Fundamentals of Layout and Design: Spring 2019 by rit810

Fun! damentals of Layout and Design Spring 2019

This book is a brief sample of student work, ideas and information from the Spring 2019 Fundamentals of Layout and Design class for photographic sciences undergraduates at RIT. This is the imprint page; this paragraph is in 12-point Trebuchet. The other five typefaces below are also set in 12-point type: eeee Trebuchet oooo

eeee Gill Sans oooo

eeee Baskerville ooo

eeee Bodoni oooo

eeee Palatino oooo

eeee Century oooo

And here they are in 48 on 72:

eeee Trebuchet oooo eeee Gill Sans oooo eeee Baskerville oooo eeee Bodoni oooo eeee Century oooo eeee Palatino oooo

Contents

People 1 Type 5 Student Work 6 Review

A Few Student Book Covers

Edited for Bulletin Boards Puzzles Bibliography

Credits

26 50

The 90-point display type (Impact) on the title page of this book is aligned optically, not mechanically. If you zoom in, you’ll see that the d, o, and a hang out to the left, beyond the red line. This optical alignment is the default alignment (no interference from me). The typeface you’re reading now is Adobe Caslon Pro, 12 on 16 (with Ligatures on). The other type on this page is Rockwell.

Hermann Zapf, who designed Palatino (this typeface), Optima, Zapfino, URW Grotesque & Michelangelo

(1) People: Who said what?

1.) W.A. Dwiggins

a.) PowerPoint is evil.

2.) Paula Scher

b.) Lines of type are like flights of stairs. If each flight is too long, it’s exhausting. If each flight is too short, it’s annoying. Eight to twelve words in a line are most comfortable for reading body copy.

3.) Massimo Vignelli 4.) Marshall Lee: author of Bookmaking 5.) Beatrice Warde

c.) Good design is never boring, only bad design is.

6.) Kim Golombisky

d.) Designers learn by doing.

7.) Edward Tufte

e.) A type that stops you in the middle of a sentence and asks you to admire its smartness is a bad type.

8.) Erik Spiekermann 9.) David Carson: set a magazine article (that he thought was boring) in Zapf Dingbats

f.) The cardinal sin in design is to be equivocal and vague. g.) There is nothing simple or dull in achieving the transparent page. Vulgar ostentation is twice as easy as discipline. h.) White space is not your enemy. i.) What type shall I use? The gods refuse an answer. They refuse … because they do not know. j.) Don’t confuse legibility with communication.

People: Match the name of the person with his or her picture.

1. Massimo Vignelli 2. Beatrice 2. Beatrice Warde Warde 3. Hermann Zapf 4. Paula Scher 5.5.Lella LellaVignelli 6. Vignelli Jonathan Hoefler 7. Erik Spiekermann 8.8.Matthew MatthewCarter 9. Carter Tobias Frere-Jones

These two pages set in Morris Benton’s Century Schoolbook, 16 point.

Morris Benton

JuneWarde 14 3. Kim Golombisky 1. Claude Garamond 2. Up 2. until Beatrice Carson 4. R. Roger Remington 5. David 5. Lella Vignelli 6. Edward Tufte Otto Neurath 7. Morris Benton 8.8.Matthew Carter 9. William Morris

ABCDEFGHIJ KLMNOPQRS TUVWXYZ

abcdefghijklmno pqrstuvwxyz Ziâ&#x20AC;&#x2122;s Garamond, from our first class session, source of image unknown 4

(2) Type

â&#x20AC;&#x160;

Can you identify these typefaces? All are shown in 14 point. This is Franklin Gothic Book.

1. The quick brown fox jumped over the lazy dog. A E G J M Q R X 2. The quick brown fox jumped over the lazy dog. A E G J M Q R X 3. The quick brown fox jumped over the lazy dog. A E G J M Q R X 4. The quick brown fox jumped over the lazy dog. A E G J M Q R X 5. The quick brown fox jumped over the lazy dog. A E G J M Q R X 6. The quick brown fox jumped over the lazy dog. A E G J M Q 7. The quick brown fox jumped over the lazy dog. A E G J M Q R X 8. The quick brown fox jumped over the lazy dog. A E G J M Q R X 9. The quick brown fox jumped over the lazy dog. A E G J M Q R X 10. The quick brown fox jumped over the lazy dog. A E G J M Q R

Typefaces: Bodoni MT, Palatino Linotype, Century, Garamond, Lucida Sans, Gill Sans MT, Franklin Gothic Book, Baskerville Oldface, Goudy Old Style, Adobe Caslon Pro 5

(3) Student Work

JOAN G. MALLEY MANAGING DIRECTOR

89 Rossiter Road, Rochester, NY 14620 Cell: 585.734.5565 Phone: 585.473.1779 harborhouseofrochester@gmail.com harborhouseofrochester.org

Rebekah’s winning business card

Carly’s winning redesigned poster

See Credits, page 48, for additional student work information

MAX BROOKS Author Of World War Z and The Zombie Survival Guide

10 LESSONS

FOR SURVIVING A ZOMBIE ATTACK

EXCLUSIVE BOOK SIGNING

7:30 PM October 22 Burruss Auditorium

$10 Students $15 Faculty $20 Public

ABCD a b c d NO P Q n o p q

E e R r

F f S s

GH g h TU t u

I J K i j k VWX vwx

LM l m Y Z y z

O ptima

The sea is full of waves; no ships are entering the port. She stands on the pier and looks at the north. Blue silk flies on hoarfrost. The answer that was not mentioned in the letter. Silly girl, wearing a flower, waiting for him to come back. A small mouth can’t sing love songs. Qingshan is still the same, she does not realize her sadness. Yes, she feels affectionate, but don’t ask her, “Are you still willing?” The sea is full of waves; no ships are entering the port. She stands on the pier and looks at the north. Blue silk flies on hoarfrost. The answer that was not mentioned in the letter. Silly girl, wearing a flower, waiting for him to come back. A small mouth can’t sing love songs. If there is an afterlife, are you still willing? —Yujiang Dong

Optima, designed by Hermann Zapf 1955–1958, Frankfurt D.Stempel AG type foundry The image was taken by Zisheng Huang

abcdef ghijf l mnopqrstuvw xyz 1234567890

ABCDEFGHIJ KLMNOPQRS TUVWXYZ

Regular • Italic • SemiBold • SemiBold Italic • Bold • Bold Italic

BASKERVILLE

Baskerville, designed in 1754, is most known for it s c r isp e d ge s, h i g h c ont r ast and ge ne rous proportions. The typeface was heavily influenced by the processes of the Birmingham-bred John Baskerville, a master type-founder and printer, who owed much of his career to his beginnings. As a servant in a clergyman’s house, it was his employer that discovered his penmanship talents and sent him to learn writing. Baskerville was illiterate but became ver y interested in c a l l i g r aphy, and pr a c t is e d handw r it ing and inscription that was later echoed in strokes and embellishments in his printed typeface. B a s k e r v i l l e i s c at e g or i z e d a s a t r a n s it i on a l typeface in-between classical typefaces and the high contrast modern faces.

