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Page 1: International Typographic

Issue: 1 // Volume: 1

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Vitae Dictum

Billie Heitzman

Cody Boeger

Sean Christensen

a List of Things You Should Never Do as a Designer When Working with Text

Italics: Typography's Time Capsule

Timeline of Swiss Style 1896–1959

Lorem Ipsum

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A LIST OF THINGS YOU SHOULD NEVER DO AS A DESIGn—ER WHEN WORK–ING WITH TEXT.

By: Billie Heitzman

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Don’t indent the first para-graph. Indentation are used to let the reader know when paragraphs end and begin. Our eyes are trained to start in the top left corner, your reader will automatically begin at the first paragraph. Only use

one space between sentences. The use of a double space after a period arose with the use of the typewriter in order to make monospaced type easier to read. We no longer use typewriters, so there’s no need type like we do. Always set type using a clean rag to avoid awkward shapes and create a harmonious rhythm. Hyphenation is a good way to produce a clean rag but should be utilized sparesly. Never use hyphens at the end of thr-ee consecutive lines. Short headlines are bet-ter than long ones. Long headlines, especially when set

in all caps, are difĬcult to read. Decorative script typefaces should not be set in caps either. Script typefaceS are meant to be connected andwhen Set in capS, they appear diS-

jointed and illegible. Limit yourself to three or less fonts to a page, more is dis-tracting. Only use display fonts for titles, never for body copy. It’s highly

illegible when used en masse. and never set copy in yellow unless it is against a dark back-ground. It’s just plain hard to read. DON’T TYpe IN aLL CapS aLL T-

He TIMe. IT’S ALSO HARD TO READ’ WHeN YOU DO USe CapS, use small caps. It’s less disrupti-ve wouldn't you agree? 123456789. The same goes for using old style rather than lining numerals, 123456789; they follow th-e flow of the text and don't assault the reader. Always remember to add letter spacing to a line of capitalized text or when using a condensed family so your characters can breathe. Ahhhhhh, much

bet ter. -Know your symbols! Apostrophes and primes are dif�ferent and should not be confused. Primes ('), used in fields s u c h a s m a t h e m a t i c s a n d s c i e n c e , a r e u s e d w i t h n u m b e r s . A p o s t r o p h e s ( ’)

are curved and used with grammar. There are three kinds of dashes, a hy-phen (-), an en dash (–) and an em dash (—). Hyphens break up words such as in run-of-the-mill, en dashes are used instead of the word "to" in cases like

1914–present and em dashes indicate a break in thought— 3 periods

in succession is not an ellipses... This is an ellipses… See the difference? Leading is a realative measurement and changes with each typeface you choose. Always change the leading manually, do not rely on the preset measurements given by inDesign. There are many factors to take into account when choosing your leading: typeface, size, weight, measure, wordspacing, etcetera. The longer the measure the more leading you will need. and the smaller the size the more leading you will need. A good rule of

thumb is to set leading three points above the type size. Leading also affects the color of the text, rather the density. When sett in g copy in a l ayout, u se a good me a su re. Don’t sp an you r text all the w ay ac ro s s the p a ge in a block. The reader’s eyes will tire more quickly reading a long string of text It also makes it more difficult to find the beginning of the next line. "Quotation marks should hang outside the body of text. By doing this, your body copy will maintain its shape and alignment straight."

White space is your friend. Never leave widows dan-gling by their lonesome at the bottom of a paragraph or leave orphans all alone at the top of the next page. Words don’t like to be alone!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Keep one consistant kind of emphasis throughout your writing.

While italics are thought to be the most appropriate, other forms include caps, bold, size color,

underline or a different typeface. NEVER USE COMIC SANS. OR

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PAPYRUS.

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This picture was taken of a wave hitting a rock using a really fast shutter speed on a Panasonic Lumix DMC-FX580.

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Italics:

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I Typography’s Time Capsule

By: Cody Boeger

talics:

As our society has come to be bombarded by thousands

of typefaces through the explosion of communication

technology in recent years, it has become the designer’s

obligation to negate the bad and the ugly in a quest to

fill the world with simple, distinctive and meaningful

design. Most notably, this pursuit has led designers to

revert back to typography’s origins to create compelling

layouts of the present. With this reverence of the past

h a s c o m e t h e o n g o i n g discussion of italic typefaces

in current design. Quetions have arisen regarding both

the roots o f i ta l i c i zed letterforms as well as the

complexities of its use in a range of modern settings.

This article addresses such questions as why the type

style was created, where it is properly used in formal

documents, and its impor-tance in modern design.

