338.01 type Journal by Marion Beacham

MARCH 2017 ART 338

T Y P E

T W O

J O U R N A L

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TYPE 2 JOURNAL A JOURNAL OF MY LEARNINGS FROM ART 338 MARION BEACHAM

ART 338 MARCH 2017

TYPE II JOURNAL

INTRODUCTION

INTRODUCTION This is a Journal recording this past quarter in Art 338: Typography Two with Charmaine Martinez.

Over the course, we had class lectures, weekly reading assignments, and multiple projects. This is a compilation of what I took away from each of them. In this journal I noted the key moments from the lectures as well as summarized the readings.

Doing this throughout the quarter helped me as I progressed through my projects. The projects are listed in chronological order, with clear progression and understanding of what I learned over the course.

Special thanks to Charmaine for a great course.

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IN CLASS NO

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OTES

CLASS NOTES

D AY O N E 12 points = 1 pica 6 picas = 1 inch Factors to consider when choosing point size -weight -length of text -on screen vs. printed -audience -content A good body text has‌ -regular weight -robust proportions -at least one bold weight with noticeable contrast to the regular weight -an italic weight -legible numerals -economic form Kerning is Key Leading is also very important

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Optimal Line Length 45–90 characters or 8-13 words Letter spacing Be cautious! Tracking can get quite awkward.

Typography can save lives Typography can save lives Typography can save lives Dashes hyphen en dash – em dash — Spell checkers win it all

THOUGHTS ON RESUMES Shapes are not needed. They are distracting.

The margins of the page are too small, leading to lack of negative space and hard to find focus.

Overly decorative bullets are a bad choice Hierarchy should not be emphasizing boring parts, but the import actual jobs/experience done

H Y P H E N AT I O N In paragraph tab, select

thing in top right corner

to adjust hyphenation settings.

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CLASS NOTES

You always want at least 3 letters on each side of the hyphen, you also do not part to hyphen proper nouns. You can deselect “hyphenate capital words�

FONTS LECTURE How to choose a typeface -audience/demographic -length of content -size of the page/web -what is it about?

-check for all foreign characters and punctuation.

-multiple weights and styles -small caps Where to get it -Lost Type Co-op -League of Movable Type -Font Squirrel has free commercial use -Fontspring -House Industries has a lot of signage typefaces $$$ expensive -My Fonts super sales!!

-fonts.com backed by linotype

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You should become a little ocd with typography. Sit down and turn off all the frivolous, hideous fonts that you never use but clog up you font feed.

You can use FontExplorer X Pro or Suitcase Fusion 6 to help organize your fonts

INDESIGN TIPS Paragraph styles help with‌ -leading -tabs -indents -space after and before Leaders are awesome when making menus. They fill text up until that space of the indent. The indent would mark the price of the item and the leader would connect the uneven captions to the aligned prices.

Guava Jelly. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 Passsionfruit Jelly. . . . . . . . . . . . . . . . . . . . . . . . . 4 Milk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Spanning columns makes columns within the columns. It allows you to transition between paragraphs that are as wide as the text box and paragraphs that are half or only fractions of the the width of the text box, and side by side.

Character styles are good for small increments of accented text.

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CLASS NOTES

Table styles and cell styles make the perfect table.

Much better than making a box with lines. you can adjust the cell space and borders.

TYPOGRAPHY ON SCREEN: Matthew Carter designed for microsoft for the screen.

His web fonts have more robust proportions with more open tracking.

-georgia -verdana Compare your typeface to matthew Carter’s for appropriate proportions.

Contrast impacts legibility. Not fun for the screen.

Higher x-height is ideal but not the extremes ex: Century Gothic With a display option, its often better to just make the regular typeface bolder and bigger.

When pairing, compare the skeleton. look for similar proportions even if contrast varies.

OR use a family.

-Oficina has serif and sans serif.

-Museo sans -Droid sans

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READIN

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NGS

READINGS

PRACTICAL TYPOG RAPHY Matthew Butterick TYPOGRAPHY IN 10 MINUTES

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Start every project by mak­ing the body text look good, then worry about the rest. There is more body text than anything else.

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The most com­fort­able range for body text is 10–12 point. On the web, the range is 15–25 pix­els.

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

4

Line length should be an av­er­age of 45–90 char­ ac­ters per line. This means margins need to be more than the traditional one-inch.

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Ig­nore the fonts that came free with your com­ puter and buy a pro­fes­sional font.

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KEY RULES SUMMARY

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Avoid goofy fonts, mono­spaced fonts, and sys­tem fonts, es­pe­cially times new ro­man and Arial.

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Use curly quo­ta­tion marks, not straight ones

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Put only one space be­tween sen­tences.

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Use cen­tered text sparingly.

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

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

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

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Use am­per­sands spar­ingly, un­less in­cluded in a proper name.

