Type 1 Fall 2017

Hello Class! Please make sure to check the following links:

Assignments | Syllabus | Readings | Lectures | Questionnaire | Alerts

Week 15 HW

FINAL EXAM INFO

Hi class, your final exam will take place next Friday 12/15 from 1:00-3:15pm according to our Final Exam Schedule. Please show up to your appointments on time and bring all your work (scroll down for more details). If you didn't make it to class last Friday, I've assigned you a spot. So please show up on time!

1:00 Xinying Ren
1:10 Ren Qiang Yuan
1:20 Jia Yan Yuan
1:30 Zoey Zou
1:40 Emma Gill
1:50 Nitasha Tiene

2:00 Min Wen
2:10 Isabella Debrito
2:20 Jade Watermiller
2:30 Joel Montero
2:40 Joel Chaidez
2:50 Jasmine Rodriguez

3:00 Alberto Gomez
3:10 Yasmin Neil

 

WHAT TO EXPECT

Our final exam is a formal one-on-one interview where you submit and present all the work you've done since the first portfolio. Make sure you have all your work printed, trimmed, and assembled. All digital files should be sent to me via email before our appointment. I will only accept PDFs, please don't send Illustrator or InDesign files unless I specifically request it.

 

NO EXCUSES

I expect you all to act professionally and have your work with you at your appointment time. This includes printed and digital files. I'll deduct points if you're late or unprepared.

 

GRADING

Please look at the syllabus for more details.

25% Participation

25% Portfolio_A

25% Portfolio_B  (10% MLK + 15% Type Specimen)

25% Final Project

 

WHAT TO BRING????

Bring the revised versions of these 3 projects:

  1. Martin Luther King
    Condense your 3 booklets into a single 16 or 20 page booklet.
  2. Type Specimen
    Revise your type specimen and specimen sheets. Please check for typos, widows, orphans, missing page numbers, horizontal alignment, leading, hierarchy, and badly ragged paragraphs, etc.
  3. Architect Lecture Series (Final Project)
    Revised brochure and posters, check for the usual suspects (mentioned above).

Don't forget to send me final PDF files for all of them before your appointment. I will need those digital files and your printed files for your final grade. Here's the list of files I expect with the following naming convention (I'll take points off for not doing this properly):

  • FistNameLastName_19018_MLK_NameofTypeface(s)
  • FistNameLastName_19018_NameofTypeface_Specimen
  • FistNameLastName_19018_NameofTypeface_SpecimenSheets
  • FistNameLastName_19018_NameofArchitect_Booklet
  • FistNameLastName_19018_NameofArchitect_Posters

 

2018 EDM STUDENT SHOW

The best pieces of all projects will be part of the  2018 EDM Student Show, so please bring only the best physical versions of your work.

Week 14 HW

GUEST CRITIC

Our guest critic this Fall is my friend and former colleague Javier Viramontes. He is a Graphic and Type Designer based in Brooklyn, NY. He is a also a full-time faculty at the University of New Haven where he teaches Design and Typography. Last October, he released his second typeface Kawak via LatinoType. I'm very happy to have him with us today.

The critiques will start promptly at 2:30pm. Please sign up for a slot as soon as you enter the classroom, hang your posters and have your booklets ready to present and ask questions.

Please give a concise presentation of your project. When you present, talk about the following:

  • Give a brief introduction about your architect and his/her work. 
  • Talk about why you chose that architect.
  • Talk about your architect's design aesthetic/ideology/practice and how that is reflected on your posters and booklet.
  • Talk about the concept behind the lecture series and and how you made that concept visual through your posters and booklet.
     

DEADLINES

December 08 — Final Deliverables for critique
Bring your final draft of the posters and the brochure for critique by a visiting guest critic.
We will begin promptly at 6:30pm so be on time and ready to present. Each student will get roughly 5-8 minutes.
Sign up at the beginning of the class.

December 15 — Final Exam (Bring Everything)
More details on this later but for now, please bring the revised versions of the following:

  • MLK Booklet (just bring the most successful one out of the three).
  • Type Specimen with Specimen Sheets
  • Final Project posters and booklet

 

FINAL EXAM SCHEDULE Here

Our final class will meet on Friday, Dec 15 1:00pm-3:15pm

Please sign up for a one-on-one meeting today as soon as you enter the classroom.

Bring all of your work and all of your questions :)

     

    Week 11 HW

    SCHEDULE

    November 17 — Final Project Introduction
    November 21 — Final Project First Draft / Revision
    December 01 — Final Project Second Draft / Revision / Trip to the Herb Lubalin Study Center
    December 08 — Final Project Third Draft / Revision / Guest Critic Visit
    December 15 — Final Exam / Everything is due (more on that coming soon).


    FINAL PROJECT
    To create a booklet and 3 posters (as part of a poster series) for The Bernard and Anne Spitzer School of Architecture at CCNY. The theme for the series will be decided by you based on your research. It could be inspired by an interview, essay, or written publication about the architect and his/her work.

    This fictional lectures series will take place as part of a 3-day lecture series in the Spring of 2017. The exact dates are up to you.
    https://ssa.ccny.cuny.edu/

    ARCHITECTS LIST

    Alberto Gomes - Ole Scheeren
    https://en.wikipedia.org/wiki/Ole_Scheeren

    Emma Gill - Kazuyo Sejima
    https://en.wikipedia.org/wiki/Kazuyo_Sejima

    Isabella DeBrito - Bjarke Ingels
    https://en.wikipedia.org/wiki/Bjarke_Ingels

    Jade Watermiller - 

    Jasmine Rodriguez - Rozana Montiel
    http://rozanamontiel.com/en/

    Jia Yan Yuan - Hiroshi Nakamura
    http://www.nakam.info/en/

    Joel Chaidez - Alison Brooks
    https://en.wikipedia.org/wiki/Alison_Brooks

    Joel Montero - Adrian Smith
    https://en.wikipedia.org/wiki/Adrian_Smith_(architect)

    Min Wen - Jean Nouvel
    https://en.wikipedia.org/wiki/Jean_Nouvel

    Nitasha Tiene - Tadao Ando
    https://en.wikipedia.org/wiki/Tadao_Ando

    Ren Qiang Yuan - He Jingtang
    https://en.wikipedia.org/wiki/He_Jingtang

    Xinying Ren - I. M. Pei
    https://en.wikipedia.org/wiki/I._M._Pei

    Yasmin Neil - Will Alsop
    https://en.wikipedia.org/wiki/Will_Alsop

    Zoey Zou - Wang Shu
    https://en.wikipedia.org/wiki/Wang_Shu

     

    DELIVERABLES
    3 posters 10 x 16 in
    1 20-pg Booklet any dimension (feel free to experiment with format)


    REQUIREMENTS
    The posters must include:

    • name of architect
    • date
    • location
    • lecture series title
    • credits to the host, and sponsors of the lecture series.

    The booklet must include the following:

    Pg 1 — Cover
    Pg 2-3 — Title page - Table of Contents
    Pg 4-5 — Architect's Biography
    Pg 6-9 — Interview, essay, or written publication about the architect.
    Pg 10-13 — Selected works by the architect.
    Pg 14-17 — Lecture dates
    Pg 18 — Credits - Bibliography - colophon
    Pg 20 — Back Cover


    RESTRICTIONS


    DEADLINES

    November 21 — First Draft
    First Draft of the 3 posters and booklet.
    We'll discuss the balance of form and function in your design. In order to get the best feedback you must have all your content (text and images) ready to go.

    December 01 — Second Draft / Revision
    Second Draft of the 3 posters and booklet.
    We'll discuss the underlying structure (grid and style) that will make the posters and brochure work as a cohesive design system. In order to get the best feedback you must have all your work as close to the final stage as possible. We'll meet at the Lubalin Center on that day. I'll collect your work and email you my feedback.

    December 08 — Final Deliverables for critique
    Bring your final draft of the posters and the booklet for critique by a visiting guest critic.
    We will begin promptly at 2:30pm so be on time and ready to present. Each student will get roughly 5-8 minutes.

    December 15 — Final Exam (Bring Everything)
    More details on this later but for now, please bring the revised versions of the following:

    • Revised 16-20 Pg MLK booklet (combine you best ideas from the three booklets into one cohesive piece).
    • Type Specimen with Specimen Sheets (Revised Type Specimen)
    • Final Project

    WEEKLY CRITIQUES/SUBMISSIONS
    We'll do critiques in groups. Make sure to show up on time, sign-up, and be ready to present.
    At the beginning of each class, please pin up your posters in sequential order and have your booklet printed and assembled.
    Export and submit PDF files of your work. I won't accept InDesign files. If you're having technical difficulties first google it, then ask a classmate, a lab assistant, and last but not least, ask me.
    First Draft is V1.00, Second Draft is V2.00, Critique is V3.00, and Final is V4.00. Please add a .01 for each revision that you send me throughout the week if you want extra feedback.

    • YourName_Architect_Booklet_V1.00.pdf
    • YourName_Architect_Poster01_V1.00.pdf
    • YourName_Architect_Poster02_V1.00.pdf
    • YourName_Architect_Poster03_V1.00.pdf


    IN-CLASS

    Find an architect for your project. Write his/her name on the board as well as a comment on the blog to avoid duplicates.

    Answer the following questions:

    Name *
    Name

    QUESTIONS
    When you talk about your architect during critique be ready to introduce their work. Please write a concise paragraph or two that answers these 4 questions and post them as comments on this blog. Be ready to introduce your work by answering those questions during critique.

    1. Who is your architect?
    2. Where are they from and where do they practice?
    3. What attracted you to their work and practice?
    4. What is the theme of the lecture series (your project)?
    5. How did you convey that theme through your work?

    Week 10 HW

    GROUP CRITIQUES

    In the same way that we did last week, we'll have group critiques from 2:30-4:30pm. Please sign up for a group at the beginning of the class. I'll be around from 2:00-2:30pm to answer any questions you may have about the homework, software, etc.

    Group 1 ☛ 2:30–3:00pm

    Group 2 ☛ 3:00–3:30pm

    Group 3 ☛ 3:30–4:00pm

    Group 4 ☛ 4:00–4:30pm

     

    CHECKLIST

    • Specimen Cover
    • Typeface History (Research)
    • Type Designer(s) Biography (Research)
    • Type Designer(s) Typographic Portrait
    • Character Set page or spread
    • Typeface anatomy spread showing key characters of the typeface and highlighting important details. (Baseline, kind of serif, contrast, etc.)
    • Showings of all the fonts in the typeface using the word Hamburgefontsiv or Handgloves or a word that shows the key characters of the typeface,
    • Short paragraph samples showing each font in the typeface
    • A sample page or a spread showing how all the fonts work together
    • Large-size showings of each font
    • A mix of large and small size showings in playful compositions
    • Fonts in Use
    • Mockups of designed objects / brands
    • 3 specimen sheets (bookmarks, posters, wrapping paper, postcards, etc.)
       

    CLASS TRIP

    On December 1st we will visit the Herb Lubalin Study Center of Design and Typography at Cooper Union. On that day we will meet at 41 Cooper Square. This is one of the most important sessions in the class. Alexander Tochilovsky (Sasha), the curator of the Lubalin Center, has generously agreed to open the archive and give us a special talk about design history through objects in the archive and how it can help you become a better designer. Please show up on early.

    http://lubalincenter.cooper.edu/
    https://www.instagram.com/lubalincenter/

    Date and Time
    Friday, Dec 1st, 2017
    2:00 PM – 4:50 PM EST

    *If some of you have a class that ends right before my class. Please head to the Lubalin Center as soon as you can, it will be worth your time. Everyone else, please show up on time! This is a once in a lifetime opportunity.

    Location
    Herb Lubalin Study Center
    41 Cooper Square Room LL119
    New York, NY 10003

     

    DUE NEXT WEEK

    Final 16-page version of your type specimen and three specimen sheets.

     

    Week 9 HW

    DO

    Condense your 3 type specimens into one 16-page type specimen and three specimen sheets. The 16-page version should show the typeface's functional and graphic qualities as well as the experimental possibilities of it.

    The specimen sheets can be any size as long as it fits (folded or unfolded) inside your type specimen. Think about the experience of the person going through your type specimen and choose the placement according to that.
     

    GROUP CRITIQUES

    In the same way that we did last week, we'll have group critiques from 2:30-4:30pm. Please sign up for a group at the beginning of the class. I'll be around from 2:00-2:30pm to answer any questions you may have about the homework, software, etc.

    Group 1 ☛ 2:30–3:00pm

    Group 2 ☛ 3:00–3:30pm

    Group 3 ☛ 3:30–4:00pm

    Group 4 ☛ 4:00–4:30pm

     

    CHECK OUT

    These mini-sites are online interactive type specimens for inspiration.

    http://www.gt-walsheim.com/

    http://cortadoscript.com/

    http://blesktype.com/

    http://www.fontbureau.com/LeJet/

    http://www.ffmark.com/

    http://www.monotype.com/fonts/masqualero/

    And many more!!!

    http://linkli.st/ofisia/8kpwe

     

    WATCH

    Show, Don't Tell with Thierry Blancpain

     

    DUE NEXT WEEK

    One 16-page version of your type specimen and three specimen sheets.

     

    Week 8 HW

    TYPE SPECIMEN PROJECT

    In this project you will create a type specimen that shows off the formal and graphic qualities of a typeface of your choice. After using only Helvetica and Minion for most of the semester, you probably know (or think you know) the limitations and best uses of both typefaces. In reality, we were only scratching the surface. The goal of this project is for you to get acquainted with a different typeface by learning about it's history and using it extensively.

    Instructions
    Design and produce a 16-page type specimen with additional specimen sheets. 

    A type specimen is a booklet that demonstrates the range of a typeface, applied to headlines and text in a variety of sizes. Each variation of the typeface should be labelled on the page. Type specimens have existed for centuries to help designers pick a font for a project. Type specimens today can be wildly flamboyant or classical in their approach. See the Resources section below.

    Choose a typeface for your project that has a substantial number of variations, such as Univers, Helvetica, Caslon, Baskerville, Garamond, Futura, or Bodoni for example. Look at a variety of typefaces before you choose one, and be sure that you have access to a good “cut” of the face (a full type family). I must approve of your choice.

    Research
    Gather text for your project by researching about your typeface either online or at the library. Make sure to check out the Resources section on this blog entry.

    As a starting point, you must fill out the form below before the end of class and use that information on your type specimen. Feel free to revise and expand that information on your type specimen. I expect you to know this information whenever we discuss your specimen during critiques.

    Name *
    Name
    Write a brief historical/factual description of the typeface. Please don't forget to cite your sources.

    Content
    All the information from your in-class research is required. You are welcomed to revise and expand your research during the week. 

    For all other content, you're free to use any piece of literature that is under a Creative Commons license. Make sure to check out Project Gutenberg and other links on the Resources section of this blog entry.

    Specifications

    • Size: 5 x 7 inches (10 x 7 inches spread) or 5 x 5 inches (10 x 5 inches spread). You may choose either one of those two sizes for all versions of your type specimen.
    • You must use Master Pages to set up your grids (columns, rows, and baseline grid) as well as page numbers and any other relevant information.
    • You must offset your text boxes to leading and align your text to the baseline grid. See Week 7 HW settings.
    • You must have a cover page, colophon, and a table of contents in your total page count.
    • You must use text and paragraph styles.
    • You are only allowed to use black and white—gradients, other colors, transparency, or gray values are not allowed.
    • The type family must have more than 4 styles and must include obliques or italics.
    • Binding: Staple Saddle Stitch (this method requires back-to-back printing).

      How to bind a book with staples (saddle stitch binding)
      https://www.youtube.com/watch?v=gFbk3Ypb5CY

      DIY Staple Saddle Stitch Bookbinding Tutorial | Sea Lemon
      https://www.youtube.com/watch?v=BysUiyjB0jY

    Deadlines
    Week 8 (in-class): First draft of the type specimen. Use content that you submitted on the Research form and the word "Hamburgefontsiv" set on your typeface in every weight and style in which it is available.

    Week 9: three 8-page versions of your type specimen (formal, graphic, and experimental).

    Week 10: one 16-page version of your type specimen and three specimen sheets. 

    Week 11: Revised and final version of your 16-page type specimen with three specimen sheets.

    This assignment was adapted from Thinking with Type by Ellen Lupton
     

    RESOURCES

    KAWAK by Javier Viramontes

    http://latinotype.com/131

    http://www.latinotype.com/blog/2016/10/05/kawak-a-typeface-inspired-by-mayan-glyphs/

    http://www.latinotype.com/blog/2016/10/18/behind-the-typefaces-javier-viramontes/

    ROBINSON by Greg Gazdowicz

    https://commercialtype.com/catalog/robinson

    https://commercialtype.com/news/new_release_robinson

    https://commercialtype.com/about/greg_gazdowicz

    http://luc.devroye.org/fonts-75197.html

    For Reference

    https://www.fonts.com/

    https://www.myfonts.com/

    https://fontsinuse.com/

    http://typedia.com/explore/typeface/helvetica/

    http://www.monotype.com/blog/font-stories/introducing-wolpe-fanfare-from-the-wolpe-collection-by-toshi-omagari/

    https://commercialtype.com/

    https://www.typotheque.com/

    https://www.productiontype.com/

    https://typography.guru/forums/topic/44-type-specimens-online/

    http://www.thinkingwithtype.com/misc/type_spec_project.htm

    http://www.thinkingwithtype.com/misc/Type_Spec_Demo.pdf

    http://www.thecounterpress.co.uk/journal/monotype-specimens

     

    DUE NEXT WEEK

    Bring 3 printed and assembled Type Specimens — 8 pages each.
    Export and email me PDFs of your specimens with the following naming convention:

    1. YourName_TypefaceName_TypeSpecimen_Function.pdf
    2. YourName_TypefaceName_TypeSpecimen_Form.pdf
    3. YourName_TypefaceName_TypeSpecimen_Experimental.pdf

    Version 1 — Function
    This version focuses on function over form. Make a type specimen that shows the typeface's formal qualities. Establishing a concise grid, a clear hierarchy, a balanced layout, a clarity of intention will make this design successful. In order to get you in the right mindset, think of this: you're trying to sell this typeface to a person who is looking for performance. This person is the Creative Director of a small publishing company. This person has a refined visual taste and design experience, so you're trying to show her that this typeface will work for all of their typesetting needs—from large headlines to small paragraphs of text.

    Checklist:

    • Specimen Cover
    • Typeface History (Research)
    • Type Designer(s) Biography Extended (Research)
    • Showings of all the fonts in the typeface using the word Hamburgefontsiv or a word that shows the key characters of the typeface
    • Short paragraph samples showing each font in the typeface
    • A sample page or a spread showing how all the fonts work together

    Version 2 — Form
    This version focuses on form over function. Make a type specimen that shows the typeface's more graphic qualities. All of the tip for success from version 1 apply to this version as well. In order to get you in the right mindset, think of this: you're trying to sell this typeface to a person who is looking for something unique that also performs. This person is the Senior Designer of a small publishing company. This person will be working directly with the typeface everyday. He is looking for something that is not only a workhorse but can also shine on a cover. Showing that the typeface is versatile but also has charm—loud and quiet moments—will make this type specimen successful.

    Checklist:

    • Specimen Cover
    • Type Designer(s) Biography Brief (Research)
    • Type Designer(s) Typographic Portrait
    • Character Set
    • Typeface anatomy spread showing key characters of the typeface and highlighting important details.
    • Large-size showings of each font
    • Fonts in Use

    Version 3 — Experimental
    This version focuses on personal expression. Make a type specimen that shows your taste as a designer. All of the tip for success from version 1 and 2 apply to this. In order to get you in the right mindset, think of this: The Creative Director and Senior Designer are almost sold on the typeface. However, they still want to see how far the typeface can be pushed (graphically speaking) before it stops working. Your task is to show them how you personally see this typeface being used.

    Checklist:

    • Specimen Cover
    • A mix of large and small size showings in playful compositions
    • Fonts in Use
    • Mockups of designed objects / brands

    Answer the following questions:

    Name *
    Name

    Week 7 HW

    IN CLASS

    Document Setup

    1. Open InDesign & hit Cmd+N to create a new document
    2. Intent = Print
    3. Check Facing Pages
    4. No. of Pages = 8
    5. Page Size = Custom (Portrait)
      Name = Booklet01, Width = 5in, Height = 6.5in 
    6. Check Preview
    7. Column Number = 3, Gutter = 12pt or 1p0
    8. Margin = 24pt or 2p0
    9. Bleed = .125in or 0p9
    10. Hit Ok

    Baseline Grid

    1. Hit Cmd+K to access the Preference window and go to the Grids tab.
    2. Color = Light Gray
    3. Start = 0
    4. increment = 6pt
    5. View Threshold = 5%
    6. Hit Ok

    Units & Increments

    1. Hit Cmd+K to access the Preference window and go to the Units and Increments tab.
    2. Kerning/Tracking = 2/1000em

    Creating Rows

    1. Go to the Layout Menu and select Ruler Guides and change the color to Red
    2. Go to the Layout Menu and select Create Guides. Create 6 rows, 12pt gutter, fit guides to Margin
    3. Hit Ok

    Text Frame Options

    1. Hit T and make a text box
    2. Hit Cmd+B and on the Baseline Option tab set the Offset to Leading
    3. Hit Ok

     

    READ & TYPESET

    https://2x4.org/ideas/26/wysiwyg/

    pg 1 — Cover
    pg 2 — Quote
    pg 3 — Title Page
    pg 4 — Essay
    pg 5 — Essay
    pg 6 — Essay
    pg 7 — Essay
    pg 8 — Credits/Colophon

    WATCH

    The Quadrant System by Tony Zhuo

     

    The Geometry of a Scene by Tony Zhuo

     

    Graphic Means: A film by Briar Levit

     

    Typographics 2015: The Picture in The Word with Abbott Miller (Abbott’s talk starts at 3:44).

     

    DO

    Using the grid we developed in class, turn Martin Luther King Jr.'s Speech into a series of 3 booklets. 

    http://www.americanrhetoric.com/speeches/mlkihaveadream.htm

    1. Using Minion Pro: Regular, Bold, and Regular Italic.
    2. Using Helvetica: Regular, Bold, and Regular Italic
    3. Combining Both Minion and Helvetica

    Requirements:

    • Cover Page
    • Smallest allowed point size is 6pt.
    • Smallest lines pace size is 12pt—increase or decrease by multiples of 6. For example 15/18, 20/24, etc. See what looks right for you.
    • Text size 9.5/12 (this means 9.5 point size and 12 pt line space)
    • You must use all 8 pages
    • Bring trimmed spreads to next class
    • See image below for reference.

     

    ANSWER

    Answer the following questions before the beginning of next class:

    1. How did Minion influence your booklet design? Where do you think it works best? Why?
    2. How did Helvetica influence your booklet design? Where do you think it works best? Why?
    3. In what ways did you combine Minion and Helvetica? Why?

     

    FOR REFERENCE

    https://fontsinuse.com/typefaces/4291/minion

    Adobe InDesign: Formatting text paragraph styles
    https://helpx.adobe.com/indesign/how-to/indesign-formatting-text-paragraph-styles.html

    Adobe InDesign: Formatting text character styles
    https://helpx.adobe.com/indesign/how-to/indesign-formatting-text-character-styles.html

     

    PRINTING INSTRUCTIONS

    1. Open your document and go File > Print Booklet.
       
    2. On the Print Booklet window — Setup
      Pages: All
      Booklet Type: 2-up Saddle Stitch
      Check Automatically Adjust to fit Marks and Bleeds
      Check Print Blank Printer Spreads
      Click on the Print Settings... button at the bottom of the window.
       
    3. On the Print Window — Setup
      Paper Size: US Letter
      Orientation: Landscape
      Scale: Width 100% Height 100%
      Page Position: Centered
       
    4. On the Print Window — Marks and Bleeds
      Check Crop Marks
      Click on the Printer… button at the bottom of the window.
       
    5. On the Warning Window
      Click OK 
       
    6. On the Print window
      Select printer 124 (recomended by IT).
      Copies: 1
      Check Two-Sided
      Pages per Sheet: 1
      Border: None
      Two-Sided: Short-Edge binding
      Click Print to exit the Print Window
      Click OK to exit the previous Print Window
       
    7. Check the Preview option on the Print Booklet Window.
      If everything looks fine, click Print.

     

    Week 6 HW

    IN CLASS

    Document Setup

    1. Open InDesign & hit Cmd+N to create a new document
    2. Intent = Print
    3. Uncheck Facing Pages
    4. No. of Pages = 1
    5. Page Size = Custom
      Name = Square, Width = 6in, Height = 6in 
    6. Check Preview
    7. Column Number = 3, Gutter = 12pt or 1p0
    8. Margin = 24pt or 2p0
    9. Bleed = .125in or 0p9
    10. Hit Ok

    Baseline Grid

    1. Hit Cmd+K to access the Preference window and go to the Grids tab.
    2. Color = Light Gray
    3. Start = 0
    4. increment = 6pt
    5. View Threshold = 5%
    6. Hit Ok

    Units & Increments

    1. Hit Cmd+K to access the Preference window and go to the Units and Increments tab.
    2. Kerning/Tracking = 2/1000em

    Creating Rows

    1. Go to the Layout Menu and select Ruler Guides and change the color to Red
    2. Go to the Layout Menu and select Create Guides and change the color to Red
    3. Create rulers 3 rows, 12pt gutter, fit guides to Margin
    4. Hit Ok

    Text Frame Options

    1. Hit T and make a text box
    2. Hit Cmd+B and on the Baseline Option tab set the Offset to Leading
    3. Hit Ok
       

    CHECK OUT

    Bembo's Zoo by Roberto de Vicq de Cumptich
    http://www.bemboszoo.com/

    Flat File Issue N°3 — Gerstner's Capital
    https://readymag.com/flatfile/03-capital/intro/

    Hidden Gem: Alisal by Anthony Noel from Monotype
    http://www.monotype.com/blog/articles/hidden-gems-alisal/

    Mapping Graphic Design History in Switzerland by Robert Lzicar and Davide Fornari
    http://www.triest-verlag.ch/produkte/buch-26/design-140/mapping-graphic-design-history-in-switzerland-2873

    Typographische Monatsblätter (Research Archive) by Louise Paradis
    http://www.tm-research-archive.ch/

    Typographische Monatsblätter 1980, Issue 4 Cover design by  Christian Mengelt
    http://www.tm-research-archive.ch/issue/1980-4/

     

    READ

    Thinking with Type: Grids Pg 111-153
    https://designopendata.files.wordpress.com/2014/05/thinkingwithtype_ellenlupton.pdf

    The Vignelli Canon Pg 40-52

    Grid Systems in Graphic Design by Josef Muller-Brockmann Pg. 9-13
    https://vk.com/doc53805385_235415673

     

    WATCH

    Massimo Vignelli Makes Books

    Massimo Vignelli discusses his approach to book design in a video produced for Mohawk's "What Will You Make Today?" campaign. Video design by Michael Bierut/Pentagram.

    Bembo's Zoo

     

    Paula Scher by Hillman Curtis

     

    DO

    Research the book One Hundred Years of Solitude by Gabriel García Márquez and using the square grid we created in class, interpret the title to create 3 compositions:

    1. Convey the idea of “the passing of time.”
    2. Convey the idea of “solitude.”
    3. Convey the idea of “fate”

    Rules:

    • You must use all of the following text: One Hundred Years of Solitude by Gabriel García Márquez
    • Only use Helvetica Bold in upper and lowercase.
    • Don’t use numerals.
    • Don’t stretch type.
    • Don’t duplicate text.
    • Don’t use transparency or any effects such as stroke or fill.
    • Keep your text live.
    • Changing the point size, kerning, tracking, leading is allowed.
    • Baseline shifts and rotation are also allowed.
    • You are also allowed to break the text into words and/or into individual letters. Don’t be limited by text-boxes instead, use the margin and baseline grids to your advantage.

    Answer the following questions before the beginning of next class:

    1. How did you convey the idea of “the passing of time” in your composition?
    2. How did you convey the idea of “solitude in your composition?
    3. How did you convey the idea of “fate”  in your composition?

    Print and trim your compositions by the beginning of next class. Be ready talk about your work by reading your answers from the homework.

    Week 5 HW

    DOWNLOAD

    Typography Part A — Bodoni Portfolio Template

    Typography Part A — Caslon Portfolio Template

    Revival Postcards Template

     

    DO

    Complete your portfolio, export a pdf, and sent it to me via email. 

    YourName_Typography-PartA_CaslonPortfolio.pdf or YourName_Typography-PartA_BodoniPortfolio.pdf

    To see what an ideal (A student) portfolio looks like, check the portfolio sample below:

    Typography Part A — Portfolio Sample

     

    REVIVAL POSTCARDS
    The postcards on the Portfolio sample are my own designs and are only there to give you an idea of how much you can do with only a few letters. I expect you to come up with your own designs.

    1. Character Set Composition: Design a composition showing all the letters that you have digitized.
    2. Typography I Composition: Design a composition using the letter that make up the words Typography I.