ABCDEF GHIJKLM NOPQRST UVWXYZ abcdefghi jklmnopqrs tuvwxyz 0123456789 !?#$%&*()

Mrs Eaves

Mrs Eaves was created by Zuzana Licko in 1996 as her first attempt at a traditional font. Modeled off Baskerville, Mrs Eaves gets its name from Sarah Eaves, the maid and eventual wife of John Baskerville. Licko reduced the contrast but maintained the openness and lightness of the original font. The lowercase letters are wider in proportion, and the x-height is shorter relative to the capital letters. Mrs Eaves has been deemed the “imperfect yet pleasing” type, due to its “loose” spacing and overall disjointed appearance. Although “pleasing”, this typeface is not often seen in larger bodies of text- “elegant presence to short text”.

News Gothic... Virginiaâ&#x20AC;&#x2122;s type specimen sheet (unedited)

Morris Fuller Benton â&#x20AC;˘ 1908

Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz 0 1 2 3 4 5 6 7 8 9 ! ? . , & # Medium / Oblique / Bold / Bold Oblique A LONG TIME AGO IN A GALAXY FAR, FAR AWAY... News Gothic follows the grotesque model, resembling serif text faces of the period, with a double-storey lower-case a and g. Also distinctive are the blunt terminus at the apex of the lowercase t, and the location of the tail of the uppercase Q completely outside the bowl. The letter forms are compact, and descenders are shallow. The typeface differs from other realist sans-serifs in its rather light weight and open letterforms, contributing to a less severe, humanist tone of voice.

Rochester Institute of Technology School of Photographic Arts & Sciences College of Art and Design Frank E. Gannett Hall 70 Lomb Memorial Drive Rochester, NY 14623-5604

Bob Rose School of Photographic Arts & Sciences Rochester Institute of Technology Rochester, NY 14623

Focus-stacked image by Zisheng Huang.

This Spring 2019 edition of Focus Stacking was designed and laid out by photo students in Fundamentals of Layout and Design, pictured on the right. They used Adobe InDesign software, and the newsletter was printed on McCoy Silk, 100-pound text paper, on a Kodak NexPress ZX3900, in the Printing Applications Lab (PAL) at RIT. Many thanks to Barbara Giordano and John Dettmer at PAL for helping us with this variable data printing (VDP), mail-merge newsletter. The text is set in Verdana, 10 on 15. Each student designed a completely different newsletter, and all eight were printed in one press run. The students would like to thank the School of Photographic Arts & Sciences Administrative Chair Therese Mulligan, Associate Administrative Chair 12 Michael Peres, and Photographic Sciences Programs Chair Christye Sisson for this opportunity.

Pictured above are the students in the Fundamentals of Layout and Design Spring 2019 class. Top row, left to right: Zisheng Huang, Gabrielle Brogle, Mia Guariano, Virginia Seabright. Bottom row: Carly Nyiri, Rebekah Greenberg, Zoe Miller. Photo by Dabin Yi.

Focus Stacking One of the big challenges in photography is determining what area of the image to focus on. How you choose to best capture the area of critical focus will also necessarily impact the image areas both in front of and behind the focus point. The depth of field (DOF) can be intentionally shallow to accentuate one detail of the intended image, or deep, to bring more parts of it into focus. In close-up photography, as magnification increases, DOF decreases. It can become so shallow that interesting aspects of the photograph are not at all sharp. While some out-offocus areas in a photograph can invoke a “real world” feel, in scientific photography, sharply focused images are especially desirable. At the beginning of RIT’s spring 2019

in less light to sharpen focus requires slowing the shutter speed and also causes optical degradation—both contributors to blurry images. One way to solve this problem is to use a digital image processing technique called “focus stacking.” The photographer locks the camera settings and captures multiple images of the same subject, changing only one variable, the focus point. Later, these images are combined (or stacked) to create an image with more depth of field than would be possible with a single exposure. Think of photographing a loaf of bread: in focus stacking, each slice is photographed in place individually, and then the image slices are stitched together by focus stacking software. Every slice contributes only the sharpest details to the final image, and when blended, results in an image where the whole loaf is in focus. Focus stacking allows the photographer to create images that would be physically impossible

semester, second-year photo science students spent four weeks experimenting with microscopy. Shooting through a microscope showed them the challenges of a limited DOF, because the closer you get to an

to generate with normal imaging equipment. Adding focus stacking to one’s repertoire as a photographer is a great way to capture very fine details.

image, the shallower the DOF gets.

A series of images can simply be

But at the same time, some of the most interesting images in microscopy are the ones with more depth, so the students naturally wanted to increase the DOF. Conventional microscopes don’t allow control over DOF, so getting the entirety of a subject into focus is impossible. Even at lower magnifications, regardless of how the camera is set up, every detail of an image cannot be captured. Stopping down the aperture to increase DOF has its limits, since letting

combined automatically in Photoshop or with other software such as Zerene Stacker. The multiple images must be precisely spaced, which is tedious to do manually in the real world, but can be aided by automated mechanical systems such as StackShot for closeup, macro photography.

continued on page 2

Although the origins of pasta are quite foggy, it is believed that “pasta” was first brought to Sicily, Italy by Arab merchants in the form of dried noodles called Itriyah. Pasta may not have been completely invented by the Italians, but they were the first to mass produce pasta and serve it with sauce. Nowadays, many countries around the world have adopted their own form of pasta.

Popular

PASTAS of italy

Pasta is traditionally made using unleavened dough from mixing durum wheat and water or eggs. After the dough is formed, it can be molded into different shapes or rolled out. From here, the pasta can either be boiled or baked. Please note that the following pastas are not the only pasta types that exist and there are many, many more delicious variations of this Italian staple.

Long

Spaghetti

thin and classic

Linguine

Parpadelle

Fettuccini

flat, thin; ribbons

thick ribbons

very thick and flat

Campenelle

Fusilli (Rotini)

Small

Ravioli

square or round; with filling

Farfalle

fluted; petal shaped

“bowties” or butterflies

twist-shaped

Hollow & Short

Penne Rigate ridged, slanted; tube shaped

Maccharoni

semicircle and curved

Ziti

smooth hollow tubes

Rigatoni

ridged hollow tubes

Conchiglie shell shaped

Sources: https://en.wikipedia.org/wiki/Pasta, https://www.ecrater.com/p/29721215/use-your-noodle-pasta-shapes?gps=1&id=81021330019&gclid=EAIaIQobChMIpr7fvevB4QIVBODICh1vCQ4 0EAYYBCABEgKDn_D_BwE, https://www.youtube.com/watch?v=GTOCBaDBVGI, https://theromanguy.com/italy-travel-blog/italy/italy-food/italian-pasta-shapes-infographic/,

ReviewReview (4) Design Principles from Williams, p. 13 • contrast Contrast is often the most important visual attraction on a page—it’s what makes a reader look at the page in the first place. • repetition You can repeat colors, shapes, textures, spatial relationships, line thicknesses, fonts, sizes, graphic concepts, etc. This develops the organization and strengthens the unity. • alignment Nothing should be placed arbitrarily. Every element should have some visual connection with another element on the page. This creates a clean, sophisticated, fresh look. • proximity Items relating to each other should be grouped close together. When several items are in close proximity to each other, they become one visual unit rather than several separate units. This helps organize information, reduces, clutter, and gives the reader a clear structure.

“Design Sins” from Golombisky, p. 34 • centering everything • warped or naked photos • too many fonts • bulky borders & boxes • cheated or missing margins • stairstepping • four corners & clutter • trapped negative space • busy backgrounds • tacky type emphasis: reversing, stroking, using all caps, underlining • bad bullets • widows & orphans • justified rivers

Williams, p. 198

(5) A Few Student Book Covers

â&#x20AC;&#x160;

This 32-page book is available on issuu.com

This 40-page book is available on issuu.com

This 35-page book is available on issuu.com

Traveling SiSTerS

This 38-page book is available on issuu.com

By Zisheng Huang

(6) Edited for Bulletin Boards HUMANIST SANS‑SERIF

GILL SANS ABCDEFGHI JKLMNOPQR ST UVW XY Z abcdefghijklmnopqrstuvwxyz 1 2 3 4 5 6 7 8 9 0 . . . ( & ! ? / )

Created in 1928 by the English sculptor, sign painter, type designer Eric Gill. This font is based off Edward Johnston’s type for the London Underground Railroad of 1916.

Learn

CHARLESTON with the

Brick City Boppers

Thursdays at 8 PM Bamboo Room â&#x20AC;¢ Campus Center 2610 Partner not required Beginners always welcome

Come dance with us!

Human Color Preferences

People who prefers cooler image

(higher CT)

People who prefers warmer image

(Lower CT)

People who prefers the stantrad image

(Standrad CT)

Original data from Zisheng Huangâ&#x20AC;&#x2122;s 2019 Color Preference study. The study intend to explore the peopleâ&#x20AC;&#x2122;s sensitivity of blue color and their color preference through the different toning of the same photo. 57 participants chose an image without any color adjustment. 79 participants preferred a higher color temperature (cooler color cast) 29 participants preferred a lower color temperature (warmer color cast) 1 symbol = 3 study participants

(7) Puzzles Week 1 Across 1. 2. 3. 4. 5. 6.

printing by pressing paper against a raised, inked surface metal or wood type and all the spacing material positioned around it, ready to be printed a steel ruler, used by printers, that measures inches, picas, and points the flat area of a letterpress press on which the printing form is held in place an abbreviation that printers use for "composing stick" a piece of copper into which a punch was hammered, to create a cavity with the shape of a letter sunk into it 7. a device that holds a matrix, ready to be filled with molten type lead to create a piece of type 8. the principle of design by which the designer groups related items together

Down 1. the vertical space between two lines of type 2. variously-sized pieces of metal or wood that are used to create visual space in letterpress printing 3. an adjustable metal case that holds metal type as a person sets type by hand 4. a piece of type whose raised image consists of two or more letters 5. variously-sized pieces of metal or wood that hold a form in place on the bed of the press 6. a metal tray that holds a form 7. a particular style of type 8. the metal fingers that hold the paper on the impression cylinder in letterpress printing 9. individual pieces of wood or metal with raised images on them, used for letterpress printing 10. a bar of metal used for holding a line of type in place and for spacing between lines of type in letterpress printing 11. a small roller used to apply ink to a form by hand 12. one of the country's premier libraries on the history and practice of printing and graphic communications 13. a brand of letterpress cylinder press

Week 1 Week 1

Across

1. 2. 3. 4. 5. 6.

printing by pressing paper against a raised, inked surface 1. printing by pressing paper against a raised, inked surface metal or wood typetype and allallthe materialpositioned positioned around it, ready to be printed 2. metal or wood and thespacing spacing material around it, ready to be printed a steel ruler,ruler, used by by printers, inches, picas, points 3. a steel used printers,that thatmeasures measures inches, picas, andand points thearea flat area a letterpresspress presson on which which the form is held in place the4.flat of aofletterpress theprinting printing form is held in place an abbreviation printersuse usefor for "composing "composing stick" an 5. abbreviation thatthat printers stick" 6. a piece of copper into which a punch was hammered, to create a cavity with the shape of a a piece of copper into which a punch was hammered, to create a cavity with the shape of a letter sunk into it letter sunk into it 7. a device that holds a matrix, ready to be filled with molten type lead to create a piece of type 7. a device that holds a matrix, ready be filled with related moltenitems typetogether lead to create a piece of type 8. the principle of design by which thetodesigner groups 8. the principle of design by which the designer groups related items together

Down

1. the vertical space between two lines of type 2. variously-sized pieces of metal or wood that are used to create visual space in letterpress 1. the vertical space between two lines of type printing 2. variously-sized pieces metal or wood that to create space in letterpress 3. an adjustable metal of case that holds metal typeare as used a person sets typevisual by hand printing 4. a piece of type whose raised image consists of two or more letters variously-sized metal or wood thattype holdas a form in place on the bed the press 3. an 5. adjustable metalpieces caseofthat holds metal a person sets type byofhand 6. a metal tray that holds a form 4. a piece of type whose raised image consists of two or more letters 7. a particular style of type 5. variously-sized pieces of metal or wood that hold a form in place on the bed of the press 8. the metal fingers that hold the paper on the impression cylinder in letterpress printing 6. a metal tray that holds a form 9. individual pieces of wood or metal with raised images on them, used for letterpress printing 7. a particular style ofused typefor holding a line of type in place and for spacing between lines of type 10. a bar of metal 8. the metal fingers that hold the paper on the impression cylinder in letterpress printing in letterpress printing 11. a small rollerof used to apply ink towith a form by hand 9. individual pieces wood or metal raised images on them, used for letterpress printing of the country's the history and and practice printing between and graphic 10. a 12. barone of metal used forpremier holdinglibraries a line on of type in place for of spacing lines of type communications in letterpress printing 13. a brand of letterpress cylinder press

11. a small roller used to apply ink to a form by hand 12. one of the country's premier libraries on the history and practice of printing and graphic communications 13. a brand of letterpress cylinder press

Vocabulary for week 1, Layout & Design A.

negative space

contrast repetition alignment proximity

punch matrix type, metal or wood

type size (in points) body (of type) composing stick form Garamond grippers leading letterpress printing ligature metal type Mistral pica rule proof setting type slug spacing material stick type case vs. typeface Cary Collection Vandercook press

E. font (of type) picas points type tool rectangle frame tool file: place fitting fit content proportionally picture box text box export pdf layout margins galley furniture mold brayer

type specs: heading—Garamond 18 pt. body—Garamond 14 pt. leading —maybe about 18 pt. (This page generated in Word)

Vocabulary for week 2, Layout & Design A.

flat color process color bleed

raster (bitmap) graphics vector graphics logo margins copy tags transparency

contrast repetition alignment proximity

regular, bold condensed expanded ascender descender letter spacing tracking kerning serif sans serif ragged right ragged left justify hanging indent E.

Gutenberg Bible typographer vs. type designer

D. typography specify (spec) a typeface F. flexography baseline gravure x-height offset lithography stress dye-sublimation weight of type ink jet set width of type stem structure of type type that is set solid type specs: type that is leaded heading—Goudy Text 24 point readability of type body—Goudy Text 18 point roman, italic leading—22 point body copy Blackletter type (also known as Gothic, Fraktur, Old English)

Week 2 Across 1. 2. 3. 4. 5.

a graphic image that can be scaled up or down infinitely without loss of image quality the stem of a lowercase letter projecting below the x-height all vertical strokes of a letter, and full-length oblique strokes as in V, W, and Y the height of the lowercase letters without ascenders or descenders the beginning or terminal stroke of a letter, drawn at right angle or obliquely across the arm, stem, or tail of that letter 6. the imaginary line supporting the bottom serifs of capitals and lowercase letters 7. design content that runs beyond the margins and off the edge of the page 8. a letter's relative amount of blackness

Down 1. the design principle that is followed when two design elements are different 2. the design principle that is followed when some aspect of the design is repeated throughout the entire piece 3. the design principle that is followed when every item on the page has a visual connection with something else on the page 4. the design principle that is followed when similar items are grouped together 5. the stem of a lowercase letter projecting above the x-height 6. the stroke attached to the bowl of the lowercase g [gift: this is called the ear]

Week Week Week333 Across Across Across 1.1. 1. slightly distorting letter characters as go ininsize, totocompensate for way slightly distorting letter characters asthey they goup upor ordown down size, compensate forthe thethe way slightly distorting letter characters as they go up or down in size, to compensate for way we see wewe see see 2.2. 2. the thing on layout that first captures the interest ofofthe reader thethe thing onyour your layout that first captures thethe interest thethe reader thing on your layout that first captures interest of reader 3.3. 3. adjusting the matrix totothe mold so aauniform character depth, the proper adjusting thethe matrix the mold soas asto toassure assure uniform character depth, thethe proper adjusting matrix to the mold so as to assure a uniform character depth, proper character baseline, the correct side bearings, and perfect squareness character baseline, thethe correct side bearings, and perfect squareness character baseline, correct side bearings, and perfect squareness

Down Down Down 1.1. 1. aacolumn ofoftypeset copy column typeset copy a column of typeset copy 2.2. 2. aafew lonely words stranded atatthe top ofofaof ofoftype few lonely words stranded thethe toptop aleg leg type a few lonely words stranded at a leg of type 3.3. 3. the invisible horizontal line against which the tops of capitalized glyphs align ininain thethe invisible horizontal line against which the tops of capitalized glyphs align aparticular particular invisible horizontal line against which the tops of capitalized glyphs align a particular font font font 4.4. 4. the rounded (fully orormodified) form ininsuch letters as thethe rounded (fully modified) form such letters aso, o,b,b, d,etc. etc. rounded (fully or modified) form in such letters as o,d,b, d, etc. 5.5. 5. the main block ofoftext that you read, as totoheadlines, sidebars, etc. thethe main block text that you read, asopposed opposed headlines, sidebars, etc. main block of text that you read, as opposed to headlines, sidebars, etc. 6.6. 6. the relief printing process that uses soft, rubber-like printing plates and fluid ink thethe relief printing process that uses soft, rubber-like printing plates and fluid inkink relief printing process that uses soft, rubber-like printing plates and fluid 7.7. 7. the vertical space between two lines ofoftype, measured from baseline totobaseline thethe vertical space between two lines type, measured from baseline baseline vertical space between two lines of type, measured from baseline to baseline 8.8. 8. the partially ororfully enclosed area ofofaof thethe partially fully enclosed area aletter letter partially or fully enclosed area a letter 9.9. 9. aare-introduction ofofaof based on examples ofofthat typeface re-introduction atypeface typeface based onprinted printed examples that typeface a re-introduction a typeface based on printed examples of that typeface

Vocabulary week 3, Layout & Design widow Bruce Rogers (B.R.) orphan Centaur type lining figures Nicolas Jenson Oldstyle figures Eusebius rivers Golden type fitting William Morris fleography Tobias Frere-Jones relief printing Hightower Text body copy Jonathan Hoefler leg Adobe Jenson measure Robert Slimbach line length Open type bowl Doves type counter type revival cap line Morris Benton crossbar Cloister Oldstyle set width proportional spacing measure optical scaling set solid focal point leaded leading Humanist type (also called Venetian Old Style)

This is a Word document set in 14 point Hightower Text, which was designed by Tobias Frere-Jones and published by Font Bureau in 1996. Hightower is loosely based on Jensonâ&#x20AC;&#x2122;s 1470s types.

You can read more about Tobias Frere-Jones and Hightower Text at this Font Bureau URL: http://tfj.fontbureau.com/#Hightower

Vocabulary for week 4 legibility

“When the printed page conveys information

readability

to the reader, without attracting attention to

typeface

itself,” Linn Boyd Benton wrote in 1906, “it is

glyph

ideal.”

from “The Making of Type,” in The

font

Building of a Book, ed. Frederick H.

kerning

Hitchcock (New York: World

tracking

Publishing Co., 1906), 32.

paragraph indent hanging indent display type all caps italics transitional oldstyle Harry Carter Beatrice Warde The Crystal Goblet Baskerville

This line is set in Microsoft’s Baskerville Old Face

Frederic Goudy Goudy Old Style

This line is set in Microsoft’s Goudy Old Style

Hermann Zapf Palatino

Microsoft’s Palatino Linotype, originally designed by Hermann Zapf

Century Schoolbook W.A. Dwiggins

This page is set in Microsoft’s Century Schoolbook

Week 4 Across 1. 2. 3. 4. 5.

the first line of the paragraph is set full measure and the following lines are indented a font that is designed to showcase font detail and shape at large headline sizes Golombisky calls this category of typeface the most "readable" the first name of the person who wrote The Crystal Goblet According to Warde, “printing is meant to convey specific and coherent ---" (what?)

Down 1. how easily the design of a typeface can be decoded 2. how well the arrangement of type on a page enables the reader to read it 3. the named design of the letterforms in a font, often extending to a “font family” 4. an individual character of a font 5. a complete set of characters in a particular size and style of type 6. adjusting letter spacing across all the characters in a sentence or a paragraph 7. should you increase or decrease the leading if the font you're using has a large x-height? 8. the first name of Matthew Carter's father 9. the first time The Crystal Goblet was given as a speech, it was titled: “Printing Should be ---" 10. "The printed page is ideal when it conveys information to the reader without attracting attention to ---." (to what?)

Week 4 4 Week

Across Across 1. 2. 3. 4. 5.

the first line of line the paragraph is set full measure and theand following lines are indented 1. the first of the paragraph is set full measure the following lines are indented a font is that designed to showcase font detail shape at largeatheadline sizes sizes 2. that a font is designed to showcase fontand detail and shape large headline Golombisky calls this category of typeface the most 3. Golombisky calls this category of typeface theʻʻreadableʼʼ most ʻʻreadableʼʼ the first name the person who wrote Crystal GobletGoblet 4. the first of name of the person who The wrote The Crystal According to Warde, ʻʻprinting is meant to convey specificspecific and coherent ---ʼʼ (what?) 5. According to Warde, ʻʻprinting is meant to convey and coherent ---ʼʼ (what?)

Down Down 1. how1.easily design of a typeface can becan decoded how the easily the design of a typeface be decoded 2. how2.well thewell arrangement of typeofontype a page the reader to readtoit read it how the arrangement on aenables page enables the reader 3. the named designdesign of the letterforms in a font, to a “font 3. the named of the letterforms in aoften font,extending often extending to afamily” “font family” 4. an individual character of a font 4. an individual character of a font 5. a complete set of characters in a particular size and style typeof type 5. a complete set of characters in a particular size andofstyle 6. adjusting letter spacing acrossacross all the characters in a sentence or a paragraph 6. adjusting letter spacing all the characters in a sentence or a paragraph 7. should you increase or decrease the leading if the font you're using has a large 7. should you increase or decrease the leading if the font you're using has ax-height? large x-height? 8. the first name Matthew Carter's father father 8. the first of name of Matthew Carter's 9. when Crystal GobletGoblet was given a speech, it was titled: ShouldShould be ---ʼʼ be ---ʼʼ 9. The when The Crystal wasas given as a speech, it wasʻʻPrinting titled: ʻʻPrinting 10. ʻʻThe page ispage idealiswhen conveys information to the reader withoutwithout attracting 10.printed ʻʻThe printed idealitwhen it conveys information to the reader attracting attention to ---.ʼʼ to (to---.ʼʼ what?) attention (to what?)

Week 5 Across 1. what you get if you mix equal amounts of each one of the primary colors with the one next to it 2. the color temperature of the red-orange-yellow side of the color wheel 3. add white to a hue to get this 4. color made with light 5. cool colors tend to recede into this place

Down 1. obtained by printing a CMY bedding and then on top of it, a full black layer of ink 2. a black made with CMY inks 3. the subset of the visible spectrum that can be reproduced with printing inks 4. if you are designing for a computer screen, this is the color mode should you work in 5. color pairs that are directly opposite each other on the color wheel 6. colors that are next to each other on the color wheel 7. add black to a hue to get this 8. the flat, thin, horizontal serifs that are typical of Modern typefaces 9. the classic Modern typeface 10. the type foundry in Germany that produced what Hermann Zapf considered to be the best version of Bodoni

Vocabulary for week 5

additive color

rich black

subtractive color

composite black

color gamut

Printing Applications Lab

process ink gamut (PIG)

Munsell Color Science Lab

hue

RGB

value

CMYK

saturation

under-color removal (UCR)

monochromatic color scheme

gray-component replacement (GCR)

color temperature (cool, warm)

image degradation

shade

hairline serifs

tint

typeface category: Modern

tone

Bodoni

CIELAB

lithography

substrate

dot gain

analogous colors

grippers

primary colors

gutters

secondary colors

margins

tertiary colors

imposition

extended gamut printing

complementary colors

ink spread

ink film thickness

split complementary color triad

Bauer Bodoni

Pantone Matching System

1234567890?&#!

This vocalulary list was generated on Microsoft Word, using 14-point Bodoni 72 Oldstyle.

Vocabulary for Week 7 broadside

Edward Tufte

cross alignment

Will Burtin

Akzidenz-Grotesk

Jacqueline Casey

Grotesque (also called Gothic, or Sans Serif)

Josef Albers

Neo-Grotesque

David Carson

Humanist Sans

Paul Rand

Geometric Sans

Wim Crowell

balance

Haas type foundry

organic form

Van de Graaf Canon

geometric form

“gridnick”

value

straight quotation marks

eye movement

curly or smart quotation marks

perspective small caps reverse type grid infographic incunabula gutter variable data printing

“The way something is presented defines the way you react to it.”

—Neville Brody

Week 6 and 7

Across 1. a design that delivers information graphically, such as in charts, maps, figures, and diagrams 2. someone who loves using grids, specifically, the Dutch designer Wim Crowell 3. the slightly oversized (because of binding) margin between two facing book pages 4. the concept of visual equilibrium in a design. The reconciliation of opposing forces in a composition in order to create stability 5. One of our class's favorite design sins is cheated what? 6. the eye's flow through the design 7. the kind of quotation marks you should use in regular body text, as opposed to straight ones, which are used to indicate inches and feet

Down 1. a nonprinted system of horizontal and vertical lines that divide the page and help the page designer align elements consistently 2. those books produced before 1500 3. typography rooted in angst and discontent; unfettered, unrestrained, a cry against convention 4. the Godfather of Grunge 5. the type foundry that released Helvetica 6. shapes (in a design) that are irregular, complex and highly differentiated. Or, shapes similar to those that are found in nature. This is also the opposite of geometric shapes 7. in a design, refers to tones of light or dark 8. the graphic designer from MIT who designed the Moon Show poster

Week 6 and 7

Across

Week 6 and 7

Across

1. a design that delivers information graphically, such as in charts, maps, figures, and diagrams 1. a design that delivers information graphically, such as in charts, maps, figures, 2. someone who loves using grids, specifically, the Dutch designer Wim Crowell and diagrams 2. someone who loves using grids, specifically, the between Dutch designer Wim Crowell 3. the slightly oversized (because of binding) margin two facing book pages3. the slightly oversized (because of binding) margin between two facing book pages 4. the concept of visual equilibrium in a design. The reconciliation of opposing forces 4. the concept of visual equilibrium in a design. The reconciliation of opposing forces in a composition in order to create stability in a composition in order to create stability 5. One of our favorite design sinssins is cheated what? 5. Oneclass's of our class's favorite design is cheated what? 6. the eye's flow through the design 6. the eye's flow through the design 7. the kind of quotation marksmarks you should useuse in regular as opposed opposedtoto 7. the kind of quotation you should in regularbody bodytext, text, as ones, which are used to indicate inches andfeet feet straight straight ones, which are used to indicate inches and

DownDown 1. a nonprinted system of horizontal and vertical lines that divide the page and help

