Typography 02: typography workbook

visual communication Typography 02		:: syllabus :: bookjacket :: spreads :: workbook :: speech :: journal :: class blog ::
:::::::::::::::::::::::::::::::::::::::::::: :: Examples :- Cat :- Jordan :- Michael :- Gavin :- Addie ::::::::::::::::::::::::::::::::::::::::::: :- I love Typography :- Typotheque :- Ministry of Type :- Type Theory :- Typographcia :- Typography Served :- Typeworkshop.com :- Typophile ....................................................... Videos :- Typography is... :- Font Conference :- Trajan is the movie font :- Type Culture Movies :- Type with feeling Inspired :- Gordan Young :- Periodic Table of Type :- 21 unexpected alphabets Type Classifications :- Type Culture :- Type classifications by Hoefler :- Evolution of Type :- Typography Heros Vernacular Type :- circus and swoosh :- retro and vintage :- type in brooklyn {aiga article :- center for vernacular type :- douglas wilson Handmade, Buy, Make :- dropcap daily :- handmade fonts :- hand drawn font {aiga article :- design it your self font design :- 26 types of animals	::::	::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: typography workbook The type workbook is a series of investigations you will be conducting based on terms or rules. This is a quick project, we will be have crits and workdays but you will need to do the majority of the work outside of class. The workbook should hold together as one document (like your previous process books). There are different types of information you will be "displaying". Therefore, we will have 2 types of grids for the project (a column grid and a traditional grid). All work should be done in InDesign. We will use masterpages and style sheets. You all will be using LuLu to produce the final book. Hardbound black and white or color. (color will cost more so it is completely optional GRAY IS NOT a color) As design professionals it will be apparent if you know the rules or if you don’t. When a professional looks at your type, they can immediately tell if you "know" type. Getting and keeping the job you want requires that you know and master these rules/terms. The upper-level classes focus on the macro of typography, the big idea... this workbook focuses on the micro (all the typographic details) it is expected that you know this information and it will not be covered again. This book is something you will take with your to your future classes and future jobs. You are creating your own resource. Take care and pay attention to every detail. This project in its self (as boring) as many of you may think it is could get you a job/internship. FONT: typefaces of your choice, determined by investigation COLOR: black and white or colors if you want it SIZE: 8.25 x 10.75: hardcover No. of PAGES: unlimited so don't over crowd pages GRID: column and Read: InDesign How to Document :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: TITLE PAGE* name of your book, your name, 2011 * come up with a title (and subtitle?) for your book: type rules, typographic dogma, details.. TABLE OF CONTENTS: table of contents (do this LAST after you have completed the book) :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: DUE: before midnight April 11. as a pdf on the server or if you email it to me make sure it is under 10mb. I will give you feedback and then you can send it off to Lulu. Do not send it to lulu without feedback. Send to Lulu NO LATER than by April 20. * when you are finished with a section (content) you should print it off and hand it in for feedback. TIP: do all the investigations first and explore how the pages can look but wait to design. Design after you are finished with creating all the content/ doing the investigations... DESIGN TIP: this project is all about the rules, doing them and showing them = typographic detail. another important component is pacing = scale, contrast, inviting the reader into the page. THE INVESTIGATIONS themselves are not fancy and can't be .. but how you pull things out/highlight content, title pages or chapter pages, running headers, use of color (or gray) is what will to make this project dynamic or not. This is not an easy project it is complex. :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: FONT SPECS FontSpec Book pdf (get it off the server) to begin we must know the classifications of fonts, anatomy, and who designed the font. Work as a class/in pairs / or in teams to fill out the sheets. some resources: Jonathan Hoefler's Type Styles 101 (typophile.com) Twenty Text Typefaces: Textism.com (Dean Allen) Type Classification (RedSun.com) Type Classification by Ellen Lupton (Thinking With Type) :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: GRID STRUCTURES read: Getting it Right with Type: pages 98 – 117 grid structures: inclass lecture: golden section, ratio, modular, tschichold... style sheets: you may change them later: header, subhead, body text, caption make style sheets, try them out, edit them. how to demo AdamsMorioka Podcast 4 - Proportions in Design if you like the design duo: they have 7 videos on youtube all very good. :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: RULES: check sheet use the grid, use as many a pages as you want to display them, keep it simple but you could use scale and contrast.. include this information in your workbook: The