Type Porn

May/June

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COKE

Table of Contents

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A table of contents isn’t really necessary for this magazine since it is only 17 pages long.

It’ll only take you a couple minutes to find all the articles for yourself.

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SOME HEADLINE Written by... t ipsum dolor sit amet, consectetur adipiscing elit. Praesent lacinia velit commodo mi aliquam consequat nec ac erat. Proin eget odio metus.

Donec et nunc vitae nisi pellentesque tempor eu vel libero. Curabitur felis nulla, vulputate quis aliquam malesuada, semper in ipsum. Curabitur ullamcorper, massa in blandit semper, mi est consectetur mauris, eu lobortis lorem lorem nec nisl. Donec tincidunt adipiscing erat nec faucibus. Lorem ipsum dolor sit amet, consectetur adipiscing elit. Quisque ac lacus sit amet urna gravida volutpat eget ut mauris. Curabitur id mattis nulla. Etiam non nibh quis ipsum rutrum posuere sed semper mi. Etiam orci nisi, euismod eget tempus sit amet, lobortis eu arcu. Pellentesque posuere pellentesque nisl, a tincidunt risus tempus nec. Duis nec est urna. Proin tincidunt dictum neque aliquam pellentesque.

Nulla dictum semper urna et posuere. Suspendisse ligula leo, ultrices ac fringilla vitae, porta eu enim. Integer posuere hendrerit nunc, et laoreet nulla volutpat hendrerit. Curabitur orci arcu, placerat ornare adipiscing sit amet, auctor varius urna. Sed mollis imperdiet ultrices. Cras non est at nibh posuere faucibus eget at leo. Etiam dictum bibendum euismod.

Pellentesque quis semper orci. Suspendisse convallis nisi ac sem auctor sagittis. Donec dapibus, libero id facilisis lacinia, velit nisl aliquam tortor, et hendrerit lorem quam eu libero. Nulla placerat lorem quis arcu euismod varius. Suspendisse potenti. Praesent sed eros odio, eget gravida dolor. Morbi dignissim pharetra eros eu ornare. Nullam fringilla tincidunt nunc dapibus accumsan. Donec at leo magna. Ut a velit at quam rutrum accumsan.

Praesent eget neque sit amet lectus gravida auctor et non arcu. Phasellus hendrerit, felis quis vestibulum feugiat, ante lacus lobortis tellus, at interdum purus sem ac quam. In hac habitasse platea dictumst. Suspendisse pharetra rutrum pharetra. Mauris felis urna, commodo sit amet rhoncus sodales, semper non lacus. Donec sed enim dolor, id ultrices erat. Phasellus vitae luctus ligula. Vestibulum ut enim est, et dapibus nunc. Aenean eget neque sem, vel malesuada orci. Aliquam congue iaculis turpis, id molestie diam egestas ac. Nam porttitor mattis hendrerit. Donec hendrerit congue est vel mollis. Cras vitae eros orci, quis auctor magna. Aenean a lorem vel mauris placerat imperdiet. Aliquam consequat faucibus sem, consectetur aliquet leo ornare sed. Donec vel elit et mauris blandit dapibus. Etiam vel purus at odio fermentum dignissim eget id diam.

Pellentesque habitant morbi tristique senectus et netus et malesuada fames ac turpis egestas.

Integer sit amet vestibulum velit. Curabitur scelerisque metus in metus eleifend ultricies. Mauris felis dolor, dapibus ut consequat in, viverra eget eros. Integer lacinia venenatis cursus. Nulla gravida nisl vitae tortor volutpat euismod sed ut purus. Nulla facilisi. Nunc eleifend euismod tincidunt. Phasellus viverra luctus massa, eu accumsan dui aliquet sed. Morbi vitae venenatis sapien. Donec nec mi in ipsum placerat interdum purus nunc. TP

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The following pages contain images that have been proven to cause arousal in 92% of typophiles.

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. k s i r n w o r u o y t a e g a p e h t n r Tu Type Porn

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Written by...

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Typeface: Helvetica Neue Size: 1590 pt

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DON’T

10rules

DO IT!

By Billie Heitzman

for designers (and their type) Type Porn

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DON’T DO IT!

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Don’t indent the first paragraph. Indentation are used to let the reader know when paragraphs end and begin. Our eyes are trained to start in the top left corner, your reader will automatically begin at the first paragraph.

Don’t type in all caps all the time; it is hard to read. When you do use caps, use small caps. It’s less disruptive wouldn’t you agree?

The same goes for old style numerals; they follow the flow of the text and don’t assault the reader.

There are three kinds of dashes, a hyphen (-), an en dash (–) and an em dash (—).

Hyphens break up words such as in run-ofthe-mill, en dashes are used instead of the word “to” in cases like 1914–present and em dashes indicate a break in thought— Three periods in succession is not an ellipses... This is an ellipses…

See the difference?

Never leave widows all by their lonesome at the bottom of a paragraph or leave orphans all alone at the top of the next page.

Words don’t like to be alone.

Know your symbols! Apostrophes and primes are different and should not be confused. Primes (′), used in fields such as mathematics and science, are used with numbers. Apostrophes (‘) are curved and used in with grammar.

When setting copy in a layout, don’t span your text all the way across the page in a block. The reader’s eyes will tire more quickly reading a long string of text It also makes it more difficult to find the beginning of the next line. White space is your friend.

Only use one space between sentences.

The use of a double space after a period arose with the use of the typewriter in order to make monospaced type easier to read.

We no longer use typewriters, so there’s no need to type like we do.

And never set copy in yellow unless it is against a dark background. It’s just plain hard to read.

Limit yourself to three or less fonts to a page; more is distracting.

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GOOGLE

TARGET

ADOBE

ital Italics

By Cody Boeger

As our society has come to be bombarded by thousands of typefaces through the explosion of communication technology in recent years, it has become the designer’s obligation to negate the bad and the ugly in a quest to fill the world with simple, distinctive and meaningful design. Most notably, this pursuit has led designers to revert back to typography’s origins to create compelling layouts of the present. With this reverence of the past has come an ongoing discussion of italic typefaces in current design. Questions have arisen regarding both the roots of italicized letterforms as well as the complexities of its use in a range of modern settings. This article addresses such questions as why the type style was created, where it is properly used in formal documents and its importance in modern design.

HISTORY

The origins of italics date back to when only the most dignified and well educated possessed the ability to communicate with the written word. The year was 1495 when the prominent typographer Aldus Manutius opened his Venice business to work as an editor. His type designer, Francesco Griffo, developed the first version of italic type to emulate the cursive writing that had become popular among higher education and the upper class. Although many critics have argued that Griffo’s type design was less of a true italic typeface and more simply a slanted Roman, his original design marks an important stepping stone towards the development of the italic typeface. This new typographic style proved to be a powerful marketing tool as it appealed directly to the tastes of the intended upper-class audience and served to help sell many of the books produced through Manutius’ shop.

FORMAL USES

After the creation of the italic typeface, entire books began to be printed in the slanted text until the year 1550 when the type style began to serve in its modern use as a special-function type. Today we use italics for a variety of reasons ranging from the formal to the informal.

I have identified the eight primary uses for the italic typeface as the following: Provide emphasis in running Roman text The boy managed to eat not three, but four helpings at supper.

To denote titles Thomas Friedman’s book Hot, Flat, and Crowded presents a dire look the world’s future.

When displaying quotes “A budget tells us what we can’t afford, but it doesn’t keep us from buying it” – William Feather

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Foreign words used in a sentence The Spanish word manaña translates in English as ‘tomorrow.’

Foreign words or phrases not considered fully part of the English language I have a terrible feeling of déjà vu.

When citing English words without single quotes I enjoy using the word plethora in my analytical essays.

Names of vehicles The Enola Gay was the WWII bomber that changed the course of the war.

Technical jargon for specific disciplines such as Biology or Law Thename Homo erectus refers to an extinct species of hominid that originated in Africa.

The U.S. Supreme Court case Roe v. Wade was a controversial decision regarding the issue of abortion.

ITALICS IN DESIGN

Although italics have many technical uses in modern writing, the distinctive typeface also plays a central part in typographical design. The flicking serifs, curving descenders and slanting angles drive italic font’s hurried and formal nature that can be easily applied to alter the feeling of a title treatment or selection of body copy. To separate articles from other important words in titles and headlines, the use of italics for words such as the or of can distinguish them from the more meaningful words and complement the primary typeface. For sans serif fonts, the use of italics can add a holistic aspect to a line of copy, causing the text to read as a single form. Most notably, italics influence a viewer by adding a sense of movement and liveliness to the written word. Affecting a reader on both the conscious and unconscious levels, italicized typefaces can be used affectively to provoke excitement and immediacy when displayed on promotional design such as packaging or advertising. Trends in typography have affected the popularity of specific typefaces but the tasteful use of italics has proven to function as a timeless solution to adding an element of the past in modern design. TP

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Fine art delves almost exclusively into aesthetics and concepts, with a finite audience—if any, other than the self—in mind. By contrast, graphic design is message-driven; it tailors its visual language to appeal to and directly engage with a certain demographic. Until recent years, the former has been more apt to embrace the personal. Nowadays, we readily blur the lines separating art and design, and flock to tactility and personal touch.

Parallel to increasingly computer-generated imagery, it is both refreshing and encouraging to see the resurgence of working by hand—as well as an expanding community that finds value in this practice. Fierce proponents of this art-design hybrid include Stefan Sagmeister, Marian Bantjes, and Keetra Dean Dixon, among a new generation of trailblazers. They each usher into the public sphere typographic work loaded with conceptual depth and aesthetic value.

They generate instances at which meaningful art and design intersect— where tangible qualities become synonymous with the personal, where a seemingly minute experience reaches a global audience. It is within this visual context that my travel prize exhibition, Fragments, situates itself.

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Words are vessels of communication, comprised of inherently typographic elements. Fragments relies heavily on their visual and ephemeral power. This is quite apparent, as is a visual narrative flow, in the three books, since their messages are highly accessible and intimate. But whether or not the visitor is conscious of my aesthetic choices, I’d like to point out a visually and conceptually-layered dialogue among certain pieces in the exhibition.

Connotatively, Fragments speaks to identity and disconnect within three overlapping spheres—culture, family, and self: being hapa and traveling to semi-familiar lands; investigating the dissolution (and reconstitution) of family units; coming to terms with death and the self. Formally, many of my pieces form grids, so that even they are fragments belonging to a greater whole.

The colors in Fragments design strong visual lines that navigate the visitor throughout the space. My hand-painted wall text, the formal invitation into the gallery, speaks to domesticity. Its deep plum color translates to the geometric paper cut-outs on the ten fabric pieces, and, along with the same shapes, to the cover of my self book in the isolated room.

Furthermore, the ten-piece anchors of the show emphasize the very last sentence of the book—all that we love deeply becomes a part of us—as an intangible take-away.

The other prominent color, blue, crops up almost organically, revealing a deeper visual dialogue among a number of pieces. First I should explain its symbolism: the color creates distance, an illusion of sparseness (and therefore an opportunity to experiment with intimate subjects); blue is symbolic of death (lips turn blue after a heart attack); it conjures up images of the ocean, which is mentioned in 28

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John Lennon and the Plastic Ono Band’s “Beautiful Boy” and in my family book, as a memory; in addition to the ocean, blue refers to the sky, or the heavens.

Take the twelve large-scale photographs of a rice field taken on a bus with my iPhone, arranged in a grid. Here, the color, image quality, and scale altogether compose a quietly overwhelming and precious moment between the viewer and object. Likewise in the images of my brother and dad near the ocean, of my dad and me in photo booths, but on a smaller scale. Blue’s symbolism is exercised most in the isolated room; the text fabricated from diary entries dyed blue and scattered on the lounge chair (on which my dad used to sleep during warm summer nights) directly reference the four photographs that hang across the room. Pictured are my mom and brother sleeping in their beds, taken in the dark (hence, the ominous midnight blue hue), framed in the shot as if lying in caskets. This particular installation speaks to my fear of losing the ones I love, a fear scribbled into my 10-year-old self’s numerous diary entries—sorry to wake you, I was just make sure.

By venturing out into the world with a willingness to be changed, I’ve allowed myself to redefine my understanding of what it means to be at home—whether that meant straddling two cultures, belonging to a shifting family unit, or coming to terms with my self. Travel has consequently informed all of my design decisions for Fragments, both on unconscious and conscious levels. These personal epiphanies/small triumphs have challenged me to pinpoint and reevaluate how I work—aesthetically, conceptually, for whom?—a constant internal dialogue which I believe is crucial for designers.TP

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The Raven Edgar Allan Poe

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font wars

By Lauryn Soorani

The year was 1982. Disney’s EPCOT center was opened, Israeli forces had just invaded Lebanon, and Robin Nicholas and Patricia Saunders gave birth to Helvetica’s bastard brother, Arial. Arial lived a relatively quiet life until 1992, when it was distributed with Windows 3.1. From then on it became one of Window’s core fonts, eventually making its way into the homes of anyone who owned a computer. Typofiles everywhere quickly noticed the glaring similarities between Arial and Max Miedinger’s Helvetica and began a call to arms. The war between the two fonts has been raging on ever since.

As designers, we cringe when Arial is used in place of Helvetica. And while the rest of the world may tell us we are grossly overreacting, I believe our war on Arial pales in comparison to the now mostly forgotten war between Antiqua and Fraktur.

German typographers, Conrad Sweynheym and Arnold Pannartz, created the first true Roman Antiqua typeface in 1464. Half a century later in 1507, Fraktur, a refinement of a Schwabacher typeface (a more rounded version of Bastarda), was created by order of Maximilian I. In Germany, the use of the Gothic typeface Fraktur, goes back to the

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fifteenth century, and spans until the culmination of WWII. In Europe Fraktur had a long-standing competition with a similar Romanesque typeface, Antiqua. Antiqua was favored throughout Catholic regions such as France and Italy, where as Fraktur, the Germanic Gothic typeface, gained popularity with Protestants in northern Europe, as well as with Martin Luther. A typographic divide was established throughout Europe, with German literary works published most often in Fraktur, and scientific works published in Antiqua.

Though Fraktur was widely considered a Germanic typeface, many notable German authors such as Jacob Grimm, Schiller, Goethe, and Nietzsche, vehemently detested the typeface, instead favoring Antiqua. It wasn’t until January 3rd, 1941 that the Fraktur vs. Antiqua debate was finally put to an end (or so they thought). Acting on orders from Adolf Hitler, Martin Bormann issued a decree, banning Fraktur on the grounds that the typeface had Jewish origins. Though this claim is historically inaccurate, the use of Fraktur, now labeled as being Schwabacher Judenlettern (Schwabach Jewish letters), was no longer seen as acceptable in Nazi Germany. However, despite the Nazi ban, Fraktur continued to be used widely throughout Germany. TP

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