1. a nonprinted system of horizontal andconsistently vertical lines that divide the page and help the page designer align elements the page designer elements 2. those booksalign produced before consistently 1500 typography rooted in angst and discontent; unfettered, unrestrained, a cry against 2. those3.books produced before 1500 convention 3. typography rooted in angst and discontent; unfettered, unrestrained, a cry against 4. in typography, the Godfather of Grunge convention 5. the type foundry that released Helvetica 4. the Godfather of Grunge 6. shapes (in a design) that are irregular, complex and highly differentiated. Or, 5. the typeshapes foundry that to released Helvetica similar those that are found in nature. This is also the opposite of 6. shapes (in a design) that are irregular, complex and highly differentiated. Or, geometric shapes shapes to those are of found in dark nature. This is also the opposite of 7. similar in a design, refersthat to tones light or 8. theshapes graphic designer from MIT who designed the Moon Show poster geometric 7. in a design, refers to tones of light or dark 8. the graphic designer from MIT who designed the Moon Show poster

Week 13 Across

1. a pair of facing pages considered as a unit for design purposes, and across which pictures or tables may be extended. Three words: a hyphen connects the first two (be sure to include this hyphen to make the word fit), and the third has no space in front of it. 2. variable data printing 3. an open or solid circle used to highlight individual features within a listing 4. a process to create personalized letters or mailings (two words but no space) 5. the fine unbracketed serifs and other thin strokes of typefaces classified as Modern (there’s a hyphen) 6. the “continued on page xx” notice on the first page of an article that is continued to another location in a printed publication 7. a printed line of text accompanying a news story, article, etc., giving the author’s name 8. as you fold more and more pages together into a thicker book, the thickness of the paper starts adding up, contributing to this phenomenon. To compensate you have to shift each page further away from the spine of the book. 9. printing by which the image is etched into a printing plate, lower than the rest of the plate. These lower areas are filled with ink, which is transferred to the paper by pressure and suction.

Down 1. a short string of text connected by a line, arrow, or similar graphic to a feature of an illustration or technical drawing, and giving information about that feature. Or, a short piece of text set in larger type than the rest of the page and intended to attract attention. 2. a panel or series of panels of rough sketches outlining the page sequence in a book. 3. the hinged back of a book 4. the detachable outer cover of a book, usually made of paper and printed with text and illustrations 5. a grid of horizontal lines to which you can snap the baselines of your text (two words but no space) 6. a serif form that is a smooth, curved transition from its point (or the thickest part of the stub) into the thick stem of the letter (two words but no space) 7. a line of text which appears in the head margin of pages other than chapter heads of a book, and which may give the book, part, chapter, section or subsection title or other reference. The folio may sometimes be included in this line of text. (two words but no space) 8. a key phrase, quotation, or excerpt that has been pulled from an article and used as a page layout graphic element, serving to entice readers into the article or to highlight a key topic. It is typically placed in a larger or distinctive typeface and on the same page. (Two words, and there’s a hyphen.) 9. display typefaces characterized by squared or slab serifs 10. a folded sheet, one leaf of which is pasted down to the front or back board of a book, and the other, the flyleaf, glued by a narrow band of adhesive to the first or last page of a book (looks like two words but it’s actually only one word) 11. the entry-line for the paragraph starts at the left margin, and subsequent lines lines are indented (two words 44but no space) 12. a right-hand page 13. a left-hand page

Week 13 Week 13 Week 13

Across Across Across Across 1. a pair of facing pages considered as a unit for design purposes, and across which pictures or tables may be 1.

2. 3. 4. 5. 6. 7. 8.

1. facing pages as design purposes, pictures or tables may 1. aa pair pair of ofThree facing pagesaconsidered considered as aa unit unit for design purposes, and across across which pictures orthe tables may be be extended. words: hyphen connects thefor first two (be sure to and include thiswhich hyphen to make word extended. Three words: aa hyphen connects the (be sure include this to the extended. Three words: hyphen connects the first first two two (be sure to to include this hyphen hyphen to make makebe the word word a pairfit), of facing pages considered as a unit design purposes, and across which pictures or tables may and the third has no space in frontfor of it. fit), and the third has no space in front of it. fit), and the third has no space in front of it. extended. words: a hyphen connects the first two (be sure to include this hyphen to make the word 2. variableThree data printing 2. variable data printing 2. variable data printing fit), andopen the third hascircle no space of it. individual features within a listing 3. an or solid used in tofront highlight 3. an open or solid circle used to highlight individual features listing 3. an open or solid circle used to highlight individual features within listing variable data printing 4. a process to create personalized letters or mailings (two wordswithin but noaaspace) 4. aor to personalized letters or mailings (two but 4.fine a process process to create create personalized letters or mailings (twoawords words but no no space) an5.open solid circle used to highlight individual features within listing the unbracketed serifs and other thin strokes of typefaces classified asspace) Modern (there’s a hyphen) 5. the fine unbracketed serifs and other thin strokes of typefaces classified as (there’s aa hyphen) 5. the fine unbracketed serifs and other thin strokes of typefaces classified as Modern Modern (there’s hyphen) a 6. process to create on personalized lettersonorthe mailings (twoofwords but no space) the “continued page xx” notice first page an article that is continued to another location in a 6. the “continued on page xx” notice on the first page of an article that is continued to another location in 6. the “continued on page xx” notice on the first page of an article that is continued to another location in aa the fine unbracketed serifs and other thin strokes of typefaces classified as Modern (there’s a hyphen) printed publication printed printed publication the onpublication page notice on theafirst page of an article thatgiving is continued to another 7. “continued a printed line of textxx” accompanying news story, article, etc., the author’s name location in a 7. a printed line of text accompanying a news story, article, etc., giving the author’s name 7. a printed line of text accompanying a news story, article, etc., giving the author’s name printed publication 8. as you fold more and more pages together into a thicker book, the thickness of the paper starts adding up, 8. you and together into aaetc., thicker book, thickness of paper starts 8. as as you fold more and more moreapages pages together intoyou thicker book, the thickness of the theaway paper starts adding up, a printed line of fold text accompanying news story, article, giving the the author’s name contributing to more this phenomenon. To compensate have to shift each page further from theadding spine up, contributing to phenomenon. To you have to from contributing to this thispages phenomenon. To compensate compensate youthe have to shift shift each each page further away from the spine spine as youoffold more together into a thicker book, thickness of thepage paperfurther startsaway adding up,the the book.and more of book. of the the book. contributing to which this phenomenon. compensate you have tolower shift each further from the spine 9. printing by the image is To etched into a printing plate, than page the rest of theaway plate. These lower areas 9. printing by which the is aa printing plate, the 9.book. printing byink, which the image image is etched etched intopaper printing plate, lower lower than the rest rest of of the the plate. plate. These These lower lower areas areas of the are filled with which is transferred to into the by pressure andthan suction. filled with ink, is to paper by and suction. are filled with ink, which which is transferred transferred to the the paper by pressure pressure andof suction. printing byare which the image is etched into a printing plate, lower than the rest the plate. These lower areas are filled with ink, which is transferred to the paper by pressure and suction.

Down Down Down Down1. a short string of text connected by a line, arrow, or similar graphic to a feature of an illustration or technical

1. string of connected by line, arrow, or aa feature of 1. aa short shortand string of text text connected by aathat line, arrow,Or, or similar similar graphic totext feature of an an illustration illustration or technical technical drawing, giving information about feature. a shortgraphic piece ofto set in larger type than or the rest drawing, and giving about feature. Or, short piece text set type drawing, and giving information information about that that feature. Or, aato short piece of of an textillustration set in in larger larger type than than the the rest rest 1. a short of text connected byattract a line, attention. arrow, or similar graphic a feature or technical ofstring the page and intended to of the page and intended to attention. of the pageinformation and intended to attract attract attention. drawing, and giving that feature. Or, a short piecesequence of text setininalarger 2. a panel or series of panels ofabout rough sketches outlining the page book.type than the rest 2. aa panel or series of 2.page panel or series of panels of rough rough sketches sketches outlining outlining the the page page sequence sequence in in aa book. book. of and intended topanels attract of attention. 3.the the hinged back of a book 3. the hinged aa book 3.or the hinged back of of book 2. a 4. panel series of back panels of rough outlining in awith book. the detachable outer cover of a sketches book, usually madethe of page papersequence and printed text and illustrations 4. the detachable outer cover of a book, usually made of paper and printed with text and 4. the detachable outer cover of a book, usually made of paper and printed with textbut and illustrations 3. the back of a book 5. hinged a grid of horizontal lines to which you can snap the baselines of your text (two words noillustrations space) 5. a grid of horizontal lines to which you can snap the baselines of your text (two words but no 5. a grid of horizontal lines to which you can snap the baselines of your text (two words but no space) space) 4. the cover of a book, usually madefrom of paper and(or printed with part andofillustrations 6. detachable a serif formouter that is a smooth, curved transition its point the thickest the stub) into the thick 6. a serif form that is a smooth, curved transition from its point (or the thickest part of the stub) into the 6. a serif form that is a smooth, curved transition from its point (or the thickest part of the stub) into the thick thick 5. a gridstem of horizontal lines(two to which snap the baselines of your text (two words but no space) of the letter wordsyou butcan no space) stem of the letter (two words but space) stem of the letter (two words but no no space) 6. a 7. serif form iswhich a smooth, curved transition from its the than thickest part of the stub) into the thick a line ofthat text appears in the head margin of point pages(or other chapter heads of a book, and which may 7. a line of text which appears in the head margin of pages other than chapter heads of a book, and which 7. a line of text which appears in the head margin of pages other than chapter heads of a book, andbe which may may stemgive of the words but no space) theletter book,(two part, chapter, section or subsection title or other reference. The folio may sometimes give the book, section or subsection title or reference. folio sometimes give thethis book, part, chapter, section or subsection title or other other reference. The folio may maywhich sometimes be 7. a line included of text which appears inchapter, the(two head margin ofno pages other than chapter heads ofThe a book, and may be in linepart, of text. words but space) included in this of text. words no space) included inchapter, this line lineor of excerpt text. (two (two words buttitle nopulled space) give part, section or that subsection or other reference. begraphic 8. a the keybook, phrase, quotation, has but been from an articleThe andfolio usedmay as asometimes page layout 8. a key phrase, quotation, or excerpt that has been pulled from an article and used as a page layout graphic 8. a key phrase, quotation, or excerpt that has been pulled from an article and used as a page graphic included in this line of text. (two words but no space) element, serving to entice readers into the article or to highlight a key topic. It is typically placed layout in a larger element, serving entice readers into the article or to aa key topic. is element, serving to entice readers into the article oran to highlight highlight key topic. is typically typically placed in in aa larger larger 8. a key or phrase, quotation, or to excerpt has been pulled from article and used as aItItpage layout placed graphic distinctive typeface and on that the same page. (Two words, and there’s a hyphen.) or distinctive typeface and on the (Two and there’s or distinctive typeface andinto on squared sameorpage. page. (Two words, words, and there’s a hyphen.) hyphen.) element, serving to entice readers the same article or to highlight a key topic. It is atypically placed in a larger 9. display typefaces characterized by slab serifs display typefaces characterized or 9.folded display typefaces characterized by squared squared or slab serifs or typeface and onofthe same page. (Two words, and a board hyphen.) 10.distinctive a9. sheet, one leaf which is by pasted down toslab theserifs frontthere’s or back of a book, and the other, the 10. aa folded sheet, one which is down front or back board of and the 10. folded sheet, one leaf leaf ofsquared which isorpasted pasted down toorthe the front orof back board of aa book, book, and the other, other, the 9. display typefaces byof slab flyleaf, gluedcharacterized by a narrow band of adhesive to serifs the firstto last page a book (looks like two words but it’sthe flyleaf, glued by narrow of to page of book (looks two words flyleaf, glued byofaawhich narrowisband band of adhesive adhesive to the the first first or last last pageof ofaaabook, book and (looks like twothe words but but it’s it’s 10. a folded sheet, one leaf pasted down to the front or or back board thelike other, actually only one word) actually one word) actually only oneparagraph word)of adhesive flyleaf, by aonly narrow band theleft first or last and page of a book (looks like two but(two it’s words 11. theglued entry-line for the starts attothe margin, subsequent lines lines are words indented 11. the entry-line for the paragraph starts at the left margin, and subsequent lines lines are indented 11.only thespace) entry-line (two words words actually one word)for the paragraph starts at the left margin, and subsequent lines lines are indented (two but no but no space) but no space) 11. the for the paragraph starts at the left margin, and subsequent lines lines are indented (two words 12.entry-line a right-hand page 12. a right-hand 12. a right-hand page but space) page page 13.no a left-hand 45 13. 13. aa left-hand left-hand page 12. a right-hand page page 13. a left-hand page

Week 14 Across 1. non-lining arabic numerals, having a common x-height but varying asenders and descenders 2. the first printed page of a book, which normally contains its title only, and from which the pagination of of the front matter of the book begins (as unprinted roman numerals) (needs a hyphen) 3. an illustration facing the title page. Occasionally it is printed separately and tipped in.