following is a compendium of the rules established in this book. You might want to check through them each time you complete a publication. -- Use only one space between sentences. -- Use real quotation marks. -- Use real apostrophes. -- Make sure the apostrophes are where they belong. -- Hang the punctuation off the aligned edge. -- Use en or em dashes, use consistently. -- Kern all headlines where necessary. -- Never use the spacebar to align text, always set tabs and use the tab key. -- Leave no widows or orphans. -- Avoid more than 3 hyphenations in a row. -- Avoid too many hyphenations in any paragraph. -- Avoid hyphenating or line brakes of names and proper nouns. -- Leave a least 2 characters on the line and 3 following. -- Avoid beginning consecutive lines with the same word. -- Avoid ending consecutive lines with the same word. -- Avoid ending lines with the words: the, of, at, a, by.. -- Never hyphenate a words in a headline and avoid hyphenation in a callout. -- Never justify the text on a short line. -- Keep the word spacing consistent. -- Tighten up the leading in lines with all caps or with few ascenders and descenders. -- Use a one-em first-line indent on all indented paragraphs. -- Adjust the spacing between paragraphs. -- Either indent the first line of paragraphs or add extra space between them – not both. -- Use a decimal or right-aligned tab for the numbers in numbered paragraphs. -- Never have one line in a paragraph in the column or following. -- Never combine two serif fonts on one page. -- Rarely combine two sans serif fonts on one page. -- Rarely combine more than three typefaces on one page. -- Use the special characters whenever necessary, including super- and subscript. -- Spend the time to create nice fraction or chose a font that has fractions. -- If a correctly spelled word needs an accent mark, use it. :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: X-HEIGHT read: Getting it Right with Type: page 30 – 41 + 70 – 71 include this information in your workbook: Readability and legibility are two key elements of printed text that typographer strive to maximize. Readability extended amount of text – such as an article, book, or annual report – is easy to read. Legibility refers to whether an refers to whether a short burst of text – such as a headline catalog listing, or stop sign – is instantly recognizable. There are several factors that determine whether a text is readable. When deciding what typeface should be used for a job, consideration should be given to the typeface and its x-height. It is important to understand how a block of text can express a message through its texture/color, therefore suiting a particular design solution. Fonts set in the same size, same leading and column width will produce varying degrees of “color”. In typography, color can also describe the balance between black and white on the page of text. A typeface’s color is determined by stroke width, x-height, character width and serif styles. As a designer, if you are only asked to make the text readable on the page the following questions should be asked ...Readability and legibility are two key elements of printed text that typographer strive to maximize. Readability extended amount of text – such as an article, book, or annual report – is easy to read. Legibility refers to whether an refers to whether a short burst of text – such as a headline catalog listing, or stop sign – is instantly recognizable. There are several factors that determine whether a text is readable. When deciding what typeface should be used for a job, consideration should be given to the typeface and its x-height. It is important to understand how a block of text can express a message through its texture/color, therefore suiting a particular design solution. Fonts set in the same size, same leading and column width will produce varying degrees of “color”. In typography, color can also describe the balance between black and white on the page of text. A typeface’s color is determined by stroke width, x-height, character width and serif styles. As a designer, if you are only asked to make the text readable on the page the following questions should be asked... Who is to read it? Someone that wants to read it? Someone that has to read it? How will it be read? Quickly. In passing. Focused. Near. Far. Assignment You will be exploring one type of typographic color. To achieve results that can be compared you need to use the same sizes, same leading and the same column width. there is an indesign document on the server for you to use, you may alter it as you wish. However all the content has to be on the page: 1) display the xheight 2) name the font, name the designer 3) paragraph of text; all paragraphs use the exact same size and leading 4) describe the color... Choose any 10 serif fonts and 10 sans serif fonts from the approved font list. And compare the fonts based on the x-height.* Please make sure all the following information is on the page {do not crowd the pages. -- x-height comparison -- name of font -- designer’s name -- body copy all set to 9/12 It is critical that you se the same size fonts, leading and column width. Only change the font in the example no other settings should change. notes: After you have made the comparison. Look carefully how the x-height, stroke weight and character width effect the color of the type. Also note how the visual size of the type faces that are the same size do not appear the same size. Is there a difference in readability? Describe the font its x-height, character width and color. copy and paste this copy to use in your assignment... Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society. Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti’s manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. -- name of font -- classification -- designer’s name -- notes (see above) :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: HYPHENATION RULES include this information in your workbook: In unjustified text, the text block is set with normal letter and word spacing. Because of the even word spacing the text will have an even texture – no large spaces between words. The lines will naturally vary in length. a ragged text block can integrate with the layout and add visual interest to the page. The difficulty is making the ragged edge have a pleasing silhouette. When the first line in the text is longer than the second, it becomes separate from the layout and creates a box-like shape. This destroys one of the advantages of unjustified text. The ragged edge needs to have a life, but a narrow column can be less active. Another advantage to ragged text is less hyphenation is needed. Therefore, names, dates or words which are normally read together can stay together. Hyphenation rules pay attention to: -- how the text is read avoid widows (one word on the last line of a paragraph) -- avoid hyphenating or line brakes of names and proper nouns -- leave a least 2 characters on the line and 3 following -- avoid beginning consecutive lines with the same word -- avoid ending consecutive lines with the same word -- avoid ending lines with the words: the, of, at, a, by.. -- never hyphenate a words in a headline and avoid hyphenation in a callout recreate: recreate: Widows and Orphans Never leave widows and orphans bereft on the page. Avoid both of these situations. If you have editing privileges, rewrite the copy, or at least add or delete a word or two. Sometimes you can remove spacing from the letters, words, or lines, depending on which program you’re working in. Sometimes widening a margin just a hair will do it. But it must be done. Widows and orphans on a page are wrong. Widow When a paragraph ends and leaves fewer than seven characters (not words, characters) on the last line, that line is called a widow. Worse than leaving one word at the end of a line is leaving part of a word, the other part being paraphrased on the line above. Orphan When the last line of a paragraph, be it ever so long, won’t fit at the bottom of a column and must end itself at the top of the next column, that is an orphan. ALWAYS correct this. Rivers In typography, rivers, or rivers of white, are visually unattractive gaps appearing to run down a paragraph of text. They can occur with any spacing, though they are most noticeable with wide word spaces caused by either full text justification or monospaced fonts. :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: ALIGNMENTS include this information in your workbook: If someone insists that fully justified text is better than left-aligned text, tell them they are wrong. If someone else tells you that left-aligned text is better than justified text, tell them they are wrong. If they are both wrong, then what's right? Alignment is only a small piece of the puzzle. What works for one design might be totally inappropriate for another layout. As with all layouts, it depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particular design. "Right and wrong do not exist in graphic design. There is only effective and non-effective communication." — Peter Bilak - Illegibility Justified Text Traditionally many books, newsletters, and newspapers use full-justification as a means of packing as much information onto the page as possible to cut down on the number of pages needed. While the alignment was chosen out of necessity, it has become so familiar to us that those same types of publications set in left-aligned text would look odd, even unpleasant. You may find that fully-justified text is a necessity either due to space constraints or expectations of the audience. If possible though, try to break up dense blocks of texts with ample subheadings, margins, or graphics. -- Often considered more formal, less friendly than left-aligned text. -- Usually allows for more characters per line, packing more into the same amount of space (than the same text set left-aligned). -- May require extra attention to word and character spacing and hyphenation to avoid unsightly rivers of white space running through the text. -- May be more familiar to readers in some types of publications, such as books and newspapers. -- Some people are naturally drawn to the "neatness" of text that lines up perfectly on the left and right. Left-Aligned, Ragged Right -- Often considered more informal, friendlier than justified text. -- The ragged right edge adds an element of white space. -- May require extra attention to hyphenation to keep right margin from being too ragged. -- Generally type set left-aligned is easier to work with (i.e. requires less time, attention, and tweaking from the designer to make it look good). Centered There is nothing inherently wrong with centered text. As with ragged right or fully-justified text alignment, what works for one design might be totally inappropriate for another layout. There are simply fewer situations where centered text is appropriate. When in doubt, don't center it. As with all layouts, alignment depends on the purpose of the piece, the audience and its expectations, the fonts, the margins and white space, and other elements on the page. The most appropriate choice is the alignment that works for that particular design. No matter what alignment you use, remember to pay close attention to hyphenation and word/character spacing as well to insure that your text is as readable as possible. There will undoubtedly be well-meaning friends, business associates, clients, and others who will question your choices. Be prepared to explain why you chose the alignment you did and be prepared to change it (and make necessary adjustments to keep it looking good) if the person with final approval still insists on something different. :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: JUSTIFICATION 1. what is the ideal space between words? 2. explain what does this inspector do, what do these numbers mean? in this exercise you will be changing the numbers and remarking on the effects. include this information in your workbook: Justify text only if the line is long enough to prevent awkward and inconsistent word spacing. The only time you can safely get away with justifying text is if your type is small enough and your line is long enough, as in books where the text goes all the way across the page. If your line is shorter, as in newsletter, or if you don't have many words on the line, than as the type aligns to the margins the words space themselves to accommodate it. It usually looks awkward. You've seen newspaper columns where all text is justified, often with a word stretching all the way across the column, or a little word on either side of the column with a big gap in the middle. Gross. But that's what can happen with justified type. When you do it, the effect might not be as radical as the newspaper column, but if your lines are relatively short, you will inevitably end up with uncomfortable gaps in some lines, while other lines will be all squished together. When your work comes out of the printer, turn it upside down and squint at it. The rivers will be very easy to spot. Get rid of them. Try squinting at the example on the bottom of the previous page. Here is a general guideline for determining if your line length is long enough to satisfactorily justify the text: the line length in picas should be about twice the point size of the type; that is, if the type you are using is 12 point, the line length should be at least 24 picas (24 picas is 4 inches-simply divide the number of picas by 6, as there are 6 picas per inch). Thus 9-point type should be on an 18-pica line (3 inches) before you try to justify it, and 18-point type should be on a 36-pica line (6 inches). The rulers in most programs can be changed to picas, if you like. Justified text was the style for many years-we grew up on it. But there has been a great deal of research done on readability (how easy something is to read) and it shoes that those disruptive, inconsistent gaps between the words inhibit the flow of reading. Besides, they look dumb. Keep your eyes open as you look at professionally printed work (magazines, newsletters, annual reports, journals) and you'll find there's a very strong trend to align type on the left and leave the right ragged. assignment: use one size, one leading, one column width. JUSTIFIY the text. All you are changing is the Justification setting in InDesign. The goal is to find a setting that has a comfortable wordspace and letterspace. Try 5 different settings using one SERIF font, try the same settings with a SANS SERIF (10 total) a. change the min, desired, maximum numbers b. write down the numbers for each setting c. write down what the problems are ie. too large wordspacing, too tight... :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: COMBINING TYPEFACES read: Elements of Typographic Style read: mac is not a typewriter summarize any information/rules for your workbook. you may scan in information and place it into your workbook if you don't want to type or recreate. include this information in your workbook: When combining serif and sans serif text fonts, one shroud try and match the characteristics of form and type color: proportion, x-heights. “There is not binding recipe for type combinations. It is a matter of typographic sensitivity and experience. Expert typographers, as well as careless amateurs permit themselves combinations that would horrify colleagues with more traditional sympathies.” Although there is not recipe there is a place to start: keep an eye on the characteristic shapes of the letterform. A well designed page contains no more than two different typefaces or four different type variations such as type size and bold or italic style. {Using 2 different serif fonts or 2 different sans serifs fonts in the same composition is never a good idea} Assignment Try the 10 type combinations below. Follow the example. You are exploring what typefaces go together and why. You do not need to keep the type sizes the same. If you need to make a font larger or smaller so the x-heights become more similar that is fine. Or you can exaggerate their differences: make the font size larger or a bold or italic... Combine serif with sans serif 1. Old Style / Gerald with Humanist sans serif 2. Old Style / Gerald with Grotesque sans serif 3. Transitional with Geometric sans serif 4. Transitional with Humanist sans serif 5. Modern with Geometric sans serif 6. Modern with Grotesque sans serif 7. New Transitional with Geometric sans serif 8. New Transitional with Grotesque sans serif 9. Slab serif with Geometric sans serif 10. Slab serif with Humanist sans serif Write down the font in the combination. Why you think that particular font works well with the other and any changes you made to make the fonts combine “well”. example: ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: QUOTES, APOSTROPHES, DASHES include this information in your workbook: Quotation Marks Use real quotation marks – never those grotesque generic marks that actually symbolize ditto/inch or foot marks: use "and" – not “and”. Most software applications will convert the typewriter quotes to the real quotes for you automatically as you type. Check the preferences for your application – you’ll find a check box to tell your application to automatically set something like “typographer’s quotes,” “smart quotes,” or “curly quotes.” Then as you type using the standard ditto key (“), the software will set the correct quotation marks for you. But it is necessary to know how to set them yourself because sometimes the software doesn't do it or does it wrong. Opening double quote: “ Type: Option [ Closing double quote: ” Type: Option Shift ] Opening single quote: ‘ Type: Option [ Closing single quote: ’ Type: Option Shift ] (please include these and show them correctly) Bridge Clearance: 16’ 7” The young man stood 6’ 2” The length of the wall is 153’9”. Apostrophe Apostrophe: ’ option shift ] As as aside, people often are confused about where the apostrophe belongs. There are a couple of rules that work very well. For possessives: Turn the phrase around. The apostrophe will be placed after whatever word you end up with. For example, in the phrase the boys’ camp, to know where to place the apostrophe say to yourself, “The camp belongs to the boys.” The phrase the boy’s camp says “The camp belongs to the boy.” “The big exception to this is “its.” “Its” used as a possessive never has an apostrophe! The word it only has an apostrophe as a contraction — “it’s” always means “it is” or “it has.” Always. It may be easier to remember if you recall that yours, hers, and his don’t use apostrophes — and neither should its. For contractions: The apostrophe replaces the missing letter. For example: your’re always means you are; the apostrophe is replacing the a from are. That’s an easy way to distinguish it from your as in your house and to make sure you don’t say: Your going to the store. As previously noted, it’s means “it is”; the apostrophe is indicating where the i is left out. Don’t means “do not”; the apostrophe is indicating where the o is left out. For omission of letters: In a phrase such as Rock ’n’ Roll, there should be an apostrophe before and after the n, because the a and the d are both left out. And don’t turn the first apostrophe around — just because it appears in front of the letter does not mean you need to use the opposite single quote. An apostrophe is still the appropriate mark (not ‘n’). In a phrase such as House o’ Fashion, the apostrophe takes the place of the f. There is not earthly reason for an apostrophe to be set before the o. In a phrase such as Gone Fishin’ the same pattern is followed — the g is missing. In a date when part of the year is left out, an apostrophe needs to indicate the missing year. In the 80s would mean the temperature; In the ’80s would mean the decade. (Notice there is no apostrophe before the s! Why would there be? It is not possessive, nor is it a contraction — it is simply plural. Dashes Never use two hyphens instead of a dash. Use hyphens, en dashes, and em dashes appropriately. Everyone knows what a hyphens is —that tiny little dash that belongs in some words, like mother-in-law, or in phone numbers. It’s also used to break a word at the end of a line, of course. You might have been taught to use a double hyphen to indicate a dash, like so : -- . This is a typewriter convention because typewriters didn’t have the real dash used in professional typesetting. On a Mac, no one needs to use the double hyphen—we have a professional em dash, the long one, such as you see in this sentence. We also have an en dash, which is a little shorter than the em dash. hyphen - en dash – em dash — Hyphen - A hyphen is one third of the em rule and is used to link words. It serves as a compound modifier where two words become one, such as x-height. A hyphen is also used to break works at syllables in text blocks. En dash - To type an en dash en dash – Option Hyphen hold the Option key down, then tap the hyphen key An en dash is half of the em rule (the width of a capital N) and is used between words that indicate a duration, such as time or months or years. Use it where you might otherwise use the word “to.” In a page layout application, the en dash can be used with a thin space on either side of it. If you want you can kern it so it is not a full space. October – December 6:30 – 8:45 A.M. 4 – 6 years of age Em dash - To type an em dash em dash — Shift Option Hyphen hold the Shift and Option keys down, then tap the hyphen key. The em dash is twice as long as the en dash—it’s about the size of a capital letter M in whatever size and typeface you’re using at the moment. This dash is often used in place of a colon or parentheses, or it might indicate an abrupt change in thought, or it’s used in a spot where a period is too strong and a comma is too weak. Our equivalent on the typewriter was the double hyphen, but now we have a real em dash. Using two hyphens(or worse, one) where there should be an em dash makes your look very unprofessional. When using an—no space is used on either side. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: SPECIAL CHARACTERS include this information in your workbook: The following is a list of the most often-used special characters and accent marks. On the following pages are the key combinations for just about every accent you might need. (you will need to recreate this an x is in place of the "real" character, ALSO use tabs to tab text over to align) x Option [ opening double quote x Option Shift [ closing double quote x Option ] opening single quote x Option Shift ] closing single quote; apostrophe x Option Hyphen en dash x Option Shift Hyphen em dash x Option ; ellipsis (this character can't be separated at the end of a line as three periods can) x Option 8 bullet (easy way to remember as it's the asterisk key) x Option Shift 5 ligature of f and i x Option Shift 6 ligature of f and l x Option g x Option 2 x Option r x Option Shift 8 degree symbol (e.g., 102°F) x Option $ x Option Shift 2 Euro symbol x Option Shift 1 (one) fraction bar (this doesn't descend below the line like the slash does) x Option 1 (one) x Option Shift ? x Option 3 x Option c x Option Shift c Remember, to set an accent mark over a letter, press the Option key and the letter, then press the letter you want under it. ´ Option e ` Option ~ (upper-left or next to the Spacebar) ¨ Option u ˜ Option n ˆ Option i ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: BULLETS* include this information in your workbook: bullet, of course! This very useful typographic element can add emphasis, clarity and visual interest to all kinds of copy. Simply put, a bullet is a large dot used to draw attention to each item in a list or series. The items can be single words, phrases, sentences or paragraphs. Even if you use the bullet that is part of your font, don’t automatically assume it’s the right size: it might need to be altered in scale or position to make it look balanced next to the text. Bullets should be centered on either the cap height or x-height, depending on the nature of your copy. If all of your items begin with a cap, center the bullet on the cap, or a bit lower so it balances with the negative spaces created by the lowercase. If your items all begin with lowercase characters, center the bullets on the x-height. Insert some space after the bullet to avoid crowding. The preferred way to align bullets is with the left margin. You can also have the bullets overhang the margin, and keep all your text aligned with the left margin. Whichever style you choose, your listing will look best if items that run more than one line are indented so that the copy aligns with itself, and not with the bullet on the first line. To be more creative, substitute symbols or dingbats for the actual bullets. Try squares, triangles or check marks (just not all at once, as shown in the illustration!). Keep these simple and in proportion with the rest of your text. read example and recreate a list using bullets ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: NUMERALS/FIGURES include this information in your workbook: Oldstyle figures are a style of numeral which approximate lowercase letterforms by having an x-height and varying ascenders and descenders. They are considerably different from the more common “lining” (or “aligning”) figures which are all-cap height and typically monospaced in text faces so that they line up vertically on charts. Oldstyle figures have more of a traditional, classic look. They are only available for certain typefaces, sometimes as the regular numerals in a font, but more often within a supplementary or expert font. The figures are proportionately spaced, eliminating the white spaces that result from monospaced lining figures, especially around the numeral one. Oldstyle figures are very useful and quite beautiful when set within text. Unlike lining figures, they blend in without disturbing the color of the body copy. They also work well in headlines since they’re not as intrusive as lining figures. In fact, many people prefer them overall for most uses except charts and tables. It’s well worth the extra effort to track down and obtain typefaces with oldstyle numerals; the fonts that contain them might well become some of your favorites. find a font with aligning figures and find one with old style figures and recreate this example: ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: SMALL CAPS. include this information in your workbook: Small caps are uppercase (capital) letters that are about the size of normal lowercase letters in any given typeface. Small caps are less intrusive when all uppercase appears