19 Put a non­break­ing space af­ter para­graph and sec­tion marks.

10 Make el­lipses us­ing the proper char­ac­ter …

11 Make sure apos­tro­phes point downward.

W H Y T Y P O G R A P H Y M AT T E R S

If bad ty­pog­ra­phy can have neg­a­tive con­se­quences, it shouldn’t be hard to be­lieve that good ty­pog­ra­phy can have pos­i­tive con­se­quences. Ty­pog­ra­phy can help you en­gage read­ers, guide them, and ul­ti­mately per­suade them. The more you ap­pre­ci­ate what ty­pog­ra­phy can do, the bet­ter ty­pog­ra­pher you can become.

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READINGS

T H E C R Y S TA L G O B L E T

Beatrice Warde says that typography should be invisible. If you have a fine wine, you do not present it in an ornate glass. You want to see the wine, not the container of it. The typography should be invisible in order to fully grasp the content. Comments are that the typography is the visual component of the scripture, so it should look good and, not invisible. The typography should bring the reader into the content.

TYPE COMPOSITION

Good type comes from the original typewriter.

When people wanted to add more, certain features became compromised and forgotten about. Like quotation marks. They were originally curly, but making them straight provided room for 2 more keys.

The same thing happened on computer keyboards; there are so many keys and secret keys that people go for those over the good, classic, typography.

Key notes 1

Question marks are underused and exclamation marks are way over used. They should be used very wisely.

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interrobang

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A semicolon is used for a conjunction of two sentences or separation in a list.

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A colon is a connector between the introduction and its completion

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¶ is called pilcrow

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kern­ing only works be­tween char­ac­ters of the same font size and style. In sit­u­a­tions where you have a ro­man char­ac­ter next to a bold or italic char­ac­ter, the only cure is vigilance.

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™ option+2 ® option+r © option+g.

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The am­per­sand is ty­po­graphic short­hand for the word and. The am­per­sand is halfway be­tween a lig­a­ture and a con­trac­tion—it’s a styl­ized de­pic­ tion of the Latin word et.

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… option+semicolon

10 ^do not type three periods 11 apostrophes should be placed properly. In the hawaiian language, okinas are used to display stops in the word. They get crazy… wrong right ‘60s rock ‘n’ roll ’60s rock ’n’ roll Hawai’i’s pa’aki Hawai‘i’s pa‘aki 12 Prime marks are a whole other story. This is when the straight quotes shine. (At no other time are they okay to use)

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READINGS

13 It is important to have hidden characters visible in all forms of documents because of control and predictability.

Con­trol means you get the in­tended re­sult with the min­i­mum key­strokes. Sup­pose you need a para­graph to start at the top of the next page. What do you do? If you use a hard page break rather than a se­quence of car­riage re­turns, you get the job done with one keystroke.

Pre­dictabil­ity means that as you edit and re­for­mat, you’ll al­ways get the same re­sult.

If you ap­prox­i­mate a hard page break with car­riage re­turns, at some point in your edit­ing, your text will re­flow and you’ll have a large, un­ex­pected gap where you in­ tended a page break.

14 Small Caps should be used with caution. Make sure to use the official small caps version of the typeface. The small caps formatting causes legibility problems and clashes with the rest of the text. because it is generally too narrow. Like all caps use small caps spar­ingly, add let­ terspac­ing, and turn on kern­ing.

15 Mix­ing fonts is never a re­quire­ment—it’s an op­tion. There are many ways to differentiate the hierarchy with caps and weights.

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16 Mixing more than two fonts can be dangerous; the document becomes disconnected. Also, the many serifs can be paired together and sans serifs as well as a mix of both. It is not necessary to have extreme contrast but sometimes it helps.

H ISTORY OF TI M ES N EW ROMAN

It was created for the Times of London for a new body text. Stan­ley Mori­son of Mono­type led the project and Vic­tor Lar­dent created the letters. Monotype and Linotype were competitors like Apple and Microsoft so they each licensed it with a different name. When computers came into play, Ap­ple li­censed Times Ro­man for the Mac­in­tosh in 1984; Mi­crosoft li­censed Times New Ro­man for Win­dows in 1992. After that it exploded. Although it is a little narrow, due to its purpose being for a newspaper, it is a successful font and it is for a reason. Although there is thought whether its longevity is at­trib­ut­able to its qual­ity or merely to its ubiq­uity. “Times New Ro­man is not a font choice so much as the ab­sence of a font choice, like the black­ness of deep space is not a color. To look at Times New Ro­man is to gaze into the void.” Many fonts have been based off of the same skeleton as Times New Roman that avoid its shortcomings. If needed, chose one of those.

T E X T F O R M AT T I N G

Monospaced is not a good idea for bodies of text.

Arial is essentially a cheap knock off of Helvetica…

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READINGS

Don’t wear Guci when you can wear Gucci Same way that Times New Roman is just a boring, plain typeface.

All caps is bad fo chunks, in small portions is fine.

In general you want to stick to metrics over optical PA G E L AY O U T

Page lay­out is about the po­si­tion­ing and re­la­tion­ship of text and other el­em ­ ents on the page.

Centered Text: Whole para­graphs should never be cen­tered; It is ok to use on short phrases or words.

Justified Text: It al­ters the ideal spac­ing of the font, but in para­graphs of rea­son­able width it’s usu­ally acceptable. BUT justification works with hyphenation. If hyphenation is not turned on, the space between words will be too much or too little. Also, when the width of the column is narrow, it is hard to make justified because of the fewer words to work with and fill up the empty space. bad Well, I’m a standing on

a

Winslow,

corner

in

Arizona,

and such a fine sight

to see. It’s a girl, my Lord, in a flatbed Ford

slowin’

down

to take a look at me.

good Well, I’m a standing on a corner in Winslow, Arizona, and such a fine sight to see. It’s a girl, my Lord, in a flatbed Ford slowin’ down to take a look at me.

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First line indents & space after: First line indents are more common. It should be no smaller than the point size. They are ideally between 1 and 4 times the point size of the text, depending on the column width. Larger indents for wider chunks of texts and smaller indents for narrower ones.

Well, I’m a standing on a corner in

Winslow, Arizona, and such a fine sight to see. It’s a girl, my Lord, in a flatbed Ford slowin’ down to take a look at me.

Well, I’m a standing on a corner in Winslow,

Arizona, and such a fine sight to see. It’s a girl, my Lord, in a flatbed Ford slowin’ down to take a look at me.

Margins: Default margins are set to one inch, but we ave to remember that the ideal line length is only 45-90 characters. At 12 point text, generally the margins should be 1.5-2 in.

Block quotes 1

Re­duce the point size and line spac­ing slightly.

2

In­dent the text block be­tween half an inch and a full inch on the left side, and op­tion­ally the same on the right.

3

Make the side in­dents large enough to be no­ticed, but not so large that the line length is too short.

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READINGS

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Don’t put quo­ta­tion marks at the ends—they’re redundant.

Tables: they’re awesome when you use them appropriately. You can adjust cell borders and and cell spacing Rules and borders: Usually, you can create the same distinction and emphasis with space between the sections. Use rules and borders sparingly. They are often “chartjunk” that hurts the legibility.

Space before and after: Space before and after works for the same rea­son a dra­matic pause works when you’re talk­ing. Contrast can be made through silence. With space after, you want the space to be large enough to be eas­ily no­ticed, but not so large that the para­graphs seem dis­con­nected. A good medium is 50-100% of the text size.

Widow and orphan control: Widows and orphans are disruptive and annoying, but sometimes so are the spaces at the end of the page. They should be done manually.

Styles: the secret to success. They help keep consistency across a long document. Although, careful of parent styles because any alterations will also be applied to the sub styles.

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TYPE FAM I LI E S Peter Bil’ak Originally, Type designers created multiple versions for multiple sizes of the typeface. Every point size was a little different because it was a new chunk of lead. They would determine the optimal contrast and thickness of the letters for each size. This is why different weights came in. When you scale down the larger type to the same size as the smaller type, you can see the difference in the letters. Yet they are meant to be used together, at different sizes.

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READINGS

For about 400 years printers used a single weight of a typeface, having the size as the main means of differentiation. Samuel Johnson’s dictionary (A Dictionary of the English Language, 1755), use only a single weight of type set in different sizes to show the hierarchy.

Morris Fuller Benton used his fathers recently invented pantographic engraving machine (1886) to modify the type. He could condense, extend, and slant the designs, similarly to how computers modify the type today. Adrian Frutiger developed type families even further by creating a numbered system. He created an innovative naming scheme of the widths and weights that eliminated confusion. This double digit system used 5 as a neutral/regular width or weight. The left was the weight and right, the width.

Essentially type families are made to avoid clashing and confusion of the letters while allowing hierarchy.

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TYPE DESIGN PHILOSOPHY Martin Majoor A type designer must know how type works in a piece of text; they must know how the type reacts on different paper and printing techniques.

The first full sans serif typeface was Akzidenz Grotesk, published in 1898 by the German Berthold type foundry in Berlin. Like most sans serifs, it was meant for display. But the lowercase letters were new and allowed it to be used for text.

Although, it was not carefully designed, but more imitated from existing serif typefaces. This gave it a ‘closed’ forms. In 1928 Paul Renner designed his Futura, not based on an existing serif. I seems it was influenced by constructivism of Bauhaus.

Many sans serifs came soon after, i.e. Helvetica and Univers. Sadly, the italic of Akzidenz Grotesk was just a slanted version. After this, all sans serifs seemed to follow.

Seria

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READINGS

When it comes to mixing sans and serifs, Martin believes it is only appropriate when they come from the same place. Like Gill Sans and Eric Gill’s earlier, Joanna. This is where he designed Scala and Scala Sans. It was made for a concert program that had so many levels of hierarchy. Scala sans was derived directly from Scala, a humanist typeface, which had rarely been seen before.

He then created Telefont and Telefont list, making it the most readable and condensable because it was for a phone book. He addressed that design with designing the layout of the phone book first. This was where Martin’s history in book design was helpful.

Seria and Seria Sans came into play when he realized Scala was too serious. Seria is a literary typeface, it has sharp curves and witty irregularity. It comes from the belief that a certain degree of irregularity leads to better legibility.

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T Y P O G R A P H I CA M E A C U L PA ,

U N ETH ICAL DOWN LOAD I NG Steven Heller Licensing is often acknowledged considerably when downloaded off the internet but is soon after put in the back of one’s mind. Designers take these fonts for granted and use them as their own. The word of the wise is to just copy it, there is no harm in that for your own use. Yet, so many copy such prestigious fonts and sell them! Some designers get shady.

“For years I have allowed designers working for me to infringe the agreement that I have failed to read.

Forget about legality, without adherence to the fundamental principal, we place our colleagues in financial jeopardy and we become much less ethical in the bargain.”

-Steven Heller

L AT I N T Y P O G R A P H Y I N R E L AT I O N S H I P TO T H E W O R L D

Peter Bil’ak The real first recorded movable type system (not Gutenberg’s) was more likely created in China around 1040 AD by Bi Sheng. Chinese script uses thousands of characters so the composition is quite complicated. Chinese moved from wood to clay

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READINGS

for smoothness and around 1230 AD Korean civil minister, Choe Yun-ui, moved it to metal. Then, in 1436, Johannes Gutenberg of Mainz invented the first printing press in Europe. Most history books of typography credit Western Europe for the advancement and focus on Latin typography. And when other fonts are discussed they are referred to as “Oriental” or “Non-Latin” typefaces, as if in a negative connotation. typography continues to display a shameless bias towards western civilization.

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THE FIRST THING I EVER D E S I G N E D : ELANA

SCHLENKER

A N D G R AT U I TO U S T Y P E M A G A Z I N E

Elana Schlenker created her “journal of typographic smut,” Gratuitous Type. The story behind Schlenker’s first issue of Gratuitous Type is a lot like the story of many first issues, to say something new.

After having her first few issues in her portfolio, her career rocketed. She went to work for an art director at Condé Nast and as senior designer at Princeton Architectural Press.

Her process for the magazine is as follows. She came up with the name for the magazine after the drool factor of slapping a large, decorative letter on a page. She started to get carried away with the playfulness of the design and remembered that it was a magazine about design that should therefore also have inspiring design. External elements like the belly bands and the pricing were a struggle but helped her learn in the long run. It led her to get a job in publishing. Her key advice is to trust yourself and your abilities.

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READINGS

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B EAUTY AN D UG LI N E SS IN TYPE DESIGN

Peter Bil’ak Beauty is obviously subjective, but it seems to gravitate towards high contrast like Didot and Bodoni.

Giambattista Bodoni defined beauty of type design with these four principles: regularity, clarity, good taste, and charm. The uglier typefaces also have hight contrast but are much more striking. Italian is a perfect example. It was designed with reversed contrast to defy the reader’s expectation. Thomas Hansard called the type a “typographic monstrosity”.

Nicolete Gray called it “a crude expression of the idea of perversity.” Evidently, beauty and ugliness are not far off from each other.

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READINGS

ERIC GILL GOT IT WRONG; A R E - E VA L U AT I O N O F G I L L S A N S

Ben Archer Gill sans is the Helvetica of Britain. It was designed

by Eric Gill when he studied under Johnston. It was created casually with intent on later advancement/ refinement. Gill took close note to Johnston, but probably fell through the cracks sometimes. His lowercase l, capitol I, and numeral 1 are not at all distinguishable.

Another problem with Gill Sans is that its range of weights appears darker and less evenly distributed as they get heavier. Medium already looks like a bold face and the bold is almost ridiculous. Students and designers should use Gill Sans with caution; it is a hard typeface to use well without making considerable effort.

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SEVEN STRIKING DESIGN PAI R I N G S

WE DIDN’T EXPECT

TO S E E I N G R A P H I C : 5 0 0 D E S I G N S T H AT M AT T E R

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READINGS

Tournée du Chat Noir poster, by Théophile-Alexandre Steinien (1894) and London Zoo poster by Abram Games (1975)

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IdcN (International Design Center, Nagoya) poster,

by Koichi Sato (1996) and 5 Finger Hat Die Hand poster, by John Heartfield for the German Communist Party (1928)

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READINGS

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above Hiroshima Appeals poster by Lusaka Kamekura for the Hiroshima International Cultural Foundation (1983) and NIE! poster by Tadeusz Trepowski for the Polish government (1952)

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READINGS

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Whole Earth Catalog: Access to Tools, by Stewart Brand (1968) and London Transport—Keeps London Going poster, by Man Ray (1938)

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READINGS

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Folies Bergere—Fleur de Lotus poster by Jules Chéret (1893) and Sinfonia Bolshogo Goroda poster by Georgii Sternberg and Vladimir Stenberg (1928)

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READINGS

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Form magazine cover by John Melin and Anders Osterlin (1959) and 21st Quran National Festival for Students of Iran poster by Iman Raad for the Iranian Academic Center for Education, Culture and Research (2006)

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READINGS

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Pierre Legrain Binding book cover by Pierre Legrain (1925) and VideoEx poster by Martin Woodtli (2003/2008/2010)

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READINGS

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A T Y P E FA C E D E S I G N E D TO

REVIVE THE ENDANGERED CH E ROKE E LANG UAG E T H E L A R G E S T T R I B A L N AT I O N G E T S ITS VE RY OWN FONT

Angela Riechers Cherokee typeface is inspiring. Mark Jamra deigned the typeface after hearing 3 men from the language technology office share their story of the dying language. Its called Phoreus Cherokee. There was only two typefaces across all typefaces that included a Cherokee version, with only one weight. Mark Jamra studied older manuscripts and the already developed typefaces to create a new one with multiple weights. He also noticed there was no italics and felt they were missing out. He created an italic weight based on some hand written letters that he received from the language technology office. The italic was not approached like roman fonts with the slanted affect, but he created unique versions of each symbol to emphasize as an italic.

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READINGS

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PROJEC

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CTS

PROJECTS

TYPE LEG I B I LITY PROJ ECT I noticed that the legibility of a certain text can be seriously compromised if attention to detail is low.

Altering the leading based on the type size can make or break the legibility. Regardless if the type is sans serif or serif, when the size gets bigger or smaller the leading must also. For the typeface, Born, with point size 9 and leading at 13 points is the easiest read. When the leading increased and decreased, it became more strenuous to read. When it is too tight, it is hard to see only one line at a time whereas when it is too loose, it takes a lot of effort to connect down to the preceding line. Using the sans serif typeface, Franklin Gothic URW, I found the most comfortable point size:leading ratio to be 9:12. I feel that since the typeface is thinner and not as bold, it needs less space between the lines.

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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.

BORN, 9/13

FRANKLIN GOTHIC URW, 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.

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.

BORN, 9/12

FRANKLIN GOTHIC URW, 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

legible, but if one really wants to communicate rather than

simply display a heap of alphanumeric data, some consid-

simply display a heap of alphanumeric data, some consideration

eration would be helpful. Paul Watzlawick’s first axiom of

would be helpful. Paul Watzlawick’s first axiom of communica-

communication—“one cannot not communicate”—puts

tion—“one cannot not communicate”—puts it very succinctly. If

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

you fail to consider the effect of your message on the recipient,

message on the recipient, you may inadvertently communi-

you may inadvertently communicate that you do not care how

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

your message may be received.

BORN, 9/14

FRANKLIN GOTHIC URW, 9/14

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

legible, but if one really wants to communicate rather than

simply display a heap of alphanumeric data, some consideration

simply display a heap of alphanumeric data, some consid-

would be helpful. Paul Watzlawick’s first axiom of communica-

eration would be helpful. Paul Watzlawick’s first axiom of

tion—“one cannot not communicate”—puts it very succinctly. If

communication—“one cannot not communicate”—puts

you fail to consider the effect of your message on the recipient,

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

you may inadvertently communicate that you do not care how

message on the recipient, you may inadvertently communi-

your message may be received.

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

FRANKLIN GOTHIC URW, 9/15

BORN, 9/15

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

Without typography, one could argue, messages will still be legible,

heap of alphanumeric data, some consideration would be helpful. Paul

but if one really wants to communicate rather than simply display

Watzlawick’s first axiom of communication—“one cannot not commu-

a heap of alphanumeric data, some consideration would be helpful.

nicate”—puts it very succinctly. If you fail to consider the effect of your

Paul Watzlawick’s first axiom of communication—“one cannot not

message on the recipient, you may inadvertently communicate that

communicate”—puts it very succinctly. If you fail to consider the

you do not care how your message may be received.

effect of your message on the recipient, you may inadvertently

FRANKLIN GOTHIC URW, 8/13

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

BORN, 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.

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.

FRANKLIN GOTHIC URW, 10/13

BORN, 10/13

Marion Beacham

46

l still be er than onsidom of —puts your mmunireceived.

l still be er than considxiom of —puts your mmunireceived.

l still be

er than

onsid-

om of

—puts

your

PROJECTS

Serif Sans Serif

Sans S

Without typography, one could argue, messages will still be legible, if one really wantsargue, to communicate rather than Withoutbut typography, one could messages will still be simply a heap alphanumeric data, some considlegible,display but if one reallyofwants to communicate rather than eration would be helpful.

Paul Watzlawick’s first axiom of simply display a heap of alphanumeric data, some consideration communication—“one cannot notfirst communicate”—puts would be helpful. Paul Watzlawick’s axiom of communicaittion—“one very succinctly.

If you fail to consider effect of your If cannot not communicate”—putsthe it very succinctly. message the recipient, youofmay communiyou fail toon consider the effect yourinadvertently message on the recipient, cate that you do not care how your message may be received. you may inadvertently communicate that you do not care how

Without typograph legible, but if one simply display a he would be helpful. tion—“one cannot you fail to conside you may inadverte your message ma

your message BORN, 9/13 may be received.

FRANKLIN GOTHIC

FRANKLIN GOTHIC URW, 9/13

Without typography, one could argue, messages will still be legible, but if one really wants to communicate rather than Without typography, one could argue, messages will still be simply display a heap of alphanumeric data, some considlegible, but if one really wants to communicate rather than eration would be helpful. Paul Watzlawick’s first axiom of simply display a heap of alphanumeric data, some consideration communication—“one cannot not communicate”—puts would be helpful. Paul Watzlawick’s first axiom of communicait very succinctly. If you fail to consider the effect of your tion—“one cannot not communicate”—puts it very succinctly. If message on the recipient, you may inadvertently communiyou fail to consider the effect of your message on the recipient, cate that you do not care how your message may be received. you may inadvertently communicate that you do not care how your message BORN, 9/12 may be received.

Without typograph legible, but if one simply display a he would be helpful. tion—“one cannot you fail to conside you may inadverte your message ma FRANKLIN GOTHIC

FRANKLIN GOTHIC URW, 9/12

Without typography, one could argue, messages will still be

Without typograp

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FRANKLIN GOTHIC

FRANKLIN GOTHIC URW, 9/14

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tion—“one cannot

47

TYPE II JOURNAL

THE HERO’S JOURNEY Making the layout of interesting text boring, makes the text boring.

I learned it was hard to organize five separate quotes and make them all pop. Incorporating a unique layout though, can help catch a reader. I started out with a very boring centered, standard width column that you would be able to find text book on ants. I realized that being safe is not necessarily a good decision. I still struggled with making a unique layout, but I want to keep pushing myself to see what the creative inside of me comes up with!

Something that should always be remembered is margins. Not having enough margins make the text less approachable. With comfortable space around the body text the reader is more invited to read it.

Adding a unique visual connection to a straightforward text is also helpful in the big picture. It is less redundant and boring.

Also, make sure colors are appropriate. Switching up the colors of my final design to have a darker background with white clouds would make it more relatable to reality.

48

PROJECTS

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

M

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.

M

M

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.

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.

C M

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.

C

HOW DO I SLAY THAT DRAGON IN ME?

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

Is it my work or my life?

If the work that you’re doing is the work that you chose to do because you are enjoying it, that’s it. But if you think, “Oh, no! I couldn’t do that!” that’s the dragon locking you in. “No, no, I couldn’t be a writer,” or “No, no, I couldn’t possibly do what So-and-so is doing.”

C

M

C M

First draft

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

If you have someone who can help you, that’s fine, too. But, ultimately, the last deed has to be done by oneself. Psychologically, the dragon is one’s own binding of oneself to one’s ego. We’re captured in our own dragon cage. The problem of the psychiatrist is to

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?

disintegrate that dragon, break him up, so that you may expand to a larger field of relationships. The ultimate dragon is within you, it is your ego clamping you down.

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, M C C

My general formula for my students is “Follow your bliss.”

Find where it is, and don’t be afraid to follow it.

M

C M C

What’s the journey each of us has to make, what you call “the soul’s high adventure”?

“ALL HE HAD WAS THE STRING. THAT’S ALL YOU NEED.”

That’s all you need—an Ariadne thread.

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

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

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

But it’s got to be your way, not his. The Buddha can’t tell you exactly how to get rid of your particular fears, for example. Different teachers may suggest exercises, but they may not be the ones to work for you. All a teacher can do is suggest. He is like a lighthouse that says,

49

TYPE II JOURNAL

M C

A SOUL’S

Why are there the hero in my

Because that’s w about. Even in po main character is who has found o beyond the norm ment and experie one who has giv something bigge

M

Final draft

So in all of these local cos-tume t what is the deed

50

C M

Bill Moyers and Joseph Campbell on the Power of Myth

Does your stud conclude that a pattern of huma tutes for all ma common, wheth will live a thous

C

HIGH ADVENTUR

Well, there are tw physical deed, in courageous act in kind is the spiritu to experience th spiritual life and t

There’s a certa call the vision q a vision, which mythology. That in the first book sand Faces. Al give us the sam world that you’r a distance or up what was miss world you form problem either o world drop off, trying to hold on social world ag

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

That’s all you need—an Ariadne thread.

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

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

M

M

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

C

C

My general formula for my students is “Follow your bliss.” Find Where it is and don’t be afraid to follow it.

M

ain type of myth which one might quest, going in quest of a boon, h has the same form in every t is the thing that I tried to present k I wrote, The Hero With a Thoull these different mythologies me essential quest. You leave the re in and go into a depth or into p to a height. There you come to sing in your consciousness in the merly inhabited. Then comes the of staying with that, and letting the or returning with that boon and n to it as you move back into your gain.

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”.

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

C

dy of mythology lead you to a single human quest, a standard an aspiration and thought, constiankind something that we have in her we lived a million years ago or sand years from now?

M

If the work that you’re doing is the work that you chose to do because you are enjoying it, that’s it.

But if you think, “Oh, no! I couldn’t do that!” that’s the dragon locking you in. “No, no, I couldn’t be a writer,” or “No, no, I couldn’t possibly do what So-and-so is doing.”

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

C

M C M

Is it my work or my life?

wo types of deed. One is the n which the hero performs a n battle or saves a life. The other ual deed, in which the hero learns he supernormal range of human then comes back with a message.

RE

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

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

e cultures, whatever the the hero might be wearing, d?

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

C

what’s worth writing opular novels, the s a hero or heroine or done something mal range of achieveence. A hero is someven his or her life to er than oneself.

M

so many stories of ythology?

PROJECTS

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.

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TYPE II JOURNAL

ELEMENTS OF STYLE It was nice to work with other designers on this project. I definitely learned a lot about what I tend look over. I know we each have the one thing we mark secondary and it was nice to have partners on your back about the small things. It was fun to try to merge three different styles into one booklet.

Although, I have to remember that combining multiple styles is not compromising. We had to come up with a uniform look that we all enjoyed rather than fusing all of our styles.

Final individual version

14

A. THE TOPIC SENTENCE COMES AT OR NEAR THE BEGINNING; B. THE SUCCEEDING SENTENCES EXPLAIN OR ESTABLISH OR DEVELOP THE STATEMENT MADE IN THE TOPIC SENTENCE; C. THE FINAL SENTENCE EITHER EMPHASIZES THE THOUGHT OF THE TOPIC SENTENCE OR STATES SOME IMPORTANT CONSEQUENCE.

Ending with a digression, or with an unimportant detail, is particularly to be avoided.

If the paragraph forms part of a larger composition, its relation to what precedes, or its function as a part of the whole, may need to be expressed. This can sometimes be done by a mere word or phrase (again; therefore; for the same reason) in the topic sentence. Sometimes, however, it is expedient to precede the topic sentence by one or more sentences of introduction or transition. If more than one such sentence is required, it is generally better to set apart the transitional sentences as a separate paragraph.

52

According to the writer’s purpose, he may, as indicated above, relate the body of the paragraph to the topic sentence in one or more of several different ways. He may make the meaning of the topic sentence clearer by restating it in other forms, by defining its terms, by denying the converse, by giving illustrations or specific instances; he may establish it by proofs; or he may develop it by showing its implications and consequences. In a long paragraph, he may carry out several of these processes.

1

Now, to be properly enjoyed, a walking tour should be gone upon alone.

Topic Sentance

2

f you go in a company, or even in pairs, it is no longer a walking tour in anything but name; it is something else and more in the nature of a picnic.

The meaning made clearer by denial of the contrary.

SECTION TWO

ELEMENTS OF STYLE

Again, the object is to aid the reader. The practice here recommended enables him to discover the purpose of each paragraph as he begins to read it, and to retain the purpose in mind as he ends it.

For this reason, the most generally useful kind of paragraph, particularly in exposition and argument, is that in which

15

10

09

THE UNIT OF COMPOSITION: MAKE THE PARAGRAPH

ONE PARAGRAPH TO EACH TOPIC

French, the Italians, Spanish, and Portuguese French, the Italians, the Spanish, and the Portuguese

If the subject on which you are writing is of slight extent, or if you intend to treat it very briefly, there may be no need of subdividing it into topics. Thus a brief description, a brief summary of a literary work, a brief account of a single incident, a narrative merely outlining an action, the setting forth of a single idea, any one of these is best written in a single paragraph. After the paragraph has been written, it should be examined to see whether subdivision will not improve it.

Ordinarily, however, a subject requires subdivision into topics, each of which should be made the subject of a paragraph. The object of treating each topic in a paragraph by itself is, of course, to aid the reader. The beginning of each paragraph is a signal to him that a new step in the development of the subject has been reached.

The extent of subdivision will vary with the length of the composition. For example, a short notice of a book or poem might consist of a single paragraph.

One slightly longer might consist of two paragraphs:

SECTION TWO

ELEMENTS OF STYLE

PROJECTS

11

A. ACCOUNT OF THE WORK. B. CRITICAL DISCUSSION.

A report on a poem, written for a class in literature, might consist of seven paragraphs: A. FACTS OF COMPOSITION AND PUBLICATION. B. KIND OF POEM; METRICAL FORM. C. SUBJECT. D. TREATMENT OF SUBJECT. E. FOR WHAT CHIEFLY REMARKABLE. F. WHEREIN CHARACTERISTIC OF THE WRITER. G. RELATIONSHIP TO OTHER WORKS.

BAD The

GOOD The

BAD In

spring, summer, or in winter spring, summer, or winter (In spring, in summer, or in winter)

GOOD In

36

BAD It

was both a long ceremony and very tedious. ceremony was both long and tedious.

GOOD The BAD A GOOD A

time not for words, but action time not for words, but for action

BAD Either

you must grant his request or incur his ill will. must either grant his request or incur his ill will.

GOOD You

BAD My

objections are, first, the injustice of the measure; second, that it is unconstitutional.

GOOD My objections are, first, that the measure is unjust; second, that it is unconstitutional.

See also the third example under Rule Twelve and the last under Rule Thirteen.

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SECTION TWO

ELEMENTS OF STYLE

Correlative expressions (both, and; not, but; not only, but also; either, or; first, second, third; and the like) should be followed by the same grammatical construction. Many violations of this rule can be corrected by rearranging the sentence.

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RELATED WORDS KEEP

It may be asked, what if a writer needs to express a very large number of similar ideas, say twenty? Must he write twenty consecutive sentences of the same pattern? On closer examination he will probably find that the difficulty is imaginary, that his twenty ideas can be classified in groups, and that he need apply the principle only within each group. Otherwise he had best avoid the difficulty by putting his statements in the form of a table.

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TOGETHER.

TYPE II JOURNAL

Final group version

17

In summarizing the action of a drama, the writer should always use the present tense. In summarizing a poem, story, or novel, he should preferably use the present, though he may use the past if he prefers.

If the summary is in the present tense, antecedent action should be expressed by the perfect; if in the past, by the past perfect.

IN SUMMARIES, KEEP TO

ONE TENSE.

But whichever tense be used in the summary, a past tense in indirect discourse or in indirect question remains unchanged.

The Legate inquires who struck the blow.

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Apart from the exceptions noted, whichever tense the writer chooses, he should use throughout. Shifting from one tense to the other gives the appearance of uncertainty and irresolution (compare Rule Fifteen).

In presenting the statements or the thought of some one else, as in summarizing an essay or reporting a speech, the writer should avoid intercalating such expressions as “he said,” “he stated,” “the speaker added,” “the speaker then went on to say,” “the author also thinks,” or the like. He should indicate clearly at

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SECTION TWO

ELEMENTS OF STYLE

An unforeseen chance prevents Friar John from delivering Friar Lawrence’s letter to Romeo.

Juliet, meanwhile, owing to her father’s arbitrary change of the day set for her wedding, has been compelled to drink the potion on Tuesday night, with the result that Balthasar informs Romeo of her supposed death before Friar Lawrence learns of the nondelivery of the letter.

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PROJECTS

02

THE ELEMEN T S

OF S T Y L E

The proper place for the word, or group of words, which the writer desires to make most prominent is usually the end of the sentence.

The other prominent position in the sentence is the beginning. Any element in the sentence, other than the subject, becomes emphatic when placed first.

Deceit or treachery he could never forgive.

ORIGINAL Humanity has hardly advanced in fortitude

since that time, though it has advanced in many other ways.

o vast and rude, fretted by the action of nearly three thousand years, the fragments of this architecture may often seem, at first sight, like works of nature.

REVISED Humanity, since that time, has advanced in

many other ways, but it has hardly advanced in fortitude.

ORIGINAL This steel is principally used for making razors,

A subject coming first in its sentence may be emphatic, but hardly by its position alone. In the sentence,

because of its hardness.

REVISED Because of its hardness, this steel is princi-

The word or group of words entitled to this position of prominence is usually the logical predicate, that is, the new element in the sentence, as it is in the second example.

The effectiveness of the periodic sentence arises from the prominence which it gives to the main statement.

Four centuries ago, Christopher Columbus, one of the Italian mariners whom the decline of their own republics had put at the service of the world and of adventure, seeking for Spain a westward passage to the Indies as a set-off against the achievements of Portuguese discoverers, lighted on America.

Great kings worshipped at his shrine,

the emphasis upon kings arises largely from its meaning and from the context. To receive special emphasis, the subject of a sentence must take the position of the predicate.

Through the middle of the valley flowed a winding stream.

The principle that the proper place for what is to be made most prominent is the end applies equally to the words of a sentence, to the sentences of a paragraph, and to the paragraphs of a composition.

With these hopes and in this belief I would urge you, laying aside all hindrance, thrusting away all private aims, to devote yourselves unswervingly and unflinchingly to the vigorous and successful prosecution of this war.

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SECTION TWO

ELEMENTS OF STYLE

46

pally used in making razors.

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TYPE II JOURNAL

DESIGHT ZINE In-progress notes -don’t get hung up on the grid. Use it as a helper. and use every column in the grid -scale up type.

-too boxy -let text flow over rainbow brokers soap image General thoughts I was overall happy with my final magazine. My goal was to complement the weight of the content with a bright and bold design. I feel I fulfilled that by allowing myself to explore across the whole magazine. I wanted to remove the content away from the monotony of a standard grid and allow some umph.

However, I do feel that uniformity helps the reader.

Process

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PROJECTS

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PROJECTS

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Final magazine

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PROJECTS

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DE S IG N E D BY MAR ION B EACHAM FONT: B E RTHOLD AS KI DE NZ GOTH IC MARCH 2017

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READINGS

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