Down 1. the sewn or perfect bound book before the cover is applied (needs a hyphen) 2. copy which identifies or describes an illustration, usually set in italics and/or smaller that text matter 3. a cursive (script) typeface attributed to Robert Granjon and based on the court handwriting of the mid-sixteenth century French court 4. a type designed primarily for effect in its larger sizes, and not usually available or suitable for use in text sizes 5. the final size of pages or other printed matter after trimming 6. a folded sheet of paper that has printed forms on both sides 7. a typeface which sets out to capture the character of formal or informal handwriting 8. arabic numerals of even height ranging with or slightly below the cap line 9. Copy preceding the text of a book, such as the title page, preface, contents, etc. 10. line length

Bibliography for Layout & Design Ambrose, Gavin, and Paul Harris. The Layout Book, 2nd ed. New York: Bloomsbury, 2015. Apfelbaum, Sue, and Juliette Cezzar. Designing the Editorial Experience. Beverly, MA: Rockport Publishers, 2014. Beirut, Michael. Now You See It and Other Essays on Design. New York: Princeton Architectural Press, 2017. ———. “Why Designers Can’t Think.” In Looking Closer: Critical Writings on Graphic Design, ed. Michael Bierut, et al, 215–217. New York: Allworth Press, 1994. Biggs, John R. Basic Typography. New York: Watson-Guptill Publications, 1968. Bringhurst, Robert. The Elements of Typographic Style, 4th ed. Van Couver, BC: Hartley & Marks, 2012. Brinton, Willard C. Graphic Methods for Presenting Facts. New York: The Engineering Magazine Co., 1919. Chicago Manual of Style, 17th ed. Chicago: University of Chicago Press, 2017. Craig, James. Designing with Type: The Essential Guide to Typography, 5th ed. New York : Watson-Guptill Publications, 2006. Dwiggins, W.A. Layout in Advertising. New York: Harper & Brothers, 1928. Golombisky, Kim, and Rebecca Hagan. White Space Is Not Your Enemy, 3rd ed. Boca Raton: Taylor & Francis Press, 2017. Graham, Lisa. Basics of Design: Layout & Typography for Beginners. Albany, NY: Delmar, 2002. Hustwit, Gary. Helvetica, documentary film. Plexifilm, 2007. Lawson, Alexander. Printing Types: An Introduction. Boston: Beacon Press, 1971.

Lee, Marshall. Bookmaking: The Illustrated Guide to Design/ Production/Editing. New York: R. R. Bowker Co., 1979.

Lloyd, Peter B. Vignelli Transit Maps. Rochester, NY: RIT Cary Graphic Arts Press, 2012. Martin, Douglas. Book Design: A Practical Introduction. New York: Van Nostrand Reinhold, 1989. Mendelsund, Peter. Cover. Brooklyn, NY: powerHouse Books, 2014. Neurath, Otto. From Hieroglyphics to Isotype: A Visual Autobiography, ed. Eve, Matthew, and Christopher Burke. London: Hyphen Press, 2010. Rogers, Bruce. Paragraphs on Printing. New York: Dover, 1979. Rosen, Ben. Type and Typography: The Designer’s Type Book. New York: Van Nostrand Reinhold Co., 1976. Samara, Timothy. Design Elements, A Graphic Style Manual: Understanding the Rules and Knowing When to Break Them. Beverly, MA: Rockport Publishers, 2014. Scher, Paula. “Back to Show and Tell,” in Looking Closer: Critical Writings on Graphic Design, ed. Michael Bierut, et al, 224–225. New York: Allworth Press, 1994. Strunk, William, Jr., and E.B. White. The Elements of Style, 4th ed. Boston: Pearson Education, Inc., 2000. Thomas, Douglas. Never Use Futura. New York: Princeton Architectural Press, 2017. Tufte, Edward R. The Visual Display of Information. Cheshire, CT: Graphics Press, 1983. Vignelli, Massimo. The Vignelli Canon. Baden, Switzerland: Lars Müller Publishers, 2010. ———. Vignelli Drawings. Rochester, NY: Vignelli Center for Design Studies, Rochester Institute of Technology, 2014. Warde, Beatrice. “The Crystal Goblet, or, Printing Should be Invisible,” in The Crystal Goblet: Sixteen Essays on Typography, ed. Henry Jacob. Cleveland: World Pub. Co., 1956. Williams, Robin. The Non-Designer’s Design Book: Design and Typographic Principles for the Visual Novice. Berkeley, CA: Peachpit Press, 2008.

Credits

(set in Franklin Gothic Book, 10 on 12)

page iv: http://www.historygraphicdesign.com/the-age-of-information/the-international-typographic-style/254-hermann-zapf page 2, clockwise from top left: https://en.wikipedia.org/wiki/Erik_Spiekermann https://philadelphia.aiga.org/event/decompilinghistory/ https://en.wikipedia.org/wiki/Beatrice_Warde http://2015.typographics.com/schedule/the-modern-type-foundry http://www.martinelliluce.it/assets/Uploads/prodotti/designers/Massimo-e-Lella-Vignelli.jpg http://www.designindaba.com/profiles/matthew-carter http://thegreatdiscontent.com/interview/paula-scher http://www.historygraphicdesign.com/the-age-of-information/the-international-typographic-style/254-hermann-zapf page 2, center: https://industrialdesign.cias.rit.edu/2013/07/23/massimo-vignelli-a-conversation-at-rit/ page 3, clockwise from top left: http://infed.org/archives/e-texts/william_morris_a_factory_as_it_might_be_1884.htm from Patricia Cost, The Bentons: How an American Father and Son Changed the Printing Industry (Rochester, NY: RIT Cary Graphic Arts Press, 2011), 106. Image courtesy of Caroline Benton Gregg, rephotographed by Henry Weiland. http://www.historygraphicdesign.com/a-graphic-renaissance/renaissance-graphic-design/50-claude-garamond http://www.davidcarsondesign.com/ https://www.rit.edu/news/50-years-and-counting-roger-remington http://wgs.usf.edu/faculty/kgolombisky/ https://www.wired.com/2003/09/ppt2/ https://en.wikipedia.org/wiki/Otto_Neurath page 3, center: Kodak poster for RIT fourth-year photography student’s one-man show at Kodak Center, Rochester, New York; opening reception April 12, 2019 page 4: Zisheng Huang, from the first in-class InDesign assignment, January 2019 page 6: Rebekah Greenberg, client-selected winning business card, from a group of 14 one-sided and two-sided student-designed entries page 7: Carly Nyiri, student-selected winning poster redesign (The original poster was for an event at Virginia Tech.) page 8: Zisheng Huang, student-selected winning type specimen sheet, edited page 9: Gabrielle Brogle, unedited type specimen sheet page 10: Zoe Miller, unedited type specimen sheet page 11: Virginia Seabright, unedited type specimen sheet, body copy courtesy https://en.wikipedia.org/wiki/News_Gothic page 12–13: Dabin Yi, page 4/1 spread for the class’s VDP, mail-merge newsletter page 14: Mia Guariano, unedited infographic page 15: Review sheet handed out in class (See Golombisky and Williams entries in bibliography on pages 50–51.) page 16: Mia Guariano, book cover Note: Due to circumstances beyond our control, not all student book covers were available at the time of this compilation. page 17: Carly Nyiri, book cover page 18: Gabrielle Brogle, book cover page 19: Rebekah Greenberg, book cover page 20: Dabin Yi, book cover page 21: Zisheng Huang, book cover page 22: Rebekah Greenberg, edited type specimen sheet page 23: Mia Guariano, edited poster redesign page 24: Zisheng Huang, edited infographic Crossword puzzles were generated using: http://tools.atozteacherstuff.com/free-printable-crossword-puzzle-maker/