FULL LAYOUT
ASSIGNM E NT ZINE PROJECT
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reading notes “An Idea of a typeface” by Kai Bernau Aware that there is no such thing as total neutrality, Neutral typeface explores how the absence of stylistic associations can help the reader to engage with the content of a text. »» Neutral uses design principles to examine timelessness, archetypes and neutrality in graphic design, and specifically in type design. »» Neutrality can be elusive and ambiguous quality. »» 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 »» A typeface that is both a tool for designing and a tool for reading »» The fewer the details, the more invisible the typeface becomes, and the clearer the text is
A Typeface Designed to Revive the Endangered Cherokee Language With 316,000 members, the Cherokee are the largest tribal nation in the United States, but only 22,000 native speakers remain. However, a there are only a few typefaces designed for their Cherokee language and among these typefaces, all are designed very poorly. Designer Mark Jamra was moved by the need of a typeface in this language, which could help preserve the language
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and culture, so he began to adapt his Latin typeface he already had in the worked. He names his typeface Phoreus Cherokee which means the carrier of Cherokee in Greek. This serif typeface is a harmonious mixture of closed and open sans, straight strokes and playful curves.
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DISCUS S I O N
1
FORMAT OF THE FINAL TYPE ZINE PRESENTATION
GUIDELINES FOR THE JOURNAL PROJECT
IN -CL AS S ZINE CRITIQUE
ASSIGNM E NT ZINE
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project 4 TY POGRAPHY everyday
Letter from the Editor What is typography? Why does it matter? How does it impact our lives? The Merriam-Webster definition of “typography” is: “the work of producing printed pages from written material” or “the style, arrangement, or appearance of printed letters on a page.” How those letters, words, and sentences are styled and arranged affects how they are perceived. Good typography clarifies content, establishes hierarchy, and presents information in a manner that makes it easier to read, and, therefore, to understand. Typography is also intertwined with our daily lives—we encounter type in everything from the products we buy, the signage around us, the books we read, the news we consume, and the directions we follow. Typography can be beautiful, functional, persuasive, and inviting. It can also fail, especially when there is a disconnect between how the type looks and what the text says.
COV E R A R T BY C R A I G WA R D
This debut issue of Typography Everyday was conceptualized and created by students in Art 338: Typography II at California Polytechnic State University in San Luis Obispo during winter quarter 2016. Students selected all topics included in this issue and the content ranges from the current hand-lettering revival, to lettering in tattoos, to the challenges of creating an Arabic script font, to type in popular film posters. The eclectic nature of this content reflects the diverse interests of the students in the class and the many ways in which we encounter typography in the everyday.
Charmaine Martinez March 2016
Wi n t e r 2 0 1 6 III
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CURRENT
The Revival of America's Hand-Painted Sign Industry [ 1–3 ] Tattoos & Type [ 5–7 ] Why Hand-Lettering is Making a Comeback [ 8–13 ] H I S T O R Y & C U LT U R E
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Typography in film [ 14–21 ] Today's Top five Typographers [ 22–41 ]
CO N TEN TS
40
Harir, Reducing Noise in Arabic Script [ 42–45] Evolution of the Ampersand [ 46–49 ] RESOURCES
Our Favorite Typography Intsagrams [ 4 ] Designers & Their Go-To Typefaces [ 51–55 ] Free Fonts that don't suck [ 56–57 ]
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typography in
film T Y POG R A PH Y E V E RY DAY | history & culture
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“The most important goal for me when I started to design was to make an impact, through direct, bold images. ” ¨ Alex Trochut was born in 1981 in Barcelona, Spain. After completing his studies at Elisava Escola Superior de Disseny, Alex established his own design studio in Barcelona before relocating to New York City. Through his design, illustration and typographic practice he has developed an intuitive way of working that has resulted in his expressive visual style. For Alex, typography functions on two hierarchical levels. First, there is the image of the word we see; reading comes secondary. As a designer, Alex focuses on the potential of language as a visual medium, pushing language to its limits so that seeing and reading become the same action and text and image become one unified expression.Mixing styles and genres and drawing equally from pop culture, street culture, fashion and music, Alex has created design, illustration and typography for a diverse range of clients: Nike, Adidas, The Rolling Stones, Katy Perry, BBC, Coca-Cola, Pepsi, The Guardian, The New York Times, Time Magazine and many others. Alex’s work has been internationally recognized, appearing in in exhibitions and publications worldwide. He has given talks and been honored by the Art Directors Club––including being named a 2008 Young Gun––the Type Directors Club, and the Creative Review, among others. His monograph, More Is More, explores his working methodologies and influences and was published in 2011. Alex currently lives and works in Brooklyn. •
alextrochut.com
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