Type 1 Spring 2017

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

Assignments | Syllabus | Readings | Lectures | Questionnaire | Alerts

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 and change the color to Red
  3. Create rulers 6 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

 

TYPESET
https://en.wikipedia.org/wiki/Grid_(graphic_design)

pg 1 — Cover
pg 2 — Contents
pg 3 — History: Antecedents
pg 4 — History: Evolution of the modern grid
pg 5 — History: Reaction and reassessment
pg 6 — History: Grid use in web design
pg 7 — Software
pg 8 — References

WATCH

The Geometry of a Scene by Tony Zhuo

 

Goudy & Syracuse: The Tale of a Typeface Found

 

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

 

The Quadrant System by Tony Zhuo

 

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 Portfolio Template

Typography Part A Portfolio Sample

 

DO

Complete your portfolio, export a pdf, and upload it to the Portfolio folder on the Shared Drive as :

YourName_Typography-PartA-Portfolio.pdf

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

Make sure your comments are set in Minion Pro 9/12pt. Your character panel should look like the image below.

 

WATCH
An Interview with Dan Rhatigan

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.

PRINT

Print your portfolio and submit it at the beginning of next class.

 

EXTRA CREDIT

Submit your lettering piece and revival for display on the hallway. Use the following template and don't forget to check out the sample submission.

Typography1-ExtraCreditTemplate

Typography1-ExtraCreditSample

Upload your extra credit pdf inside the Extra Credit folder in the Shared Drive and name it as:

  • YourName_ExtraCredit

Week 4 HW

PRINT

Garamond R template

Vectors Worksheet

 

CHECK OUT

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

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

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

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

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

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
https://youtu.be/vpOCt6k7Oqg

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

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

 

DOWNLOAD from the Revival folder inside the shared drive:

  1. Bodoni Bold and Caslon Heavy (AI or EPS) Templates.
  2. Bodoni_Words and Caslon_Words (AI or EPS) Templates.

 

READ

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

 

WATCH

Font Men by Dress Code

 

Introducing Johnston100 by Monotype

 

Matthew Carter: My Life in Typefaces

 

Modern Techniques for Digitizing Script Alphabets by James Edmonson

 

Tobias Frere-Jones: Break Things Deliberatly

 

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

 

 

DO

Scan today's Garamond R exercise and upload it to the Lettering folder on the Shared Drive as:

  • YourName_GaramondR.jpg

Download and complete either the Bodoni Bold or Caslon Heavy 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, save it as a pdf inside the Revival PDF's folder in the Revival folder on the Shared Drive as:

  • YourName_BodoniBold.pdf
  • YourName_CaslonHeavy.pdf

Download and complete either the Bodoni Words or Caslon Words worksheet. When you're done, save it as a pdf inside the Revival PDF's folder in the Revival folder on the Shared Drive 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?

Print and hang both of your revival worksheets at the beginning of next class.

Week 3 HW

Because the college will be closed on Monday 02/13 for Lincoln's birthday (see academic calendar), we will meet at Cooper Union on Wednesday 02/15 for a special lecture on Swiss Graphic Design History. Please get a ticket ASAP.

 

EVENT DETAILS

The event is called Not just another book... and it's sponsored by the Herb Lubalin Study Center and the Swissnext New York Outpost.

Date and Time
Wed, February 15, 2017
6:00 PM – 8:00 PM EST

*I know some of you have a class that ends right before my class. Please head to the lecture as soon as you can, it will be worth your time. Everyone else, please show up on time! This lecture is not just about the history of Swiss Graphic Design but about the mapping of the History of Swiss Graphic Design. This is an important topic that we'll discuss later in the semester. So get a ticket and show up. Write down any question that you may have during the lecture and I'll do my best to answer them in class.

Location
Frederick P. Rose Auditorium
41 Cooper Square (on Third Ave between 6th & 7th streets)
New York, NY 10003


DUE BY WEDNESDAY

Week 2 HW Scan and upload lettering pieces (Punk A, Circus M, and NYC) to the Lettering folder on the Shared Drive + answers to the questions as comments.

Since we won't have time to do one-on-one critiques on Wednesday, either scan your file and upload it to the shared drive and/or bring a photocopy to the event. Please come find me after the talk and hand in a photocopy of your lettering assignment (this will count as attendance). Just to clarify, I want you to make a copy of your homework and hand that in so I can write notes on it and give you feedback (via email the following day). You will keep the original file for yourself and improve your work according to my notes. The final for this project will be a refined piece of lettering that we can hang on the hall and make the other classes jealous :).

Lettering Resource: https://www.flickr.com/photos/taffeta/albums/72157628903870575

DUE  ON WEEK 4

A revised final version of your NYC Lettering piece. Please scan your revised lettering piece and upload it to the Lettering folder on Shared Drive with the following name:

  • YourName_NYC_Revised

For the critique, please bring both the first draft and the revised (final) version of your NYC lettering piece. If you have extra time, feel free to send me revisions so I can give you more feedback. This could make for a nice portfolio piece if you're willing to put the extra effort.

Write a brief paragraph that answers these 4 questions and post it as a comment before the beginning of next class:

  1. What changes did you make to your revised lettering piece? Describe them in detail using proper terminology.

  2. How does your lettering piece convey your idea of NYC? Talk about composition, typographic details, color, and contrast.

  3. What was the easiest and hardest thing about this assignment? Talk about your process/experience of drawing, revising, and refining your lettering piece.

  4. Are you happy with the results? What are your strengths and weaknesses? What would you like me to help you improve?

 

***********WEEK 4 PREVIEW***********

CHECK OUT

We'll go over them in class but I strongly advice that you check them out in advance and write down any questions that come up.

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

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

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

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

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
 

READ

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

WATCH

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.

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 A (Punk), M (Circus), and New York City drawings and save them as 300dpi high quality jpegs inside the Lettering folder on the Shared Drive as:

  • YourName_A.jpg
  • YourName_M.jpg
  • YourName_NYC.jpg

Pin your NYC drawing, 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.

https://drive.google.com/drive/folders/0BwdyNTaXyQOfYWx6OGpoSC1iZk0?usp=sharing

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: