endgames
letterpress printing of our aphorisms, on a collaborative broadside — now on view at montserratdesign.tumblr.com.
Form and Space 2
return to earlier projects needing tightening.

Last day of class (Wednesday 11 December), bring in all work for final review.

Form and Space 2
specsa return to our first project (the traced letterforms on a square, incorporating language from Alejandra Pizarnik). This is the machine version. as previously —
  1. four (square) pages.
  2. in at least two versions, all type is to be horizontal baseline.
  3. May repeat words and/or individual letters, or enlarge (and enlarge).
  4. But this round, no tracing.
  5. Incorporate grid and other features we’ve learned to use, including paragraph style settings; export as eps and bring back in as picture, etc etc.
  6. For both, 10 inch squares.
  7. Minimum two each for Minion Pro and Futura Std Book.
  8. Must use all 18 words at least once.
  9. Think how these might work in a series, or other arrangement.
  10. Demonstrate what you’ve learned!
time25 November (in addition to letterpress visit)
conclusion Weds 4 December
objectivesreturn to the dynamics of the 10 inch square space, with typographic content, leveraging what we’ve learned since September

We’ll work with the words (English and/or Spanish) in this poem —

The Great Words
      To Antonio Porchia

it is not now yet
now is never

it is not now yet
now and forever
is never

Las Grandes Palabras
      a Antonio Porchia

aún no es ahora
ahora es nunca

aún no es ahora
ahora y siempre
es nunca

Alejandra Pizarnik (1936-72), from Los trabajos y las noches / Works and Nights (1965)
Alejandra Pizarnik, Selected Poems (translated by Ceclia Rossi), Waterloo Press (2010)

This is largely a 2D design exercise. Legibility, plus activating the square space. Densities. Relationships. Masses. Relationship of massed shapes (of any size) with each other and the edges. Textures / grays. Also, ordered material, versus accident. Full bleeds ok.

Incorporate grid and other features we’ve learned to use, including paragraph style settings, export as eps and bring back in as picture, etc etc.

typo-philosophical letters
specsbook of aphorisms, doubling as specimen book
  1. 8-12 aphorisms
  2. typographic illustration/ornament
  3. specifications
time6 November
conclusion 20/25 November
objectiveswork with specimens (text/image) and aphorisms (text)

details
This project has several moving parts.
Eight-twelve aphorisms.
Specifications. One different typeface for each of the spreads, drawn from the style classifications provided in Adobe Font Folio, that is:

  1. Venetian Oldstyle (e.g., Adobe Jenson Pro)
  2. Garalde Oldstyle (e.g., Garamond)
  3. Transitional (think: Baskerville)
  4. Didone (Modern: think: Bodoni)
  5. Slab Serif (pending)
  6. Grotesque/Neo-Grotesque (Franklin Gothic, Helvetica)
  7. Geometric (Futura, Kabel)
  8. Humanist (Gill Sans, Myriad, Optima)

We’ll skip the script, Decorative and Display fonts. Have some sense of what these categories mean/imply. We’ll need to use FontBook to access these fonts.

Each spread will indicate typeface, and specify point size and leading for its respective aphorism. No size limitation.

The specimen designs may be ornamental or legible, or a combination of both. They might be one or two letters, or a word or even phrase.

Collections of aphoristic writing will be available; you may source your own aphorisms from elsewhere, however.

pending
There may be a letterpress component of this exercise: collaborative aphorism broadside.

reference
The Historia Type Specimen book (2010) — among the most luscious and quirkily intelligent specimen books I’ve encountered — here.

But see also Hermann Zapf, his Manuale typographicum, subtitled 100 typographical arrangements with considerations about types, typography and the art of printing selected from past and present, printed in eighteen languages. (1968)
 

architecture and alphabet
specsposter announcing talk by, or about, a significant architect or architectural practice.
  1. Poster to include title of event/name of architect; place and time; ;event description; contact information (e-mail); and possibly montserrat logo.
  2. Primary emphasis should be typographic.
timeassigned 28 October
conclusion 4 or 6 November
objectivesStructure that in some way captures signature style of an architect. The type may embody that style, or play against that style if it is represented by other visuals.

discussion

Many are the metaphorical parallels and analogues between letters and buildings. Buildings have been laid out on alphabetical principles. Typography shares with architecture a concern with detail and a concern about shaping and giving character to a larger space. Architecture provides a language to space and, by defining (limiting) it, allows it to be this and not that, lets it speak. Typographic and building detail provide signposts: the entrance to a building can be indicated solely by design inflection, or by a conventional sign that says entrance; the various entrances into a text are indented, mutely, by a paragraph indent.

Architecture, engineering, letter and typographic design share concerns with proportion, weight, measurements, clarity of purpose, distinctiveness, aesthetic versus functional objectives, etc.

architects

Mies van der Rohe, Louis Kahn, Frank Lloyd Wright, Zaha Hadid, Tadao Ando, Daniel Libeskind, Frank Gehry, Diller + Scofido, Shigeru Ban, Tadao Ando, Toyo Ito, Peter Zumthor, Samuel Mockbee (and Rural Studio), Rem Koolhaas, Reiser + Umemoto, et al.

Pritzker Prize laureates are listed, by year and name, here.

extracts

  1. The constructed space is open in all directions.
    Architecture begins before architecture.

    Heinz Tesar, Notate

  2. Architecture has its own realm. It has a special physical relationship with life. I do not think of it primarily as either a message or a symbol, but as an envelope and background for life which goes on in and around it, a sensitive container for the rhythm of footsteps on the floor, for the concentration of work, for the silence of sleep.

    Peter Zumthor

  3. Demoralization of the eye began: names obliterating everything. Names and what they would do for you or with you or to you for your money. Shutting your eyes didn’t end it, for then you heard them louder than you saw them. They would begin to mix with absurd effect and you need take nothing to get the effect of another extravaganza. Letters this time. Another ballet, of A. B. C. D. E. F. G. , L. M. N. O. P., X. Y. and Z., the première-danseuse intervening in fantastic dances.

    It would have been a mercy not to have known the alphabet. One pays a heavy toll for the joys of being eye-minded. Ear-minded, too.

    Frank Lloyd Wright, on taking the cable car, first day in Chicago; An Autobiography (1943) : 65

  4. Architecture is a communicative art. All too often, however, architecture is seen as mute.

    Daniel Libeskind

  5. Move it down... a little to the right.
    That some years ago, some poor sign installer went to put the first letter of the name of the museum up on the wall, and someone screamed, No, you idiot! Lower! Much Lower! Get it down close to the edge. And a quarter-inch to the right. That the building is the Guggenheim Museum, and that the architect was Frank Lloyd Wright, makes this photographic detail especially interesting.

    source

  6. To the statement that the twenty-two letters of the alphabet are capable of expressing everything (sono bastanti a esprimere il tutto) he adds that if the alphabet were to have been lost and someone were to have suggested expressing all known and recorded facts with twenty-two letters he would certainly have been declared insane.

    Giulio Camillo
    quoted in Werner Oechslin, Architecture and Alphabet. Via 8 (1986): 96-125

  7. What is important for our purposes is that architectural theory and practice of the past two decades has attempted to hone methods for generating “objects” from fields... While collage multiples and disorients the stable relationship between a figure and a ground, it does not abolish it, whereas folding, whose concept of form is no more (and no less) than a disruption in a continuous surface, precisely stages the becoming of form through variable intensifications and manipulations in a continuous structure. Moreover, folding, like the computer technologies with which it is typically allied, is scalable not only can it generate a building’s plan through the modulation of structural members, but it is a technique for folding the site into the buildings and the buildings into the site.

    David Joselit, After Art (2013): 25-26

 

chafe change charge chase orange
specsminimum three, and as many as five, posters, each exploring some facet of its word, primarily by typographic means.
  1. Poster to include definition(s) of words, and/or examples of its usages; 11 x 17, or larger.
  2. Primary emphasis should be typographic; secondary material (e.g., photographic) may be used, but there should be a good rationale, and the treatment must be consistent across the series. Work with type might involve Illustrator, exacto knife, etc.
  3. The designs need not define a word, but may suggest a sense or facet of it, probably consistent with what is expressed in definition or usage examples.
timeassigned 16 October
conclusion 23 or 28 October
objectivesExploit letters in a particular word for dynamic composition, that is to be related to (and differentiated from) informational text. Work in a series needs to share certain characteristics, but each must stand apart from the others, too.

discussion

Have been wanting to do a message-oriented — conceivably advertising — piece using only type. This project will serve. Was particularly struck by the word change, in this and several other passages in Adam Phillips his Missing Out : In Praise of the Unlived Life (2012) —

Knowing what one wants is a way of not exposing oneself to change (or of taking change too much into one’s own hands, subjecting it to one’s will)...

Assume that there would be some underlying grid/order for secondary typographic elements, that primary elements may ignore and/or play off.

This exercise is experimental (involves testing: the word, what you know, our tools, the limits of communication). It might be done in the spirit of our earliest traced word exercise. But we know more now, and are more careful/thoughtful, and that knowledge — and slower hunt for exploitable opportunities — should be manifest in our designs.

 

résumé
specsA résumé of yourself, or a fictional or real other. Minimum two versions:
  1. gridded, analytical (= contents broken down and arranged spatially); 8.5 x 11 inch paper.
  2. and, either
    narrative (contents handled in sentences, paragraphs; need not exactly duplicate content in #1), 8.5 x 11 inch paper;
    or
    another form, any size, need not be flat paper, but appropriate to your strategy.
timeassigned 7 October
conclusion mid-October (16th?)
objectivesPreparation of content for different formats (here, multi-column grid, and narrative);
differentiation of content types, and consistent formatting of those via paragraph styles (making use of space before and after, roman / italic / smallcaps; etc.

discussion

A résumé seeks to describe us so that an interested party can determine whether there’s a match. It says, I know things. I know how to do things, more than one thing. It says this with text, but it also communicates a good amount about us before a single word is read.

The résumé groups attributes, chronologically, categorically. It tends to take the form of a list, or lists, often with multiple columns.

If your resume is of someone else, let it be someone of interest to you, e.g., Suzanne Valadon.

Start with a list. As you compile this list, and then review it, you will see that entries group themselves, suggest yet other like entries. This will form you substance of your cv.

Groups of entries will have headings (either conceptual, e.g., education or body scars, or chronological, e.g., childhood, first Grade, 10th Grade, etc). Your design and use of grid might allow you to present these headings above those entries, or perhaps aligned to their left.

Both required versions should employ paragraph styles. With the multi-column résumé version, give careful thought to grouping elements — separating them from other entries in same class (e.g., jobs, or schools) by judicious use of space after settings. For both versions, differentiate categories of entries by italics, small caps. Use proportional oldstyle numerals (glyphs or, better, Opentype Features > proportional oldstyle).

Résumés for some positions are digitally scanned, and subjected to searches/filtering for key terms. Some complex, multi-column resumes are evidently not suited to this process. We read an article on this topic, Your Résumé vs. Oblivion (by Lauren Weber, The Wall Street Journal, 24 January 2012). NPR covered the same topic, also with Weber, here. It is not obvious that this is the case for design positions; however, the article is worth a read.

Typefaces might include Garamond, Minion Pro, Futura Std, Univers only. Document must include date.

 

top

index
specsIndex any source text (20 entries, minimum). Six columns, as follows:
  1. author, title, source
  2. text
  3. text
  4. text
  5. line numbers
  6. index, indicating not page but line numbers
timeassigned 2 October
conclusion 9 October
objectivesThis in between lingodroids poetry and next (résumé) exercise, to bring us into synch and to remind us of our grid, paragraph styles.

 
details
for line numbers, use tab (align right)
for paragraph styles, remember Opentype Features, figure style > proportional oldstyle
Indent index entries, e.g., 0p6, but first line indent -0p6)
 

Showing grid and (blue lines) baseline grid.
 

Presentation view.
 

Look at some indexes. Have fun with these, whatever your source text.

 

poems and a book to contain them
specsA book containing minimum five poems, of any length or size. Poems may be conventional or concrete/visual. All language is to be drawn from a single (unpromising) source.
No limit on book size, but keep in mind production realities.
timelate-September
conclusion 2 or 7 October
objectives

To work and gain fluency with

  1. expressive and informational aspects of typographic design, and synthesize these;
  2. master page-defined multi-page layouts incorporating typographic content (poetry) and paratextual (e.g., title page, page numbers) elements;
  3. sequencing, expressive and conventional poetic forms.

the work

A book containing minimum five poems, of any length or size. Poems may be conventional or take some other form (concrete, visual, list, etc.). All language to be drawn from a single (unpromising) source, from either

  1. Schulz et al, Lingodroids: Studies in Spatial Cognition and Language (2001), or
  2. any of the scientific papers that won, for their authors, the 2013 IgNobel Prize. Those papers are listed and briefly described
    here, and are available from the instructor in pdf form.

More details about this exercise on Wednesday. It will occupy us for a couple of weeks. The first job is to develop some poems.

On Monday, I distributed the lingodroid paper and a list of IgNobel prizes. Also, for reference, a couple of pages (on title page design) Jost Hochuli, Robin Kinross, Designing Books: Practice and Theory (London: Hyphen, 1996), and Richard Hendel’s discussion of the design of his On Book Design (New Haven: Yale UP, 1998), that includes the full typesetting specifications for that volume. Our work with paragraph styles in InDesign is our introduction to such specifications.

More details on the lingodroid material —
Ruth Schulz, Arren Glover, Michael J. Milford, Gordon Wyeth, Janet Wiles. Lingodroids: Studies in Spatial Cognition and Language.
2011 IEEE International Conference on Robotics and Automation, May 9-13, 2011, Shanghai, China

PDF of the above text can be accessed via
Stephen Ornes, Robots Invent Their Own Language / But no word yet on when they plan to overthrow us. Discover Magazine, 12 September 2011 (here).

Whose 30 lovely, dada-istic toponyms are

boho   —   fexo   —   fili   —   futo   —   gige   —   heto   —   higo   —   jaro   —   jaya   —   juhe   —   kiyi   —   kopo   —   kuzo   —   liye   —   mira   —   pize   —   pucu   —   qoze   —   reya   —   rije   —   ruhe   —   sihu   —   soqe   —   vaji   —   xala   —   xapo   —   yaro   —   yifi   —   zuce   —   zuya

Topynyms in red from the initial lexicon.

Thanks to the delicious bookmarks of science writer/blogger Ed Yong, well worth following.
 

There are two essential categories of information in this book :

  1. its content —
    the poetry itself, which can be understood as exhibits (exhibit A, exhibit B, and so forth, as in a technical book); and
  2. the paratext —
    the parts that belong more properly to the book — identification and explanation of the content, navigation through the content, navigation through the book.
    One category must not be confused for the other.
    There’s the book, and the poems. We do both.

before the book, the poems

The poetry might take two forms: (1) conventional poetry, set up in lines, possibly involving rhymes and metrics, etc., and (2) concrete poetry, emphasizing form over literal meanings of words, and yet derived from those words.

Concrete poetry is a movement, sometimes also called visual poetry (often abbreviated as vispo) that derives meaning from physical elements of words and letters, arranged sometimes in shapes, but sometimes in ways that suggest process or some witty inflection of a word or phrase’s meaning or meanings. More typically, a concrete poem defies a conventional reading.

All five must be created by you. You may mix forms in the book (conventional, concrete). Vocabulary is limited to what you find in the text provided by the instructor.

Create your poems on page sizes that you think you might develop into a book. Thus, any page size larger than 8 1/2 x 11 will be a bad idea (because spreads must be printable on 11 x 17 paper).

You may use a full spread for one poem. And even more pages than that! You might also present five conventional poems, each illustrated by a concrete or visual poem.

after the poems, the book

The completed volume that must integrate:

  1. front and back matter
    including half title and title pages, table of contents, a two-page introduction (drawn straight from the article, two pages), colophon or bibliography
  2. the poetry itself, and
  3. paratext — page numbers, running heads or footers (if any), table of contents. other?
  4. Typefaces : Minion Pro, Futura Std; Univers, Garamond Premier Pro.

Use paragraph and character styles wherever appropriate, and presumably for all paratextual elements.

So that paratextual elements do not compete with poetic content (either concrete or conventional poetry), it is logical that paratextual elements will be somewhat restrained, hence text faces whether roman or italic. Exploit the physical features of the page (edges) and the book itself (gutter, sequence, the materiality of the paper).
 

Grid / Paragraph Studies

the work

This exercise focuses on getting a paragraph of text to its optimal state in the following conditions:

  1. one (9p2) and two (9p2 + 9p2 + 1p0) column widths (measures);
  2. two sizes (10 and 12 pt); and
  3. two justifications (left justified, and aligned left).

Thus,
for 10p justified, one column and two columns
for 10p rag, one column and two columns;
for 12p justified, one column and two columns
for 12p rag, one column and two columns —
That’s eight variations/experiments in total.

Our tool within InDesign is Paragraph Styles. We create a different paragraph style for each of eight variants described above. And we describe those settings in the column next to the respective variations.

  1. For each specimen, create a new paragraph style
    top menu > Type > Styles > Paragraph Styles > New Paragraph Style
    Give it a name. Now we make some determinations.
  2. Basic character format governs font, size, leading (it opens at default)
  3. Indents and spacing governs alignment (use left or left justify)
  4. Tabs. Might be none (but then how to indicate where one paragraph ends, and another begins). Might be the default 3p0, or we can control (start with 1p0).
  5. Hyphenation allows us to control how many consecutive lines can be hyphenated (too many looks bad), and also to control the hyphenation zone (that is, the range of raggedness).
  6. Justification allows us to control word spacing.
    Try 90-100-110 to start, but adjust up or down until best results.
    Here, we can also adjust letter spacing and glyph scaling; these are best avoided as a rule, but experimentation is ok here.
    In all cases, set single word justification to align left.

our text
The beginning of Herman Melville’s Moby Dick (1851).

Find at gutenberg.org — select plain not zipped text.
Skip (or search) down to Chapter 1. Loomings, and use language from that opening passage. (You will need to clean up the text by deleting line breaks).

If you choose to use the so-called m-dash’s in the text, select the hyphen that appears, and replace by keying in (simultaneously) option+shift+hyphen.

Remember what we are looking for : even gray, no rivers; even rag. A nice reading pace, quick if narrow column, slower if wider (may also require more leading).

visuals

Note that caption is in a uniform style throughout, and not Minion Pro. (Shown here is Futura Condensed Medium, 10/12.)

Another example, below, shows two different settings for 10p justified, one column.

The version on right is arguably better, but isn’t perfect. It shows a different word spacing (tighter minimum) and the better spacing / fewer hyphens dial is set all the way to the left. More might be done with this, of course. Narrow columns are tough: fewer words per line mean fewer word spaces to adjust up or down. In this instance, I might even try word spacing of 80-95-110, just to see what happens.

Hmm, maybe I can live with this third version (at right). The tightened word spacing — that could not work in a wider (e.g., two-column) measure — seems acceptable for this narrow measure. And the minimum glyph scaling (98%) — it isn’t so obvious or troubling, after all...

Incidentally — and my forgetting this, yesterday, will explain my confusion about how many pages we’ll have — this exercise might be done on two sheets, if the two justified versions are at top (first four rows), and the two left aligned (ragged) versions are on the bottom four rows of the same sheet.

I encourage experimentation on justification and other settings, and showing more than one version of each, for comparison.

We will be using paragraph styles throughout the semester, so this exercise is an opportunity to gain some familiarity with their features, and what they can accomplish.
 

Grid Studies 2

the work

Using same grid and same (Gertrude Stein) language, plus a somewhat arbitrary graphic shape, structure your information in a disciplined, interesting way that takes full advantage of limitations (grid, margins, the shape) and the opportunities that result.

The graphic shape shall be the space between two letters. More than one such shape can be used on a page. You may derive it by hand (and then scanned), or via Photoshop or Illustrator.

Two versions. Type may be reversed out of the shape (by changing its color from black to white); the type should respect the grid.

We discussed the importance of counter space, letter space, and line space to the creation of an evenly textured paragraph and page. See the important discussion of this matter — and the examples — in Cyrus Highsmith, his Inside Paragraphs, pages 12-25.

See also Cyrus Highsmith, his discussion of Type Design, in Nancy Skolos and Thomas Wedell, Graphic Design Process : From Problem to Solution, 20 Case Studies (2012) : pages 78-87

reminder
To see full page, View > Fit Page in Window.
To view page without grid/guide lines, go to bottom of vertical tool bar, click and hold on the small black arrow at bottom right of icon, and select preview.
To view page with grid/guidelines, same action but click on normal.
Finally, to see type rather than grey greeking rule, go to InDesign > Preferences > Display Performance > Greek Type (change from 7p to 4p). It will be too small to read, but will look more like type.
 

Grid Studies 1     .pdf

A grid breaks space or time into regular units. A grid can be simple or complex, specific or generic, tightly defined or loosely interpreted. Typographic grids are all about control. They establish a system for arranging content within the space of page, screen or built environment.
      Ellen Lupton, Thinking with Type

The use of the grid as an ordering system is the expression of a certain mental attitude inasmuch as it shows that the designer conceives his work in terms that are constructive and oriented to the future.
This is the expression of a professional ethos: the designer’s work should have the clearly intelligible, objective, functional and aesthetic quality of mathematical thinking...
Working with grid systems means submitting to laws of universal validity.
The use of the grid system means submitting to laws of universal validity.
The use of the grid system imples the will to systematize, to clarify...

      ex Joseph Müller-Brockmann, his Grid and Design Philosophy (1981),

There’s nothing like putting stuff in boxes. (or something to that effect)
      Muriel Cooper (somewhere)

The grid is an important underlying principle of typographic organization : spatial organization; hierarchies; rhythm; structure. Judicious use of grids gives permission for empty spaces, if there’s nothing to occupy them.

the work

four grid studies, Futura Std, two with type of same sizes/weights — Book weight, 8pt), two more that may include type of different sizes (and weight).

specifications — 11 x 17 inches (66p0 x 102p0).
six columns, nine rows.
exterior margin 3p0, but 8p6 at bottom.
each column 9p2 wide
each row 9p2 high, with a
1p0 margin between rows.

How?
Open InDesign CS6.
New document. Tabloid (66p0 x 102p0). Turn facing pages off.
Change default margins from 3 picas (= 1/2 inch) at left, right and top, and 8p6 at bottom). Open.
Choose Layout > Create Guides. Enter 9 rows, leave columns alone. Options: Fit guides to Margins.
OK, look at your document. Should have six columns, nine rows with 1p0 margins between them. To add pages, Layout > Add or insert pages.

To access/use Futura Std ‐
Applications > FontBook
File > New Collection : give it a name, e.g., something like type 1
File > Add fonts > working volume > Adobe Fonts > Western > select the font (folder) — in this case, Futura Std — you wish to open, and add (without opening that folder).

Using this grid, choose a sentence (or sentences) from anywhere in Gertrude Stein’s Matisse Picasso and Gertrude Stein (1911-1912, also known as G.M.P.).

Find the text at gutenberg.org, or search gertrude stein here.

This is something of a continuation of our first form and Space exercise, here working in the constraints not only of a size but a grid within the rectangle, plus more typeface constraints. We are experimenting with the compositional opportunities afforded by the grid, and also giving attention to hierarchies, sequencing, rhythm.

Type may rotate 90, -90, or 180 degrees.

what when —

Weds 4 September
Examination of form and space exercise (the Alejandra Pizarnik verse). Introduction to grid studies exercise.

Mon 9 September
Examination of grid studies, introduction to paragraph styles. Return to second (digital) round of form and space, or move on to grid/paragraph studies.
 

Form and Space 1     .pdf

Attention to the dynamics of the 10 inch square space and its typographic content.

Typography is, in the first place, 2-dimensional design. There are exceptions and, indeed, the 2-D world is an abstraction : books are three dimensional, pages exist within them. Signage exists in space, within which we move relative to the sign. Etc.

But staying on the flat plane, for now, typography is about activation, control, modulation of gray (and colored) matter in space, across a sequence of such spaces.

We’ll work with the words (English or Spanish) in this poem —

The Great Words
      To Antonio Porchia

it is not now yet
now is never

it is not now yet
now and forever
is never

Las Grandes Palabras
      a Antonio Porchia

aún no es ahora
ahora es nunca

aún no es ahora
ahora y siempre
es nunca

Alejandra Pizarnik (1936-72), from Los trabajos y las noches / Works and Nights (1965)
Alejandra Pizarnik, Selected Poems (translated by Ceclia Rossi), Waterloo Press (2010)

This is largely a 2D design exercise. As long as the words can be read, we’re more interested in activating the square space. Densities. Relationships. Masses. Relationship of massed shapes (of any size) with each other and the edges. Textures / grays.

We’re doing it two ways : by hand (pencil on tracing paper) and by (later) machine.

For both, 10 inch squares. Minimum two each for Minion Pro and Futura Std Book. Must use all 18 words at least once.

Because Monday is a break, we’ll start with tracing. Ultimately, I hope we’ll be thinking about what’s different, and what’s the same, between doing this exercise on the machine, and on paper. (The exercise was originally intended to emphasize that what appears on screen has no direct reference to what is printed on paper. Type that looks one size on screen, for example, looks very different when printed.)

Arrange these on these four (square) pages.
In at least two versions, all type is to be horizontal baseline.
May repeat words and/or individual letters, or enlarge (and enlarge) and trace those. (The only way to trace, obviously, is to prepare a page with the phrase, print it out (perhaps with the type at different sizes), and proceed. Photocopier may also be used to enlarge type for tracing.

To access these fonts, we’ll need to use FontBook, which is in your applications (and perhaps on the dock). Go in, create new collection (e.g., type 1), and then add the two fonts to that collection. Add from where? Working Volume > Font Folio Fonts (new) > Western Fonts... ok, slow down... scroll down to, and click once on, Futura Std. Click on open. Now that font is activated for you.

Unless otherwise directed, this semester we will use only fonts from the Font Folio II Collection. I will provide you with a classified list of those fonts, soon.

more on Alejandra PizarnikAlejandra Pizarnik, Selected Poems is in the Montserrat Library.
See also wikipedia.
 

exercises
Project briefs, resources, examples of current and past student work.
being added retrospectively.

Form and Space 2
typo-philosophical letters book
architecture and alphabet poster
chafe change charge chase orange posters (3-5)
résumé cv (two versions)
index index
poems and a book to contain them (derived from text in lingodroids or IgNobel prize papers)
grid / paragraph studies (using paragraph styles)
grid studies 2 (6 cols, 9 rows, incorporating letter space shape)
grid studies 1 (6 cols, 9 rows)
Form and Space 1 (tracings)

underpinnings
elaborations, objectives, expectations, criteria for credit

syllabus   pdf
 

texts

Sandee Cohen. InDesign CS6 (Visual Quickstart Guide, 2012) — required

Adobe Font Folio 11, Type Reference Guide
recommended (and always in classroom)

Cyrus Highsmith. Inside Paragraphs (2012)
 

resources

Adobe Typography Primer pdf
a 20-page concise and useful overview; includes glossary. recommended.
 


 

Comments/questions to jmcvey.