338 01 type journal by katie steidl

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Tuesday & Thursday Type Winter 2016 STEIDL

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Introduction This quarter in Typography II, one of the most important parts of the course was to became more familiar with paragraph, character, table and cell styles. Since almost all of the projects we worked on dealt with large amounts of body text, it was critical that we applied styles in order to have consistance and to make life easier. Posted reading assignments, from texts such as Butterick’s Practical Typography went indepth about styles as well as proper grammartical marks, punctuation and document layout.

This quarter, I became more familiar with grid structures and page layout. Not only do grids help with the organization of your pages, but it creates visual hierarchy and rythym. Out of all the projects, I truly enjoyed working on the class zine. I always had an interest for print publishing and editorial layouts; so this project was right up my alley. Even though print publications are dying out, it was still great to get some experience on how to treat the different sections that make up a magazine. This Winter, Typography II furthered my education on formal typographic treatments, the importance of grammatical accuracy, time saving techniques and how to not be overwhelmed when given large amounts of body text.

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Class Notes & Reading Responses

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Class Notes & Reading Responses

Thursday

1/7/2016

Notes Point size includes negative space Type is set upside-down and backwards 12 points = 1 pica 6 picas = 1 inch 3p = 1/2 inch 1p6 = 1 pica + 6 points

Screen vs. Print: Print body text = 9-12 points Screen body text = 14 points or larger Phones = different typographic challenge entirely Leading should be 120% –145% of point size

Hyphenation: Paragraph Hyphenation > Hyphenation settings > “After first 3 letters”

> Hyphen limit: 2 Use quote marks and prime marks correctly.

The 2 things you should never do: scale letters and use the InDesign “small caps” option.

Make sure that your chose typeface has an italics option. Most likely when you need it, your typeface won’t have it

Legibility and Readability Study The varying typefaces range from small type with a lot of breathing room to larger text that appear to be crammed together. I realized that a single point size can really make a difference when dealing with paragraph widths, line spacing and arranging body text.

Looking at my 12 settings, I think 9 point font with 15 points reads best for both my serif and sans serif type options. Over all, the 9 point options look best and read the easiest when compared to the 8 point and 10 point paragraphs. For the paragraph width, 9 point font is the most comfortable to read. The worst combination was 10 point font with 13 point leading. It made the text look too chunky and crammed together.

The paragraph looked to dense. It makes the text look unapproachable for the viewer to dive into. Overall the 9/13 serif option stop out to me the most to be the most successful. When looking at all twelve, I kept referring to the serif side for the best legibility.

Butterick’s Practical Typography Five rules to typography: 1. The ty­po­graphic qual­ity of your doc­u­ment is de­ter­mined largely by how the body text looks.

2. Point Size: In print, the most com­fort­able range for body text is 10 to 12 pt. On the web, the range is about 15 to 25 pix­els.

3. Line Spacing: It should be 120–145% of the point size.

4. Line Length: Line length should be an av­er­age of 45–90 char­ac­ters per line (use your wordcount func­tion) or 2–3 low­er­case al­pha­bets 5. Font Choice: buy a pro­fes­sional font. A pro­fes­sional font gives you the ben­e­fit of a pro­fes­sional de­signer’s skills with­out hav­ing to hire one.

Key rules to remember: Use curly quo­ta­tion marks, not straight ones (see straight & curly quotes).

Use cen­tered text sparingly.

Use bold or italic as lit­tle as possible.

Use 5–12% ex­tra let­terspac­ing with all caps and small caps.

Use first-line in­dents that are 1-4x the point size of the text, or use 4–10 pts of space be­tween para­graphs. But don’t use both.

If you use jus­ti­fied text, also turn on hy­phen­ation.

Put a non­break­ing space af­ter para­graph and sec­tion marks.

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Class Notes & Reading Responses

Tuesday

1/12/2016

Notes

Changes for the Butterfly Ballot Butterfly Ballot first thing to change would be the alignment of arrows/dots and fit onto one page.

Why Typography Matters “It seemed like a good idea at the time.”

1. Ty­pog­ra­phy per­forms a util­i­tar­ian func­tion. Be­ing an ef­fec­tive ty­pog­ rapher is more about good skills than good taste.

2. Ty­pog­ra­phy has to be ori­ented to your ac­tual read­ers, not ide­al­ized ones.

Writ­ers of­ten get at­tached to ide­al­ized read­ers be­cause those read­ers are eas­ier to please.

3. Good ty­pog­ra­phy can help your reader de­vote less at­ten­tion to the me­ chan­ics of read­ing and more at­ten­tion to your mes­sage. Con­versely, bad ty­pog­ra­phy can dis­tract your reader and un­der­mine your message.

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Thursday

1/14/2016

In-Class Feedback After getting feedback on my layout of the 5 quotes, I agree with most of the corrections. The title should be larger and fit together with the quotes as a unit.

