338.03 Type Journal by Zach Baker

TYPE 2 CUMULATIVE JOURNAL MARCH 2016 ZACH BAK ER

introduction :

Lets begin… this is the introduction for Zach Baker’s 2016 journal on typography; I’m just reminding you in case you forgot the title on the previous page. This is the low down on this book, so pay attention. If you’ve seen Raiders Of The Lost Ark, this journal is comparable to Indy’s guide book, you know that was given to him by his dad and the one signed by Hitler; the one that leads you to the fountain of youth. If you drink from that fountain, you will have eternal life as a graphic designer, and probably not get fired for committing trivial type atrocities. This journal is one of the many steps on my way to that fountain.

table of contents: class notes :

The Tenish Commandments: Type Basics | 9 –11 Choosing a Typeface/ Font Licensing | 12 –15 Typography & Styles | 16 –18 Grids| 19 reading notes :

How Type Families Work, by Peter Bil’ak | 22 Grid, Thinking with Type by Ellen Lupton | 23 My Type Design Philosophy by Martin Majoor | 24 Typography in Relationship to the World by Peter Bil’ak | 25 Lava — Voice of a Magazine, by Peter Bil’ak | 25 The First Think I Ever Designed: Elena Schenker | 25 Eric Gill got it wrong; a re-evaluation of Gill Sans | 26 An Idea of a typeface by Kai Bernau| 26 Typeface Designed to Revive the Endangered Cherokee Language | 26

Butterick’s Practical Typography: | 27-33 •

Typography in Ten Minutes

•

Summary of Key Rules

•

Why Typography Matters

•

Type Composition

•

Text Formatting

•

Page Layout

process pictures & critique notes | 34

Project 1: Type Quotes | 36-39 Project 2: A Dialogue | 40 – 43 Project 3: Elements of Style| 44 – 47 Project 4: Type Zine | 48 – 49

synopsis

Whip It: The Journey of Type 2 | 56 – 57

CLASS NOT

TES

THE TEN - ISH COMMANDMENTS: TYPE BASICS point size :

Our measuring system for typography that was originally developed for the handset metal type — By Johannes Gutenberg in around 1450 •

Invented to get some standardization of type

Before books were mainly made by monks. But after you can mass produce books with the letterpress.

•

12 points in 1 pica, 6 picas in 1 in

•

1.p6 = picas

•

p10 = 10 points

Traditional Sizes of Slugs were made in increments to 5-72 point factors to consider :

•

Typeface proportions/ weight

•

Amount of copy

•

Application - is it serious/funny?

•

Audience - how old is the reader?

•

Context

kerning

•

Kern type at display sizes.

leading

Not too much, not too little; when you squint you want a nice constant gray •

120-140% of type size

•

Optimal Line weight about 8-13 words per line.

letterspacing

(tracking)

•

Track too much and its hard to read

•

Type thats in all caps can handle more letter spacing than not .

•

When you need to track increase at a maximum of 10

•

All caps can sometimes need 50-100

small caps

•

Avoid Fake Small Caps:

Only use actual small caps, if you don’t the weight and spacing will not match the computer’s mockery.

the tenish commandments : type basics

|9

know your dashes

•

Don’t always turn off hyphenation

(Depends on the application) avoid tiny fragments and too many consecutive hyphenated to indicate duration •

Em dash used to express pause in sentence.

•

Only use semi colon when the following could stand as it’s own sentence.

hyphenation

Adjust hyphenation settings in InDesign to limit to •

2 hyphens in a row

•

3 letters before

•

3 letters after

quote marks

•

Don’t use prime marks to quote things, or dumb quotes.

•

Use prime marks when you can/you can also italicize dumb quotes to do.

rags

Rags are meant to be ragged; but subtly.

Avoid large swerves or “bites” in your type.

widows :

•

First test, try a little negative tracking / never beyond -10

•

Avoid Orphans

•

To f ix you can either force words down; or remove them.

the tenish commandments : type basics

| 11

CHOOSING A TYPEFACE content : factors to consider

•

How long is the text?

•

What is it about- Is it funny, serious etc. Should match your typeface

audience :

•

What is the age of your audience- think about the end user

•

What is the demographic of the reader

format / context :

•

What is the size of the page/ Screen?

•

Is the size set or will it vary? What medium web/print etc.

•

At what distances will the text be read

technical factors to consider

•

Does the font have a full character set, including all punctuation and glyphs necessary for the job?

•

What is the format of the font? Open type/ cross platforms

•

Does the font have: a.

Foreign accented characters

b.

Characters and glyphs?

c.

Multiple weights and styles

d.

Small caps

e.

Lining and old style numerals

f.

Web font version

creating a font

Well crafted typefaces can take years to develop. And often require huge teams, especially in the case of typefaces released in multiple scripts with support for multiple languages.

Unlike many other forms, typefaces are both design and technology. Contemporary fonts are software applications that handle many conditional states such as swashes and ligatures

font licenses

A font license grants the owner the right to use a typeface in a specif ic manner as outlined in the license. As a designer you need to ask:

•

Can I use this font for commercial work?

•

How much does this cost? Costs of font is sold by number of users.

•

Can i use it on-line or just in print?

choosing a typeface

| 13

•

What about apps and e books?

places to download fonts :

•

Google Fonts

•

Lost Type Co

•

League of Movable Type (league Gothic)

•

Font Squirrel (free for commercial use)

•

Font Spring (most for commercial use/ not free)

•

House Industries (expensive AF)

*Vernacular is old everyday type (sign paintings)

•

My Fonts g.

•

Use what the font tool

Fonts.com

where do fonts live in your computer?

•

User/library/fonts/

•

Local/Library/Fonts

•

Network/Network/Library/Fonts

•

System/System/Library/Fonts

font managers

•

Can create font sets

•

Resolve font conf licts

You can also deactivate fonts in the library/fonts to prevent things

•

Can create sets, but must be linked from same location. Kind of crappy

•

When resolving font stuff it will always give priority to the system fonts.

Some Good font managers are:

•

Font explorer X Pro

•

Suitcase fusion

•

Font Books, is an option

choosing a typeface

| 15

TYPOGRAPHY & STYLES paragraph styles

Affect paragraph level attributes •

Leading

•

Tabs

•

Indents

•

Space before and after

•

Hyphenation and justif ication settings

general settings :

Shows overview of the style setting and if the style was based on existing style, If style is based on pre-existing typeface, and you change something about current style,

advanced character formats

Do not touch, unless absolutely necessary, i.e. spacing of a bullet.

Indents and Spacing: •

Defines alignment, Indents and space before or after paragraph returns

Tabs •

Show all tabs and headers (characterizers that f ill negative space before the tab.

Paragraph Rules •

Shows rules (lines that can appear above or below the paragraph.

Paragraph Shading: Text Highlighting •

You never know when you might use it. Spacing can be customized

Hyphenation •

Turns hyphenation on or off and customizes ford and hyphenation settings

Justification: •

Customizes Justif ied type spacing.

Span Columns •

If you want to switch from a single column to multiple columns in the same text box

Drop Caps and Nested Styles •

Large initial caps and styles within other styles.

GREP Style •

Means globally search a regular expression and print. Allows you to us code to find and edit text through the find/change the dialog to box or via paragraph styles.

typography and styles

| 17

Bullets and Numbering: •

Sets up list with bullet points or numbers.

Character Color •

Color of text, be aware of tint, and change in opacity.

character styles :

General •

Shows style name and if the character style is based off pre-existing style.

Basic Character Formats, •

Basic text formatting font style, kerning do not use scale or slew of your type

table styles :

Need for styling multiple tables within a document. The style defines:

•

The outside border of the table,

•

The dividing lines in the table,

•

The space above and below the table,

•

The f ills of the f ields in table

•

Recto, R for right, Verso V for left

GRIDS •

Use a baseline grid to align everything to something,

•

The baseline grid goes in increments similar to your point size.

•

The baseline grid i s a structural

grids

| 19

READING NO

OTES

how type families work , by peter bil ’ ak

The stylistic variation in some type faces is at an all time high. Typefaces like Chronicle and United each encompass over 100 styles and weights in their own type family.

Yes type variation has been around for forever, starting during the enlightenment in the 1700’s by creating slugs in standardized sizes to fit specific needs. These sizes were called points, and were based on an inch divided by 72. Needless to say, in the digital age, creating typefaces in various sizes was unnecessary as mathematical scaling was possible on the computer. Although the concept of a bold typeface was visible in the past, the idea of a single type face having a bold weight was not common.

In the 20th century, the idea of creating type faces with different widths and weights came into fruition, the first type face to exemplify this was Romulus with 6 different weights.

This idea evolved into that of meta fonts, created by a mathematician, the idea is that each character is drawn by the computer and follows a stroke, then the stroke is alterable by the computer, and allows the font to be manipulated into different weights.

“At the level of individual glyphs, each style of the type family must be recognizably different in order to remain functional. Yet each style must adhere to common principles governing the consistency of the type family. It is clear that individual members of the family need to share one or more attributes, and typographic history offers many examples of this; optical size, weight, width, stylistic differences (sans, serif and semi-serif), construction differences (formal and informal), are the most common parameters linking members of type families”

grid , thinking with type by ellen lupton

Golden Section: The golden ration is found in both art and nature, so why not graphic design; designers use it to design spreads, the ration is a : b = b : (a+b) side a is to side b as side b is to the sum of both sides.

Single Column Grid: A single column grid is the use of a spread for each page, and only consists of the area within the margins. Symmetrical on both sides of the page, and used in book design mainly.

Multi-Column Grid: Multicolumn grids are used when a hierarchy is needed, mainly in editorials, where you have the use of images. More Columns, the more flexible your design is for various content.

Hang-lines: Essentially just horizontal divisions that the text can hang off of, used to reserve space for certain images or elements.

Modular Grid: A grid laid out with consistent horizontal and vertical divisions. You are also able to overlap modular grids, but thats pretty crazy.

Baseline Grid: Modular grids are created by instilling a baseline grid, or horizontal lines that anchor each element to the grid. In order to create, you must have chosen the point size and

reading notes

| 23

leading of your document, then using the size you are able to create the consistent intervals in Preferences/Grids/Baseline Grid

my type design philosophy by martin majoor

Mixing Type: Martin feels that you can only be a good typographer, if you are book typographer, as you are table to understand how each type face will interact with each medium. He feels that the use of both a sans serif and serif font together are the best way to create variation within type. But there are incorrect ways to mix this type, and he feels that you must find sans and serif fonts that have similar origins.

Origins of the Sans •

The sans-serif was invented around 100 years ago, by William Caslon as a display face, but historically has little signif icance.

•

The sans serif that paved the way for the f irst was Akzidenz Grotesk

•

Sans Serifs are based on serif ’s

•

Futura; f irst san serif, designed as a sans serif and not based on letter forms.

•

Many type faces were cheaply based off of Futura: Helvetica, Univers, etc.

•

Only new features were multiple weights

•

Re-designing an old successful typeface is something that shouldn’t be done.

•

Slanted romans, are no substitute for real italics, and most sans serif faces have them.

•

Use Joana, and Gill Sans

“The last 15 years have in a way been revolutionary for the sans serifs. More and more type designers have become aware of the basis of sans serifs and for the first time sans serif designs have become full partners of serifed designs. I can best sum up my type design philosophy by saying: ‘Shake hands and work together in harmony’”

a view of latin typography in relationship to the world by peter bil ’ ak

Even though we commonly credit Gutenberg for the invention of movable type, it was actually invented in China well before his time. Not to mention the fact that metal type was invented during the during the ming dynasty Term roman does not actually apply to all typefaces, as it is technically use dot describe typefaces of the early Italian renaissance. But has come to depict the opposite of italic, or the upright typefaces.

The use of technology is allowing for the exploration and development of typefaces that are not inherently European, and through these innovations if Arab, Greek and Indic scripts, we are able to hopefully use these innovations in our own Latin type.

lava

—

voice of a magazine , by peter bil ’ ak

The typeface Lava was designed for use of the magazine Works That Work.

The magazine is supported across multiple mediums, and the font was designed accordingly. Lava is optimal in low resolution situations on the web, as well as in print.

The one cool thing about this magazine is that the only common characteristic between the multiple platforms, is the typeface Lava. A very interesting creation indeed.

reading notes

| 25

the first think i ever designed : elena schenker

This article is about Gratuitous Type, a type magazine that was self produces

by Elena Scheckner, and gave her a foot into the publication world. It was a self funded passion project, that was turned into an editorial and full fledged magazine. There was no real information except that a magazine design is a glorious portfolio piece.

eric gill got it wrong ; a re - evaluation of gill sans ” by ben archer

•

This guy doesn’t like Gill Sans

an idea of a typeface by kai bernau

All typefaces have connotations, even ones that claim to be completely neutral Helvetica** cough*** . The article is about the connotation of the author that wants to create a neutral typeface, and then documents his process.

“In the end we can not create something completely neutral, something to which none of us can attribute any qualities. But we can approximate the formal idea of neutrality to some degree.”

a typeface designed to revive the endangered cherokee language

“Designer Mark Jamra was moved by the need for a typeface that would help preserve a nation’s language and culture, and began by adapting a Latin typeface he already had in the works. To develop the letter-forms (including a cursive italic inspired by handwriting), Jamra studied the Cherokee syllabary developed between 1809–1824, along with 180 years of manuscripts provided by the Cherokee Nation and the Smithsonian Institute.”

This concept is wonderful, using modern technology and typography to revive, and clarify a language for new learners. using layout grids effectively , designers insights

“If you can’t apply a layout grid system to a particular concept, you’ll never be able to repeat that look consistently, then it’s art and not design.”

You must increase your knowledge of grids to become effective at graphic design, there are only two types of grids you have to work with, those with an odd amount of columns, and those with an even amount of columns. Also make sure you are aware of the gutter space that it takes in order to bind a book, increase the gutter space int he middle to account for this.

“ typographica

mea culpa , unethical downloading ”

by steven heller

When you download a font, you must read that file in bold that says “Read Me” it is the font licensing that describes whet you legally have the right to do with the font. As fonts are patented, sharing illegally is considered stealing and you can get in trouble for this. Its similar to those adds that were in the beginning of movies back in the day, that said “you wouldn’t steal a car” yada yada yada, but they were against pirating. And we’ve all illegally done this, but we need to be more aware of the legality behind using a font, as credit to the designer, and to the foundry.

beauty and ugliness in type design ” by peter bil ’ ak

Bodoni laid down the four principles of type design “from which all beauty would seem to proceed”, namely: regularity, clarity, good taste, and charm.

As we are able to understand what constitutes a beautiful typeface, the ugly ones are rather similar to the beautiful ones, the one difference is the line weights of the faces.

reading notes

| 27

butterick ’ s practical typography :

Typography in Ten Minutes

By applying the basic rules, you will be better than most type designers, the basic rules include •

Start your project by making the body text look good

•

Make sure your point size is legible 10-12 in print, 15-25px on web

•

Make sure your leading is 120-145% of your body type

•

Make sure your line length is 45-90 characters,

•

Don’t pick crappy fonts

Summary of Key Rules As this reading was a summary, I felt the need to include the whole thing; as a summary of a summary would be insufficient knowledge. Also having this list handy will be very useful in the future, Also make sure to pay attention to The four most im­por­ tant ty­po­graphic choices you make in any doc­u­ment are point size, line spac­ing, line length, and font (pas­sim), be­cause those choices de­ter­mine how the body text looks.

•

Point size should be 10–12 points in printed doc­u ­m ents, 15-25 pix­e ls on the web.

•

Line spac­i ng should be 120–145% of the point size.

•

The av­e r­a ge line length should be 45–90 char­a c­t ers (in­c lud­i ng spaces).

•

The eas­i­est and most vis­i­ble im­prove­ment you can make to your ty­pog­ra­phy is to use a pro­fes­sional font, like those found in font rec­om­men­da­tions.

•

Avoid goofy fonts, mono-spaced fonts, and sys­t em fonts, es­p e­c ially times new ro­m an and Arial.

•

Use curly quo­ta­tion marks, not straight ones (see straight and curly quotes).

•

Put only one space be­t ween sen­t ences.

•

Don’t use mul­t i­p le word spaces or other white-space char­a c­t ers in a row.

•

Never use un­d er­l in­i ng, un­l ess it’s a hyper-link.

•

Use cen­t ered text sparingly.

•

Use bold or italic as lit­t le as possible.

•

All caps are fine for less than one line of text.

•

If you don’t have real small caps, don’t use them at all.

•

Use 5–12% ex­t ra letter-spacing with all caps and small caps.

•

Kerning should al­w ays be turned on.

•

Use first-line in­d ents that are one to four times the point size of the text, or use 4–10 points of space be­t ween para­g raphs. But don’t use both.

•

If you use jus­t i­f ied text, also turn on hy­p hen­a tion.

•

Don’t con­fuse hy­phens and dashes, and don’t use mul­ti­ple hy­phens as a dash.

•

Use am­p er­s ands spar­i ngly, un­less in­c luded in a proper name.

•

In a doc­u ­m ent longer than three pages, one ex­c la­m a­t ion point is plenty (see ques­t ion marks and ex­c la­m a­t ion points).

•

Use proper trade­mark and copy­right sym­bols—not al­pha­betic approximations.

•

Put a non breaking space af­t er para­g raph and sec­t ion marks.

•

Make el­l ipses us­i ng the proper char­a c­t er, not pe­r i­o ds and spaces.

•

Make sure apos­t ro­p hes point downward.

reading notes

| 29

•

Make sure foot and inch marks are straight, not curly.

FWhy Typography Matters Because any time you put text on a page you have become a typographer.

Having good typography will have positive consequences, the document will be easy to read, easily navigated etc. The opposite will have the latter. Using the very confusing butterfly ballot as an example of bad type.

Text Formatting (letters) •

Do not use underlining for emphasis

•

No overly decorative fonts belong in a professional document

•

Never use mono-spaced font for your body text, as they add extra space and were designed for typewriters

•

Make sure your font was designed for your media, either print or web.

•

Bolds and italics are mutually exclusive. Only use them as emphasizers.

Also somewhat harder to read as they were designed to contrast the roman version

•

Use all caps and or small caps sparingly as well, never use for body text, only use for short headers.

•

Type sizes vary, even at the same weight

•

Limit yourself to 3 sets of headers

•

All caps needs tracking: don’t spread far apart enough to fit another letter inside though.

•

Kern specific letters that have distinct spacing from the rest of the body; Make sure optical kerning is turned off

•

Lining figures line up at the tops and bottoms with each other, Old-style do not.

•

Do not use super script with things like 1st as they are hard to read.

•

Do not use fake small-caps

•

Mixing fonts is never a requirement, it’s an option; also one font per paragraph.

•

Use professional fonts, and don’t steal them.

Type composition (other characters)

•

Make sure you use the correct type of quote mark

•

Always have one space between sentences

•

Question mark is under used, exclamation is over used

•

Use a semi colon for lists that include commas, and to break a part two indistinct sentences

•

Brackets and parentheses should not take on the character formatting surrounding them, if you are bolding one word, the brackets should

reading notes

| 31

not be bolded around that word.

•

There are many types of dashes, be sure to use the correct one

•

Hyphens are used to: a. Break a word apart from one line to another b. Split multi-part words c. Phrased adjectives

•

En Dash is used to:

d. Display time ranges e. Display relation/ connection between two things •

Em Dash is used to: f.

Create a pause within writing

•

Use actual ellipses …

•

To make a sig­n a­t ure line, hold down the un­d er­s core key (shift + hy­p hen) un­t il you get the length you need.

•

Be aware of the type of quotes you are using

•

Option Command I to show invisibles

•

Shortcuts include: g. –

Option hyphen

h. —

Shift option hyphen

i. •

Option 8

j. ˚

Degrees, option k

k. ©

Option g

l. ™

Option 2

m. ®

Option r

n. …

Option semi colon

o. å

Option e, then type letter

p. Command Shift T, allows you to adjust tab location lines.

Page Layout All info in this section can be found either in previous sections, or in the class notes section

reading notes

| 33

PROJECTS

S

section name

| 35

PROJECT 1: QUOTES ON TYPE legibility excercise :

Serif

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.

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.

SABON LT STD 9/13

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.

SABON LT STD 9/12

Without typography, one could argue, messages will still be

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

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.

SABON LT STD 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.

Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than

AVENIR 9/14

simply display a heap of alphanumeric data, some consideration would be helpful. Paul Watzlawick’s first axiom of

Without typography, one could argue, messages will still

communication —“one cannot not communicate”— puts it

be legible, but if one really wants to communicate rather

very succinctly. If you fail to consider the effect of your mes-

than simply display a heap of alphanumeric data, some

sage on the recipient, you may inadvertently communicate

consideration would be helpful. Paul Watzlawick’s first

that you do not care how your message may be received.

axiom of communication —“one cannot not communicate”

SABON LT STD 9/15

— 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

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.

may be received.

AVENIR 9/15

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 com-

Without typography, one could argue, messages will still be

municate that you do not care how your message may be received.

legible, but if one really wants to communicate rather than simply

SABON LT STD 8/13

be helpful. Paul Watzlawick’s first axiom of communication —“

display a heap of alphanumeric data, some consideration would one cannot not communicate”—puts it very succinctly. If you fail

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.

SABON LT STD 10/13

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.

AVENIR 10/13

Zach Baker

quotes on type v 1.

QUOTES ON TYPOGRAPHY LUPTON, ELLEN

“Typography is what language looks like” Thinking With Type, intro pg. 0 Publisher

ROBERT BRINGHURST,

“Typography is the craft of endowing human language with a durable visual form.”

The Elements of Typographic Style, Pg 7, Publisher 1967

ADRIEAN FRUTIGER

“The best typeface is one that impinges least on the reader’s consciousness, becoming the sole tool that communicates the meaning of the writer to the understanding the reader.”

Swiss foundation type; and typography, (authors) Pg 7, Publisher, 1967

PAUL RAND

“Copy, art, and typography should be seen as a living entity; each element integrally related, in harmony with the whole, and essential to the execution of an idea.”

Paul Rand on Typography, Pg 7, Publisher 1967

LUPTON, ELLEN

“Designers provide ways into— and out of— the flood of words by breaking up text into pieces and offering shortcuts and alternate routes through masses of information. Although many books define the purpose of typography as enhancing the readability of the written word, one of design’s most humane functions is, in actuality, to help readers avoid reading.”

Thinking with Type, pg 87, Publisher 1967

project

1

quotes on type

| 37

project crituique :

When working with type make sure you adhere to basic rules; do not overdosing; and be careful when using color. If using color with reversed out type make sure that you increase the weight of the type as it will be illegible if not.

Alos do not go too crazy with designs, It will affect hierarchy and reading order of your piece.

final product :

THOUGHTS ON

TYPOGRAPHY 1.

ELLEN LUPTON “Typography is what language looks like” Thinking With Type, intro page, 2010

2.

“Designers provide ways into — and out of — the flood of words by breaking up text into pieces and offering shortcuts and alternate routes through masses of information. Although many books define the purpose of typography as enhancing the readability of the written word, one of design’s most humane functions is, in actuality, to help readers avoid reading.”

Thinking with Type, page 87, 2010

3.

ROBERT BRINGHURST “Typography is the craft of endowing human language with a durable visual form.”

The Elements of Typographic Style, page 7, 2013

4.

ADRIAN FRUTIGER “The best typeface is one that impinges least on the reader’s consciousness, becoming the sole tool that communicates the meaning of the writer to the understanding the reader.”

Adrian Frutiger, Edited By: Swiss Foundation Type; and Typography, page 71, 2008

5.

PAUL RAND “Copy, art, and typography should be seen as a living entity; each element integrally related, in harmony with the whole, and essential to the execution of an idea.”

Thoughts on Design, pg.115, 1996

project

1

quotes on type

| 39

PROJECT 2: A DIALOGUE process :

dialogue v 1.

project critique :

•

Don’t get hung up on changing the typeface for each voice; you don’t need to much variation. But just enough.

•

Don’t let the body text be too big

project

2

a dialouge

| 41

final product :

Drago

How To Sla

AN INT Bill Mo

THE HERO

THE JOU

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

M. How do I of us has to ma

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

M. So in all of these cultures, whatever the local costume the

hero might be wearing, what is the deed?

C. 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.

M. 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. 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.

C. My genera

Find where it i

M. Is it my w

C. If the work

because you ar I couldn’t do th couldn’t be a w and-so is doing

M. When I ta dragons, do I h

C. If you have

ultimately, the the dragon is o captured in ou trist is to disint expand to a lar within you, it i

“Psych the dr bindin ego. W own d

on

ay A

TERVIEW FEATURING: oyers & Joseph Campbell

URNEY

THE TRUTH

I slay that dragon in me? What’s the journey each ake, what you call “the soul’s high adventure”?

M. 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.”

al formula for my students is “Follow your bliss.” is, and don’t be afraid to follow it.

work or my life?

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

k that you’re doing is the work that you chose to do re enjoying it, that’s it. But if you think, “Oh, no! hat!” that’s the dragon locking you in. “No, no, I writer,” or “No, no, I couldn’t possibly do what Sog.”

M. 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.

ake that journey and go down there and slay those have to go alone?

who can give you a clue. That’s the teacher’s job, to help you find your Ariadne thread.

e someone who can help you, that’s fine, too. But, last deed has to be done by oneself. Psychologically, one’s own binding of oneself to one’s ego. We’re ur own dragon cage. The problem of the psychiategrate that dragon, break him up, so that you may rger field of relationships. The ultimate dragon is is your ego clamping you down.

hologically, ragon is one’s own ng of oneself to one’s We’re captured in our dragon cage.”

C. That’s not always easy to find. But it’s nice to have someone

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

C. 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”.

M. 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. 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.

project

2

a dialouge

| 43

PROJECT 3: ELEMENTS OF STYLE process :

dialogue v 1.

project

3

elements of style

| 45

project crituique :

•

Pages should go, blank page, title page, blank page again, intro, blank page

•

No stuff on the f irst page, and back page and have an extra page of nice paper

•

More breathing room for text, increased margins

•

Make sure leading is consistent and line length is good

•

Always start page, odd on right

•

Increase body text size.

•

Don’t use huge body text, make it just right

•

Use correct grammar

•

Learned how to use cell styles

•

Learned how to align things

final product :

project

3

elements of style

| 47

PROJECT 4: TYPE ZINE process :

type zine v 1.

project

4

type zine

| 49

project critique :

Grid Structure •

Body text, must be between 14-16 pt

•

Line lengths are way to short

Type Faces that work on screen •

Not a lot of contrast of thick to thin

•

Heavier type; not too thin

•

No tight leading, more than usual for screen.

•

Use subheads

•

No Websterville for body

•

Reversed text needs to be increased size

Overall Structure •

Include photos in your table of contents, must look like magazine

•

Use lead in spreads

•

End with back cover/ colophon

•

No whole url’s

•

Make sure marks are correct

•

Use incomplete url’s

•

Include issue number

final product :

project

4

type zine

| 51

project

4

type zine

| 53

project

4

type zine

| 55

SYNOPSIS

S

synopsis :

This is the synopsis of Zach Baker’s Typography 2 in-case you forgot what you were reading‌ Take these notes and do what Indy would do. Whip that document into typographic shape!

section name

| 59

designed by : zach baker fonts used:

2016

U n i v er s & B a s kerv i l l e