338.03 Type Journal by Shania Cheng by Shania Cheng

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type

journal SHANIA CHENG // WINTER 2016

â&#x20AC;&#x153;Type is as interesting as you make it.â&#x20AC;?

introduction

his journal consists of a series of notes, reflections, and process material from projects completed in Art 338: Type 2 taught by Charmaine Martinez at California Polytechnic State University. Overall, the purpose of this journal is to serve as a reminder of the rules and principles of typography, ranging from broad concepts to specific details. There are 4 sections in this journal: lecture notes, insights from assigned readings, and process work/ critique recaps from projects.

The Details 4

LECTURES ON TYPOGRAPHY

01.08.16 Typographic Refinement UNITS & INCREMENTS Generally, units on a spread in Indesign are measured in picas or points instead of inches. This is because inches are a much larger measurement and elements on the spread utilize fairly small increments of space. There are 12 points in 1 pica, 6 picas in 1 inch, and 72 points in 1 inch.

` "

prime mark

‘dumb’ quotes

‘DUMB’ QUOTES ‘Dumb’ quotes are straight marks that are sometimes used in place of prime marks, which are slanted marks. However, if ‘dumb’ quotes must be used, italicize them to look more like prime marks.

RAGS & HYPHENATION Rags should be fairly even without any large gaps or too many consecutive hyphens in the rows of text. In general, avoid angled and curved rags as well as setting the line length of a body of text too short. Discretionary hyphenation, line breaks, or tracking can be used to adjust rags. Hyphenation can be customized under the Paragraph Panel in the Hyphenation option. In body text, tracking should not be smaller than -10 or larger than +10 to avoid letter spacing that is too tight or too loose.

SMALL CAPS DO NOT use the small caps setting in Character panel. ‘Fake’ small caps shrink the size of the type and make the weight of the letters disproportionate to that of the capitalized letters.

SPELL CHECK Another helpful tip is to always turn on Dynamic Spelling to avoid any typos. Set the origin point to (0,0) and reference point to top left corner of the page. Under Preferences, select ‘Apply Leading to Entire Paragraphs’ under the Type option to make sure leading within lines of text is even throughout.

DYNAMIC SPELLING

01.20.16 Shortcut Keys & Panels …

OPT + ; Ellipses If ellipses ends a sentence, add fourth dot, “….”

™

OPT + 2 Trademark

OPT + 6

OPT + 7

Section Sign

SHIFT + RETURN Soft Return This creates a discretionary line break that can be used to even out rags and tab down lines of text without applying paragraph space styling.

Í À

OPT + E + (LETTER) Acute Accent

OPT + ` + (LETTER) Grave Accent

OPT + G Copyright Symbol

OPT + K

Paragraph Character

STRAIGHT AND CURLY QUOTATION MARKS Type » Insert Special Characters » Quotation Marks Manually insert quotation marks through the Type Panel.

SYSTEM PREFERENCES (ON MAC) Keyboard » Show Keyboard & Character Viewers in menu bar Another way to find special characters, such as the multiplication symbol.

Degree Symbol

01.22.16 Choosing a Typeface DESIGN FACTORS Content (mood, tone), audience (age, demographic, how accustomed are they to reading, end user experience), format/context (variation in format, reading distance, set size or varying size)

123 çÀû &©№

TECHNICAL FACTORS Make sure the font has a full character set (glyphs, numbers, punctuation, weights), foreign accented characters (if needed), The web font version (different version for web that can be used with CSS styling and is technically designed to be viewed on web), lining and old style numerals.

FONT LICENSES When you buy a font, you purchase a license to use the font. A font license grants the owner the right to use a typeface in a specific manner—for commercial work, a personal license, a license for 5-10 yrs, 11-20 yrs, etc. The license becomes more expensive when the number of people using the license increases.

INSTALLING NEW FONTS

WHERE TO BUY FONTS

Fonts can be found in difference places on your computer: (User: ~/ Library/Fonts; Local: /Library/Fonts; Network: /Network/Library/Fonts). Do not manually alter or remove system fonts under System: /System/ Library/Fonts. Manage fonts through Font Book or other similar software (Font Explorer X Pro, Suitcase Fusion).

Google Fonts: free fonts for print and web.

Fonts can be damaged or become slow to load when they are moved around or copied. Create font sets to keep fonts organized and categorized. You can deactivate fonts without removing them on Font Book. You can do this by putting it in another folder that you turn off; or disable it in Font Book. This allows you to resolve fonts easily. Tip: Keep a minimum number of fonts installed so computer will run faster, easier to choose from.

Lost Type Co-op: Pay-What-You-Want type foundry League of Moveable Type: Type movement that provides wellmade, free, open-source @font-face ready fonts. Font Spring: Fonts that have similar licenses, also can be used for commercial projects. House Industries: Font collections draw attention to under-appreciated art genres and American vernacular; can buy vector files of fonts. My Fonts: Wide range of fonts and excellent newsletter on font trends and design. Not free, but has special offers with good deals. Fonts.com: Extensive collection of fonts and a nice blog; fonts are usually not free.

01.29.16 Typesetting in Indesign PARAGRAPH STYLES

no scale

horizontal scale

S S

Keep the minimal amount of text boxes in order to maintain organization and consistency when applying paragraph styles. A paragraph syle can be used even if its just one sentence/phrase/letter because the space around it needs styling. Name paragraph styles logically. If there are problems with styles based on a different style, change the setting to based on â&#x20AC;&#x2DC;no styleâ&#x20AC;&#x2122;. Scaling: Never change Horizontal or Vertical Scale, only the Baseline Shift, which is found under Paragraph Style Options/Advanced Character Formats. Tabs: A leader fills everything until you get to the tab; it acts as a connector.

vertical scale

Paragraph Rules: Easily customizable; offset kicks text up or down but the Rule Above option does not. Paragraph Shading: Can create highlighter styling (color-filled boxes behind text). Spacing is customizable. Keep Options: Use to avoid orphans in text. Hyphenation: You should always have hyphenation settings on when setting text. You might not want to use hyphenation for small blocks of text, names, or subheads. Span Columns: If you want to switch from a single column to multiple columns in same text box. This option

has a tendency to even out columns, If it doesnâ&#x20AC;&#x2122;t work, use a table. Export Tagging: Turns styles into CSS, good for Epubs and websites created in Indesign.

Cell Styles: Defines the look and feel of the overall table, borders around the cell, fill color, X-ed out cell, etc. Cell Insets: Defines the space around the cell.

CHARACTER STYLES Character styles affect words within a paragraph. Basic Character Formats: canâ&#x20AC;&#x2122;t change leading in this option. Allows a change in typeface, type style, color, etc. but not the spacing.

TABLES Great for positioning text and can be used for styling multiple tables within a document. Table Style: Defines outside border, dividing lines in the table, space above and below, fills of fields in the table. Table Setup: Can make the table border invisible.

03.02.16 Type on Screen Georgia Verdana

FONTS DESIGNED FOR WEB Georgia and Verdana are two typefaces designed for screen and have lower contrast in stroke width of letterforms and a more even x-height.

SOME FACTORS TO CONSIDER 1. Typeface Contrast: Avoid high contrast fonts for body text because they can affect legibility and readability. 2. X-height: High x-height is ideal for interfaces. 3. Character Distinction: Differentiation between characters is important for on screen legibility. 4. Optical Sizes: Some typefaces are designed for a specific size range.

PAIRING TYPEFACES 1. Avoid choosing pairs of typefaces that are too similar. 2. Use high contrast; such as a display typeface with a text typeface. 3. Compare the structure of the typefaces and choose pairs that share similarities.

Insights READING DISCUSSIONS & NOTES

01.13.16 BUTTERICK’S PRACTICAL TYPOGRAPHY:

Why Typography Matters WHY IS THE DESIGN OF THE BUTTERFLY BALLOT PROBLEMATIC? The design of the Butterfly Ballot is problematic because it does not have a clear sense of organization. To start, they placed the fill-in bubbles in the gutter of the ballot, with an alternating numbering for the 2 sides. Your eyes will be constantly shifting to find which bubble corresponds to which candidate and whether this candidate is on the left or right side of the page. Furthermore, the numbering is awkward, starting at 3 and even skipping 12 with a blank space separating 11 from 13. The use of center alignment in the type treatment and the layout of the boxes creates too many shifting alignments. In the text, it is also confusing as to why the political party name is in parentheses since this is a pretty important piece of information. The title of the candidate is also very small and there is too much emphasis on the name of the candidate.

IN WHAT WAYS IS TRIXIE’S RESUMÉ BETTER THAN VIOLETS? Overall, Trixie’s resume is much more simplified than Violet’s and utilizes a pleasing amount of white space (larger margins) to give the reader breathing room. There is also a better sense of hierarchy in Trixie’s design, through her emphasis on her experiences. On the other

hand, Violet uses the same amount of emphasis on her experience and the time in which she worked there, which is not as effective. The use of line rules also creates effective separation of the different sections of her resume. All of these details contribute to a clear reading order and allows for a quick read. Lastly, Violet’s resume uses elements that are a bit arbitrary or distracting, such as the large gray boxes behind the subheads or the large bullet characters. Her design would benefit from simplification.

Butterick disagrees with Warde’s argument because he believes that typography should stand out to add substance to the text. He states that it is “all part of the presentation of an argument.” Overall, his view is that typography and text should not be separate, but rather combined to create an effective design.

WHAT IS THE MAIN ARGUMENT IN BEATRICE WARDE’S ESSAY “THE CRYSTAL GOBLET”? WHY DOES MATTHEW BUTTERICK DISAGREE WITH THIS? The main argument in “Crystal Goblet” is that good typography should be crystal clear, that it should not stand out. Warde views ideal typography as serving the purpose of supporting the content.

01.20.16 BUTTERICK’S PRACTICAL TYPOGRAPHY:

Type Composition WHAT ARE THREE NEW THINGS YOU LEARNED FROM THE CHAPTER ON TYPE COMPOSITION? One of the things I learned about from this chapter was how to quickly change prime marks into quotation marks using the “Find” tool and changing the individual character throughout the document. I also found the sections that also taught basic grammar rules to be helpful, such as in the section, “Semicolons and Colons.” It was informative of the proper usage of semicolons versus colons. Lastly, one the sections I learned most from was the chapters on line breaks. For example, a carriage return is used to start a new paragraph, whereas a hard line break is used to control text flow. On the other hand, a non-breaking space also helps control text flow, but keeps words together.

DO YOU THINK YOU WILL USE ANY OF THE KEYBOARD COMBINATIONS YOU LEARNED TO CREATE DIFFERENT SYMBOLS? After I get into the habit of using some of the keyboard combinations, I feel like I will use them pretty regularly. They allow for more efficient typesetting, which would be helpful especially when setting large bodies of text.

02.03.16 Grids & Typographica Mea Culpa, Unethical Downloading NOTES ON GRIDS

TYPOGRAPHICA MEA CULPA,

1. Use a layout grid whenever possible. A grid allows for consistency and structure in a design. There can be variation in the various designs so that not all of the designs are static or boring. However, they should be uniform in some way.

UNETHICAL DOWNLOADING

2. Number of columns. The most commonly used for both vertical and landscape layouts are 1-column, 2-column, and 3-column layouts. However, more columns can be used to make the design even more complex and dynamic.

People have become rather ignorant towards reading licenses for fonts and sharing font illegally, which comes at the expense of type designers. Since fonts are treated as software, it becomes easy to share it with others after installing it. It is extremely easy to cross the boundaries of copyright infringement on fonts.

3. Adjust your design to the medium. Different amounts of spacing (larger margins, leading between text, paragraph lengths) are used in different mediums of displaying type. In print, larger margins in the gutter might be necessary if the book is going to be bound. Type size on screen should be larger than that on print. 4. Use the Rule of Thirds.

02.10.16 TYPOTHEQUE (PETER BIL’AK):

A View of Latin Typography in Relationship to the World KEY POINTS Bil’ak makes the point that typographic development has, for the most part, been limited to a Euro-centric bias. He encourages readers to remind themselves that there is more than just Latin typography in the world. Fonts for other languages are often just classified as “Non-Latin.” He also brings up the point that there are inaccurate uses of terminology due to this bias, such as the use of the word “Roman,” which is rooted in European history.

02.19.16 TYPOTHEQUE (PETER BILâ&#x20AC;&#x2122;AK):

Lava â&#x20AC;&#x201D; Voice of a Magazine KEY POINTS This article discusses the use of a single typeface, Lava, to work as the voice of a magazine, Works That Work. Lava was the only consistency in the design of the magazine, all other aspects were left to other designers. The tricky part of the design was that the magazine would be read on print and on screen. Lava contains a mix of web font qualities as well as characteristics and details of a well-designed typeface.

02.10.16 TYPOTHEQUE (PETER BIL’AK):

Beauty and Ugliness in Type Design KEY POINTS The Beautiful: Often seen as high contrast typefaces, such as Bodoni and Didot. Bodoni inspired 4 principles of type design: “regularity, clarity, good taste, and charm.” These typefaces were also fairly delicate. The Ugliness: The typeface, ‘Italian’, uses a reversed-contrast to create bold, unconventional letterforms that became commonly used in advertisements. Karloff: Combining the characteristics of Bodoni with ‘Italian’ showed that they share a similarity in their extreme thick and thin contrast.

02.19.16 TYPOTHEQUE (BEN ARCHER):

Eric Gill got it wrong; a re-evaluation of Gill Sans KEY POINTS Gill Sans has been viewed as the equivalent of Helvetica in England due to its neutral, ubiquitous characteristics. Some of the features of Gill Sans that varies from Johnston’s model were the deletion of the foot serif and vertical strokes in some letterforms, This creates for a lack of clear distinction between some character forms. Also, the ‘Ultra Bold’ weight of the letter ‘g’ is completely different from another other weight, lacking a double story and hourglass shape while also changing its stress. Gills Sans also takes a step away from traditional forms because its proportions of letterforms have changed.

Projects DESIGN PROCESS & CRITIQUE RECAPS

#1 Typesetting: Rules of Typography “Letters and the words that they form are homes for language and ideas. Like buildings, letterforms reflect the climate and the cultural environment for which they are designed while adopting the personality of their content and designers.”

DIGITAL VARIATIONS

BRUCE WILLEN & NOLEN STR ALS, LETTERING AND — TYPE: CREATING LETTERS AND DESIGNING TYPEFACES, 2009, PAGE 1

The preliminary step in the design process for this project was to create layouts exploring a variety of typeface combinations and the placement of text.

“Because there is fashion in typefaces, just as there is in clothes. What is a type style but a suit of clothes for the letters of the alphabet? You can send your words out into the world looking as though they are in touch with modern trends, or stuck in a 1980s timewarp of big-haired power dressing; wearing an old tweed jacket with leather patches on the elbows, or as a total fashion victim.” — SIMON LOXELY, TYPE: THE SECRET HISTORY OF LETTERS, 2004, PAGE 3

“How clear and easy is it to read a piece of text? There are many factors that may affect this, such as the choice of font, size, colour, the use of space and the arrangement within that space.” — K ATHRYN COATES & ANDY ELLISON, INTRODUCTION TO INFORMATION DESIGN, 2014, PAGE 78

“The evolution of these letters— this continual simplification from symbol to sound—is something that has always preoccupied me. I was always fascinated by the symbol as the expression of a signature, a brand, and above all, a cipher.” — SWISS FOUNDATION T YPE AND T YPOGR APHY, DICKEL, S., OSTERER, HEIDRUN, ADRIAN FRUTIGER - TYPEFACES : THE COMPLETE WORKS, 2012, PAGE 7

ID EA S A ND PRINCIPL ES O F T YPO G RA PHY

“Mankind doesn’t progress without being influenced by its predecessors. Speaking specifically about type, it’s important to look back to understand the times in which a typeface was created, what was going on politically and sociologically, the technology available then, what has happened to the face over time.” — KIT HINRICHS & DELPHINE HIR ASUNA, TYPEWISE, 1990, PAGE 10

One of the issues in my designs so far was trying to find a good balance between the a sans serif and serif typeface. Especially in the citation, I wanted there to be a distinction, but not too much emphasis since the quote was the most important part.

Ideas & Principles of Typography

“Letters and the words that they form are homes for language and ideas. Like buildings, letterforms reflect the climate and the cultural environment for which they are designed while adopting the personality of their content and designers.” —Bruce Willen & Nolen Strals, Lettering and Type: Creating Letters and Designing Typefaces, 2009, page 1

“Because there is fashion in typefaces, just as there is in clothes. What is a type style but a suit of clothes for the letters of the alphabet? You can send your words out into the world looking as though they are in touch with modern trends, or stuck in a 1980s timewarp of big-haired power dressing; wearing an old tweed jacket with leather patches on the elbows, or as a total fashion victim.” —Simon Loxely, Type: The Secret History of Letters, 2004, page 3

“How clear and easy is it to read a piece of text? There are many factors that may affect this, such as the choice of font, size, colour, the use of space and the arrangement within that space.” —Kathryn Coates & Andy Ellison, Introduction to Information Design, 2014, page 78

“The evolution of these letters—this continual simplification from symbol to sound—is something that has always preoccupied me. I was always fascinated by the symbol as the expression of a signature, a brand, and above all, a cipher.” —Swiss Foundation Type and Typography, Dickel, S., Osterer, Heidrun, Adrian Frutiger - Typefaces : The Complete Works, 2012, page 7

The layout on the next page is the design that I decided to explore further.

—Kit Hinrichs & Delphine Hirasuna, Typewise, 1990, page 10

IDEAS & PRINCIPLES of 1

TYPOGRAPHY

“Letters and the words that they form are homes for language and ideas. Like buildings, letterforms reflect the climate and the cultural environment for which they are designed while adopting the personality of their content and designers.” — BRUCE WILLEN & NOLEN STRALS, LETTERING AND TYPE: CREATING LETTERS AND DESIGNING TYPEFACES, 2009, PAGE 1

“How clear and easy is it to read a piece of text? There are many factors that may affect this, such as the choice of font, size, colour, the use of space and the arrangement within that space.” — KATHRYN COATES & ANDY ELLISON, INTRODUCTION TO INFORMATION DESIGN, 2014, PAGE 78

“The evolution of these letters— this continual simplification from symbol to sound—is something that has always preoccupied me. I was always fascinated by the symbol as the expression of a signature, a brand, and above all, a cipher.” — SWISS FOUNDATION TYPE AND TYPOGRAPHY, DICKEL, S., OSTERER, HEIDRUN, ADRIAN FRUTIGER —TYPEFACES: THE COMPLETE WORKS, 2012, PAGE 7

FINAL LAYOUT (RIGHT)

24 24

IDEAS & PRI NCIPLES

TYPOGRAPHY

“Letters and the words that they form are homes for language and ideas. Like buildings, letterforms reflect the climate and the cultural environment for which they are designed while adopting the personality of their content and designers.” — BRUCE WILLEN & NOLEN STRALS Lettering and Type: Creating Letters and Designing Typefaces, 2009, page 1

“How clear and easy is it to read a piece of text? There are many factors that may affect this, such as the choice of font, size, colour, the use of space and the arrangement within that space.” — KATHRYN COATES & ANDY ELLISON Introduction to Information Design, 2014, page 78

“The evolution of these letters— this continual simplification from symbol to sound—is something that has always preoccupied me. I was always fascinated by the symbol as the expression of a signature, a brand, and above all, a cipher.” — SWISS FOUNDATION TYPE AND TYPOGRAPHY, PHILIPP STAMM, & HEIDRUN OSTERER Adrian Frutiger—Typefaces: The Complete Works, 2012, page 7

25 25

CRITIQUE RECAP “Type is as interesting as you make it.” – Charmaine Martinez Be conscious of content when placing emphasis on certain words or elements. Everything must have a function or purpose. Be mindful of hierarchy and spacing between elements (i.e. author, body text, and citation). Title should be strong and bold to draw reader in. Author’ name deserves next level of importance, more contrast from other citation elements. Avoid awkward negative space. Legibility and readability can be greatly affected by text weight (too light or too bold). Roman, book, and medium weights are best for body text. Inadequate leading between lines of text can make large sections of text appear uninviting. When reversing out body text, compensate for legibility by making the weight thicker (medium weight). Line length should not be too short (8-13 words) because it can create widows and orphans or awkward rags.

#2 Dialogue Spread SKETCHES

SKETCHES Through my process sketches, my goal was mainly to see how many ways I could place text so that it would still read as a dialogue but act also be dynamic and visually impactful. My sketches vary between very risky layouts and more ones that were more conservative. I decided to explore a layout that was a combination between the two on the left.

(A FEW) TYPE STUDIES

Like all heroes, the Buddha doesn’t show you the truth itself, he shows you the way to truth. Moyers: Like all heroes, the Buddha doesn’t show you the truth itself, he shows you the way to truth. Moyers: Like all heroes, the Buddha doesn’t show you the truth itself, he shows you the way to truth. Moyers: Like all heroes, the Buddha doesn’t show you the truth itself, he shows you the way to truth.

DIGITAL COMP: ROUND 1

MOYERS Why are there so many stories of the hero in mythology?

CAMPBELL Because that’s what’s worth writing about. Even in popular novels, the main character is a hero or heroine who has found or done something beyond the normal range of achievement and experience. A hero is someone who has given his or her life to something

MOYERS So in all of these cultures, whatever the local costume the hero might be wearing, what is the deed?

MOYERS Does your study of mythology lead you to conclude that a single human quest, a standard pattern of human aspiration and thought, constitutes for all mankind something that we have in common, whether we lived a million years ago or will live a thousand years from now?

MOYERS When I take that journey and go down there and slay those dragons, do I have to go alone?

bigger than oneself.

CAMPBELL If you have someone who can help you, that's fine, too. But, ultimately, the last deed has to be done by oneself. Psychologically, the dragon is one's own binding of oneself to one's ego. We're captured in our own dragon cage. The problem of the psychiatrist is to disintegrate that dragon, break him up, so that you may expand to a larger field of relationships. The ultimate dragon is within you, it is your ego clamping you down.

MOYERS I like what you say about the old myth of Theseus and Ariadne. Theseus says to Ariadne, "I'll love you forever if you can show me a way to come out of the labyrinth." So she gives him a ball of string, which he unwinds as he goes into the labyrinth, and then follows to find the way out. You say, "All he had was the string. That's all you need."

CAMPBELL That's all you need—an Ariadne thread.

CAMPBELL There's a certain type of myth which one might call the vision quest, going in quest of a boon, a vision, which has the same form in every mythology. That is the thing that I tried to present in the first book I wrote, The Hero With a Thousand Faces. All these different mythologies give us the same essential quest. You leave the world that you're in and go into a depth or into a distance or up to a height. There you come to what was missing in your consciousness in the world you formerly inhabited. Then comes the problem either of staying with that, and letting the world drop off, or returning with that boon and trying to hold on to it as you move back into your social world again.

MOYERS Sometimes we look for great wealth to save us, a great power to save us, or great ideas to save us, when all we need is that piece of string.

CAMPBELL That's not always easy to find. But it's nice to have someone who can give you a clue. That's the teacher's job, to help you find your Ariadne thread.

MOYERS How do I slay that dragon in me? What's the journey each of us has to make, what you call "the soul's high adventure"? CAMPBELL My general formula for my students is "Follow your bliss." Find where it is, and don't be afraid to follow it.

MOYERS Is it my work or my life?

CAMPBELL If the work that you're doing is the work that you chose to do because you are enjoying it, that's it. But if you think, "Oh, no! 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."

MOYERS In all of these journeys of mythology, there's a place everyone wishes to find. The Buddhists talk of Nirvana, and Jesus talks of peace, of the mansion with many rooms. Is that typical of the hero's journey - that there's a place to find?

CAMPBELL The place to find is within yourself. I learned a little about this in athletics. The athlete who is in top form has a quiet place within himself, and it's around this, somehow, that his action occurs…. There's a center of quietness within, which has to be known and held. If you lose that center, you are in tension and begin to fall apart.

DIGITAL COMP: ROUND 2

MOYE RS Why are there so many stories of the hero in mythology? C AMPBELL 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. MOYE RS So in all of these cultures, whatever the local costume the hero might be wearing, what is the deed? C AMPBELL 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. MOYE RS 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? C AMPBELL 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.

MOY ERS When I take that journey and go down there and slay those dragons, do I have to go alone?

The Journey

MOYE RS 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”? C AMPBELL My general formula for my students is “Follow your bliss.” Find where it is, and don’t be afraid to follow it.

of the

Hero

MOY ERS 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.” C A M P B ELL That’s all you need—an Ariadne thread. MOY ERS 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. C A M P B ELL 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.

MOY ERS Like all heroes, the Buddha doesn’t show you the truth itself, he shows you the way to truth.

MOYE RS Is it my work or my life? C AMPBELL 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.”

C A M P B ELL 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”.

MOY ERS 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? C A M P B ELL 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.

“When I take that journey and go down there and slay those dragons, do I have to go alone?” MOYERS Why are there so many stories of the hero in mythology? C AM PBEL L 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.

THE HERO’S PATH

MOYERS So in all of these cultures, whatever the local costume the hero might be wearing, what is the deed?

CA MP BE LL 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. MOYE RS 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.”

C AM PBEL L Well, there are two types of deed. One is the physical deed, in which the hero performs a courageous act in battle or saves a life. The other kind is the spiritual deed, in which the hero learns to experience the supernormal range of human spiritual life and then comes back with a message. MOYERS Does your study of mythology lead you to conclude that a single human quest, a standard pattern of human aspiration and thought, constitutes for all mankind something that we have in common, whether we lived a million years ago or will live a thousand years from now? C AM PBEL L 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.

CA MP BE LL That’s all you need—an Ariadne thread. MOYE RS 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.

“If you have someone who can help you, that’s fine, too. But, ultimately, the last deed has to be done by oneself.”

MOYERS How do I slay that dragon in me? What’s the journey each of us has to make, what you call “the soul’s high adventure”?

CA MP BE LL 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. MOYE RS Like all heroes, the Buddha doesn’t show you the truth itself, he shows you the way to truth. CA MP BE LL 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”. MOYE RS 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?

C AM PBEL L My general formula for my students is “Follow your bliss.” Find where it is, and don’t be afraid to follow it.

CA MP BE LL 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.

MOYERS Is it my work or my life? C AM PBEL L 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.” MOYERS When I take that journey and go down there and slay those dragons, do I have to go alone?

“When I take that journey and go down there and slay those dragons, do I have to go alone?”

M C

Why are there so many stories of the hero in mythology?

So in all of these cultures, whatever the local costume the hero might be wearing, what is the deed?

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

An interview by Bill Moyers & Joseph Campbell

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.

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.

The Hero’s Path

M C M C

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. 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.”

M C

“If you have someone who can help you, that’s fine, too. But, ultimately, the last deed has to be done by oneself.”

C M C

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.

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”.

That’s all you need—an Ariadne thread.

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.

M C

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.

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.

CRITIQUE RECAP Layout & Spacing: In this project, there were a variety of approaches, ranging from how to layout the text across a whole spread to differentiating between the two speakers. It is important to create a distinction between the two speakers but not to create too much contrast as to make them read as separate items. Flow of Text: Reading order and flow are also crucial to the effectiveness of the spread. The reading order should be logical so that the reader can read the text as a whole. Headers: Big headers in display typefaces are also helpful in drawing the viewer in. This can mean displaying the title of the spread very large or spanning it across the spread. Added Elements: Breaking up the text into chunks makes it more interesting to read. This can be done my adding pull quotes or illustrations.

“When I take that jou down there and slay do I have to go alone

An interview with Bill Moyers & Joseph Campbell

M C

Why are there so many stories of the hero in mythology? 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. So in all of these cultures, whatever the local costume the hero might be wearing, what is the deed?

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.

M C M

urney and go those dragons, e?”

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.”

M C

When I take that journey and go down there and slay those dragons, do I have to go alone?

C M

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.

M C

Like all heroes, the Buddha doesn’t show you the truth itself, he shows you the way to truth.

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.

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.” That’s all you need—an Ariadne thread. 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.

“If you have someone who can help you, that’s fine, too. But, ultimately, the last deed has to be done by oneself.”

VERSION ONE

by William Strunk, Jr.

THE ELEMENTS OF STYLE

Elements of Style

ยง 03 / A Few Matters of Form + ยง 04 / Words and Expressions Commonly Misused

William Strunk, Jr.

THE ELEMENTS OF STYLE ยง 03 / A Few Matters of Form +

ยง 04 / Words and Expressions Commonly Misused

New York 1918

03 A FEW MATTERS OF FORM

38 38

CLAIM, VB With object-noun, means lay claim to. May be used with a dependent clause if this sense is clearly involved: “He claimed that he was the sole surviving heir.” (But even here, “claimed to be” would be better.) Not to be used as a substitute for declare, maintain, or charge.

COMPARE To compare to is to point out or imply resemblances, between objects regarded as essentially of different order; to compare with is mainly to point out differences, between objects regarded as essentially of the same order. Thus life has been compared to a pilgrimage, to a drama, to a battle; Congress may be compared with the British Parliament. Paris has been compared to ancient Athens; it may be compared with modern London.

LINE, ALONG THESE LINES Line in the sense of course of procedure, conduct, thought, is allowable, but has been so much overworked, particularly in the phrase along these lines, that a writer who aims at freshness or originality had better discard it entirely. Mr. B. also spoke along the same lines. Mr. B. also spoke, to the same effect.

He is studying along the line of French literature. He is studying French literature.

39 39

ยง 01 / Elementary Rules of Usage

THE ELEMENTS OF STYLE

VERSION TWO

ยง 02 / Elementary Principles of Composition

THE ELEMENTS OF STYLE ยง 03 / A Few Matters of Form + ยง 04 / Words and Expressions Commonly Misused

CRITIQUE RECAP Execution: If book is folded against the grain, use extra scoring. The book might need some more spacing between sections of rules to help the overall pacing of content. Don’t place content on the inside of the cover. Increase the margins on pages to make the text more inviting and easily readable. Keep the footer of the book isolated (don’t let text flow into the folio). Type Details: Check for orphans and widows on long blocks of text. There was some inconsistent leading between sections of text (Preferences-->Type-->Apply Leading to Entire Paragraphs) because the paragraph style was not applied. The line length was too long in some cases. Make sure to check that book titles are italicized. Check the spacing between paragraphs, chunking sections of text. Styles: Too much variation in the styles of the text (body text vs. examples) could affect the flow of the reading. Make sure bold text is not too different. Show shifts in styles by using indents or bold text. Don’t switch from serif to sans serif because it starts to look too disjointed. Tables: Too many outlines/borders, not enough breathing room in the cells, too many styles, and heavy line weight can make the table distracting.

#4 Type Zine SKETCHES I started with grid sketches to explore my options for magazine layouts. My goal was to create layouts that had variety but were also uniform.

DIGITAL VARIATIONS (RIGHT)

5050 T Y P O G R A P H I C M AGA ZI N E .CO M

M O NTH LY I S S U E // M A RC H 2 01 6

Typographic TH O U G HTS O N M O D E R N T Y P OG R APH Y

ISSUE

FINAL L

Typographic T Y P O G R A P H I C M AGA ZI N E .CO M

LAYOUT 5151

Image Source M E L A A M O RY, D E V I A N TA RT

TO DAY ’ S TO P 5 B E S T T Y P OG R APH ERS

RAPH IC M AGAZINE

TH E R E VIVAL O F HAN D - PAI NTE D S I G N S

CONTENTS 4 TYPOGRAPHIC MAGA ZI NE

I NTRO D U C TIO N 04 Letter to the Editor

CU LTU R E : PA ST & P R E S E NT 14 Today’s Top 5 Best Typographers 40 Type in Film 50 A Brief History on the Ampersand 64 Harir—Reducing Noise in Arabic Script

E VE RY DAY T Y P E 06 Handlettering is Making a Comeback 38 Tattoos & Type 52 The Revival of Hand-Painted Signs

R E SO U RCE S 10 Designers with Go-To Typefaces 34 Free Fonts That Don’t Suck

E NTE R TAI N M E NT 36, 48, 60 Instagram Spotlight

ISSUE 01 // MAR C H 2016 5

DESIGNERS WITH G O -T O T Y P E FAC E S

12 TYPOGRAPHIC MAGAZINE

Photography by C H R I S TO P H E R S T U R M A N

RESOURCES

E DWI N VAN G E LD E R Founder, Mainstudio Favorite Type Theinhardt, a sans serif. Why are you particularly attached to Theinhardt as a typeface? It’s based on Grotesk, a classic serif font, but it’s an updated, contemporary, and very flexible new take on the classic. I like its overall look and feel—stern yet friendly. It feels very now, very modern. There’s also something architectural about it, it’s got a graphic quality to it, so you can use it to create geometry in a design. It’s not illustrative, not an image itself but it fits really well into grids and systems—which obviously suits the way I work.

MAT MAITL AN D Creative Director, Big Active Favorite Type Venus SB Medium Extended, a sans serif, used on the startling, stark cover of Prince and the Revolution’s 1986 album Parade. How do you think the type works on Prince’s Parade cover? The typeface, Venus SB, was nice and simple. It’s got that Art D eco touch to it, in the R and the E. ISSUE 01 // MARCH 2 0 16 13

C U LT U R E : PA S T & P R E S E N T

T O D AY ’ S TOP 5 BE TYPOGRA 16 T Y PO P OG R A PH I C M AG A Z I NE

F E AT U R I N G Jessica Hische Dana Tanamachi Craig Ward Tobias Saul

EST APHERS

Image Source J E S S I C A H I S C H E

Alex Trochut

IISS SSU UE E 01 01 // // MARCH MARCH 220 01 1 66 17

Photography by E DY TA SZ YSZLO

grew up in Pennsylvania, raised by In 2006, I graduated and landed a two non-creatives that decided it job as a freelance designer for a little would be OK to let their little girl studio in Philadelphia where I helped pursue a seemingly impractical career. design fancy books and re-affirmed I ended up attending a wonderful art my passion for illustration and imschool thanks to an amazing high age-making. By winter, unsure if they school teacher and an admissions wanted to take on another full-time counselor that took a chance on my under-developed “I ventured out on my own and portfolio. Though I fell in embarked on a little project that love with every artistic would end up changing my cadiscipline Freshman and reer and earning me the moniker Sophomore year, I declared ‘That Drop Cap Girl’.” as a Graphic Design major when I found myself procrastiworking on painting projemployee, my hours were cut and I ects to work on posters and identities. put together an illustration promo to I annoyed the heck out of my fellow get freelance work. That promo ended classmates, doing way more work than up landing me an illustration rep and assignments generally called for, but a job for one of my heroes; I migrated it all paid off in the end and most of to Brooklyn to work for her. After two them have since forgiven me for ruinand a half years of very little sleep and ing the curve. a lot of lettering, freelance work began ISSUE 0 1 // MAR C H 2 0 1 6 19

Image Source J E S S I C A H I S C H E

118 8 T YP OGRAP H I C M AGAZ I NE

overwhelming my life and my desire to do side projects became too much to bear. I ventured out on my own and embarked on a little project that would end up changing my career and earning me the moniker “That Drop Cap Girl”. I’ve been on my own as a letterer, illustrator, type designer, and relentless procrastiworker since 2009 and have worked for (and continue to work for) a lot of wonderful clients like Wes Anderson and Penguin Books. I’ve shared studios with amazing people including the folks over at Studiomates and of course my beloved Pencil Factory, where I continue to spend time on return trips to Brooklyn. I split my days (not evenly enough) between Brooklyn and San Francisco—the place I now call home and where I’ve set up a collaborative studio and workshop space with my brother from another mother, Erik Marinovich. When I’m not manipulating beziers or working on fun projects, you can find me at the airport en route to a speaking engagement. I love what I do for a living and try as hard as I can to help others find a way to do what they love. www.jessicahische.is

20 TYPOGRAPHIC MAGAZI NE

I SS U E 01 // M A R CH 2016 21

Appropriately, the pricing structure for signs can be as variable as the signs themselves. Some artists charge by the project and others by the hour, and one sign can cost anywhere from several hundred to several thousand dollars. An industry pricing guide helps set and maintain baseline standards.

THERE’S A BOOM RIGHT NOW. HAND - PAINTED IS POPUL AR . —J E F F R E Y S I N C I C H

Most small businesses turn to local artists, since work often has to be done on-site and sending large or delicate items through the mail can be dicey. Still, “there are tons of communities that could support this,” says the visual artist Stephen Smolinski, who is encouraged by the success he and his compatriots have found in Goshen, Indiana, and who is segueing from making signs part-time to fulltime. “Lots of creatives starting businesses look to other creatives,” he says.

ven in an age of emoji, when people revel in communicating online using a shared set of colorful icons, it makes sense that there are still those who are able to eke out a living painting signs for businesses by hand. What is more surprising is that many people do—all over the country, from Utah to New York. Indeed, an art form that seemed moribund as big-box stores and chain restaurants multiplied is relevant again, and lucrative. And although much has changed about the enterprise itself, the essentials remain largely the same.

“People want [their small businesses] to be individual, to stand out,” explains Jeffrey Sincich of J&S Signs. He and his partner Josh Stover, both originally from Florida, now run their business out of Portland, Oregon. “There’s a boom right now. Hand-painted is popular,” he says. A hand-painted sign suggests that a store has a personality, that its products aren’t mainstream or mass-produced.

Some chains have adopted the practice, too, because it can make them seem folksy and independent. The grocery store Trader Joe’s has, despite nearly $10 billion in annual revenue in the U.S. alone, maintained its decidedly non-corporate vibe in part by putting up hand-painted signs in its stores. Ashton Ludden, a visual artist, works for the Trader Joe’s in Knoxville full-time, illustrating everything from

56 T Y POGR APHIC MAGAZ INE

I SS UE 0 1 // M A RC H 2 0 16 57

TAT T O O S & TYPE

Image Source TAT T Y, B O DY T Y P E B O O K

E V E R Y D AY T Y P E

3 “My friend Justin was a tattoo artist. ‘Stay Fly’ is a Three Six Mafia song we would all dance to. One night he ripped open his shirt and showed me a ‘stay fly’ tattoo on his chest to cheer me up. Soon after that he was killed in a car accident, so a bunch of his friends got the exact same tattoo, from his tattoo artist friend Scotty, who did all the tattoos for free as a tribute to Justin.

4 1 “I have had a lifelong obsession with Mr.T. And there is also a secondary meaning, a kind of pun: piti-ful.”

2 “My dad brought me up with the right kind of music and great taste . . . ‘I hope I die before I get old’ is a lyric from the Who’s ‘My Generation.’ It was written about Keith Moon, the greatest rock drummer of all time. I play drums, and I have modeled all of my drumming after Keith Moon. Besides the literal meaning, it also means to stay young at heart.”

40 T Y P OGR AP HI C MAGAZ I NE

“It’s my birth date in Roman numerals. With the world obsessed with cloning, it seemed only sensible to brand ‘the original’ me. Taking a cue from the Roman numerals used in films, if you are going to date yourself, it could only be done in one typeface: Times. It’s a timeless classic, with a suitable gravitas.”

5 “These initials are a way to honor my lineage: my grandfather’s initials, my father’s initials, my initials. I had hoped it would hurt more than it did. I wanted to understand a fraction of the pain my father had been going through with his chemo before he died.”

I SS U E 0 1 // MAR C H 2 0 1 6 41

E N T E R TA I N M E N T

SPOTLIGHT @TH E DAI LY T Y P E This self-styled biggest Instagram collection of typography pictures appears to live up to its name, with a pleasing variety of typography on show, covering everything from hand lettering and typographical illustrations through to print design and those type-laden motivational posters that everyone loves. If you want a couple of pieces of quality type to turn up in your stream every day, youâ&#x20AC;&#x2122;ve come to the right place.

I SSU E 01 // M A R CH 201 6 39

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CRITIQUE RECAP Breaking Up Space: Use images and pull quotes to break up lengthy articles. Text heavy spreads need more space and could benefit from more images placed throughout. Large section dividers act as signals to show a shift in content. Magazine Elements: The table of contents in a magazine usually includes images of the content in the issue. There is usually a marker or visual cue that the section (article) has ended. Hierarchy: There should be a clear distinction between different hierarchies of text, such as captions should not be the same as body text. Headers and subheads should also be distinct. Maintain consistency between styles, donâ&#x20AC;&#x2122;t shift between too many header styles because it might confuse the reader. Layout & Grammar: Always check hyphenations and proofread text to make sure there are no inconsistencies or grammar errors. Donâ&#x20AC;&#x2122;t change the column width too much in one article.

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colophon DESIGNED BY Shania Cheng CL ASS NAME Ar t 338.03: Type 2 Winter 2016

*This book was set in Mission Gothic & Butler.

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& § № % © & § % © № & ! % № & © ! § § № © ! § % % © & § % № № & ! % № © © ! § § № © & § % % © & ! % № № & § ! § TYPE JOURNAL

SHANIA CHENG // WINTER 2016