For the attributions, I can see why it makes more sense to put the title, page number and date of publication after the quote. Like a bibliography, that information is place after the body text. However, I had a note on my Post-It saying that the leading was too tight. For the body, I think that the leading is fine, but it could be tighter for the attributions.

Does there have to be quote marks?

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Class Notes & Reading Responses

Tuesday

1/19/2016

Notes Keyboard shortcuts and special characters: Overwhelming amount of keyboard shortcuts Proper typographic applications are like an english/grammar lesson in itself.

Even though white space characters are invisible and all white space looks the same, they should be put to use in order to have control and predictability.

I still need practice when it comes to dashes and hyphens. I am slowly getting the hang of when to use the appropriate ones, but i still find myself needing to double check.

Straight quotes and prime marks look the same but have different uses

Shortcuts To Remember

• Bullet: Option + 8 For bullets, I use to Google, “bullet point” and copy and paste. Not even kidding.

1/28/16 Life Update: I have used option + 8 a ton since learning about it last week Type > insert special character Symbols Markers

Hyphens and dashes

Quotation marks Other Type > insert white space Type > insert break character Still can’t find what you need? system preferences > keyboard *show input in menu bar* (for foreign languages) Tabs Tab menu: command + shift + t

Butterick’s Practical Typography: Type Composition Non breaking spaces: control (option on Mac) + shift + space bar

Straight and curly quotes: opening double quote: option + [ closing double quote: option + shift + [ straight double quote: “ hyphen - A hy­phen ap­pears at the end of a line when a word breaks onto the next line. en dash – It in­di­cates a range of val­ues or de­notes a con­nec­tion or con­trast be­tween pairs of words em dash — The em dash is used to make a break be­tween parts of a sen­tence

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Thursday

1/21/2016

Notes Design factors to consider for text Content - How long is the text?

Audience - Whats the demographic?

Format/Context - What is the size of the page/screen?

Technical Factors: Look for a font with a full character set, varying weights, styles and small caps?

—> Look for fonts that are cross-platform Where to get fonts 1. Purchase a license - dictates how the font can be used 2. Where to get fonts: Google fonts - free Lost Type Co-op - pay what you want (donation based) League of Movable Type - free Font Squirrel - 100% free for commercial use Fontspring - not free - similar licensing House Industries - niche fonts - expensive (1940s-60s Americana) My Fonts - range of prices Fonts.com - expensive 3. Can deactivate fonts to prevent any application from seeing them.

4. Font Book cons - fonts all have to be linked to the same location.

Will always give priority to what is in the system folder.

5. In general, you want to have the minimum number of fonts installed Programs will move faster, easier to find fonts you need 6. Use sets and groups to keep fonts organized and categorized.

Robust font managers: •Font Explorer X Pro •Suitcase Fusion You fonts are your children.

Take care of them and understand their licensing.

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Class Notes & Reading Responses

Tuesday

1/26/2016

Notes •Always use smart quotes •Hierarchy •Establish a grid •Clear reading order •Margins that give breathing room •The critique was for sure not my best one.

•I noticed a lot of improvements I could have made once it was up on the wall with everyone else. It was helpful talking to my peers because they would remind me to make grammar changes. I changed the

questions and answers to be contained in one box, changed the color, adjusted the line length and added a title.

Butterick’s Practical Typography: Page Layout Type com­po­si­tion was about pick­ing the right char­ac­ters. text for­mat­ting was about the vi­sual ap­pear­ance of those char­ac­ters.

Ta­bles: 1. For spread­sheet-style grids of num­bers or other data. In the type­writer era, grids like this would’ve been made with tabs and tab stops. These days, you’d use a table.

2. For lay­outs where text needs to be po­si­tioned side-by-side or float­ing at spe­cific lo­ca­tions on the page. If mak­ing these is frus­trat­ing with the usual lay­out tools, try us­ing a table.

Page Breaks: Page break be­fore en­sures that a para­graph starts at the top of a new page.

The page-break-be­fore op­tion is in­tended to be in­cor­po­rated into para­ graph and char­ac­ter styles so all para­graphs of a par­tic­ul­ar style will start at the top of a new page.

Columns: Columns are an easy way to get a shorter and more leg­i­ble line length with­ out hav­ing to use large page mar­gins. Columns look neat­est when the rows of text are aligned ver­ti­cally be­tween columns.

Paragraph and character styles: Styles are the DNA of doc­u­ment lay­out. Styles make it easy to con­trol ty­ pog­ra­phy across a doc­u­ment or web­site.

Styles let you de­fine sets of for­mat­ting at­trib­utes that get ap­plied to­gether.

Styles let you change for­mat­ting across a class of re­lated el­e­ments.

Styles can in­herit for­mat­ting from other styles.