within normal text or can be used for special emphasis. Computer programs can generate small caps for a any typeface, but those are not the same as true small caps. True small caps have line weights that are proportionally correct for the typeface, which me and that they can be used within a body of copy without looking noticeably wrong. -- Use small caps for acronyms. Set acronyms such as NASA or NASDAQ in small caps when they appear in body text or headlines. -- Use small caps for common abbreviations. Set common abbreviations such as AM or PM in small caps so they don't overpower the accompanying text. Use small caps for A.M. and P.M.; space once after the number, and use periods. (if the font does not have small caps reduce the font size slightly) -- Use true small caps fonts. Avoid simply resizing capital letters or using the small caps feature in some programs. Instead use typefaces that have been specifically created as small caps. recreate an example of real small caps and fake small caps ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: PARAGRAPH BREAKS Mac is not a Typewriter and to handouts include this information in your workbook: Paragraph breaks set a rhythm for the reader. The breaks have a relationship with the column of text as well as the page margins. A break may be introduced as an indentation, as a space or both. The over all page feel will be influenced by your choice. definitions: In typography there are 4 rules regarding paragraph breaks: 1. first line at the beginning of an article should be flush left (do not indent first paragraph) 2. block paragraphs are flush left and are separated by extra leading not a full return 3. the amount indent is = to the leading (sometimes needs a bit more) 4. never hit two returns between paragraphs assignment: explore at least 10 different ways to show that there are 3 paragraphs. The investigation should be of NEW and DIFFERENT ways to show a paragraph break. Begin with 8.5/12 as a baseline size and leading. You may make text smaller or larger to show a new paragraph. use the "tschichold" grid for this exercise. create an area on the page that can be consistent for all 10 explorations, you are exploring only how to show a paragraph break NOT how to alter layouts. {There is a big difference}. All solutions should be legible, clear and interesting. Correct the text below before you begin; dashes, quotations marks, apostrophes, italic title of newspaper, superscript, accent marks: libertà. Mallarmé use this text for your assignment (first correct the text before duplicating it) Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets and artists offered formal, "technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta2, by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst3 (circa 1915), "Everything of any value is theatrical." ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: HEADERS SUBHEADS CROSSHEADS Chapter 4, Elements of Typographic Style include this information in your workbook: 1. define header and subhead 2. explain any rules associated with header and subhead spacing assignment: using 6 solutions from your the paragraph break investigation add the header and subhead to the the text. Important questions to ask yourself: How are the headers/subheads treated? How to they relate to the text? How to the react to the page? Please use all of the following text: the text is the same from the last exercise you are just adding a header and subheads. Look back at your font combinations to get an idea on typefaces you could use in combination. Words in Liberty A Prologue to Futurism Futurism was first announced on February 20, 1909, when the Paris newspaper Le Figaro published a manifesto by the Italian poet and editor Filippo Tommaso Marinetti. The name Futurism, coined by Marinetti, reflected his emphasis on discarding what he conceived to be the static and irrelevant art of the past and celebrating change, originality, and innovation in culture and society.1 Futurism rejected traditions and glorified contemporary life, mainly by emphasizing two dominant themes, the machine and motion. The works were characterized by the depiction of several successive actions of a subject at the same time. Marinetti's manifesto glorified the new technology of the automobile and the beauty of its speed, power, and movement. He exalted violence and conflict and called for the sweeping repudiation of traditional cultural, social, and political values and the destruction of such cultural institutions as museums and libraries. The manifesto's rhetoric was passionately bombastic; its tone was aggressive and inflammatory and was purposely intended to inspire public anger and amazement, to arouse controversy, and to attract widespread attention. Radical mix of art and life But is is the movements which survive, oddly, here where we live and work as poets and artists: or, if not the movements, then their sense of art as an life itself. All of which, as futurism, had come sharply into focus by the start of the world war: a first radical mix of art and life, the epitome in the poplar mind of an avant-garde. It was, on both its Russian & Italian sides, the first great "art" movement led by poets; and if its means now sometimes seem exaggerated or unripe in retrospect, they carry within them the seed of all that we were later to become. While Marinetti's opening manifesto for Italian Futurism bristled with a polemical stance in favor of the transformed present (1909), the later manifestos of Futurist poets & artists offered formal/"technical" approaches to the works then getting under way. The key term--still resonant today--was parole in liberta 2 , by which poetry was to become "an uninterrupted sequence of new images… (a) strict bet of images or analogies, to be cast into the mysterious sea of phenomena." This freedom-of-the-world, while it resembled other forms of collage and of image juxtaposition, more fully explored the use of innovative and expressive typography in the visual presentation of language, as set in motion by forerunners like Mallarme. But the verbal liberation didn't end with the page; it moved, rather, toward a new performance art and a poetry that "scurried off the page in all directions at once," as Emmett Williams phrased it for the "language happenings" of a later decade. Outrageous and aggressive, the Futurists' performances mixed declamation and gesture, events and surroundings, indifference and engagement, to break the barriers between themselves and those who came to jeer or cheer them. Wrote Marinetti selbst 3 (circa 1915): Everything of any value is theatrical." ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: CAPTIONS AND NOTES Chapter 4, Elements of Typographic Style include this infomation in your workbook: Footnotes and endnotes Footnotes and endnotes are necessary components of scholarly and technical writing. They’re also frequently used by writers of fiction, from Herman Melville (Moby-Dick) to contemporary novelists. Whether their intent is academic or artistic, footnotes present special typographic challenges. Specifically, a footnote is a text element at the bottom of a page of a book or manuscript that provides additional information about a point made in the main text. The footnote might provide deeper background, offer an alternate interpretation or provide a citation for the source of a quote, idea or statistic. Endnotes serve the same purpose but are grouped together at the end of a chapter, article or book, rather than at the bottom of each page. These general guidelines will help you design footnotes and endnotes that are readable, legible and economical in space. (Note that academic presses and journals can be sticklers for format: before proceeding, check with your client or publisher to see if they have a specific stylesheet that must be followed.) Numbers or Symbols: Footnotes are most often indicated by placing a superscript numeral immediately after the text to be referenced. The same superscript numeral then precedes the footnoted text at the bottom of the page. Numbering footnotes is essential when there are many of them, but if footnotes are few they can be marked with a dagger, asterisk, or other symbol instead. Endnotes should always use numerals to facilitate easy referencing. Size: Footnotes and endnotes are set smaller than body text. The difference in size is usually about two points, but this can vary depending on the size, style and legibility of the main text. Even though they’re smaller, footnotes and endnotes should still remain at a readable size. Assignment: using 6 solutions from the header and subhead investigation use the footnotes, subscript numerals and superscript numerals correctly. Important questions to ask yourself: am I using the rule correctly, if am not why? How they are treated? How to they relate to the text? How to the react to the page? ::::::::::::::::::::::::::::::::::::::::: add the footnotes (but don't use them at the foot of the page, how can they react or interact with the text on the page, think of them as "side notes) 1. Philip Meggs, History of Graphic Design, Van Nostrand Reinhold, 1988 2. parole in liberta = words set free (liberty) 3. selbst = himself in your current project make sure you follow the rules you have learned about captions, notes, superscripts... ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: add to the beginning or end of the book.* Designed by Your Name. Class project for Professor Herstowski's Typography 02 at the University of Kansas, Spring 2011. Text for the book was compiled from the following sources: Elements of Typographic Style by Robert Bringhurst, Getting it Right with Type: the Do's and Don'ts of Typography by Victoria Square, Mac is Not A Typewriter by Robin Williams. This book is not to be sold to the public and to only be used by the designer for their reference and student design portfolio. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: optional but strongly recommended: at the end of the book include the font spec book. it is on the server. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: REFINE BOOK AND ADD cover, title page, table of contents... save as pdf and put it on the server so i can look at it BEFORE you send it off to lulu. :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: DUE: before midnight April 11. as a pdf on the server or if you email it to me make sure it is under 10mb. I will give you feedback and then you can send it off to Lulu. Do not send it to lulu without feedback. Send to Lulu NO LATER than by April 20. * when you are finished with a section (content) you should print it off and hand it in for feedback.