    3. Majuscule Composition: Design a composition using only an uppercase letter.

    4. Minuscule Composition: Design a composition using only a lowercase letter.

    5. Typographic Detail 1: Design a composition showing off a detail of an uppercase letter.

    6.  Typographic Detail 2: Design a composition showing off a detail of a lowercase letter.

    7. Book Cover 1: Design a book cover using the letters from your revival typeface.

    8. Book Cover 2: Design a book cover using the letters from your revival typeface.

    Instructions:

    1. Download the template in the "Download" section.
    2. Design you postcards on each of the Artboards.
    3. Export files as PNGs and make sure to check the box that says Use Artboards
    4. Place the exported pngs on your portfolio

     


    CHECKLIST

    1. Make sure your type is not stretched.
    2. Make sure you answer all the questions.
    3. Make sure your scans are at 300dpi and your work is not accidentally cropped.
    4. Make sure your comments are set in Minion Pro 9/12pt. Your character panel should look like the image below.


     

    An Interview with Dan Rhatigan by Monotype

    Interviewed at his home in New York City, Dan Rhatigan discusses the importance of typography to today's culture and to him, personally. Learn more about Monotype at monotype.com. Follow Monotype on Twitter @Monotype and on Instagram @bymonotype.

    DUE NEXT WEEK

    A printed and digital submission (pdf via email) of your completed portfolio.

    Week 4 HW

    READ

    Toolspace by Jan MIddendorp
    http://letterror.com/writing/toolspace/

     

    WATCH

    3 Revival Case Studies:
    The first three videos below show the process behind some notable type revivals. The reason for going back to the original source is because as technology changes, things get lost in translation. Studying the original material allows the designer to write a more complete history of how a particular typeface evolved and how it can improve. The teams behind each case study, not only seek to uncover the intentions behind the designs but also to expand on it and make it useful for the needs of contemporary typography.

    These two definitions from John Downer's essay Call It What It Is help shed a light on the fact a revival is oftentimes also a homage, and good revivals aim to improve and not merely copy.

    Revivals/Recuttings/Reclamations
    Closely based on historical models (metal type, hand-cut punches, etc.) for commercial or noncommercial purposes, with the right amount of historic preservation and sensitivity to the virtues of the original being kept in focus-all with a solid grounding in type scholarship behind the effort, too.

    Homages/Tributes/Paeans
    Loosely based on historical styles and/or specific models, usually with admiration and respect for the obvious merits of the antecedents - but with more artistic freedom to deviate from the originals and to add personal touches; taking liberties normally not taken with straight revivals.
     

    Introducing Johnston100 by Monotype
    http://www.monotype.com/resources/case-studies/introducing-johnston100-the-language-of-london

     

    Neue Kabel: reshaping a lost classic by Monotype
    http://www.monotype.com/blog/font-stories/neue-kabel-reshaping-a-lost-classic/

     

    Goudy & Syracuse: The Tale of a Typeface Found by Pentagram

     

    Tobias Frere-Jones: Break Things Deliberately

     

    CHECK OUT

    In case you're missing letters to complete the assignment, please check out the online archived material. It's not high-res but it will give you an idea of what the missing letters look like.

    Team Caslon
    ATF Type Catalog 1912, p. 349.
    https://archive.org/details/americanspecimen00amerrich

    Team Bodoni
    ATF Type Catalog 1934, p. 22.
    https://archive.org/details/ATFBookOfAmericanTypes1934

     


    REVIVAL FILES

    Revival Project Source Files inside the Revival folder on the Shared Drive

    Revival Project Template Files inside the Revival folder on the Shared Drive
     

     

    DO

    Download the either the Bodoni_Words_Template.ai or Caslon_Words_Template.ai.  and complete the missing letters from either Caslon or Bodoni using the source specimen and typeset:

    Line 1: Regulated
    Line 2: Bodoni
    Line 3: Bold

    or 

    Line 1: Distinctly
    Line 2: Caslon
    Line 3: Heavy

    Save the file as:

    • YourName_RegulatedBodoniBold.pdf
    • YourName_DistinctlyCaslonHeavy.pdf

    Download the Bodoni_Words_Template.ai or Caslon_Words_Template.ai.  again and complete the missing letters that make up your full name. Typeset the following:

    Line 1: Your First Name & Middle Name (if appiclable)
    Line 2: Last Name
    Line 3: Typography I

    Save the file as:

    • YourName_NameTagBodoniBold.pdf
    • YourName_NameTagCaslonHeavy.pdf

    Complete the Revival Worksheet Typography1Fall2017-Revival&Lettering-Template.indd located inside the Template Files in the Shared Drive and save it as:

    • YourName_BodoniBoldRevival&Lettering.pdf
    • YourName_CaslonHeavyRevival&Lettering.pdf

    Write a brief paragraph answering these questions and post as a comment on the blog.

    1. By now, you've most likely developed feelings and opinions towards Caslon or Bodoni. What are they?
    2. How does it feel seeing you name set on your own digital letterforms? What would you change (weight, width, contrast, etc) to make it feel more personal? Why?
    3. What's your favorite feature (typographic detail) of Caslon or Bodoni? Why?
    4. What was the most difficult aspect of this revival assignment and how did you make it through?

    Continue revising your lettering piece, last opportunity for feedback is on 10/6.
     

    BRING NEXT CLASS 10/6

    Email me and bring printed copies of:

    1. YourName_RegulatedBodoniBold.pdf or YourName_DistinctlyCaslonHeavy.pdf
    2. YourName_NameTagBodoniBold.pdf or YourName_NameTagCaslonHeavy.pdf
    3. YourName_BodoniBoldRevival&Lettering.pdf or YourName_CaslonHeavyBodoniBoldRevival&Lettering.pdf

    Week 3 HW

    READ

    Call It What It Is by John Downer
    http://www.emigre.com/Editorial.php?sect=2&id=1

    Drawing for Interpolation by Erik van Blokland
    http://new.superpolator.com/drawing-2/

     

    WATCH

    Matthew Carter: My Life in Typefaces

     

    TYPEFACE MECHANICS

    Typeface Mechanics: 001 by Tobias Frere-Jones
    https://frerejones.com/blog/typeface-mechanics-001

    Typeface Mechanics: 002 by Tobias Frere-Jones
    https://frerejones.com/blog/typeface-mechanics-002