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Class Notes & Reading Responses

Thursday

1/28/2016

Notes •Saddle stich = pages divisible by 4 •Paragraph and character styles: •Control and customize your typography •Click off “hyphenate capitalized words” •Link text boxes •Give styles descriptive names •Book and publication titles are italicized Use paragraph styles for most things

Character styles Are used for styling text within a paragraph for things like bold text, italic text, custom bullets or subheads.

Table styles Define what the outside border is, lines and fills.

The table can be invisible

Cell styles Defines how the table will look Customizes rectangular divisions, the color of the cell, the borders around the cell

“Family planning, or how type families work”

by Peter Bil’ak During the enlightenment, organization and being rational when it came to having varying sizes of printing type was clear. Type designers like Adrian Frutiger were pioneers in creating a typeface system. He notes that a type family should be defined by width and weight. Type families can be very large with features like weight, width, sans, serif and semi-serif. Known as the ‘superfamily’ Lucas de Groot’s, Thesis had a total of 144 variants.

Individual members of the family need to share one or more attributes and different generations of typefaces are usually not considered to be part of the same family. The exploration that builds on centuries of typographic innovation is continuously developed and furthered.

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Tuesday

2/2/2016

Grid, Thinking with Type by Ellen Lupton Golden Section a:b=b: (a+b) The smaller of two elements relates to the larger element in the same way that the larger element relates to the two parts combined.

Used to create grids, page formats, deriving sized and proportions.

Single-Column Grid The simplest grid has one column of text Experiment with margins and add guides to your master pages Books and magazines should be designed as spreads - mirror image (facing pages)

Multicolumn Grid Provide a flexible format and can integrate text and illustrations. The more columns, the more flexible your grid can be. Text or time can span one column or several.

Modular Grid Most complicated Contents, type of text and imagery can be the deciding factor whether or not you use a modular grid Common points of alignment

Tables Styles Cell Options > strokes and fills (option + click off of blue lines)

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Class Notes & Reading Responses

Thursday

2/4/2016

Notes Class Corrections for Booklet: Cover Pages Colophon Folio/Footer Body text too small Evaluate who has the best size and line length when in groups Readability: Do I want to read it Grey type = problematic (deemphasized) Too much test on one page - breathing room Table line length too short More space around text in cell Table too prominent - lines too heavy Book cover should be enticing - punctuation to create pattern Chunk title and author together Separate page for, “introduction” Italicize book titles Fix leading Change medium oblique text to be on the right side If the entire passage is italicized and there is a book title that needs to be italicized, bold the title and keep it italics.

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For my group booklet: Corresponding numbers: Right side italics Wide margins Folio at top - numbers on the outside Open bullet/closed bullet columns No indenting Examples bolded Sans-serif - Avenir Book for body text Light for incorrect Medium for examples and correct A Head & B Head (Marie has C head too) A head = Avenir Heavy centered —line rule— B head = Avenir Medium regular case centered Left aligned 15 pt tracking 13 leading p7 between paragraphs Margins: Inside margins .75 inch Outside margins 1 1.25 in. at top .75 at bottom Folio hanging from .5 Cover Pages Colophon Folio/Footer

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Class Notes & Reading Responses

Tuesday

2/9/2016

A View of Latin Typography in Relation to the World by Peter Biľak Characters range and vary depending on the culture.

The English alphabet only has 26 characters whereas the Chinese alphabet has hundreds.

1000AD Chinese invented printing 1230 AD Transition from wood to metal type in China 1400 AD Western European Printing 1436 Gutenberg invented movable type printing Recent changes in technology such as the introduction of the Unicode system and OpenType font format have inspired type designers to consider the previously overlooked domain of “non-Latin” typography. While we might think that most of the possibilities of Latin type have been explored, traditions of typography from Greece, the Middle East, India and elsewhere can help us to rediscover how we understand Latin type today.

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Thursday

2/11/2016

Notes Gina, Marie and I worked well as a group. There was great communication and we were willing to meet up whenever necessary. We were all happy about how our booklets turned out as a set. All of us made decisions and were not afraid to bring up a change that we thought should be made.

Typography: Breathing room and leading are the top changes that I need to implement into my type layouts.

Watch out for proper nouns being hyphenated and and adjust tracking, spacing and leading for display text.

It is hard to find a sans serif and a serif typeface that go well together and complement each other.

Also, do not print on the printer at work.

Grammar: Laying out type and knowing grammar rules will help your writing.

Reading The Elements of Style will make you a better writer overall.

Graphic designers do more writing than they think in their profession (cover letters, creative briefs, etc.).

InDesign: Paragraph, character, table and cell styles improve your life by 100%. Especially when working with others, styles will help everyone to be on the same page with how the document should look.

Use, “w” to change your document preview mode, but make sure a “w” does not show up on your document.

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Class Notes & Reading Responses

Thursday

2/18/2016

Notes Grid layout for journal needs to make sense. most stylistically and mathematically.

Try going with a 5 column grid. We worked on The Elements of style for a reason. Letter spacing, hanging numbers, bullets, paragraph styles, etc. all need to come into play.

“Lava — Voice of a Magazine” by Peter Bil’ak Works That Work, - launched in February 2013, by Peter Bil’ak Dot Dot Dot was a previous magazine crdated by Stuart Bailey and Peter Bil’ak The type face “Mitim” was created by Radim Peško and Dot Dot Dot finally found its true voice.

Works that Work was to strsatch across multiple platforms such as online, eBook, PDF and print The typeface would be the sole constant characteristic, identifying the magazine regardless of whether a reader purchased a single article online or a complete issue in print The font they found that was able to have confidence (but not shoe off) be comfortable and have the relaxed manner of an engaged storyteller and be ready to handle long stories, but also small captions or titles was called, “Lava” Lava has now been used in the first two editions of Works That Work magazine, giving them plenty of opportunities to test and improve the whole family.

The First Thing I Ever Designed: Elena Schenker and “Gratuitous Type” Magazine Gracious Type was an indpendently run magazine Schenker had a passionate desire to make and say something new. This magazine launched her career and she offers advice for anyone thinking about starting their own magazine. Schenker wanted to allow the magazine to evolve with making changes to the grid, typefaces and graphic elements. She saw the magazine as a personal project that she inversed a large amount of her money into. This experience taught her how important it is to trust herself and her abilities.

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Class Notes & Reading Responses

Tuesday

2/23/2016

Notes Tad Carpenter Set parameters so you don’t have too many options. Use one shape or one line. Possibilities can be overwhelming. Give yourself restrictions. Remember the importance of duality in a symbol. It sticks with people more. Have a direct image and an “ah-ha” one.

Passion projects to stay creative.

“Eric Gill got it wrong; a re-evaluation of Gill Sans”

by Ben Archer The Johnston version has a shorter x-height. Revivals of Johnston can be seen in, “London Underground” and “Granby” Cutting off of terminals. Ultra bold is the ugliest version. The “g” no longer works. Weird proportions and small counters. Makes the type hard to read. large type families with variation of letter forms is always important when looking for a versatile typeface. Look of open counter spaces if you know you’ll be using a lot of dense text. Know what fonts are good for screen vs. web. For instance, Chaparral is good for the screen because it is heavy.

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Class Notes & Reading Responses

Thursday

2/25/2016

Notes 14pt for on-screen legibility with at least 17 point leading Georgia was designed to be read on the screen Make sure leading isn’t too tight and the line length is not too long Select “Digital publishing” and “iPad” (768 x 1024) When in doubt, break down your layout into a 12-column spread

“Beauty and Ugliness in Type design”

by Peter Bil’ak Typefaces created by Giambattista Bodoni and the Didot clan are some of the most beautiful in existence. Bodoni reflects, regularity, clarity, good taste, and charm. The Didots of France was his competition. François-Ambroise Didot’s foundry endeavoured to render the types more beautifully than his rivals. Some critics said even though the typefaces were delicate, they remained lifeless.

The “Italian” typeface from the Industrial Revolution is considered, “ugly” because it is a, “reversed-contrast typeface was designed to deliberately attract readers’ attention by defying their expectations.”

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Tuesday

3/1/2016

Notes Type on screen and legibility: Two typefaces designed for the screen by Matthew Carter: Georgia and Verdana Open counters, bigger apertures, proportions that are more blown apart than other typefaces for the web.

Typeface Contrast: Bodoni and Chaparral Bodoni can work for headline or lead-in paragraphs.

You can use typefaces with contrast but consider the size it’ll be at.

X-Height: Mrs. Eaves has a small, dainty x-height (a revival of Baskerville) Limited in how small you can make the typeface.

Future has round characters and a shorter x-heright Extremes in x-height: ITC Garamond: Hard to distinguish. Notoriously a bad version of Garamond.

Century Gothic has stumpy ascenders and descenders. Tall x-height and round. Won’t work well for text.

Look for differentiation between key characters.

Optical Sizes: Some typefaces have family members that suite a specific size range, called optical sizes Letterform proportions will be adjusted depending on each size.

How to choose typefaces that don’t look generic: Classic typefaces are sometimes so overused that they begin to look like generic defaults. Look for typefaces that share some similar traits you your favorite classics.

Helvetica - Museo Sans Georgia - Droid serif For Headers: ITC Century is similar to Bodoni poster League Gothic (nice contrast with Garamond)

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Process & Projects

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Process & Projects

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Process & Projects

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Process & Projects

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Designed by Katie Steidl San Luis Obispo, CA March 2016 Avenir

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