Enlow Final Process Book Lowres

Spring '09
Professors Liz Russotti &

Bobbi Balderman
Figure 1. thread,
cloth, and needle. 4 Introduction
Bauhaus 93.
6 Historical Summary
8 Legibility and Readability
10 Legibility and Readability II
16 Type Self-Portrait
20 Second Life Scavenger Hunt
22 Personality Match
24 Paula Scher Podcast
26 Hierarchy of Information
30 Character Spacing
36 Grid Project
40 Type Only Poster
44 Book Cover Redesign
50 Making of Process Book
2 3
Figure 2. ink and
gouche. Parchment.
Welcome to my process book for online Typography 113.
Setting and arranging type while still being aware design elements of unity,
contrast, and emphasis takes a lot of practice. The purpose for this book is to
encapsulate all that I have done so far in one well designed presentation.
Another purpose for the book is to practise typesetting large amounts of

text. Filled in this book are various assignments and three projects at the
end. For each assignment or project I present my personal thoughts, what
I have learned, and text and images (mostly text of course!). Almost all
assignments are done in the page layout program InDesign but some are
done also in Illustrator. With this book I hope to show my process and how
I individually solved each problem presented to me. Most of my solutions
have been successful but some need an extra something, but again it is all
about the process!
The theme of this process book invovles arts and crafts with type redone
with readily available objects that can be found at home (well at least from
a pack rat’s house) from thread to chocolate syrup. Much inspiration came
from contemporary artists or graphic designers who have done ingenious
things with the most mundane of objects to create amazing images and
even words. Some of the works that come out leave me in awe. This is all
covered in the last section, “Making of Process Book.”
I hope you enjoy!
4 5
Futurism
The Italian avant-garde movement of Futurism with the distorted type as sound, he was able to recreate the chaotic
idea of vers libre (words in freedom) laid way for much emotion he experienced in battle, where often sounds of
experimenting with typography. Italian Filippo Tommaso grenades and shots often rang about. Numerous other
Marinetti came with the term Futurism in 1909, the poet-artists created their own distinct style where they like
beginning of the twentieth century. He and others believed Marinetti used the graphics of typography to the full extent
that scientific and technological developments had caused leaving sometimes white space to suggest silence. Gino
change in the human psyche and that all aspects of life Severini, Vincenzo Volt, and Angelo Rognoni are a good
Figure 3. thread from painting, poetry, to even government and that warfare example of these artist-poets. Although these works were
and plastic beads. needed to be reinvented. In the beginning of the movement, visually stimulating, Futurism ended shortly by the mid
For the historical summary assignment we had to research and Futurists believed war was a necessary passage to modernity. century.
explore influential periods and styles in history as it applies to typography and Thus, when World War I broke out in 1914 emphasis that
was placed on violence, energy, and machine. Even during Angelo Rognoni
typographic design. I believe this was a great assignment for the beginning the war, Futurism as a design period continued to evolve.
Angelo Rognoni (1896-1957), a futurist whose work
of the course. At first I was reluctant to delve deep into the history of type, Futurists, especially poets, used typography as a means to has recently been exhibited by the Getty Museum with
but once I started to search and read articles, my interest rose. be free from formal elements of poems such as syntaxes, other Italian futurists, is known to have created through
punctuation, adjectives, and adverbs. Today the design of typography a great sense of emotion. Through his
the poems may seem to be words arranged in a jumbled unpublished manuscript for “Factory + Train” done in 1916,
There is a wide range of design periods from Russian Constructivism and
fashion. However, there is much more to them. With one can see the process of using hand design typefaces and
Bauhaus to Art Nouveau and the New York Style. All of these have had an arranging type with a cut and paste fashion and sometimes typography in an avant-garde way.
hand designing the typefaces, futurist artist-poets were able
influence on today's typography. I decided to write summaries on the design In his manuscript, Rognoni describes a day of a modern
to capture the modern battlefield, chaotic emotions and
artist-poet in Italy. On the first page of seemingly jumbled
periods of Futurism, Swiss Grid, and the 20th century Modernist Movement manmade sounds. In loosest terms, poets seem to become
fonts, Rognoni describes the artist-poet spending the first
typographers. Many times the artist-poets ignored the idea
in America. These three have also tremendously influenced today's part of the day in a café. Emotion is created right away for
of good taste and typeset their pieces so nothing could be
the name of the café seen on the top of the page is set in
typography. The design periods are very different in how they developed read strictly left to right. They sometimes used up to twenty
an arch form suggesting the actual entrance or doorway of
or more typefaces at varying sizes and often placed text on
and what mediums they were often seen on. Futurism was very unorthodox the building while the dynamic type of “svic” describes the
diagonal planes. Despite this, it was successful as to forming
sound of an electric fan. On next page, Rognoni describes
and experimental and appeared much on manifestos and writings, Swiss Grid a design period and was further explored with lithographic
the artist-poet’s night at a futurist meeting and the bread
printing that was not available beforehand. They no longer
focused on how to place typographic elements which was apparent in the riot he experiences the next morning and emphasizes these
had to use the long process of having type be put into
chaotic events by setting type mostly on extreme diagonals.
posters that were coming out of Europe during the mid twentieth century, printing molds to hold them in place.
With Rognoni’s work and other futurist pieces, we can see
while the American Modernist movement took many approaches to design We can briefly discuss Marinetti’s work with his book Zang the opportunities typography can have as a graphic source.
Tumb Tumb made in 1914 to get a sense of how typography Although not that long of a design period, Futurism had a
and appeared much in the public sphere. was used by futurists. By representing bold typefaces with large impact on typography.
aggression, italic typefaces as fast action and skewed type or
Despite their differences, all are similar in that they were sparked by other
design periods, whether before them or current ones during the time. This
would probably be what I found most of value while researching and should
have elaborated more about. What I learned by doing the assignment is
that it is very important in design and typography to be in the practice of
looking back to other designs to see what worked and did not and to look at
current designs. Overall, this assignment was worthwhile for it is so integral
to be knowledgeable especially when working with other designers or even
typographers.
6 7
Swiss Grid American Modernism
The Swiss Grid design may be best known as the in the century. The Swiss Grid design was used a lot by American Modernism (1910-1950) is a movement similar well-known typographer, where he eventually believed the
the country’s cultural institutions and because of its clarity to the design periods of Futurism, Constructivism, Bauhaus use abstraction and small discreet typeset made it possible
International Typographic Style, a period of design that
and exploration in tempo and rhythm by artists such as and others in that they all tackled the question of what to avoid using illustrative and decorative book covers to
emerged from Switzerland in the 1950s. What is unique
modern design meant. Although American Modernism is achieve better book sales.
about this period was the emphasis heavily placed on Müller-Brockmann it was eventually used in the post World
War II global marketplace. Looking at Swiss Grid Period is a unique because there have been a tremendous number of Along with other American Modern artists, Lustig
typographic elements. There is clear emphasis on the
great way to explore typography and the work of Hoffmann approaches to it. American artists, designers, and others searched for identity and when given the opportunity in
use of mathematical grids but also the use of san serif
had the unique perspective from seeing Europe’s cultural the 1940s by the publisher New Directions to design book
typefaces such as Helvetica, the alignment of text flush left, shows the style’s great clarity and harmony.
supremacy shift during two world wars thus sparking a covers for reprints he took it as a “proving ground for
and the use of black and white photography. Despite its conscious search for identity which would last late in the the designer’s visual explorations and distinctive graphic
contemporary feel Swiss Grid style, especially the numerous Armin Hofmann century. poetry.” With this series of reprints that included Amerika
posters it turned out, had roots in the early twentieth Armin Hofmann (born 1920) is most remembered as the by Franz Kafka and Wanderer by Alain Fournier, Lustig
Some approached the movement by embracing the
century. The identity of Swiss design has always been much leading figure at Basel School in Switzerland where he kept the typeset small and discreet compared to the overall
machine age such as Charles Sheeler, one of the founders
an international one since early on Swiss designers such as refined along with a group of graphic designers in part of American Modernism. Others even approach the composition but gave it a distinctive symbolic mark
poster artists Cardinaux, Mangold, and others were trained the International Typographic Style in the mid century. movement with the idea of anti-modernism such as that looked hand designed. With this change in type, he
in Paris and Munich in which they absorbed movements Georgia O’Keefe and Arthur Dove, two great abstract appropriated graphics from painters like Paul Klee, Joan
He is not well known as other European designers but in
such as Art Nouveau and others. At first, the posters were painters. Miró, and Mark Rothko. This meant the type for the series
1997, he was awarded the Art Prize of the City of Basel. In
predominantly illustrated to promote Swiss ski resorts, was set with carefully selected color-fields and various
any case, Hofmann is more known as a great teacher and Within typography, one of the many approaches was to simple shapes ranging from organic to geometric.
which had become popular at the turn of the century. After for his many posters he designed for plays, orchestras, experiment with the modernist idea of unity of the arts.
World War I however and the full front of the machine Thus, for instance typography was united with American In the 1950s, Lustig explored again with typography when
exhibitions, etc. In his 1958 poster for the Kunsthalle Basel,
age, Switzerland became the leader in graphic deign by architecture. There were typefaces that started to appear designing a series of book covers for Noonday Press. He did
Young Dutch Sculptures exhibition the type is aligned left
absorbing from its neighbors, as similar in its past although such as Empire, Huxley Vertical, and Slimline type that not want to follow the strict aesthetics that were being set
and on a grid in which is further exaggerated by the tall H. during the time and also did not want to use new sans serif
from art movements such as Russian Constructivism, looked like the forms of skyscrapers, elongated and narrow.
Hofmann’s typographic craft also appears in his 1969 poster types coming in from Europe that were highly sought after
De Stijl, and the Bauhaus. Here we see the precision of Thus, one new identity in the long list was being issued
for the Basel Museum of Applied Art exhibition which by other American designers. Lustig came to create his own
Swiss design and the early formation of the Swiss Grid for American design. Other typographic innovations also
there seems to be a clear use of a square grid. Lastly, a great occurred, as we will see with a designer who had much type from specimen books from England and Germany. At
style, which weighed heavily on typographic elements. example of the use of a grid is his poster for the exhibition this time, he became interested in Swiss design that with his
impact on American design.
Technology also had effect on the development of the style featuring artists Fernand Léger and Alexander Calder in typefaces made for eclectic compositions for the book series.
for photography became more in use and the change from 1957. Hofmann simply but ingeniously used the initials Lustig also explored further in wanting the series of books
lithographic to offset printing, which was less expensive, Alvin Lustig
of the artists’ surnames and put them in strong geometric to have a distinctive look from his previous designs by
did not allow for as much vivid color and texture. Alvin Lustig (1915-1955) is known in the contemporary having pure typography set against a flat color background
uppercase letters to divide the poster within four divisions.
world for introducing many aspects of Modern art to with no other graphic element. The image below of Lustig’s
It was not until the 1950s that two Swiss design schools He was also able to have the forms still be representative of
graphic design and for believing in the curative power design for the book cover for The Hero with a Thousand
that were led by Armin Hoffmann and Emil Ruder refined the artists’ individualities, one of playfulness and the other of good design in the public sphere. He is many times Faces by Joseph Campbell is good example of this. With
the Swiss Grid or International typographic style. Thus of defectiveness. Much can be done with typography and it remembered for his designs of book jackets, which show experimenting with symbolic typography, Lustig had in
afterwards type and the grid were very much joined to is evident in the Swiss Grid Design period that was in part much compositional strength and typographic craft. He his short life influenced not only modern art but also the
create the same impact as previous Swiss designs had earlier the legacy of Armin Hofmann. also designed magazines, textiles, signs, and other media. contemporary world in which modern typography is still
One of his influences was the work of Jan Tschichold, a observed today.
8 9
Typefaces vary from clear and distinguishable Typefaces vary from clear and distinguishable letterforms
letterforms that flow easily before the eye and that flow easily before the eye and are suitable for ex-
are suitable for extended blocks of text/ to more tended blocks of text/ to more dramatic and eye-catching
dramatic and eye-catching typefaces that grab at- typefaces that grab attention and are used in newspaper
tention and are used in newspaper headlines and headlines and advertisements. Minion Pro Regular 11/13
advertisements. Palatino Linotype Regular 11/13
Figure 4. watercolor
and salt. Garamond.
In the back of my head even with the numerous and helpful reading
and examples within the book and class I had to constantly remind myself
of the difference between readability and legibility but once I completed
Typefaces vary from clear and distinguishable letter- Typefaces vary from clear and distinguishable
this assignment, I believe I got it down for good. (Readability deals with a forms that flow easily before the eye and are suitable letterforms that flow easily before the eye and
extended block of text and how it is typeset while legibility deals more with for extended blocks of text/ to more dramatic and are suitable for extended blocks of text/ to
eye-catching typefaces that grab attention and are more dramatic and eye-catching typefaces
the design of the typeface itself).
used in newspaper headlines and advertisements. that grab attention and are used in newspaper
Candara Regular 11/13 headlines and advertisements. Century Gothic
Although more importantly the main goal of the assignment was to become Regular 11/13
aware of the effects of point size, leading/ line spacing and typeface selection
in text compositions. Knowing these effects allows typesetters predetermine
what fonts and settings would make for good or poor legibility and readability,
also knowing these effects helps typesetters to create incomprehensible text
in order to create a texture or whole other graphic element. Typefaces vary from clear and distinguishable Typefaces vary from clear and distinguishable letterforms
The next pages have the same paragraph or body of text in various typefaces, are suitable for extended blocks of text/ to more tended blocks of text/ to more dramatic and eye-catching
point sizes, and line spacings. At first I could not get around the subtle of tention and are used in newspaper headlines and headlines and advertisements. Minion Pro Regular 11/12
differences of each paragraph. Although we had to make observations at advertisements. Palatino Linotype Regular 11/12
the end, and from rereading everything and trusting my eyes I was able to
see their subtle and now unsubtle differences. In my observations I came
to the conclusion that Minion Pro at 11/14 had the best readability while
Century Gothic at 11/12 had the worst. I found this assignment one of the
more difficult ones in terms of making observations but quite helpful in forms that flow easily before the eye and are suitable letterforms that flow easily before the eye and
that I want to avoid using an san serif with a large x height with so little line for extended blocks of text/ to more dramatic and are suitable for extended blocks of text/ to
spacing! used in newspaper headlines and advertisements. that grab attention and are used in newspaper
Regular 11/12
10 11
Typefaces vary from clear and distinguishable Typefaces vary from clear and distinguishable letterforms Observations
are suitable for extended blocks of text/ to more tended blocks of text/ to more dramatic and eye-catching •The kind of typeface one chooses has much effect on •Minion Pro at 11/14, I believe has the best readability.
dramatic and eye-catching typefaces that grab at- typefaces that grab attention and are used in newspaper legibility. According to Type Rules! by Ilene Strizver The 11/14 setting is easy to read, although it is a little over
tention and are used in newspaper headlines and headlines and advertisements. Minion Pro Regular 11/14 the typeface’s “counters, x-hieght, character shapes, the rule of thumb of 2 points of leading over the point
advertisements. Palatino Linotype Regular 11/14 stroke contrast, serifs or lack thereof, and weight” size of the type as described in the lecture reading. It is
affect legibility. For example if one chooses a typeface open but not too open in which one can easily read from
which has very high stroke contrast to the point line to line. Size of the typeface relative to length of the
where some parts of letters may seem to disappear, the column is perfect, otherwise if it were smaller with the
legibility of the piece is most likely to be poor. Many same column width such as Minion Pro at 10/12 (also
Typefaces vary from clear and distinguishable letter- Typefaces vary from clear and distinguishable other characteristics of a typeface affect legibility. shown in assignment), it may be on the lengthy side
forms that flow easily before the eye and are suitable letterforms that flow easily before the eye and Display or decorative typefaces often have illustrative- affecting readability. Also Minion Pro is easier to read
for extended blocks of text/ to more dramatic and are suitable for extended blocks of text/ to like characteristics that do not appear in any other than the accompany serif on the assignment, Platino
typeface which may break or make a piece whether one Linotype. Platano Linotype seems to have dense overall
wants it to be legible or not. The typefaces used in this feel at the same point size and leading, maybe because
assignment are legible even a the smallest point size of different body hieght and width of the individual
when printed out. characters (hard to tell on screen!).
Regular 11/15
•The amount of spacing or leading can make for good •The worst typeface is Century Gothic at 11/12. First, the
or poor legibility. If spacing is too small or inconsistent inherent design of the typeface of a large x-hieght, no
between characters and words it can throw the eye serifs, and very low or none stroke contrast can all make
off, for according the Type Rules! there would be no for poor legibility if set at a small size. Its readability
Typefaces vary from clear and distinguishable letter- Typefaces vary from clear and distinguishable letterforms that rhythmic design or even-texture especially when is low on the other hand because there is only 1 point
forms that flow easily before the eye and are suitable for flow easily before the eye and are suitable for extended blocks concerning a large body of text. Even though many leading added to the 11 point size making it very hard
extended blocks of text/ to more dramatic and eye-catch- of text/ to more dramatic and eye-catching typefaces that grab typefaces are automatically spaced according to their to read for the lines are extremely close together. This
ing typefaces that grab attention and are used in news- attention and are used in newspaper headlines and advertise- design, one may want to go back and manually set typeface works best at a large leading size relative to it
paper headlines and advertisements. Palatino Linotype ments. Minion Pro Regular 10/12
Regular 10/12
spaces between characters (kerning) for even better point size such as setting 11/15 seen in this assignment.
legibility. Otherwise I think the typeface is a very good design.
Leading also has a major effect on legibility. If leading
is too small, the descenders or ascenders of characters
may touch other characters creating quite a mess.
Although none of the typefaces in this assignment have
Typefaces vary from clear and distinguishable letterforms that Typefaces vary from clear and distinguishable letter- touching ascenders or descenders, some still have very
flow easily before the eye and are suitable for extended blocks of forms that flow easily before the eye and are suitable for small leading such as a 12 point leading to a 11 point
text/ to more dramatic and eye-catching typefaces that grab at- extended blocks of text/ to more dramatic and eye- typeface. Having leading at a larger point size, but not
tention and are used in newspaper headlines and advertisements. catching typefaces that grab attention and are used too large since it would then effect readability in a body
Candara Regular 9/12 in newspaper headlines and advertisements. Century
text, would make for better legibility.
Gothic Regular 9/12
12 13
Example of Poor Legibility
The display typeface for this yellow page ad for a design
group has poor legibility for many reasons. Legibility
deals mostly with the style of the typeface. Choosing
a script to be used at such a small size, in this case in a
three-inch ad, can be difficult to read. Also in this ad,
they chose to put in a photo background, compounding
Figure 5. clay. the difficultness for the display typeface to be read. The
Trebuchet MS. designer or typographer may have realized this and
Do not be thrown off by the penguin in the tuxedo, this is added the white outline around the script and other
actually an assignment to find an example of poor legibility and another text. Overall, when choosing a script typeface one has
to be careful because it can break up easily at small sizes
example of poor readability. After we find the examples of each we had to causing poor legibility, which is not good especially when
post them to the online forum and discuss why they were poorly typeset and the target audience is most likely going to flip through
the yellow pages quickly. One way to correct this is to
suggest how they could improve. choose a different typeface style such as a simpler script
or even use a serif or sans serif.
At first I pondered where I could find really poor legibility and readability
examples and the immediate thought was the phone book, but first I looked
through magazines, fliers from the mail, and coffee table books. I did not
have any luck finding anything or that I did not find anything because I have Exampler of Poor Readability
not yet the typographer's keenness to spot mistakes no matter how small. I was surprised at the poor readability of
the body copy of this Verizon and Idearc
Media ad in their yellow book. Even if the
I finally decided to flip through the phone book and found many examples. ad took the whole page size, the reverse
I chose two that were not only really bad but could be improved. My type of the body copy is still just too small
and thin to be read with ease. It ironically
observations are on the next page, but briefly what I most remembered looks the same as the fine print below. I am
or learned from this assignment was that it is best to use script sparingly assuming the small typeface looked fine on
the computer screen when the topographer
especially behind a busy background and to be aware of the type a paper typeset it, but once printed on the low
you print for it can have an affect on readability. This was a great assignment quality paper lost its clarity. From the
lecture from this week concerning reverse
to post to the forum for other students found definitely worse typeset pieces type, a way to fix this is to increase the point
(not all the pieces however for some I believe sacrafised readability and size and or choose a heavier weight font.
Otherwise, there is no other problem for
legibility as to create a design element) , I guess there is a lot out there that kerning and line spacing look fine. I guess
need to be improved one has to be very careful with reverse type
and what kind of paper it is going to be
printed on.
14 15
Rachel Ann Enlow Gradl 43pt Rachel Ann Enlow Prestige E
Rachel Ann Enlow Curlz MT

Rachel Ann Enlow Kino MT 28pt
Rachel Ann Enlow Constant
Rachel Ann Enlow Kristen ITC 18pt
Figure 6. green tea
leaves. courier new.
This assignment i believe was giant leap into creativity and
Rachel Ann Enlow Eurostile
Rachel Ann Enlow High Tower Text 21pt
experimentation, definitely a fun forum posting with everyone involved.
We had to type our first and last name using a variety of fonts and point Rachel Ann Enlow Inkpen2 S
sizes at least thirty times and then choose three descriptive words that Rachel Ann Enlow Gigi 22pt
describe our personality. With each of these three descriptive words we
Rachel Ann Enlow Informa
had to find a font that best reflected it and type our names. We were free
Rachel Ann Enlow Impact 23pt
to vary typefaces of each letter, use upper and lowercase characters, vary
weights, use color and pattern, have background color or texture, and Rachel Ann Enlow Goudy
change direction of letters. The objectives were to observe the difference

Rachel Ann Enlow Adobe Garamond Pro 23pt
in letter forms when choosing different fonts and point sizes and to learn to
Rachel Ann Enlow Tempus S
work with type expressively by choosing fonts whose characteristics become Rachel Ann Enlow OLIVEOIL 23pt
the vehicle for solving each individual problem.
Rachel Ann Enlow Pepita M
When typing the thirty fonts I chose a variety which included display, old Rachel Ann Enlow Old English Text MT 22pt
style, and script typefaces. I observed some fonts only allowed for small
caps such as Trajan Pro (wikied it and found out why) and that some fonts
Rachel Ann Enlow Lucida Sans
have very wide character widths such as Goudy Stout which I set all the way
Rachel Ann Enlow Orator Std 17pt
Rachel Ann Enlow Papyrus 2

Rachel Ann Enlow Palace Script 33pt
to nine points so it would not go totally go off the page!
With the three descriptive words I chose bookworm, imaginative, and fun.
With bookworm one I wanted to use a decorative capital or manuscript Rachel Ann Enlow Minion Std B
letter as the beginning character in order to have it reminiscent of an old Rachel Ann Enlow Myriad Pro 22pt
illumination book thus I had the rest of the letters set in a serif. With the
program Illustrator I was able to have the sinuous lines around the “R”
Rachel Ann Enlow MAXIMO
Rachel Ann Enlow Trajan Pro 15pt
Rachel Ann Enlow freestyle

green while keeping the rest a deep red like a stereotypical color of book
cover. I experimenting with masking and pattern with the imaginative and
fun inspired designs while also focusing much on letter positions. I received Rachel Ann Enlow Rosewood Std 20pt
good critique and found out there were way more possibilities to make my
Rachel Ann Enlow Century 1
type more dynamic and interesting. Rachel Ann Enlow Tekton Pro 24pt
16 17
nlow Gradl 43pt Rachel Ann Enlow Prestige Elite Std Bold 17pt
Bookworm
Rachel Ann Enlow Curlz MT 23pt

nlow Kino MT 28pt
Rachel Ann Enlow Constantia 21 pt
nlow Kristen ITC 18pt
Rachel Ann Enlow Eurostile 23pt
nlow High Tower Text 21pt Imaginative
Rachel Ann Enlow Inkpen2 Script 28pt
nlow Gigi 22pt
Rachel Ann Enlow Informal Roman 24pt
nlow Impact 23pt
Rachel Ann Enlow Goudy Stout 9pt
nlow Adobe Garamond Pro 23pt

Rachel Ann Enlow Tempus Sans ITC 21pt
nlow OLIVEOIL 23pt
Rachel Ann Enlow Pepita MT 23pt

nlow Old English Text MT 22pt
Rachel Ann Enlow Lucida Sans Unicode 19pt
nlow Orator Std 17pt
Fun
Rachel Ann Enlow Papyrus 20pt
nlow Palace Script 33pt
Rachel Ann Enlow Minion Std Black 18pt
nlow Myriad Pro 22pt
Rachel Ann Enlow MAXIMO 27pt
low Trajan Pro 15pt
nlow Rosewood Std 20pt

Rachel Ann Enlow freestyle Script 35pt
Rachel Ann Enlow Century 19pt
nlow Tekton Pro 24pt
18 19
Figure 7. Wire.
Giddyup Std.
I found out whenever you want a creative boost the virtual
online world of Second Life is perfect place to go (jeez, I should of went
before doing my type-self portrait). For this assignment or scavenger hunt
everyone in the class had to find and take snapshots of ten objects in a
list which included items ranging from the Globe Theatre to cave paintings.
When one of the items we had to find had to be Star Trek related, I was
surprised to see a poster representing the Klingon alphabet for it was
perfect for typography. Overall, by doing this we learned how to navigate
and search for items and places in Second Life which would come in handy
for the second part of the scavenger hunt.
For the second part we had to search for and photograph shapes which
represented three letters from the English alphabet. This took about the
longest. At first I went ancient Rome and found a table that was in a shape
of an “O” and was almost in a gladiator fight with a lion. Then I went to an
old Victorian city and found a window in a shape of an “M” and found down
the street a cast-iron mailbox in a shape of an “F.” All three images of the
letters can be seen bottom of the group.
After the scavenger hunt there was critique in Second Life where we viewed
our each other’s snapshots. Although it was a critique it was more so a test
pilot, for everyone was still figuring out how to maneuver and communicate
to each other. This assignment has definitely got us prepared to interact for
later critiques of our projects that were yet to come.
20 21
featherbrained
Figure 8. chocolate
syrup. Inkpen2.
An image is always connected to a word and a word is always
connected to a typeface, maybe if one thinks typography all the time!
Siren
For this assignment or forum posting we had to choose four images from a
group and select a typeface whose visual stylistic qualities best demonstrate
the rational or emotional understanding of it. At first I was overwhelm, just
choosing which images to use was hard. Once I chose the images I had to
ask myself what I want my audience to take away from the design and what
visual means can I use to help do this.
For the red high heel shoe image in which I chose the word “siren” I
tried to find a typeface which would read to the audience as sexy while
Demure
still sophisticated. I found the font Gradl, that I had used in a previous
assignment, a perfect match to the word and especially to the image in how
the narrow stems in almost each of the letters echoes the slenderness of
the high heel point. With The feather hat image in which I chose the word
“featherbrain,” I found a typeface pretty quickly, for I knew there were a
hiatus
couple of display faces within the program’s library which had these simple
but elaborate curls. Using the display typeface Gigi and varying the colors
of the letters were the visual means in how I would communicate my word
and image to the audience to read as scatterbrain. With the casual hat I
chose the word hiatus and the font Prestige Elite Std. I chose this certain
typeface which looks much like from the typewriter days with the word and
image because it reminded me and hopefully others of an old man on hiatus
writing on his typewriter while wearing his vacation hat. Lastly, for the black
high heel shoes I chose the word “demure” and set it in the font Occidental.
I wanted to communicate to the audience that this a shoe that would have
been worn in the Victorian times by someone who is very coy and modest
and thus the word “demure” and the typeface I believe best represents this.
There are millions of possibilities of image and thus millions of words and
even maybe typefaces.
22 23
3. What styles did the Pushpin Advertising group employ?
The Pushpin Advertising group employed styles that drew from history, for example psychedelia art and Art Deco.
4. Was Paula considered a natural designer?

She was not considered a natural designer by others, in the podcast she described how poorly she did when she first started
in art school.
5. What was her strength in her third year of college?

Figure 9. watercolor Her strength was problem solving, she said her ideas were often good.
and salt. Impact.
There are many great designers who have put out many 6. What was interesting about how she initially worked with type?
works and I am ashamed I do not know as many as I should, so listening At first, she was limited to press type so therefore at the time she never had a very strong interest in typography. Her instructor
to the podcast of Design Matters with Paula Scher was a great way to learn told her to illustrate or essentially design the type in her pieces instead. She says later in the podcast she came to hand paint type
about one of the leading figures in design. The following are questions I over album covers to match the illustration and photography when she was an art director for a record company.
answered about the interview:
7. How does she describe letterforms?
Interview with Paula Scher Podcast She describes letterforms as abstractions.
1. What college did Paula attend? 8. What artist(s) influence her fine art?
Tyler School of Art Early conceptual artists such Barbara Kruger, influenced her fine art.
2. What is her thinking on the concept of Imitation? 9. What is her definition of Popular design?
Paula’s thinking on the concept of Imitation is one had to Paula’s defines Popular design as design that appeals to or is seen by a mass population rather than defining it as a movement
essentially become, as she did, a style digger because the only or in an aesthetic sense.
alternatives in the 60’s from the International or Swiss grid
10. What three designers does she feel are idea driven rather than style driven?
design were styles that already drew from the past. In her case,
Christoph Niemann, Nicholas Blechman, and Paul (Savoir?)
she said she came to master any form of design.
11. What is her advice about talking to a client?
Her advice is beforehand, if you are early in your career, find a patron who wants to make good things happen who will help
navigate you through organization thus making talking to a client more successful.
12. What is the common denominator among her associates within her company?
She says all her associates including herself are feisty middle class kids who want to make stuff and work hard. She also describes
them as being highly motivated and competitive.
13. In her “older” years, how does she describe herself?

She says it is harder for her to be new at things so she often looks at the work of young designers for inspiration. She also feels
in her older years that she is very much an abstract and modernist graphic designer.
14. Who is her husband and what does he do?

Her husband is Seymour Chwast and he designs and illustrates.
24 25
Layout #1a
The Elements of Typographic St yle
Robert Bringhurst “All desktop typographers should study this book. It is

not just one more publication on typography, like so
many others on the market. It is, instead, a must for
everybody in the graphic arts, and especially for our new
friends entering the field. Written by an expert, Robert
Figure 10. rubber Bringhurst’s book is particularly welcome in an age
stamps, ink, and where typographic design is sometimes misconstrued
marker. At first i did not think of hierarchy of information a as a form of private self-expression for designers. As
design principle to explore in depth since it made simple sense Bringhurst puts it: ‘Good typography is like bread:
ready to be admired, appraised and dissected before
to put the more important items with more emphasis, but from doing six
it is consumed.’ I wish to see this book become the
different designs with specific criteria I learned that to create a successful Typographer’s Bible.” -Herman Zapf
hierarchy of Information takes way more effort and skill. At first, when Second edition, revised & enlarged
Hartley & Marks Publisher
receiving the assignment, I looked for what the group of unformatted text ISBN 0-88179-132-6
$24.95 in the USA / $34.95 in Canada
was to communicate which was a short book review. Then I looked for some
Layout #1b
time at previous student solutions or examples that were posted in class
which worked with the same information. I saw what worked and did not.
Then came the long process of trying myself to create an interesting and Robert Bringhurst
successful solution to the organizing and positioning of information. “All desktop typographers should The Elements
study this book. It is not just one more ofTypographic
For the first two layouts we had to use Helvetica, in my case Arial Rounded, publication on typography, like so many Style
others on the market. It is, instead, a
at 9 points relying on positioning to create a hierarchy of information. At must for everybody in the graphic arts,
first I figured out the correct column widths for the body text, not trying and especially for our new friends
entering the field. Written by an expert,
to make them too wide or narrow. Then I focused or played around with Robert Bringhurst’s book is particularly
positioning the title and author’s name. I ended up having them act or welcome in an age where typographic
design is sometimes misconstrued as
appear as a top corner piece to the body text so that one see it with more
a form of private self-expression for
emphasis yet it is still part of the whole ‘unit.’ With the second set of layouts designers. As Bringhurst puts it: ‘Good
we had to use Times at 11 points but this time could use weight along with typography is like bread: ready to be
admired, appraised and dissected
position to create a hierarchy of information. These however are my least before it is consumed.’ I wish to see
strongest for the second of the set could improve much with a grid. this book become the Typographer’s
Bible.” -Herman Zapf
Lastly, for the third set of layouts we were allowed to use position, weight, Second edition, revised & enlarged
and variety of point sizes to create a hierarchy of information. For the first ISBN 0-88179-132-6
one in the set I wanted to be creative and have the author’s name forming
the “o” in the title. On the next one I aligned all the “t”s. With this I hoped to
create most emphasis in the headline and title but in the meantime I believe
I spaced out the body text too much and left huge rivers of white when I
justified it! This has definitely been an challenging assignment!
26 27
Layout #2a Layout #3a
The Elements of
The Elements of Typographic Style
Robert Bringhurst
“All desktop typographers should misconstrued as a form of private

study this book. It is not just one self-expression for designers. As
Typ graphic by
Robert
Bringhurst
Robert
by
Style
“All desktop typographers should study this a form of private self-expression for designers.
more publication on typography, like Bringhurst puts it: ‘Good typography book. It is not just one more publication As Bringhurst puts it: ‘Good typography is like
so many others on the market. It is, is like bread: ready to be admired, on typography, like so many others on the bread: ready to be admired, appraised and
instead, a must for everybody in the appraised and dissected before it is market. It is, instead, a must for everybody dissected before it is consumed.’ I wish to see
graphic arts, and especially for our new consumed.’ I wish to see this book in the graphic arts, and especially for our this book become the Typographer’s Bible.“
friends entering the field. Written by become the Typographer’s Bible.” new friends entering the field. Written by -Herman Zapf
an expert, Robert Bringhurst’s book is -Herman Zapf an expert, Robert Bringhurst’s book is Second edition, revised & enlarged
particularly welcome in an age where particularly welcome in an age where typo-
ISBN 0-88179-132-6
Second edition, revised & enlarged
typographic design is sometimes Hartley & Marks Publisher graphic design is sometimes misconstrued as $24.95 in the USA / $34.95 in Canada
ISBN 0-88179-132-6
Layout #2b Layout #3b
Robert Bringhurst
The Elements of
The Elements of Typographic Style Typographic Style
“All desktop typographers should study this book. It is not t
R obe R bR inghu R st
just one more publication on typography, like so many “All desktop typographers should study this book.
others on the market. It is, instead, a must for everybody in It is not just one more publication on typography,
the graphic arts, and especially for our new friends entering
like so many others on the market. It is, instead,
the field. Written by an expert, Robert Bringhurst’s book is
particularly welcome in an age where typographic design is a must for everybody in the graphic arts, and
sometimes misconstrued as a form of private self-expression especially for our new friends entering the field.
for designers. As Bringhurst puts it: ‘Good typography is Written by an expert, Robert Bringhurst’s book
like bread: ready to be admired, appraised and dissected
is particularly welcome in an age where typo-
before it is consumed.’ I wish to see this book become the
graphic design is sometimes misconstrued as a form of
Typographer’s Bible.” -Herman Zapf
Second edition, revised & enlarged private self-expression for designers. As Bringhurst puts
ISBN 0-88179-132-6 it: ‘Good typography is like bread: ready to be admired,
$24.95 in the USA / $34.95 in Canada appraised and dissected before it is consumed.’ I wish
to see this book become the Typographer’s Bible.“
-Herman Zapf Second edition, revised & enlarged

ISBN 0-88179-132-6
28 29
1. Visually Comfortable Letterspacing
MRS. PICKILAWICK
#1a- 45 pt serif at -57 with “M” & “R” adjusted -30, “S” & “.” adjusted -15, both “I” & “C” pairs adjusted -20, both “C” & “K” pairs ad-
justed -40, “K” & “I” adjusted +10, “L” & “A” adjusted -5, “A” & “W” adjusted -170, and “W” & “I” adjusted -20.
MRS. PICKILAWICK
Figure 11. paper
and glue.
All i have to say is that is takes a lot time and eye for #1b- 30 pt serif at -57 (no changes in kerning, translates well in smaller font size from above 45 pt font).
detail to kern or letter space (also known as character spacing)
but it is worth while especially setting type in a large point size in which
MRS. PICKILAWICK
inconsistencies or gaps can be more visible. For this assignment we had to
set lines of text, one with pure letters and the other with sets of numbers,
using visually comfortable letter spacing, loose letter spacing, and then tight #1c- 45 pt san serif at +37 with “M” & “R” adjusted -30, “S” & “.” adjusted -60, “P”and “I” adjusted -22, both “I” and “C” pairs adjusted
-15, both “C” & “K” pairs adjusted -30, “L”& “A” adjusted -20, “A” & “W” adjusted -70.
letter spacing all in both serif and san serif. The goal of this project is to
create a consistent look and thus determine the affects of letter spacing and
kerning have on readability.
MRS. PICKILAWICK
#1d- 30 pt san serif at +37 (no changes in kerning, translates well in smaller font size from above 45 pt font).
When doing this assignment I adjusted the tracking first, which is the
addition or reduction of the overall letter spacing, and then went in a
manually adjusted or kerned letter pairs. I found out from doing this that it is
important to kern odd letter pairs such “A” and “W” which at one point I had
to reduce the letter spacing by twice amount of the tracking I had initially
1760, 1492, 2001, 7367
#1e- 45 pt serif at -42 with “6” & “0” adjusted +10, “0”& “,” adjusted -32, “1” & “4” adjusted +20, “4”& “9” adjusted +10, “0”& “0”
adjusted +20, and “3” & “6” adjusted +20.
set for all the other letter pairs. Another odd pair in the case of numbers
are the placement of two zeros next to each other. In almost in each pair I
had to add letter spacing (or number spacing!). This was not avoidable for
“0” spans body width and has a large counter thus when two are placed
1760, 1492, 2001, 7367
#1f- 30 pt serif at -42 (no changes in kerning, translates well in smaller font size from above 45 pt font).
next to each other the gap between the two especially after adjusting the
tracking for all the numbers to be overall tighter, appears way too narrow
1760, 1492, 2001, 7367

and creates tension between the two.
There are numerous other odd letter pairs I had to ‘fix’ which can be seen
in the notes below each line. It makes me curious how many letter pairs #1g- 45 pt serif at -65 with “1” & “7” adjusted -70, “6” & “0” adjusted +20, “0” and “,” adjusted -60, “1” & “4” adjusted -60, “4” & “9”
adjusted +20, “0” & “0” adjusted +30, “0” & “1” adjusted -40, and “7” & “3” adjusted -30.
adjustments were embedded by the type designers in the fonts that I had
chose, which were Myriad Pro and High Tower Text. I hope I did not give
them bad justice. 1760, 1492, 2001, 7367
#1h- 30 pt serif at -65 (no changes in kerning, translates well in smaller font size from above 45 pt font).
30 31
2. Lowercase 3. Tight Letterspacing
Mrs. Pickilawick
#2a- lowercase 45 pt serif at -57 (changes in kerning include “s” & “.” adjusted to 0, “a” & “w” adjusted to -48, and both “c” & “k” pairs
adjusted to -20)
Mrs. Pickilawick
#3a- 45 pt serif at -80 (changes in kerning include “M”& “r” adjusted to -10, both “c” and “k” pairs adjusted to -5, “k” and “i” adjusted to
+20, “i” & “l” adjusted to +20, and “l” & “a” adjusted to +10).
Mrs. Pickilawick
#2b- lowercase 30 pt serif at -57 (no changes in kerning, translates well in smaller font size from above 45 pt font).
Mrs. Pickilawick
#3b- 30 pt serif at -80 (changes in kerning, due to smaller font size, includes “a” and “w” adjusted to -24)
Mrs. Pickilawick
#2c- lowercase 45 pt san serif at +37 (changes in kerning include “P” & “i” adjusted to -60, both “i”& “c” pairs adjusted to -50, “k”& ï”
Mrs. Pickilawick
#3c- 45 pt san serif at -50 (changes in kerning include “s” & “.” adjusted to -42, “P” & “i” adjusted to -30, and both “i” and “c” pairs
adjusted to -32, both “c” and “k” pairs adjusted to -20, and “a” and “w” adjusted to -40).
adjusted to +20, and “a”& “w” adjusted to -60).
Mrs. Pickilawick
Mrs. Pickilawick
#2d- lowercase 30 pt san serif at +37 (no changes in kerning, translates well in smaller font size from above 45 pt font).
#3d- 30 pt san serif at -50 (changes in kerning, due to smaller font size, include “s” and “.” adjusted to -30, “c” and “k” adjusted to -10,
and “l” & “a” adjusted to -5).
1760, 1492, 2001, 7367 1760, 1492, 2001, 7367

#3e- 45 pt serif at -90 (changes in kerning include “6” & “0” adjusted to 30, “1”& “4” adjusted to +30, “0” & “0” adjusted to +30, and
#2e- (lowercase?) 45 pt serif at -42 with “6” & “0” adjusted +10, “0”& “,” adjusted -32, “1” & “4” adjusted +21, “4”& “9” adjusted +10, “3”& “6” adjusted to +20).
“0”& “0” adjusted +20, and “3” & “6” adjusted +20.
1760, 1492, 2001, 7367 1760, 1492, 2001, 7367

#3f- 30 pt serif at -90 (changes in kerning, due to smaller font size, include “7”& “6” adjusted to +30, “0”& “0” adjusted to +40, “7” & “3” adjusted to
#2f- (lowercase?) 30 pt serif at -42 (no changes in kerning, translates well in smaller font size from above 45 pt font) +30, and “3”& “6” adjusted to +30).
1760, 1492, 2001, 7367

#2g- (lowercase?) 45 pt serif at -65 with “1” & “7” adjusted -70, “6” & “0” adjusted +20, “0” and “,” adjusted -60, “1” & “4” adjusted
1760, 1492, 2001, 7367
#3g- 45 pt san serif at -125 (changes in kerning include “6” & “0” adjusted to +40, “0” & “0” adjusted to +40, and “7” & “3” adjusted to
-60, “4” & “9” adjusted +20, “0” & “0” adjusted +30, “0” & “1” adjusted -40, and “7” & “3” adjusted -30. +10).
1760, 1492, 2001, 7367 1760, 1492, 2001, 7367

#2h- (lowercase?) 30 pt serif at -65 (no changes in kerning, translates well in smaller font size from above 45 pt font). #3h- 30 pt san serif at -125 (no changes in kerning, translates well in smaller font size from above 45 pt font).
32 33
Rachel Enlow
Kerning
4. Loose Letterspacing 6. Observation
From my observations I believe the very tight letterspac-
M r s . Pi c k i l a w i c k
#4a- 45 pt serif at +150 (changes in kerning include “M”& “r” adjusted to -50, “r”& “s” adjusted to -10,“s”& “.” adjusted to -30, and “P”
& “i” adjusted to -80).
ing as seen in step #3 looks best. It may be because of
the short amount of text provided. Also the large type
sizes, 30pt and 45pt, suggests display type in which
one can get away using tighter letterspacing effectively.
Otherwise, if what was provided in this assignment was
a body text or paragraph, thus may be smaller font size
Mr s . Pi c k i l a w i c k
#4b- 30 pt serif at +150 (changes in kerning, due to smaller font size, include “w” & “i” adjusted to -30)
requirements, a looser letterspacing would be best and
yikes I would not want to know how long it would take
to kern the piece!
M r s. Pic k i l aw ic k
#4c- 45 pt sans serif at +150 (changes in kerning includes “r” & “s” adjusted to -40).
M r s. Pic k i l aw ic k
#4d- 30 pt san serif at +150 (no changes in kerning, translates well in smaller font size from above 45 pt font).
1 7 6 0 , 1 4 9 2 , 2 0 0 1, 7 3 6 7
#4e- 45 pt serif at +150 (changes in kerning include “0”& “0” adjusted to -10, and “1”& “,” adjusted to -60).
1 7 6 0 , 1 4 9 2 , 2 0 0 1, 7 3 6 7
#4f- 30 pt serif at +150 (no changes in kerning, translates well in smaller font size from above 45pt font).
17 6 0, 14 9 2 , 2 0 0 1 ,
73 67
#4g- 45 pt san serif at +150 (changes in kerning include “0”& “0” adjusted to -20, and “1”& “,” adjusted to -40).
17 6 0, 14 9 2 , 2 0 0 1 , 7 3 6 7
#4h- 30 pt san serif at +150 (no changes in kerning, translates well in smaller font size from above 45pt font).
35
Figure 12. orange
wooden blocks.
For the first major project we had to create a two page
magazine spread that utilized either a two-column or three-column
layout and of course the grid. We were given a good amount of text from an
article discussing the design of the novel Dog in the Night and from there
we had to format the text and include creative headlines.
DogNight
Having a grid, I learned, organizes information and improves an overall become a bona fide bestseller in the UK. It is that
rare phenomenon, a work of genuine literary
senior lecture in English at University College
London, as well as a prolific critic) because it
merit which is read by adults and children. is unusual to find any prominence given to
typography outside the design press. And even
design and almost all magazines as well as other media utilize the grid. On Dean's witty, illustrative
cover, with its vernacular
more unusual to find remarks about a book's
in the
typography within a serious review in a national
typography and run- newspaper. Mullan spotted that the use of a
the facing page are my thumbnails and spreads, in which I decided on using over dog, is acknowledged within the
UK publishing trade as a commercial and artistic
sans serif font (Frutiger) aided the author's
intent: "The font's discomforting simplicity,"
It is not unknown
he states, "is perfectly suited to Haddon's
success. It neatly captures the dead-pan allure
narrator, Christopher, in all his pedantic veracity
the two column grid, with the visible guides or grid. The font I chose for of Haddon's unusual tale, and appeals equally
to young and old - no easy task for the modern
(sometimes just cataloguing or enumerating) and
the plainness is even there in the lettering."
It is common for the jackets of literary designer. But Dean's design horrified the book's
fiction to be changed when published in American publisher: 'If we put this out, we'd sell The book's design was by Peter Ward. The text is
the body text was Frutiger for a suprising and logical reason! I chose the other countries. A work of fiction may three copies,' they said. The American cover (Fig.
2) is blandly neutral in comparison: the design is
interspersed with illustrations, diagrams, equations,
have a different cover for every country charts, maps and other graphic ephemera. Ward
mainly typographic with a graphic of an upturned is reluctant to take much credit for the use of the
it is published in. If nothing else, this
for novelists to
font for the article describes the authors’ unusual choice of using Frutiger
dog as the only concession to the story's central sans serif font, but is fulsome in his praise of Mark
practise suggests that globalisation, with motif. It looks as if the US publisher is attempting Haddon and the book's editor Dan Franklin. "The
its tendency towards standardization of the difficult balancing act of trying to appeal to font was probably Mark's idea," he states. "I
design, hasn't reached the literary novel. both the young and the not-so-young, but only was given the manuscript and I was instantly
instead of the traditional serif for the book for it aided in his intent and as 'Cultural inappropriateness' is the reason usually
given for changing a cover design. However,
succeeding in crash landing somewhere in between. struck by it. It was wonderful, and the job of
translating Christopher's thoughts and speech
Design interest in this extraordinary book doesn't
'commercial inappropriateness' is probably a was a designer's dream. A really wonderful job."
end there, either. The following review by the British
one described, had a discomforting simplicity. Thus I wanted the headline to more accurate reason. A design that works in the
literary critic John Mullan in The Guardian Review, a Ward also designed the text for Irving Welsh's
be interested in
USA, for example, may be deemed unsuitable for
highbrow supplement to The Guardian newspaper, 'Filth', in which a wandering tape worm makes
the Italian market. A brief search on the various
national Amazon sites throws up some interesting
caught my eye: "Many readers," Mullan notes, "will It is not un-
frequent appearances.
known for novelists to
also be simple and limit the colors to either be green or red. cover 'make-overs', and my far from scientific
researches (and years spent buying and browsing
have their experience of Mark Haddon's novel
shaped by a technical peculiarity of which they might
be interested in typog-
books on both sides of the Atlantic) tell me
not be conscious. The Curious Incident of the Dog in
the Night-Time uses a sans serif font: that is, a simple
raphy. Evelyn Waugh was a noted connois-
that covers originating in the UK are frequently seur of typography and collector of fine printing; in
D
kind of print in which letters lack the little tails and
changed when they are published in the US. the current era Dave Eggers takes a sharp-eyed in-
Well back to the grid! I believe the grid is most visible and well utilized in the
plinths that printers call serifs. This is highly unusual
typography.
terest in the typographic construction of his books.
This is confirmed by Susanne Dean, the London- in any published book; the convention is that serifs
og
But it is rare within literary fiction, where semantic
based creative director of heavyweight publisher help the brain's visual apparatus as a line of print is
and conceptual adventurousness are highly prized,
Random House. Her UK cover designs are routinely scanned. The tiny thickenings and thinnings of the
to find alternatives to justified blocks of serif type.
headline of my first magazine spread. I decided to spread the headline over changed for US publication. A recent example
is her design (Fig. 1) for Mark Haddon's The
limbs of every letter give the eye something to catch
on to. Sans serif fonts may be used in advertisements, It's worth noting that the American publisher
Night
Curious Incident of the Dog in the Night-Time. A headlines and the like, but their simplicity is almost did not retain the use of Frutiger for the
in the Written by Adrian Shaughnessy physically uncomfortable in any lengthy text."

the two columns and emphasized this seperation by having “Dog” in red
book about an autistic child who sees the world book's text. What does this tell us about
Published on June 4, 2004. Filed in Voice: Journal of with searing, un-metaphorical clarity, it has
-bark! the difference between UK and US graphic
It's worth quoting Mullan at length (he's a
Design in Cultural exchange. won a number of major literary prizes and has perception? I wouldn't presume to guess.
and leaving “Night” in black which I ended up making an uppercase serif. I Written by Adrian Shaughnessy
It is common for the jackets of literary become a bona fide bestseller in the UK. It is that the Night-Time uses a sans serif font: that is, a simple font was probably Mark's idea," he states. "I
then had smaller “in the” act as a transition by changing it to red and black fiction to be changed when published in rare phenomenon, a work of genuine literary kind of print in which letters lack the little tails and was given the manuscript and I was instantly
other countries. A work of fiction may merit which is read by adults and children. plinths that printers call serifs. This is highly unusual struck by it. It was wonderful, and the job of
in any published book; the convention is that serifs translating Christopher's thoughts and speech
have a different cover for every country
Dean's witty, illustrative help the brain's visual apparatus as a line of print is was a designer's dream. A really wonderful job."
and having it be serif yet not uppercase. I then used vertical guides and practise suggests that globalisation, with cover, with its vernacular
typography and run-
scanned. The tiny thickenings and thinnings of the
limbs of every letter give the eye something to catch Ward also designed the text for Irving Welsh's 'Filth',
its tendency towards standardization of
design, hasn't reached the literary novel. over dog, is acknowledged within the on to. Sans serif fonts may be used in advertisements, in which a wandering tape worm makes frequent
set up a grid the carries over the two columns to help set “in the” to match headlines and the like, but their simplicity is almost appearances. It is not unknown for novelists to
'Cultural inappropriateness' is the reason usually physically uncomfortable in any lengthy text." be interested in typography. Evelyn Waugh was a
given for changing a cover design. However, noted connoisseur of typography and collector of
of Haddon's unusual tale, and appeals equally
'commercial inappropriateness' is probably a It's worth quoting Mullan at length (he's a senior fine printing; in the current era Dave Eggers takes a
the baseline of “Dog.” Using the grid also helped me create interesting more accurate reason. A design that works in the
designer. But Dean's design horrified the book's
lecture in English at University College London, as
well as a prolific critic) because it is unusual to
sharp-eyed interest in the typographic construction
of his books. But it is rare within
American publisher: 'If we put this out, we'd sell
three copies,' they said. The American cover (Fig.
find any prominence given to typography outside
literary fiction, where
negative space which is reflected in both spreads as a verticle and then semantic and conceptual
national Amazon sites throws up some interesting the design press. And even more unusual to find
remarks about a book's typography within a serious
cover 'make-overs', and my far from scientific
mainly typographic with a graphic of an upturned
review in a national newspaper. Mullan spotted adventurousness are
dog as the only concession to the story's central
that the use of a sans serif font (Frutiger) aided highly prized, to find
horizontal element.
motif. It looks as if the US publisher is attempting alternatives to justified blocks of serif type.
that covers originating in the UK are frequently the author's intent: "The font's discomforting
the difficult balancing act of trying to appeal to
changed when they are published in the US. simplicity," he states, "is perfectly suited to Haddon's
both the young and the not-so-young, but only It's worth noting that the American publisher
succeeding in crash landing somewhere in between. did not retain the use of Frutiger for the
This is confirmed by Susanne Dean, the London- (sometimes just cataloguing or enumerating) and
the plainness is even there in the lettering." book's text. What does this tell us about
based creative director of heavyweight publisher Design interest in this extraordinary book doesn't
I believe I could of used the grid more strongly, however this is my first Random House. Her UK cover designs are routinely
changed for US publication. A recent example
literary critic John Mullan in The Guardian Review, a
The book's design was by Peter Ward. The text is
the difference between UK and US graphic
perception? I wouldn't presume to guess.
is her design (Fig. 1) for Mark Haddon's The interspersed with illustrations, diagrams, equations,
highbrow supplement to The Guardian newspaper,
charts, maps and other graphic ephemera. Ward Published on June 4, 2004.
project and there are more to come.
Curious Incident of the Dog in the Night-Time. A caught my eye: "Many readers," Mullan notes, "will
book about an autistic child who sees the world is reluctant to take much credit for the use of the
have their experience of Mark Haddon's novel
with searing, un-metaphorical clarity, it has shaped by a technical peculiarity of which they might
sans serif font, but is fulsome in his praise of Mark Filed in Voice: Journal of Design
won a number of major literary prizes and has not be conscious. The Curious Incident of the Dog in
Haddon and the book's editor Dan Franklin. "The in Cultural exchange.
36 37
in Cultural exchange. not be conscious. The Curious Incident of the Dog in won a number of major literary prizes and has
Haddon and the book's editor Dan Franklin. "The
shaped by a technical peculiarity of which they might with searing, un-metaphorical clarity, it has
Filed in Voice: Journal of Design sans serif font, but is fulsome in his praise of Mark
have their experience of Mark Haddon's novel book about an autistic child who sees the world
is reluctant to take much credit for the use of the
Published on June 4, 2004. charts, maps and other graphic ephemera. Ward
caught my eye: "Many readers," Mullan notes, "will Curious Incident of the Dog in the Night-Time. A
highbrow supplement to The Guardian newspaper, is her design (Fig. 1) for Mark Haddon's The
interspersed with illustrations, diagrams, equations,
literary critic John Mullan in The Guardian Review, a changed for US publication. A recent example
perception? I wouldn't presume to guess. The book's design was by Peter Ward. The text is
end there, either. The following review by the British Random House. Her UK cover designs are routinely
the difference between UK and US graphic
the plainness is even there in the lettering." Design interest in this extraordinary book doesn't based creative director of heavyweight publisher
book's text. What does this tell us about
(sometimes just cataloguing or enumerating) and This is confirmed by Susanne Dean, the London-
did not retain the use of Frutiger for the succeeding in crash landing somewhere in between.
It's worth noting that the American publisher narrator, Christopher, in all his pedantic veracity
both the young and the not-so-young, but only
simplicity," he states, "is perfectly suited to Haddon's changed when they are published in the US.
the difficult balancing act of trying to appeal to
the author's intent: "The font's discomforting that covers originating in the UK are frequently
alternatives to justified blocks of serif type. motif. It looks as if the US publisher is attempting
highly prized, to find that the use of a sans serif font (Frutiger) aided
dog as the only concession to the story's central
adventurousness are review in a national newspaper. Mullan spotted
mainly typographic with a graphic of an upturned
remarks about a book's typography within a serious cover 'make-overs', and my far from scientific
semantic and conceptual the design press. And even more unusual to find
literary fiction, where three copies,' they said. The American cover (Fig.
find any prominence given to typography outside the Italian market. A brief search on the various
American publisher: 'If we put this out, we'd sell
But it is rare within of his books. well as a prolific critic) because it is unusual to
designer. But Dean's design horrified the book's
sharp-eyed interest in the typographic construction lecture in English at University College London, as more accurate reason. A design that works in the
fine printing; in the current era Dave Eggers takes a It's worth quoting Mullan at length (he's a senior 'commercial inappropriateness' is probably a
noted connoisseur of typography and collector of given for changing a cover design. However,
be interested in typography. Evelyn Waugh was a physically uncomfortable in any lengthy text." 'Cultural inappropriateness' is the reason usually
appearances. It is not unknown for novelists to headlines and the like, but their simplicity is almost design, hasn't reached the literary novel.
in which a wandering tape worm makes frequent on to. Sans serif fonts may be used in advertisements,
over dog, is acknowledged within the
typography and run- its tendency towards standardization of
Ward also designed the text for Irving Welsh's 'Filth', limbs of every letter give the eye something to catch
cover, with its vernacular practise suggests that globalisation, with
scanned. The tiny thickenings and thinnings of the
was a designer's dream. A really wonderful job." help the brain's visual apparatus as a line of print is Dean's witty, illustrative have a different cover for every country
translating Christopher's thoughts and speech in any published book; the convention is that serifs
struck by it. It was wonderful, and the job of plinths that printers call serifs. This is highly unusual merit which is read by adults and children.
other countries. A work of fiction may
was given the manuscript and I was instantly kind of print in which letters lack the little tails and rare phenomenon, a work of genuine literary fiction to be changed when published in
font was probably Mark's idea," he states. "I the Night-Time uses a sans serif font: that is, a simple become a bona fide bestseller in the UK. It is that It is common for the jackets of literary
Night
Written by Adrian Shaughnessy
-bark! D og
in the
Dog
become a bona fide bestseller in the UK. It is that senior lecture in English at University College
rare phenomenon, a work of genuine literary London, as well as a prolific critic) because it
merit which is read by adults and children. is unusual to find any prominence given to
typography outside the design press. And even
Dean's witty, illustrative more unusual to find remarks about a book's
cover, with its vernacular
in the
typography within a serious review in a national
It isNight
typography and run- newspaper. Mullan spotted that the use of a
over dog, is acknowledged within the sans serif font (Frutiger) aided the author's
intent: "The font's discomforting simplicity,"
not unknown
he states, "is perfectly suited to Haddon's
(sometimes just cataloguing or enumerating) and
the plainness is even there in the lettering."
It is common for the jackets of literary designer. But Dean's design horrified the book's
fiction to be changed when published in American publisher: 'If we put this out, we'd sell The book's design was by Peter Ward. The text is
other countries. A work of fiction may three copies,' they said. The American cover (Fig. interspersed with illustrations, diagrams, equations,
have a different cover for every country charts, maps and other graphic ephemera. Ward
mainly typographic with a graphic of an upturned is reluctant to take much credit for the use of the
for novelists to
dog as the only concession to the story's central sans serif font, but is fulsome in his praise of Mark
practise suggests that globalisation, with motif. It looks as if the US publisher is attempting Haddon and the book's editor Dan Franklin. "The
its tendency towards standardization of the difficult balancing act of trying to appeal to font was probably Mark's idea," he states. "I
design, hasn't reached the literary novel. both the young and the not-so-young, but only was given the manuscript and I was instantly
'Cultural inappropriateness' is the reason usually succeeding in crash landing somewhere in between. struck by it. It was wonderful, and the job of
given for changing a cover design. However, translating Christopher's thoughts and speech
Design interest in this extraordinary book doesn't
'commercial inappropriateness' is probably a was a designer's dream. A really wonderful job."
more accurate reason. A design that works in the
literary critic John Mullan in The Guardian Review, a Ward also designed the text for Irving Welsh's
be interested in
highbrow supplement to The Guardian newspaper, 'Filth', in which a wandering tape worm makes
frequent appearances. It is not un-
caught my eye: "Many readers," Mullan notes, "will
cover 'make-overs', and my far from scientific
have their experience of Mark Haddon's novel known for novelists to
shaped by a technical peculiarity of which they might
be interested in typog-
not be conscious. The Curious Incident of the Dog in
the Night-Time uses a sans serif font: that is, a simple
raphy. Evelyn Waugh was a noted connois-
that covers originating in the UK are frequently seur of typography and collector of fine printing; in
kind of print in which letters lack the little tails and
changed when they are published in the US. the current era Dave Eggers takes a sharp-eyed in-
plinths that printers call serifs. This is highly unusual
typography.
terest in the typographic construction of his books.
This is confirmed by Susanne Dean, the London- in any published book; the convention is that serifs
But it is rare within literary fiction, where semantic
based creative director of heavyweight publisher help the brain's visual apparatus as a line of print is
and conceptual adventurousness are highly prized,
Random House. Her UK cover designs are routinely scanned. The tiny thickenings and thinnings of the
to find alternatives to justified blocks of serif type.
changed for US publication. A recent example limbs of every letter give the eye something to catch
is her design (Fig. 1) for Mark Haddon's The on to. Sans serif fonts may be used in advertisements, It's worth noting that the American publisher
Curious Incident of the Dog in the Night-Time. A headlines and the like, but their simplicity is almost did not retain the use of Frutiger for the
Written by Adrian Shaughnessy book about an autistic child who sees the world physically uncomfortable in any lengthy text." book's text. What does this tell us about
Published on June 4, 2004. Filed in Voice: Journal of with searing, un-metaphorical clarity, it has the difference between UK and US graphic
It's worth quoting Mullan at length (he's a
Design in Cultural exchange. won a number of major literary prizes and has perception? I wouldn't presume to guess.
38
Objectives Page
Event- The South Coast Earth Day Festival helps inspire awareness and appreciation of the Earth’s
Environment. At the festival are many activities booths, music, etc.
The audience for this event is all ages from all backgrounds.
Information that will appear on the poster:
What- South Coast Earth Day Festival 2009, organized by the Community Environmental Council
When- Sunday April 19, 2009, 10 am to 5:30 pm
Where- Alameda Park
Website- SBEarthDay.org
Figure 13. Hamster Three adjectives that describe this event:
food. Abadi MT.
Posters have the most intriguing origin and history -Life
-Replenished
concerning design, and many well-designed posters today catch
-Harmonious
attention often with only type. Using type as the main design element can
A Blue and Blue-green color scheme will work well with this event poster because it evokes freshness
create dynamic and interesting compositions and this is exactly the thing we and the color of the Earth with no pollution stressing the theme of “Life after Oil.”
had to do for our next project. Description- Following the disastrous oil spill in 1969 off the coast of Santa Barbara, worldwide
attention was placed on the need to protect our fragile ecosystem. By attending this fun filled, zero
For this project were to choose any event to advertise and design a poster waste event you will inspire awareness and appreciation for the Earth’s environment. There will be
plenty of live music, demonstration booths, and food so come celebrate and learn how you can restore,
that would end up on an 11”X17” poster using as mentioned before only recycle, reuse, reduce, and replenish!
type as the main design element with no images or pictures. I chose to do
an all type poster for the 2009 Earth Day Festival. The process portion of
this project was heavily stressed but undoubtably essential as I found out.
One part of the process was to write an objectives paper to help decide
what font, colors, and layout are appropriate to advertise the event. Another
process was experimenting with fonts and to create thumbnails. With the
thumbnails we did the first critique of everyone’s in Second Life and my
strongest one was my thumbnail strongly relying on the grid. I developed
that thumbnail and in the end changed it quite a bit.
The overall feel I wanted, as I explored in my thumbnails and font experiment

and hopefully executed in my final design, is that of something earthy and
beat up yet with the message of renewal shown by the color blue I chose
underscoring “Life after Oil”. The fonts I chose were Reprise Stamp, an all
caps display type with a grudge look representative of rocky Earth, and
Tall Paul, another display type that has the feel of handwriting showing the
casualty of the festival.
We again had a critique in Second Life but this time on our completed
posters. Everyone’s insight was well received and we discussed design
principles such as contrast, balance, etc. Overall I feel this was a successful
project.
40 41
SouthCoast
20 09
E
ARTH
DaY
Fe st ival
Organized by the Community Environmental Council
Life After Oil

Following the disastrous oil and appreciation for the
spill in 1969 off the coast Earth’s environment. There
of Santa Barbara, worldwide will be plenty of live music,
attention was placed on the demonstration booths, and
need to protect our fragile food so come celebrate and
ecosystem. By attending this learn how you can restore,
fun filled, zero waste event recycle, reuse, reduce, and
you will inspire awareness replenish!
Sunday April 19
Alameda Park, Santa Barbara CA
10 AM to 5:30 P M
EarthDay SB.org
42 43
Critique of original book cover design: haphazardly on the page. Overall, the composition does
not show much unity. One thing however, that catches my
The original book jacket is poorly designed because of several
attention or works is the cropping of photos on the right.
reasons. First, all the type on the front is centered causing
Lastly, the rest of the type on the back and flaps are typeset
monotony. Also the composition on the front is unbalanced
well with an open fill with plenty of negative space yet there
for the inclusion of the graphic on the lower right corner
needs to be more variety especially where the headlines are
(image of globe) competes with the title that is on the upper
monospaced. In addition, I think the color even if limited to
left corner and also the pictures that are somewhat placed
two colors is very uninviting.
Figure 14. Foam

letters.
For our last project we had to choose a book with a poor
cover design and redesign a book jacket for it using only type and
graphic shapes only. Doing this project is important, for the design or the
typography of a book cover may very well be the deciding factor if someone
picks up the book or not. Even the design of the spine seen from a shelf
can be a deciding factor.
I chose to redesign the book cover of A Pageant of Hats Ancient to Modern.

The process of getting to the final design is much like for the Type Only
Poster. On the facing page you will see the original book cover and my
critique of it. Also there is my objectives page and my font experiment where Objectives Paper The author, Ruth Edwards Kilgour, has spent twenty-two years
and traveled 160,000 miles at a cost of $100,000 to amass what
I decided on Orlando as my display type and Arno Pro for my body type and Synopsis: the Executive Director of the Millinery Institute of America
Fascinatingly told, highly entertaining and world-wide in calls “the greatest collection of hats I’ve ever seen.” And the
other text. These were all crucial in creating my thumbnails, in which I tried
scope, this book is the finest historical document of its kind, Worcester Historical Society, one of the most unusual and
to focus more on the grid. With the grid I separated the book lengthwise as well as a treasure for the milliner, the antique collector and valuable collection of hats ever gathered together.” The author
the student of sociology, symbolism and folklore. More than has lectured extensively before women’s clubs, associations
across the front the back and the flaps into two parts, made sure the shapes
150 superb photographs illustrate every hat described. and college groups
on the front and back were proportional to each other, and lined up letters
(from book) (from book)
within the title (yet I deviated from lining each individual letter as seen in the Review of book: Three Words to describe the feeling of the design:
final design). found along with author bio eclectic, fun, and chic
Title, author, and publisher: Color scheme:
The hardest and longest part of this project was reworking my computer A PAGEANT OF HATS: Ancient and Modern
Green, orange, and pink is my color theme. These colors are
rough to the final design. After the critique in Second Life, I changed several by Ruth Edwards Kilgour. Robert M. McBride, Co, 1958. fun and their combination like the collection of hats within
things. First I lowered the horizontal bar that had divided the book exactly Author bio: the book is eclectic.
in half in order to give the book cover a more dynamic feel. When I did
this my original title I had did not fit well with the ‘taller’ area, so I typeset
differently referring to one of my other thumbnails and moved Ancient to
Modern to be directly below it adding to its height. Then I changed the black
text to a dark green and added other colors to make it pop out more as to
give it more interest and thus help the feel I wanted the book to have. With
these changes and final critique in Second Life I feel I successfully made
an improvement from the computer rough and definitely the original book
jacket design.
44 45
Font Experiment
A Pageant of Hats Letter Gothic Std Medium
A Pageant of Hats Letter Gothic Std Bold
A Pageant of Hats Footlight MT Light Regular
A Pageant of Hats Desdemona Regular
A Pageant of Hats Bernhard Modern Std Roman
A Pageant of Hats Orlando Normal
A Pageant of Hats LYNN Regular
A Pageant of Hats Arno Pro Regular
A Pageant of Hats Baskerville Old Face Regular
A Pageant of Hats Harrington Regular
A Pageant of Hats KENDRIC Regular
A Pageant of Hats Poor Richard Regular
I chose Orlando normal font for my display type because it has a high degree of contrast from
the others and secondly it reminded me of an elegance of hats, especially the Tall “H” with
which reminded me of a top hat with the wonderful curve of the crossbar being the band around
the hat. The second font I chose was Arno Pro Regular. I chose this font because it is a serif and
was very flexible with a variety of styles within the family. It also continued the elegance which
I will then play down with bright colors like pink and orange making it very eclectic as I have
mentioned before about the feeling of the redesign of the book jacket.
46 47
48
(Continued from the front flap) $12.50
Do You Know a
▶ that Montezuma, the ancient Aztec
king, lost his throne and country
Pageant
through the exchange of hats? of hats
▶ that Sweden’s Rattvik cap is
A Note About The strange and romantic story of
symbolic of invisibility and can be the Author traditional hats in scores of countries
traced back to the gnomes of throughout the world is here authen-
folklore? The author, Ruth Edwards tically told, the symbolism of their
Kilgour, has spent twenty-two colors, shapes, and adornments
▶ that the French Polka hat was
explained.
named after the famous Polish years and traveled 160,000
dance? Each hat style, ancient and modern, is
▶ that the words of “Yankee Doodle
Dandy”were inspired by a French
miles at a cost of $100,000 to
amass what the Executive
a in its own way a window to the past
and shows us history in the making.
Over thousands of years, hats have
coif and a British society known as Director of the Millinery
been a means of revealing the owner’s
the Macaroni? Institute of America calls “the sex, religion, matrimonial status,
▶ that the Peruvian Montera hat greatest collection of hats I’ve rank, profession or race, as well as
symbolizes the ancient Inca belief
that the longest day of the year is
the best day in which to conceive?
ever seen,” and the Worcester
Historical Society, “one of the
Pageant reflection the customs, industries,
and architecture of the customs,
industries, and architecture of the
most unusual and valuable countries in which they were
▶ that the Smuggler’s cap of Andorra
originated.
is so named because it is large
enough to conceal contraband?
collection of hats ever gathered
together.” The author has
of The style and contour of the hats give
▶ that there is direct connection us a glimpse of ancient sacrificial
between the Golden Casque and
lectured extensively before rites, pagan courts, the fabulous
the introduction of Christianity women’s clubs, associations Orient, Biblical times, intrigues and
into the Netherlands? wars and an acquaintance with
and college groups. people whose very names are
▶ that the Eternal Life headdresses legendary
worn in Holland originated due to ◀ The author and just a few of
the granting of religious freedom in Fascinatingly told, highly
1948, and that the Catholic women
her hats from all over
a pageant of hats
entertaining and world

wear a square style headdress and the world wide in scope, this book
the Protestant a round one?
ancient and modern is the finest historical
Hats document of its kind, as well as a
treasure for the milliner, the antique
Ruth Edwards collector and the student of
sociology, symbolism and folklore.
More than 150 superb photographs
illustrate every hat described.
Kilgour
Kilgour
Do You Know
▶ that the straw hat, called the
Thuringia Rejuvenator, worn in the
Ruth Edwards
Black Forest, was supposed to keep

Robert M. McBride Co., the wearers sexually youthful and
Publishers that this hat is credited with
235 Fourth Avenue, Robert M. McBride Co., Publishers originating the desire for new hats
in the spring?
New York 3, N.Y. 235 Fourth Avenue, New York 3, N.Y. McBride (Continued on the back flap)
49
Figure 13. thread
and plastic beads.
I think of typography as an exploration in design because so
much can be learned and subtle things can then become uncovered. http://typeneu.com/
Somehow I wanted this to show in my final process book. To show the
subtleness of type and yet bring attention to them I wanted to make all
my headlines for each assignment or project made out of some kind of
unexpected material. This first came to me when I browsed an amazing
typography web site that was first shared in class, typeneu.com, and found
works of various graphic artists such as Smart Emma, Yulia Brodskaya,
and Jonathan Looman. From the looking at the images alone one can tell Yulia Brodskaya
they have a great understanding of typography and were able translate http://graphichug.com/2008/11/18/yulia-brodskaya/
what they have learned in ingenious ways. This reminded me of works of
Vik Muniz who although worked with images, often worked with unexpected Smart Emma
http://smartemma.co.uk/
materials such a chocolate syrup (as you can see for my inspiration for my
headline “Personality Match”).
Finding inspiration was fun and rewarding but the hardest part of making
the process book was the organization of the huge amount of information
and work that has accumulated from class! From drawing thumbnails
and developing a computer rough, I organized it so each assignment or
project has an introductory page with the following three basic elements
arranged in a grid: a block of color to the upper left corner, a headline/
image, and a column of text. Then the following pages or spreads following
the ‘introductory page,’ depending on how much information I had to
cover, are based on simple alignments if at best. I organized these pages
with no exact grid for our assignments and projects vary tremendously
in proportions such as the six inch squares we did for the Hierarchy of
Information assignment compared to the poster project which proportions
were 11x17 inches. This gave me freedom to not alter the work too much Jonathan Looman
from its original format. Much tweaking was done after I placed everything, http://www.hellowman.nl/portfolio/fingertype
Vik Muniz
especially with the formatting of the columns of text, and there is much more
http://www.vikmuniz.net/www/index.html
I can rant on but I will leave it here to be explored.
50 51
Headline
Thumbnails
Figure 1
. thread
,
needle. cloth, and
Bauhau
s 93
S
ubhead
Subhea
Subhea d Sub
d Subh head
ead Su Subhea
dolessen chead d Sub
im elenia Subhea head
dt velit Subhea
m comm
odip enib ex esto d
zzriustin delisim
ulpute d h estisit volesto
ip euis a iriurem
zzriliquis d dolupta in vel dip
er sustru t etuero it nis ex
d dunt e strud do eum
ciliquat, strud m lore dolo
commod ing ex e rem at,
olor sit ro o d it sum
illuptat w u tatis nu u tp ate facilit
isi. lla am e lam incilis
um ing
ea facid
unt luta
Ro eugia tie del
m, veliqu
isim quis
tate mag ent ullan
na comm drer sed
y nibh ex magna co
conulpu erci eug nullam,
tpat, velit ait irilis n velit velis
, quisl e is eros a ad
enim vero sto odo m dunt la
s exer ad d o lo rer cipis a ci l etum e
ion exero mod enis lit,
te corpe ex er iure nos et,
ri llaorp feu feug sed tatin
eros ad ue modo g
niamcore it iuscip lutet, co
tie tat la it irillam n se quismod
ndre mo et dolorp
quissect lore dolu er ip ele
em in h m et inim sectet a
enis nost zzrit lut ve cidunt
dolortio o del ex l dolorpe
ea faccu eu feuis raessen
m ad min modit au isim
tat ex eu utpatum g uero en
guer illa sandit a iam, quis
consequ ugait lup nim
con hen is i esequis ta tem volo
iam zzri l estrud re dolest
l dunt ve mod min rud
eros no
aliqui bla
s autpat
ing exer
lit wisi ta
incil in u
t at lum
t alisis d
my nis n
cin vercill
issis adit
a
velestru
facipsust
io Final Design
feugait ve olorting d min
lis nim n eugiamc
conullao osto do onseniat.
rem nost od modo
o dunt w lobore d Unt
core dit issit lobo igna com
wissed te re feugu m y nit exe
t la feug e do con ro
uerit am um venim
Etuer iure cor si. quat. Un
t iure
et, cons
et ipsusc
nullamc incing ex Typefaces vary from clear and distinguishable Typefaces vary from clear and distinguishable letterforms
onsequa er sis dia
t, sed m tum dolo letterforms that flow easily before the eye and that flow easily before the eye and are suitable for ex-
eu facip ing ex ex re min e are suitable for extended blocks of text/ to more tended blocks of text/ to more dramatic and eye-catching
sum do et loreetu ugait au dramatic and eye-catching typefaces that grab at- typefaces that grab attention and are used in newspaper
lortis no e con ut t wis
faccumsa s ent a venibh e tention and are used in newspaper headlines and headlines and advertisements. Minion Pro Regular 11/13
n henism ugiam in t, summ advertisements. Palatino Linotype Regular 11/13
odio con g et, vullu odiam
sequisit, tem dole Figure 4. watercolor
augiamco consequ ndipisim and salt. Garamond.
nsed do at iure In the back of my head even with the numerous and helpful reading
loborem
tie modip il illaor a and examples within the book and class I had to constantly remind myself
42 susto est
isim ing
et accum
d mincilis
ad modip
it del ulp
of the difference between readability and legibility but once I completed
this assignment, I believe I got it down for good. (Readability deals with a
letterforms that flow easily before the eye and
zzriliqua ute molo forms that flow easily before the eye and are suitable
m, r ad extended block of text and how it is typeset while legibility deals more with for extended blocks of text/ to more dramatic and are suitable for extended blocks of text/ to
the design of the typeface itself).
Although more importantly the main goal of the assignment was to become Regular 11/13
aware of the effects of point size, leading/ line spacing and typeface selection
in text compositions. Knowing these effects allows typesetters predetermine
what fonts and settings would make for good or poor legibility and readability,
also knowing these effects helps typesetters to create incomprehensible text
in order to create a texture or whole other graphic element. Typefaces vary from clear and distinguishable Typefaces vary from clear and distinguishable letterforms
The next pages have the same paragraph or body of text in various typefaces, are suitable for extended blocks of text/ to more tended blocks of text/ to more dramatic and eye-catching
Computer Rough
point sizes, and line spacings. At first I could not get around the subtle of tention and are used in newspaper headlines and headlines and advertisements. Minion Pro Regular 11/12
differences of each paragraph. Although we had to make observations at advertisements. Palatino Linotype Regular 11/12
the end, and from rereading everything and trusting my eyes I was able to
see their subtle and now unsubtle differences. In my observations I came
to the conclusion that Minion Pro at 11/14 had the best readability while
Century Gothic at 11/12 had the worst. I found this assignment one of the
more difficult ones in terms of making observations but quite helpful in forms that flow easily before the eye and are suitable letterforms that flow easily before the eye and
that I want to avoid using an san serif with a large x height with so little line
spacing.
for extended blocks of text/ to more dramatic and
eye-catching typefaces that grab attention and are
used in newspaper headlines and advertisements.
43 are suitable for extended blocks of text/ to
more dramatic and eye-catching typefaces
that grab attention and are used in newspaper
Regular 11/12
10 11
53

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Spring '09

Professors Liz Russotti &

8 Legibility and Readability

10 Legibility and Readability II

20 Second Life Scavenger Hunt

24 Paula Scher Podcast

40 Type Only Poster

44 Book Cover Redesign

50 Making of Process Book

Another purpose for the book is to practise typesetting large amounts of

I hope you enjoy!

Rachel Ann Enlow Curlz MT

change direction of letters. The objectives were to observe the difference

Rachel Ann Enlow Papyrus 2

Rachel Ann Enlow freestyle

Rachel Ann Enlow Curlz MT 23pt

nlow Adobe Garamond Pro 23pt

Rachel Ann Enlow Pepita MT 23pt

nlow Rosewood Std 20pt

4. Was Paula considered a natural designer?

5. What was her strength in her third year of college?

13. In her “older” years, how does she describe herself?

14. Who is her husband and what does he do?

The Elements of Typographic St yle

Robert Bringhurst “All desktop typographers should study this book. It is

“All desktop typographers should misconstrued as a form of private

to see this book become the Typographer’s Bible.“

-Herman Zapf Second edition, revised & enlarged

1760, 1492, 2001, 7367

1760, 1492, 2001, 7367 1760, 1492, 2001, 7367

1760, 1492, 2001, 7367 1760, 1492, 2001, 7367

1760, 1492, 2001, 7367

1760, 1492, 2001, 7367 1760, 1492, 2001, 7367

typography and run- newspaper. Mullan spotted that the use of a

in the Written by Adrian Shaughnessy physically uncomfortable in any lengthy text."

The overall feel I wanted, as I explored in my thumbnails and font experiment

Life After Oil

Figure 14. Foam

I chose to redesign the book cover of A Pageant of Hats Ancient to Modern.

A Pageant of Hats Letter Gothic Std Medium

A Pageant of Hats Letter Gothic Std Bold

A Pageant of Hats Footlight MT Light Regular

A Pageant of Hats Desdemona Regular

A Pageant of Hats Bernhard Modern Std Roman

A Pageant of Hats Orlando Normal

A Pageant of Hats LYNN Regular

A Pageant of Hats Arno Pro Regular

A Pageant of Hats Baskerville Old Face Regular

A Pageant of Hats Harrington Regular

A Pageant of Hats KENDRIC Regular

A Pageant of Hats Poor Richard Regular

entertaining and world

Black Forest, was supposed to keep

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