    Type Terms Cheat Sheet
    https://www.supremo.tv/typeterms/

    Type Cheat Sheet
    https://www.typewolf.com/cheatsheet

    Font Men by Dress Code

     

    DIGITIZING LETTERFORMS

    The Bézier Game
    http://bezier.method.ac/

    Drawing for Interpolation
    http://new.superpolator.com/drawing-2/

    Hand Lettering: How to Vector Your Letterforms by Scott Biersack
    https://design.tutsplus.com/tutorials/hand-lettering-how-to-vector-your-letterforms--cms-23248

    Adobe Illustrator Pen Tool Tutorial for Logos and Typography by Matt Borchert

     

    Modern Techniques for Digitizing Script Alphabets by James Edmonson

     

    TYPE REVIVAL PROJECT

    A type revival can mean many things as defined by John Downer's "Call It What It Is" essay for Emigre. For this assignment, our revival will be an homage to Caslon and Bodoni. I'll divide the class into two groups, team Caslon and Team Bodoni

    Caslon Team
    Alberto
    Emma
    Jasmine
    Jia
    Joel M
    Xinying
    Isabella


    Bodoni Team
    Jade
    Joel C
    Min
    Natasha
    Ren
    Yasmin
    Zoey

    Caslon was designed by William Caslon in 1722. It was considered the first original English typeface and was used extensively throughout the British Empire in the early eighteen century. Benjamin Franklin used it extensively and in fact it was the font used to set both the Declaration of Independence and the U.S. Constitution
    https://www.fonts.com/font/linotype/bodoni/story

    Bodoni was designed by Giambattisa Bodoni in 1798 and is generally considered a modern serif typeface. One of the earlier publications using Bodoni was Dante’s La Vita Nuova in 1925.
    https://www.fonts.com/font/linotype/bodoni/story

    The type revival project files are located inside the Revival folder in the shared drive:

    The Source Files folder contains high-res scans of both Bodoni and Caslon for reference. The folder contains the following files:

    • Bodoni_Bold_150dpi_BookofAmericanTypes_ATF.jpg
    • Bodoni_Bold_300dpi_BookofAmericanTypes_ATF.jpg
    • Bodoni_Bold_600dpi_BookofAmericanTypes_ATF.jpg
    • Bodoni_Bold_1200dpi_BookofAmericanTypes_ATF.jpg
    • BodoniBold Regulated.jpg
    • Caslon_Heavy_150dpi_ATF1912.jpg
    • Caslon_Heavy_300dpi_ATF1912.jpg
    • Caslon_Heavy_600dpi_ATF1912.jpg
    • Caslon_Heavy_1200dpi_ATF1912.jpg
    • Caslon_Heavy_Distinctly.jpg

    The Templates folder contains the illustrator files that you'll need to complete this assignment. I provided both EPS and AI illustrator files since EPS are more backwards compatible with older versions of Illustrator. Please download and use the EPS only if the Illustrator file won't open on your computer. The folder contains the following files:

    • BodoniBold Revival_Template.ai
    • Bodoni_Words_Template.ai
    • CaslonHeavy Revival_Template.ai
    • Caslon_Words_Template.ai
    • BodoniBold Revival_Template.eps
    • Bodoni_Words_Template.eps
    • CaslonHeavy Revival_Template.eps
    • Caslon_Words_Template.eps

     

    DO

    Download and complete either the BodoniBold Revival_Template.ai or CaslonHeavy Revival_Template.ai revival worksheet using the Prototyping technique shown in class. Make sure to check the Drawing for Interpolation reference sheet as well as this vectorizing tutorial. When you're done, export a pdf and email it to me named as:

    • YourName_BodoniBold.pdf
    • YourName_CaslonHeavy.pdf

    Download and complete either the Bodoni_Words_Template.ai or Caslon_Words_Template.ai worksheet.  When you're done, export a pdf and email it to me named as:

    • YourName_BodoniWords.pdf
      For Bodoni, typeset the words delegated, leagued, and eagled
       
    • YourName_CaslonWords.pdf
      For Caslon, typeset the words stylistic, nittily, and instils.

    Write a brief paragraph answering these questions and post as a comment on the blog.

    1. What was the easiest and hardest thing about this assignment? Talk about your process/experience of digitizing your lettering piece.
    2. What was the hardest and easiest letter (or part of a letter) to draw? Why?
    3. What do you think are your strengths and weaknesses?

    Revise your NYC Lettering piece according to my comments. After that, please scan and upload it to the Lettering folder on Shared Drive with the following name:

    • YourName_NYC_Revision_001.jpg

     

    BRING NEXT WEEK

    1. A printout of the completed BodoniBold Revival_Template.ai or CaslonHeavy Revival_Template.ai worksheet.
    2. A printout of the completed Bodoni_Words_Template.ai or Caslon_Words_Template.ai worksheet.
    3. Your revised NYC Lettering piece.

    Week 2 HW

    Get familiar with the class Shared Drive. For more information see the Alerts page.

    PRINT

    Lettering Handout

     

    READ

    Letter
    Read the following sections: Superfamilies, Caps and Small Caps, Mixing Typefaces

    Thinking with Type by Ellen Lupton

     

    WATCH

    House Industries: Interview with Ken Barber

    Erik van Blokland on Drawing


    A quick recording of sketching letterforms from the inside out. Postpone drawing the actual outline until you have an idea where it is. Just drawing any line isn't going to make it the right one. Better to ignore drawing the contour altogether and focus on proportion, contrast, weight, the white shapes as well as the black shape. The pen keeps the same amplitude and direction. Thus it performs similar to a broad nib pen and the contrast follows easily. Modulating the amplitude (shown later on) simulates the expansion of the flexible nib pen. This is by no means intended as an example of great lettering. These particular letters would benefit from a dab of white paint and perhaps an iteration or two on tracing paper. But it shows how to get started. Similar to the sketching techniques shown by David Gates in Lettering for Reproduction.

    DO

    Submit your Garamond g's from Week 1 HW.  If you didn't finish coloring yours, have it colored in black (pencil or marker, just make it as dark as possible) for next class.

    Revise—using the sketching and tracing techniques—and finish your "New York City" lettering pieces.

    Write a brief paragraph that answers these 3 questions and post them as one comment before the beginning of next class:

    1. What font(s) did you use as reference for your drawing? why did you choose that one? What characteristics of the font attracted you to it?
    2. What was the most difficult and the easiest part of this exercise?
    3. If you could make a change to your NYC lettering piece, what would that change be?

    Scan your New York City lettering piece and save it as 300dpi high quality jpegs inside the Lettering folder on the Shared Drive as:

    • YourName_NYC.jpg

     

    BRING NEXT WEEK

    1. Your NYC lettering piece: the original on tracing paper and the printout where I can write notes.
    2. Post your writings on the comments section and be ready to read your paragraph at the beginning of next class.

    If you missed the first class, check out the Alerts section.

    Lectures

    This is a list collecting all the video lecture assignments for this class.

    House Industries: Interview with Ken Barber

    House Industries has been producing their premier league retro design and their true love…Fonts! Fonts! Fonts! since 1993. House Industries’ lead letterer Ken Barber recently visited us in Berlin to give a workshop at our Gestalten Space, which explored the creative process of hand-lettering and the application of illustrative letterforms in contemporary graphic design. We took this chance to interview him on Gestalten.tv where he talks about the necessity of specialization and the fine lines between lettering, typography, and font design. We've sold out of their House monograph but are obviously huge fans and have a range of House Industries items at Gestalten Space, and available through our online shop, shop.gestalten.com. Watch our complete line-up of video interviews on gestalten.tv.

    Erik van Blokland on Drawing

    A quick recording of sketching letterforms from the inside out. Postpone drawing the actual outline until you have an idea where it is. Just drawing any line isn't going to make it the right one. Better to ignore drawing the contour altogether and focus on proportion, contrast, weight, the white shapes as well as the black shape. The pen keeps the same amplitude and direction. Thus it performs similar to a broad nib pen and the contrast follows easily. Modulating the amplitude (shown later on) simulates the expansion of the flexible nib pen. This is by no means intended as an example of great lettering. These particular letters would benefit from a dab of white paint and perhaps an iteration or two on tracing paper. But it shows how to get started. Similar to the sketching techniques shown by David Gates in Lettering for Reproduction.

    Matthew Carter: My Life in Typefaces

    Pick up a book, magazine or screen, and more than likely you'll come across some typography designed by Matthew Carter. In this charming talk, the man behind typefaces such as Verdana, Georgia and Bell Centennial (designed just for phone books - remember them?), takes us on a spin through a career focused on the very last pixel of each letter of a font.

    Alerts

     

    EDM CLUB MEETINGS Coming Soon (Stay tuned).

     

    HOMEWORK ASSIGNMENTS

    I expect everyone to complete each homework assignment on time. If you missed one or it's late, you will get a lower grade. But nothing is worse that not having your homework.

     

    IF YOU MISSED THE FIRST WEEK

    1. Make sure I have your Garamond g' and wrote a comment on the blog Week1HW page.
    2. Make sure to scan your NameTag and upload it to the Name Tag folder on the Shared Drive.
    3. Make sure to complete the Helvetica a worksheet, scan and upload to the Helveticaa folder on the shared Drive
    4. Make sure to complete the class questionnaire.
       

    Shared Drive

    The shared Google Drive folder is for the class to upload final files only. Please, follow the link below and familiarize yourself with the folder structure. More links will be added later.

    NameTag Folder
    Helvetica a Folder
    Garamond g Folder
    Lettering Folder
    Revival Folder

    In order to upload or remove files, you must have a gmail account. If you don't currently have a gmail account, please make one even if it's only for this class. Click on the link below to create a gmail account. If you have any questions, don't hesitate to ask.

    Create a gmail account

     

    Writings

    Your writing homework assignment will be part of your Portfolio. Make sure you post your answers as comments on each homework assignment. In order to post a comment, make sure to be logged in to your gmail account first and don't forget to sign your name at the end.

    Your comments should look something like this:

    Typography is two-dimensional architecture, based on experience and imagination, and guided by rules and readability. And this is the purpose of typography: The arrangement of design elements within a given structure should allow the reader to easily focus on the message, without slowing down the speed of his reading.
    —Hermann Zapf

     

    Scanning

    When you scan you drawings make sure you scan them at 300dpi either as grayscale or color, depending on the assignment. Please make sure to ask people in the labs for help if you need it.

    Assignments

    Please follow these links to access the homework assignments for each week.
    The non-numeric links are for (S) Syllabus, (L) Lectures, (R) Readings, (?) Questionnaire, and (!) Alerts.

    Week 1 HW

    READ

    What is Typography?

    https://www.typotheque.com/articles/what_is_typography

    Letter

    Read the following sections: Anatomy, Size, Scale, Type Classification, and Type Families.

    Thinking with Type by Ellen Lupton

    DO

    Garamond g

    1. Draw a Garamond lowercase g from the printout on a tabloid size 11" × 17" piece of paper. The drawing must be as large as the piece of paper and colored black. Make the letterform as dark as possible. You can achieve this by using, pencils, markers, etc. 

      You must only draw from the small sample provided in class. Tracing is prohibited. Try to get it as close as you can to the original.
       
    2. After that, draw your own idealized version of a Garamond lowercase g. Change all the characteristics that you feel could be different or better than the original design on the printout. 
       
    3. Write a brief paragraph that answers these 3 questions and post it as a comment:

    What things did you learn or notice about the Garamond g?

    Was it difficult or easy to scale the drawing?  Why do think that is?

    What changes did you make on your version of the g (list them out)? Why did you make those changes?

    Pin both of your 11x17in drawings side by side (original on the left, revised drawing on the right) and be ready to read your paragraph/answers to the class.

    Bring all materials from the syllabus, especially tracing paper, kneaded eraser, and pencils.

    Class Questionnaire

    Name *
    Name
    Cell phone *
    Cell phone
    What is your comfort level with the following software? (1 is low, 6 is best)
    List your 3 favorite: