TYPO/GRAPHY zine

TABLE OF CONTENTS

Chapter 1

Anatomy of Type Content

Glossary

15 Rga categories

Chapter 2

Type Size

Setting Type: Do and Don’t

Leading and Tracking, Rags

Line Length, Orphans, Widows

Chapter 3

Type Designers of “Classic Five”

Woman Type Designer

Type Designer of Color

Chapter 4

Projects Portfolio

Five Classic Typefaces

Type Arrangements

Grids

Anatomy of Type Poster

Historical Event Poster

Ransom Note Collage

Credits

APE X BOW L SERI F

DIAGONA L STROK E

BRACKE T HORIZONTAL STROKE OR CROSSBA R

HORIZON TA L STROK E

STEM OR VERITCAL STROKE

STROK E CONTRAS T

ASCENDER / EXTENDE R

CA P HEIGH T G LYPH WIDTH

X-HEIGH T

BASELINE

DESCENDER/ EXTENDE R

STROKE AXIS OR STRESS

GLOSSARY OF TYPOGRAPHIC TERMINOLOGY

APERTURE The opening of a counter to the exterior of a glyph.

BRACKET A curved or diagonal transition between a serif and main stroke.

CHARACTER The basic unit of written language. Can be a letter, a number, a punctuation mark, or another symbol.

COUNTER Any interior shape of a glyph. It can be completely enclosed by strokes, such as the eye of an ‘e,’ or have an opening to the exterior, such as the lower counter of an ‘e.’

CURSIVE A style associated with handwriting, typified by slanted stems with curved tails.

FONT A collection of glyphs. The font is the delivery mechanism, represented by a digital file or a set of metal pieces, for a typeface.

FOUNDRY A company that designs, manufactures, and/or distributes fonts.

GLYPH The graphical representation of a character. A font can contain several glyphs for each letter—a lowercase ‘a’ and small cap ‘A’ for example—and can also have alternate forms, such as single—and double— story ‘a’s or an ‘a’ with a swash tail. In this way, a single character can be represented by different glyphs.

HUMANIST A method of letter construction tied to handwritten strokes made with a pen or brush.

LIGATURE A single glyph made of multiple characters. The most common examples are functional (Standard), such as ‘fi,’ which is designed to resolve excessive spacing or an unpleasant overlap of two letters. There are also ornamental (discretionary) ligatures, such as ‘st.’ that are primarily a stylistic option.

RATIONAL A method of letter construction using shapes that are drawn as opposed to written.

SANS SERIF A character or typeface without serifs.

SERIF A small mark or foot at the end of a stroke. Serifs are lighter than their associated strokes.

SLAB SERIF A heavy serif, typically rectangular in shape, with a blunt end. It is also a typeface classification.

STROKE An essential line or structural element of a glyph. Th`e term derives from the stroke of a pen.

STROKE CONTRAST The weight difference between light and heavy strokes.

STYLE A stylistic member (e.g. bold, italic, condensed) of a typeface family, typically represented by a separate font.

SUBSTRATE The surface material on which type appears. For hundreds of years, type was printed on paper. Now it is increasingly rendered on the digital screens of desktop computers, tablets, and mobile phones.

SWASH The extension of a stroke or prominent ornamental addition to a glyph, typically used for decorative purposes.

TYPEFACE The design of a set of characters. In simple terms, the typeface is what you see and the font is what you use.

WEIGHT The thickness of a stroke. In type design, the geometry of a line (or shape) is usually described using the terminology of weight.

POINT SIZE LINE SPACING

LINE LENGTH AND FONT

SIZE SPACING LENGTH FONT

TYPE SIZE

POINT SIZE SHOULD BE 15 - 25 PIXELS ON THE WEB

POINT SIZE SHOULD BE 10-12 POINTS IN PRINTED DOCUMENTS

USE CURLY QUOTATION MARKS, NOT STRAIGHT ONES

LINE SPACING, OR LEADING

LIKE WORDSPACING &LETTERSPACING

CAN BE USED TO

IMPROVEREADABILITY

LINE SPACING SHOULD BE 120% TO 145% OF THE POINT SIZE

THE EASIEST AND MOST VISIBLE IMPROVEMENT YOU CAN MAKE TO YOUR TYPOGRAPHY IS TO USE A PROFESSIONAL FONT, LIKE THOSE FOUND IN FONT RECOMMENDATIONS.

+ NEUE HAAS GROTESK

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, MONOSPACED FONTS, MOST FREE FONTS, AND SYSTEM FONTS— ESPECIALLY TIMES NEW ROMAN AND ARIAL.

USE BOLD OR ITALIC AS LITTLE AS POSSIBLE, AND NOT TOGETHER.

ALL CAPS FOR LESS ONE LINE ALL CAPS FOR LESS ONE LINE

CAPS ARE FINE LESS THAN OF TEXT CAPS ARE FINE

USE FIRST-LINE INDENTS THAT ARE ONE TO FOUR TIMES THE POINT SIZE OF THE TEXT, OR USE 4–10 POINTS OF SPACE BETWEEN PARAGRAPHS. DON’T USE BOTH.

PUT ONLY ONE SPACE BETWEEN SENTENCES.

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

USE 5–12% EXTRA LETTER SPACING WITH ALL CAPS AND SMALL CAPS.

LEFT ALIGNED TEXT IS THE BEST FOR READABILITY

JUSTIFIED ALIGNMENT

USE CENTERED TEXT SPARINGLY

RIGHT ALIGNED TEXT

--DON’T CONFUSE HYPHENS AND DASHES--

--AND DON’T USE MULTIPLE HYPHENS AS A DASH--

ALWAYS USE HYPHENATION WITH JUSTIFIED TEXT

--AND DON’T USE MULTIPLE HYPHENS AS A DASH--

--DON’T CONFUSE HYPHENS AND DASHES--

USEAMPERSANDS

In a document longer than three pages, one exclamation point is plenty …

Use proper trademark and copyright symbols— not alphabetic approximations.©

PUT A NON BREAKING SPACE AFTER PARAGRAPH & SECTION MARKS.

PUT A NON BREAKING SPACE AFTER PARAGRAPH & SECTION MARKS.

WIDOW ORPHAN

This is called the story of Orphan & Widow. The orphan, he wasn’t a real orphan. The widow, she was not a real widow. The widow is “This is”. She stands alone at the top of the paragraph yearning to be with her family below. The orphan is “real widow”. He is stuck at the bottom isolated and alone hoping and waiting for a family to bring him home. Don’t let your designs be this sad. Reunite them with their families. This is called the story of Orphan & Widow. The orphan, he wasn’t a real orphan. The widow, she was not a real widow.

CHAPTER >>>>>>>>

>>>> TYPE DESIGNERS

MAX MIEDINGER

HELVETICA

is a sans serif typeface of Swiss origin. Although typefaces without serifs were used in the nineteenth century, it was not until the twentieth century that they became popular. In 1957 the Haas foundry introduced Haas Grotesk, designed by Max Miedinger (with Eduard Hoffmann), later to become known internationally as Helvetica.

Helvetica’s large x-height, slightly condensed letters, and clean design make it a very readable typeface. In general, sans serif typefaces have relatively little stress, with optically equal strokes, and should always be leaded.

GIULIA BOGGIO

Giulia Boggio is a woman graphic designer from Italy. She has created some retro yet edgy typefaces that would be great for advertising and design. She strives to create “bold strong unapologetic design”.

Giulia studied Graphic Design and Art Direction in Milan near where she grew up.

“Am I a type designer? Dunno. Labels are always very restricting, and a lot of people still have mixed views on folks that don’t follow the traditional route into things. “I design type” feels more fitting.”

BOGGIO

Tre Seals is a young successful african-american type designer. Tre takes inspiration from BIPOC history and culture when creating his designs.

“When a singular perspective dominates an industry, regardless of technological advancements, there can (and has been) only one way of thinking, teaching, and creating. This lack of diversity in terms of race, ethnicity, and gender has led to a lack of diversity in thought, systems (like education), ideas, and, most importantly, creations. .”

SPIKE BAYARD RUBEN

TRE SEALS

CHAPTER 4 PROJECTPORTFOLIO

Bodoni BODONI

Bodoni is a Modern typeface, designed in the late 1700s by the Italian typographer Giambattista Bodoni. At the end of the eighteenth century, a fashion grew for faces with a stronger contrast between the thicks and thins, unbracketed serifs, and a strong vertical stress. These were called Modern typefaces. All the older faces became known as Old Style, while the more recent faces just prior to the changes were referred to as Transitional. Although Bodoni has a small x-height, it appears very wide and black. Because of the strong vertical stress, accentuated by its heavy thicks and hairline thins, Bodoni should be well leaded.

The Five Classic Typefaces project was to help us familiarize ourselves with letter spacing, word spacing, line spacing, and to learn how these choices affect readability. We used the classic known typefaces: Garamond, Baskerville, Century, Helvetica, and Bodoni.

The Type Arrangements project was to further help us practice and play when arranging type in InDesign and illustrator. We were able to be creative and manipulate type and text to create striking layouts.

GRAPHIC ARTS

The most significant event of the century—and one that dramatically affected the course of history—was Johannes Gutenberg’s invention of printing from individual pieces of cast type. The success of Gutenberg’s press was phenomenal. It is estimated that by the end of the century more than a thousand printing shops were operating in more than two hundred centers, and that 40,000 editions, or 10 to 20 million books, had been printed—a total that represents more books than had ever been produced before Gutenberg’s time.

Printing in Germany

Johannes Gutenberg was born in Mainz, Germany, some time around 1397. Little is know about his early years, but it is clear that he was the right man, in the right place at the right time.

Gutenberg was the right man because of his familiarity with the craft of the goldsmith and the diemaker. He was in the right place because Mainz was a cultural and commercial center. It was the right time because the Renaissance thirst for knowledge was creating a growing market for books that could not be satisfied with the traditional handwritten manuscripts.

Handwritten manuscripts were made to order and were usually expensive. They were laboriously copied by scribes who had either to read from a manuscript or have it read to them while copying. This process was not only time-consuming, but led to many errors, which had corrected. Adding to the expense was the scarcity and high cost of vellum and parchment. As a result, handwritten manuscripts were limited to a select few: clergymen, scholars, and wealthy individuals.

A relatively inexpensive means of producing multiple copies of books seems to have been developed just a little before Gutenberg began his experiments with printing. This was the so called block book whose pages

had illustrations and minimal text cut together on the same block. The carved blocks were inked, and images were transferred onto paper in multiples by rubbing or by the use of the screw press. Block books were believed to have been made for semiliterate, preaching friars who brought the word of God to the urban working class and the poor.

Insight and Innovation

Gutenberg’s genius was realizing that printing would be more efficient if, instead of using a single woodblock

the dominant printing process for almost five hundred years.

With his chief assistant, Peter Schoeffer, and his financial backer, Johann Fust, Gutenberg was now ready to set up shop and embark on great masterpiece, the forty-two-line Bible, so called because its columns were forty-two lines long. It is a great irony that just before the publication of the forty-two-line Bible around 1455, Gutenberg seems to have lost control of his establishment for the nonpayment of his debt to Fust. The operation was then taken over by Fust and Schoeffer and unfortunately, there is no evidence as to whether Gutenberg oversaw the completion of the job or gained any financial rewards for his efforts.

After the judgement, it is believed that Gutenberg set up another shop and continued printing books and other materials for another ten years. In 1465, he received a generous pension from the local archbishop but died three years later. According to an early source, he was buried in the Franciscan church at Mainz.

Continuing a Legacy

to print an entire page, the individual letters were cast as separate blocks and then assembled into pages. In this manner, pages could be made up faster, errors could be corrected more rapidly, and, after printing, the type could be cleaned and reused.

Using his knowledge of die making, Gutenberg created several pieces of type, not in wood but in metal. It was this process of printing from cast type and not the process of printing per se—which already existed—that was Gutenberg’s great contribution to the graphic arts. Technically speaking, Gutenberg’s invention, the letterpress, was so well conceived that it remained

After Fust and Schoeffer took over Gutenberg’s shop, the first book they printed and published was the Mainz Psalter of 1457. This psalter was notable for a number of reasons: it was the first book with a colophon showing the printer’s name, location, date of publication, and printer’s mark or device. It was also the first book in which the display initials were printed in color rather than painted by hand. The partners printed a number of important books, two of which were the Latin Bible of 1462 and a Cicero of 1465.

While on a book-selling trip to Paris in 1466, Fust died of the plague. After Fust’s death, Schoeffer continued publishing until his own death in 1502.

The Grids project was to help us work and explore how text and images can flow through grids in a spread. We had the freedom to choose our design style by using the 5 classic typefaces and provided imagery.

Just like the human body, the Latin alphabet can take on a surprising range of shapes and proportions. These varieties can come from diverging

R

of a pen. Stroke contrast: The Substrate: The surface material on which type appears. For hundreds of years, type was printed on paper. Now it is increasingly rendered on the digital screens of desktop computers, tablets, of a set of characters. In simple terms, the typeface is what you see and the font is what you use. Weight: The thickness of a

diverging historical paths, differences in language or culture, or simply the tool used to make the letters—whether it’s a pen, a chisel, or a compass.

SERI F

DIAGONA L STROK E

Typographic Terminology

language. Can be a letter, a number, a punctuation mark, or another symbol. Counter: Any interior shape of a glyph. It can be completely enclosed by strokes, such as the eye collection of glyphs. The font is the delivery mechanism, represented by a digital file or a set of metal pieces, for a typeface. Foundry: A company that designs, manufactures, can also have alternate forms, such as single—and double—story ‘a’s or an ‘a’ with a swash tail. In this way, a single character can be represented by different glyphs. are functional (Standard), such as ‘fi,’ which is designed to resolve excessive spacing or an unpleasant overlap of two letters. There are also ornamental (discretionary) typeface without serifs. Serif: A small mark or foot at the end of a stroke. Serifs are lighter than their associated strokes. Slab serif: A heavy serif, typically rectangular in weight difference between light and heavy strokes. Style: A stylistic member (e.g. bold, italic, condensed) of a typeface family, typically represented by a separate font. tablets, and mobile phones. Swash: The extension of a stroke or prominent ornamental addition to a glyph, typically used for decorative purposes. Typeface: The design stroke. In type design, the geometry of a line (or shape) is usually described using the terminology of weight.

“Adapted from The Anatomy of Type by Stephen Coles”

The Anatomy of Type & Classifications project was created for us to create an interesting and informative anatomy of type poster.

The Historical Event Poster project was created for us to get fun and expressive with type by creating a poster about a notable event in world history by only using typography.

“Good poster design is about impact”

The Ransom Note Collage project required us to get more hands on in finding type. By searching through magazines and cutting out letters and imagery, we were able to scan content into Photoshop and create and ransom letter style collage.

Designer:

Haley Czapla

Type: Krungthep

Futura

Helvetica

Acier

BD Brick

Content:

Designing with Type: The Essential Guide to Typography

by James Craig