TYPOGRAPHY JOURNAL
AS H L EY VO N G
WINTER 2 0 16
WELCOME QUA R T E R JO U R N A L : We l come to t h e in sid e o f As hle y Von g ’ s Ty po graphy II Jou r n a l . Th e se n ex t s eve ra l p a g es o f text are a pre tty so l i d re c a p of eve r y t h in g t h at we n t o n i n Charmai ne ’s cl ass t h i s p a st q u a r te r. I t h a s eve r y t h ing f ro m summari e s o f d a i l y re ad in g s, n o te s o n in cla ss di scussi o ns, and cri ti que s f rom va rio u s a ssig n m e n t s a n d p ro j e cts tackl e d, al l ne atl y org a n i ze d w it h in t h is 2 2 p a g e s pre ad. Do e s i t i ncl ude al l of t h e i n fo r m at io n cove re d ? No. B ut i t ’s go t al l o f the i m p or t a nt , m e m o ra b le st u ff. A n d that ’s what matte rs mo st! E n j o y!
ENTRY 01
JA NUA RY 7, 2 0 16
TYPO G R A P H I C R E F I N E M ENT: Ru l e s o n T y p og ra p hy : Th e con te m p o ra r y A m e r ica n m e asure me nt, ado pte d i n the 1 870’s , u s e s t wo m e a su re m e n t s , po i nts and pi cas (1 2 po i nts i n 1 p i c a , 6 p ica s in 1 in ch ) I n g e n e ra l, b o d y tex t sh o u ld b e l arge r whe n be i ng re ad o n s c re e n ve r s e s in p r in t Op t i m a l lin e le n g t h : 4 5 - 9 0 ch a racte rs o r 8-1 3 wo rds pe r line Kn ow yo u r d a sh e s ( hy p h e n , e n , e m) C u stom ize hy p h e n at io n : sh o u ld neve r have mo re than thre e i n a row Us e s m ar t , “cu r ly,” q u o t at io n s , a nd hang whe n appro pri ate A LWAYS sp e ll ch e ck
C RITI Q U E : L e gi bi l i ty a nd R e a d a b ilit y E x e rc ise : Be st way to ch e ck fo r t h e b e st s i ze and spaci ng o f b od y text is to ex p e r im e n t a n d pri nt vari o us ve rsi o ns. Se r i f ve rse s s a n s se r if, s ize, t ra cki ng, and l e adi ng al l h u g e l y im p a ct re a d a b ilit y a n d le gi bi l i ty. I fo und the m ost at t ra ct ive co m b in at io n fo r bo th se ri f and sans se ri f t yp e fa ce s , in te r m s o f b o d y p a ragraphs, was si ze 1 0 pt. w i t h 1 3 pt . le a d in g .
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Serif Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication —“one cannot not communicate”— puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. BASKERVILLE 9/13
Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication —“one cannot not communicate”— puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. BASKERVILLE 9/12
Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication —“one cannot not communicate”— puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. BASKERVILLE 9/14
Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication —“one cannot not communicate”— puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. BASKERVILLE 9/15
Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication —“one cannot not communicate”— puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. BASKERVILLE 8/13
Sans Serif Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. AVENIR 9/13
Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. AVENIR 9/12
Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. AVENIR 9/14
Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. AVENIR 9/15
Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication—“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. AVENIR 8/13
Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication —“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. BASKERVILLE 10/13
Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of communication —“one cannot not communicate”—puts it very succinctly. If you fail to consider the effect of your message on the recipient, you may inadvertently communicate that you do not care how your message may be received. AVENIR 10/13
T YPOG R APHY I I ASHLEY VONG
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ENTRY 02
JANUA RY 1 2 , 2 0 16
PR AC T I C A L T Y P O G RAP H Y: W h y i s t he re d e s ig n of t he b ut t er fly b allot p r ob le matic? Typ e h i e ra rchy is a ll ove r t h e p lace i n te rms o f candi date a n d t h e ir p o sit io n . Th e b u lle t s a nd arrows do no t al i gn and a re rat h e r co n fu sin g to fig u re o ut whi ch be l o ngs to whi ch. Th e a l i g n m e n t o f t h e tex t w it h in the boxe s i s no t co he si ve w h at s oeve r. W h y i s T rix ie ’ s b e t t e r t ha n V iolet’ s r e su me ? Tr i x i e u s e s la rg e r m a rg in s, w h ich al l ow mo re bre athi ng room for t h e tex t . Th e b u lle t p o ints are standard and no t ove r l y d e co rat ive. Th e lin e r u le al l ows re ade rs to bre ak up t h e s e c t io n s w it h o u t t h e ove r ly bul ky and he avy bar that Vi ol e t u se s. Bu t t h ey b o t h wo r ke d at H o t To pi c… so they ki nd o f bo th l os e. W h at ’s t he ma in a rg ume nt in t he “Cr y stal G ob le t? ” W h y d o e s But t e rick d is a g re e ? Th e a r t i c le q u e st io n s w h e t h e r re ade rs wo ul d cho o se to d r i n k w i n e o u t o f a cr yst a l cle a r go bl e t o r o ne that i s made of g ol d . Th e b e a u t y is in s e e in g the wi ne, no t hi di ng i t by a m ore b e a u t ifu l g o b le t . I n re lat io n to ty pe, i t i s i mpo rtant for re a de r s to b e a b le to re a d a nd unde rstand the text b e fore i t is ove r e m b e llis h e d . B utte ri ck po i nts o ut, tho ugh, t h at t h e a r t icle st re ss e s se p a rat io n be twe e n substance and p re s e n t at io n . H e a rg u e s t h at b o t h can exi st— and that i s w h e n t y p o g ra p hy b e co m e s t h e mo st be auti f ul .
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ENTRY 03
JANUA RY 1 4, 2 0 16
C RITI Q U E : T ype s e t t ing : G e n e ra l le g ib ilit y issu e s n e e d to be addre sse d. Pay cl o se at te n t i on to t h e ch o ice in t y p e face, the si ze and we i ght, i ts col or, a nd t h e b a ckg ro u n d co lo r that i t i s be i ng di spl aye d on . I f i t is b e in g reve r se d o u t , m ake sure the ty pe i s thi ck e n ou g h to b e re a d — p o ssib ly t r y a sans se ri f ty pe face i n t h i s c a se. Pay at te n t io n to h ie rarchy. Watch o ut fo r q u ot at i o n s , a s t h ey sh o u ld a lways be curl y and hangi ng w h e n a p p ro p r iate.
T YPOG R APHY I I
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ENTRY 04
JANUA RY 19, 2 0 16
TYPE CO M P OS I T I O N S : Th e re a re a lo t o f sy m b o ls a n d spe ci al characte rs o n a keyb oard . Wit h e a ch sy m b o l a nd characte r co me s a p p rop r iate u se s a n d co r re ct u s es. Start wi th a go o d t yp e fa ce —we ll- d e s ig n e d t y p e fa ce s wi l l no t o nl y have m u l t i p l e we ig h t s, b u t a ls o h ave de si gne d sy mbo l s (che apl y, p oor l y d e s ig n e d t y p e fa ce s m ig h t no t have curl y quo te s o r p rop e r p u n ct u at io n ) . By le a r n in g and ty pi ng characte rs the cor re c t way w ill save t im e a n d e f fo rt whe n fo rmatti ng and e d i t i n g late r.
C RITI Q U E : D i al o g u e P roje ct : We eva l uate d t h e t y p e a n d co lo r studi e s cho se n fo r the p roj e c t . I n e e d to d o m o re re se arch o n the my th i tse l f so t h at I c an re late t h e co n te n t to the de si gn mo re. H ow do t h e col o r s a n d t y p e s ex p e r im e n te d wi th ai d to the vi ewe rs u n d e r st an d in g o f t h e sto r y? Ma ke sure eve ry thi ng i s i n te n t i ona l a n d n o t st r ict ly a e st he ti c.
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ENTRY 05
JANUA RY 2 1, 2 0 16
TYPEFAC E S A N D F O NTS : A l ways co n s id e r t h e a u d ie n ce, t he co nte nt i tse l f, and the for m at w it h w h ich t h e wo rd s a re be i ng di spl aye d unde r. D oe s t h e t y p e fa ce in clu d e : a ll t he pro pe r punctuati o n, d i f fe re n t we ig h t s , d iffe re n t n u m eral s, and fo re i gn marks? C re at i n g t y p e fa ce s is ex t re m e ly co mpl ex—avo i d at al l cost s (un le ss it is h a n d le t te r in g, whi ch i s mo re do abl e). Wh e n yo u b u y a fo n t , yo u b u y a l i ce nse, whi ch l e ts yo u kn ow h ow a n d w h e n yo u ca n u se the ty pe face unde r l e g a l re st r ict io n s . P la ce s to ch e ck o ut and buy new fo nts: G oog l e fo n t s, Lo st Ty p e Co - o p, Le ague o f Movabl e Ty pe, Fon t Sp rin g , Fo n t S q u ir re l, a n d Ho use Industri e s. H i ghl y con s i d e r o rg a n iz in g yo u r t y p e fa ce s. It wi l l save yo u ti me w h e n l oo k in g fo r t y p e fa ce s to u s e and yo u mi ght fo rge t w h i c h on e s yo u h ave. Love yo u r fo nts and know whe re they com e f ro m .
C RITI Q U E : D i al o g u e P roje ct : How d i d t h e p o ste r s lo o k ? Th ey ne e d a l o t o f wo rk. Thi nk con ce p t u a lly— h ow ca n yo u re late the sto ry o f the my th to t h e a c t u a l d e s ig n? Re t h in k t y pe face cho i ce s. Why are you c h oo s in g t h at t y p e fa ce? W hat do e s i t have to do wi th t h e p oste r ? Als o t h in k o f t h e co mpo si ti o n acro ss the two s p re a d s . Ye s, yo u a re u sin g t wo page s, but they ne e d to re l ate a nd b e co h e s ive. Ke e p Worki ng!
T YPOG R APHY I I
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ENTRY 06
JANUA RY 2 6, 2 0 16
PAG E L AYO U TS: Th e way t h e tex t lo o k s is h u g e. The re i s a di f fe re nce b e t we e n h ow tex t lo o k s like o n s cre e n and i n pri nte d ve r s i on s . To o m u ch tex t w it h n o t e no ugh bre athi ng ro o m for m a rgin s ca n b e ove r w h e lm in g fo r re ade rs. O f te n, p e op l e o u t s id e o f t h e d e sig n re al m bank o n pre de si gne d te m p l ate s to in s e r t t h e ir tex t — n eve r re so rt to that! C h e c kl i st o f fa cto r s to co n sid e r : l i ne l e ngths, o rphans and w i d ows , a lig n m e n t , co lu m n s, m a rgi ns, tabl e s, and hi e rarchy.
C RITI Q U E : D i al o g u e P roje ct : Hon e st l y… t h e fin a l d ia lo g u e p o ste rs di d no t l o o k that g re at . They se e m e d u n d e r d e s ig ne d and the re l ati o nshi p b e t we e n t h e tex t it s e lf ve r se s t he fo rmal de si gn e l e me nts c h os e n d o n o co r re late t h at we ll . H i e rarchy i s l acki ng. Th e d i f fe re n t iat io n b e t we e n t h e two spe ake rs ne e ds to b e e m p h a size d , if n o t exa g g e rate d, way mo re to show d i st i n c t io n . Re wo r k t h e m … n ew date fo r a revi se d f i nal s u b m i ss io n is n ex t cla ss! E x te n d e d to make co rre cti o ns
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AS TOLD BY: JOSEPH CAMPBELL & BILL MOYERS
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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 bigger than oneself. Moyers: So in all of these cultures, whatever the local costume the hero might be wearing, what is the deed? Campbell: 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?
T YPOG R APHY I I
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ENTRY 07
JA NUA RY 28, 2 0 16
FA MILI E S O F T Y P E : E a r l y d ays o f t y p o g ra p h e r s fo cu se d o n the si ze o f the i r t yp e i n o rd e r to cre ate h ie ra rchy. Di f fe re nt scal e s and si ze s of t yp e h e lp e d t h e m o rg a n ize t he i r i nfo rmati o n. It wasn’ t u n t i l t h e 19 t h ce n t u r y t h at we ig ht be came a new way to d i f fe re n t iate in fo r m at io n a n d d isti ncti o n be twe e n bo di e s of tex t . I n t h e 2 0 t h ce n t u r y, it b e came al mo st standard fo r t yp og ra ph e r s to d e s ig n fa m ilie s wi th mul ti pl e si ze s and we i g h t s . Ad r ia n F r u t ig e r b e ca m e a l e adi ng f i gure as to s om e on e w h o p a id at te n t io n to ty pe face s and fo nts as a w h ol e fam ily.
C RITI Q U E : D i al o g u e P roje ct : Rev i s e d d ia lo g u e p o ste r s lo o k a l o t be tte r, f ro m eve ryo ne. Th e i m a ge r y re late s to t h e tex t , whi ch re l ate s to the con te n t n ow. Ve r y im p re sse d by eve ryo ne, e spe ci al l y G i n a ’s . Th e re a re e le m e n t s ( like co l o r and exe cuti o n) abo ut h e r s t h at I wo u ld ch a n g e, b u t t h e co nce pt o f cre ati ng he r tex t i n to a m a ze wa s s o s im p le but ge ni us. I wo ul d be ne f i t f rom on e m o re rev is io n . I a g re e that my po ste r (wi th the p h oto) i s st ill n o t a s fin ish e d a s i t co ul d be.
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T YPO G R APHY I I
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ENTRY 08
JANUA RY 2 6, 2 0 16
UNDER STA N D I N G G R IDS : A l ways u se a g r id w h e n d e s ig n ing l ayo uts—no exce pti o ns. I t h e l p s w it h v is u a l h a r m o ny, co nsi ste ncy, and ove ral l st r u c t u re. I t is o bv io u s w h e n t h ere i s no gri d structure — u n l e ss t hat is t h e ove ra ll in te n t io n to cre ate chao s and d i s ord e r. B u t v isu a lly, it is e a s ie r fo r the eye and the vi ewe r to u n d e r st a n d in fo r m at io n w it h a gri d. It make s pl ace me nt of tex t me a n in g fu l a n d p u r p o se f ul . It j ust l o o ks be tte r. E l e m e n t s to re m e m b e r : r u le o f t hi rds, the go l de n rati o, and ve r t i c a l a n d la n d s ca p e g r id s .
C RITI Q U E : Se l f El e me nt s of S t y le : A l ot of t h e ve r sio n s sh ow n a re to o ove rwhe l mi ng. The b ooks t hat a re re a lly wo r k in g h ave l arge margi ns wi th l o ts of b re at h in g ro o m , o rg a n ize d t a bl e s, and no thi ng i s ove r e m b e l l i s h e d . Ma ke su re to : it a licize bo o ks, i ncl ude a fo l i o a n d col o p h o n , a n d t h in k a b o u t t he re ade r whe n o rgani z i ng a l l of t h e laye r s o f in fo r m at io n . G r o u p E le me nt s of S t y le : I a m work in g w it h A lex a n d L u cia. We ’ ve e stabl i she d whi ch t yp e fa ce s , t a b le st r u ct u re s , a n d ove ral l l o o k o f o ur bo o ks a s a g ro u p. Nex t ste p is cre at in g paragraph, tabl e, and c h a ra c te r st y le s s o t h at we ca n al l i nput o ur i nfo rmati o n.
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THE ELEMENTS OF STYLE SECTION 3 A FEW MATTERS OF FORM SECTION 4 WORDS AND EXPRESSIONS COMMONLY MISUSED
William Strunk Jr New York 1918
T YPOG R APHY I I
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ENTRY 09
FEB RUARY 4, 2 0 16
TYPE D E S I G N P H I LOS O P H Y: You c a n n o t b e a g o o d t y p e d e signe r i f yo u are no t a b ook t ypo g ra p h e r. Th e b e st is to use se ri f and sans se ri f t yp e fa ce s to g e t h e r t h at d e r ive di re ctl y f ro m e ach o the r. Th e p a st 15 ye a r s h ave b e e n revol uti o nary fo r sans se ri f t yp e fa ce. B e st re lat io n sh ip a d v ice fo r sans se ri f and se ri f : “s h a ke ha n d s a n d wo r k to g e t h e r i n harmo ny.”
C RITI Q U E : G r o u p E le me nt s of S t y le : N ot t h at m u ch p ro g re ss h a s b e e n do ne by anyo ne i n the c l a ss … Eve r yo n e n e e d s to co m p le te a si gni f i cant amo unt o f wor k b e fo re n ex t cla ss .
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ENTRY 10
FEB RUARY 9, 2 0 16
L ATIN T Y P E VS. T H E WO RLD : M ova b l e t y p e h a s b e e n a t h in g al l ove r the wo rl d fo r ce n t u r i e s, n o t ju st in E u ro p e, a lt ho ugh i t i s e asy to fo rge t d u e to a la rg e b ia s . A lo t o f t h e te rmi no l o gy and l anguage s u r rou n din g t y p o g ra p hy is s o “ we ste rn” i nf l ue nce d. Howeve r, re ce n t ch a n g e s in te chno l o gy have i nspi re d ty pe d e s i g n e r s to co n s id e r t h e p rev iousl y ove rl o o ke d do mai n of “ n on L at in ” t y p o g ra p hy. Th e re i s an i nte re st i n Arabi c, Cyr i l l i c , Gre e k , o r n o n - I n d ic s cr ipts l ate l y.
C RITI Q U E : G r o u p E le me nt s of S t y le : We h ave a g e n e ra l id e a o f a ll o f the sty l e s we are go i ng to u s e fo r o u r b o o k s. O bv io u sly, so me e l e me nts mi ght g e t c h a ng e d fro m n ow u n t il t h e de adl i ne. B ut ove ral l i t l ooks p re t t y g o o d . We h ave la rg e margi ns and have o ur t yp e fa ce s p icke d o u t . L u cia a n d Al ex’s co nte nt are a l ot m ore s im ila r, s o t h e ir p a g e s l o o k mo re co he si ve. My c h a l l e n ge w ill b e g e t t in g m in e to be as co he si ve as the i rs, eve n t h o u g h my co n te n t is a lo t di f fe re nt.
T YPO G R APHY I I
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ENTRY 11
FEB RUARY 11, 2 0 16
C RITI Q U E : G r o u p E le me nt s of S t y le : A l l of t h e g ro u p s’ fin a l E le m e n t s o f Sty l e l o o k re al l y awe s ome. Th e re is a lo t m o re m argi n and bre athi ng ro o m, w h i c h d e fin ite ly h e lp s in u n d e r whe l mi ng the de nse text. Th e t a b le s a n d g r id s u s e d a re n ot o nl y he l pf ul i n spl i tti ng u p t h e tex t b u t a d d v is u a l in te re st. The cove r de si gns have i m p roved a s ig n ifica n t a m o u n t fro m the f i rst cri ti que.
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T YPOG R APHY I I
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ENTRY 12
FEB RUARY 18, 2 0 16
MAG A Z I N E S : E l e m e n t s t h at m a ke t y p e fa ce s o n scre e n vi abl e : re f i ne d d e t a i l s , f in e ly t u n e d p ro p o r t io n s, and me ti cul o us spaci ng t h at l e t t h e re a d e r fo rg e t a b o u t the ty pe face and pay at te n t i on to t h e tex t . Ma g a z in e s have be co me key p or t fol i o p ie ce s fo r yo u n g d e sig ne rs, the pe rfe ct me di um for s h owca s in g a ra n g e o f s k ills. Magaz i ne s be ne f i t f ro m l ot s of wh ite s p a ce, lo t s o f m ove me nt, and a se nse o f p l ayf u l n e ss to g e t t h e re a d e r s e ngage d i n the e di to ri al .
C RITI Q U E : T ypo gr a p hy & T he E v e ry d a y : Th e m a g a z in e p ro je ct is u n d e r way. I thi nk the cl ass has a g e n e ra l g ist o f w h at co n te n t t hey want to i ncl ude. In te r m s of layo u t s a n d s p re a d s , I sti l l am no t to o sure how I wa n t to lo o k o f my m a g a z in e to be. B ut as a cl ass, we have d i v i d e d in to s e ct io n s a n d a re n ow i n the pro ce ss o f f i ndi ng t h e a p p ro p r iate p h o to s a n d a r t icl e s to i ncl ude.
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ENTRY 13
FEB RUARY 2 3 , 2 0 16
RE -E VA LUAT I O N O F GILL SANS : G i l l Sa n s is t h e H e lve t ica o f E n g land. It i s a mo no -l i ne sans s e r i f t yp e fa ce b a s e d o ff o f h u m ani st structure. It be gan as a p i e ce o f sig n a g e. Th e re a re re co rds o f thre e vari ati o ns of t h e l owe r ca s e a , t h at a ll a re stri ki ngl y si mi l ar to the Joh n ston t y p e fa ce. I t s d iffe re n t we i ghts are al l re l ati ve l y t h e s a m e st r u ct u re, exce p t fo r t he ul tra bo l d, i n whi ch the l e t te r s t a ke o n a co m p le te ly d iffe re nt fo rm. Fo r yo ung d e s i g n e r s, it is a h a rd t y p e fa ce to use we l l wi tho ut maki ng a con s i d e ra b le e ffo r t .
C RITI Q U E : G r i d A n a ly s is : Ou r a n a l ys is o f t h e g r id syste m fo r Mi l k Magaz i ne ’s i ssue n o 25 , pa g e 8 8 –89, is t h at t h e re i s a re l ati o nshi p be twe e n t h e g r i ds o f t h e t wo d iffe re n t layo uts. B o th page s i n the s p re a d have e q u a lly s ize d m a rg ins o f 3p0 o n the to p, 4p0 on t h e i nsid e, 6 p 2 o n t h e b o t to m, and 6p1 0 o n the o utsi de. I n a d d i t io n , b o t h p a g e s h ave a large i mage spanni ng the top q u a rte r, ex te n d in g to fu ll b lee d o n the si de s. B o th a re com p o s e d o f a t wo co lu m n gri ds, o f whi ch the i nsi de col u m n i s n a r rowe r, a n d t h e o u t s i de co l umn i s wi de r. Th e re i s n o m at h e m at ica l re lat io nshi p be twe e n the co l umns on t h e p a g e ; h oweve r, t h e s m a lle r co l umn se e ms to be rou g h l y t h re e q u a r te r s o f t h e la rge r co l umn. The i mage s ex te n d to a fu ll b le e d . Th e n a m e and re fe re nce o n the b ot tom r ig h t o f t h e se co n d p a g e, the brown text, and the p a g e n u m b e r a ls o b re a k t h e g r id. Thi s se cti o n o f the text i s l e f t a l i g n e d , w h e re a s t h e re st o f the text i s j usti f i e d.
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ENTRY 14
FEB RUARY 2 5, 2 0 16
BE AU T Y A N D U G L I N E SS IN TYP E : Th e re i s n o s u ch t h in g a s co n ce ptual ty pe. Tho ugh s u b j e c t i ve, m a ny a rg u e t h at t h e hi gh co ntracts i n B o do ni a n d D i d o t m a ke t h e m b o t h “ b e a uti f ul ” ty pe face s. H oweve r, a t yp e face like I t a lia n , w it h va r y i ng thi ck and thi n stro ke s, w i t h rat h e r “ fre a k ish ” le t te r st r u c ture s, de e m i t an “ugl y ” on e. E l em e n t s o f b e a u t ifu l a n d ugl y ty pe face s can be m e l d e d in to o n e, m a k in g a v isu a l l y i nte re sti ng hy bri d— Ka r l of f is a n exa m p le o f t h is.
C RITI Q U E : T ypo gr a p hy & T he E v e ry d a y : Th e re a re a lo t o f d iffe re n t se ct ions that are be i ng con t r i b ute d to t h e m a g a z in e. S o me arti cl e s have ve ry d i f fe re n t lo o k s a n d fe e ls in te r m s o f pho to s be i ng use d and ove ra l l co n te n t b e in g d is p lay. I t wi l l be a chal l e nge ge tti ng a l l of t h e m ate r ia l to b e co h e s ive and f l ow to ge the r. Us u a l l y ma g a z in e s h ave sim ila r lo o ki ng pho to s o r the same c re at i ve d ire cto r ove r se e in g a ll o f the m. B ut be cause al l of t h e i n fo r m at io n is co m in g fro m a bunch o f di f fe re nt s ou rce s , it m ig h t b e a lo t h a rd e r to achi eve.
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MARC H 1, 2 0 16
TYPE O N SC R E E N : Two of t h e b e st t y p e s d e sig n e d fo r scre e n are G e o rgi a and Ve ra n d a . H ig h co n t ra st ca n b e u s e f ul , but to o many vary i ng st roke we ig h t s ca n b e b u rd e n s o me to re ad. H i gh x he i ghts a re i d e al, b u t d o n o t ch o o se o n e that i s to o hi gh. Make s u re t h e re is d iffe re n t iat in g ch a racte r (the numbe r o ne, l e t te r L , a n d Le t te r I ) . A ll tex t o n scre e n sho ul d ge ne ral l y b e l a rg e r t h a n in p r in t . W h e n p a i ri ng ty pe face s, make sure t h e re i s a co n t ra st ( u s u a lly p a ir a se ri f wi th a sans se ri f ).
C RITI Q U E : T ypo gr a p hy & T he E v e ry d a y : Ke e p wo r k in g o n t h e layo u t a n d i mpl e me ntati o n o f the a r t i c l e s in to t h e m a g a z in e. Ge t al l o f the i nfo rmati o n and tex t i n ! Wo r r y a b o u t d e s ig n in g t he spre ads l ate r.
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ENTRY 16
FEB RUARY 2 5, 2 0 16
C RITI Q U E : T ypo gr a p hy & T he E v e ry d a y : A l l g roup s s u b m it te d t h e ir fin a l draf ts and ve rsi o n o f the a r t i c l e s t h ey a re co n t r ib u t in g . A ll text and i mage ry canno t b e c h a n ge d . Now p la ce m e n t o f pho to s and gri d structure s of t h e l ayo u t s ca n b e se t . A b o o k map was adde d to he l p g u i d e u s t h ro u g h t h e se t t in g o f the i nfo rmati o n. E ach bo o k m a p s h o u ld re p re se n t t h e g e n e ral fo rmat o f e ach magaz i ne a n d ke e p u s o rg a n ize d . We h a d s mal l gro up cri ti que s, b u t I h a rd ly h a d a ny s p re a d s co mpl e te d that i t wasn’ t as n e ce ss a r y a s in te n d e d . W h at I h ad so far was go o d— l o ts of w h i te s p a ce a n d in te re st in g pl ace me nt o f pho to s. I j ust n e e d to ke e p wo r k in g .
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MARC H 1, 2 0 16
C RITI Q U E : T ypo gr a p hy & T he E v e ry d a y : Eve r yone u p lo a d e d t h e ir ro u g h co mpl e te d ve rsi o ns o f t h e i r m ag a z in e s. O ve ra ll, t h e re we re de f i ni te l y e l e me nts t h at we re wo r k in g a n d o t h e r s t h at we re n’ t. The he ade rs t h at s e p a rate t h e a r t icle s n e e d to be exagge rate d so that v i ewe r s k n ow it ’s a n ew s e ct io n . May be add di ngbats to i n d i c ate a n d e n d . Do n o t ove r lo ad a page wi th a l o t o f text a n d i m a ge s. I t is o kay to e m p h a s i ze bre athi ng ro o m. It i s l e ss over w h e lm in g fo r a re a d e r. D o no t fo rge t to i ncl ude a cove r p a g e, fo lio s , a n d a co lo pho n. Make sure fe ature a r t i c l e s o r la rg e ly im p o r t a n t a r t i cl e s ge t the atte nti o n t h ey d e s e r ve. Th e re n e e d s to b e a “wow” mo me nt i n the m a g a zi ne to g ive in te re st a n d d rama .
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ENTRY 18
FEB RUARY 2 5, 2 0 16
C RITI Q U E : T ypo gr a p hy & T he E v e ry d a y : A l l of t h e m a g a z in e s lo o k g re at ! Re al l y i mpre sse d by the wor k eve r yo n e in t h e cla ss d id . I t i s so awe so me to se e h ow d i f fe re n t e a ch m a g a z in e t u rne d o ut to be eve n tho ugh t h ey a l l co n t a in e d t h e sa m e co n te nt. The o ne s that re al l y stood ou t g e n e ra lly h a d la rg e h e ade rs that made e ach a r t i c l e have it s ow n im p o r t a n ce. E xagge rate d whi te space wa s n ot a s n e ce ss a r y a s I t h o u g ht, but the spre ads wi th a m p l e ro o m b e t we e n t h e im a g e s and the texts de f i ni te l y l ooke d st ro n g e r. I m a g e s t h at s p re ad acro ss page s and that took u p w h o le p a g e s a d d e d a lo t o f vi sual drama. T ype & S t uf f ( p e rs ona l ma g a z ine ) : For my m a g a z in e, I wa n te d to t arge t a yo uthf ul , mo re con te m po ra r y a u d ie n ce. I d rew inspi rati o n f ro m new day s u r f m a g a z in e s , like W h at Yo u t h . G e ne ral l y, the re was way m ore e m p h a s is o n la rg e p h oto s and ke pt the text a s m i n i ma l a s p o ss ib le. I d o n ’ t want to say that I unde r d e s i g n e d my s p re a d s , b u t I d e fini te l y di d no t want to ove r e m b e l l i s h o r a d u n n e ce ssa r y d e t ai l s that wo ul d j ust cl utte r t h e p a g e s. I in clu d e d a s m a ll g ray dashe d l i ne at the e nd o f e a c h a r t icle to in d icate t h at it was co mpl e te d. I pl aye d o f f of t h e s a m e n avy b lu e a n d b u r n t re ad co l o rs thro ugh o ut to ke e p a co n siste n t co lo r p a lle t. O ne can argue that my m a g a zi ne lo o k s m o re like a b o o k than an actual magaz i ne, b u t I p re fe r it t h at way. Th e re we re smal l i ssue s re gardi ng h a n g i n g q u o te s a n d n u m b e r a lignme nt, whi ch I can al ways g o b a c k a n d ch a n g e. B u t ove ra ll, I am re al l y happy wi th the way m i n e t u r n e d o u t . I a m excited to i ncl ude i t i n po rtfo l i o.
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THE END
C a l Pol y St ate U n ive r sit y S LO Typ og ra p hy I I Win te r 201 6 D es i gn e d By: A s hle y V ong LAN G DO N (A L L CA P S) G OT HA M BOL D ( AL L C AP S ) G o t h a m M e di u m G ot h a m Re g u l ar