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HISTORY

The origins of italics date back to when only the most

dignified and well educat-ed possessed the ability

to communicate with the written word. The year was

1495 when the prominent typographer Aldus Manutius

opened his Venice business to work as an editor. His

type designer Francesco Griffo developed the first

version of italic type to emulate the cursive writing

that had become popular among higher education

and the upper class. Al-though many critics have

argued that Griffo’s type design was less of a true

italic typeface and more simply a slanted Roman,

his original design marks an important stepping stone

towards the development of the italic typeface. This new

typographic style proved to be a powerful marketing

tool as it appealed directly to the tastes of the intended

upper-class audience and served to help sell many of

the books produced through Manutius’ shop.

FORMAL USES

After the creation of the italic typeface, entire books began to be printed in

the slanted text until the year 1550 when the type style began to serve in

its modern use as a special-function type. Today we use italics for a variety

of reasons ranging from the formal to the informal. NATIONAL TYPOGRAPHIC

has identified the 8 primary uses for the italic typeface as the following:

ITALICS IN DESIGN

Although italics have many technical uses in modern writing, the distinctive

typeface also plays a central part in typographical design. The flicking serifs,

curving descenders and slanting angles drive italic font’s hurried and formal

nature that can be easily applied to alter the feeling of a title treatment

or selection of body copy. To separate articles from other important words in

titles and headlines, the use of italics for words such as the or of can distin-

guish them from the more meaningful words and complement the primary

typeface (ex 1.1). For sans serif fonts, the use of italics can add a holistic

aspect to a line of copy, causing the text to read as a single form (ex 1.2).

Affecting a reader on both the con-scious and unconscious levels, itali-

cized typefaces can be used affectively to provoke excitement and immediacy

when displayed on promotional de-sign such as packaging or advertising

(ex 1.3). Trends in typography have affected the popularity of specific

typefaces but the tasteful use of italics has proven to function as a timeless

solution to adding an element of the past in modern design.

“Most notably, italics influence a

viewer by adding a sense of movement

and liveliness to the written word. ”

Provide emphasis in running Roman text. The boy managed to eat not three, but four helpings at supper.

To denote titles Thomas Friedman’s book Hot, Flat, and Crowded presents a

dire look the world’s future.

When displaying quotes“A budget tells us what we can’t afford, but it doesn’t keep us from buying it” – William Feather

Foreign words used in a sentence The Spanish word manaña translates in English as ‘tomorrow.’

Foreign words or phrases not considered fully part of the English language

I have a terrible feeling of déjà vu.

When citing English words without single quotes I enjoy using the word plethora in my analytical essays.

Names of vehicles The Enola Gay was the WWII bomber that changed the course

of the war.

Technical jargon for specific disciplines such as Biology or Law The name Homo erectus refers to an extinct species of

hominid that originated in Africa.

The U.S. Supreme Court case Roe v. Wade was a controversial decision regarding the issue of abortion.

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This picture was taken by the camera in the picture in a mirror using no flash on a Panasonic Lumix DMC-FX580.

FORMAL USES

After the creation of the italic typeface, entire books began to be printed in

the slanted text until the year 1550 when the type style began to serve in

its modern use as a special-function type. Today we use italics for a variety

of reasons ranging from the formal to the informal. NATIONAL TYPOGRAPHIC

has identified the 8 primary uses for the italic typeface as the following:

ITALICS IN DESIGN

Although italics have many technical uses in modern writing, the distinctive

typeface also plays a central part in typographical design. The flicking serifs,

curving descenders and slanting angles drive italic font’s hurried and formal

nature that can be easily applied to alter the feeling of a title treatment

or selection of body copy. To separate articles from other important words in

titles and headlines, the use of italics for words such as the or of can distin-

guish them from the more meaningful words and complement the primary

typeface (ex 1.1). For sans serif fonts, the use of italics can add a holistic

aspect to a line of copy, causing the text to read as a single form (ex 1.2).

Affecting a reader on both the con-scious and unconscious levels, itali-

cized typefaces can be used affectively to provoke excitement and immediacy

when displayed on promotional de-sign such as packaging or advertising

(ex 1.3). Trends in typography have affected the popularity of specific

typefaces but the tasteful use of italics has proven to function as a timeless

solution to adding an element of the past in modern design.

Provide emphasis in running Roman text. The boy managed to eat not three, but four helpings at supper.

To denote titles Thomas Friedman’s book Hot, Flat, and Crowded presents a

dire look the world’s future.

When displaying quotes“A budget tells us what we can’t afford, but it doesn’t keep us from buying it” – William Feather

Foreign words used in a sentence The Spanish word manaña translates in English as ‘tomorrow.’

Foreign words or phrases not considered fully part of the English language

I have a terrible feeling of déjà vu.

When citing English words without single quotes I enjoy using the word plethora in my analytical essays.

Names of vehicles The Enola Gay was the WWII bomber that changed the course

of the war.

Technical jargon for specific disciplines such as Biology or Law The name Homo erectus refers to an extinct species of

hominid that originated in Africa.

The U.S. Supreme Court case Roe v. Wade was a controversial decision regarding the issue of abortion.

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TIMeLINe Of SWISS STYLe1896 –1959

1896

Akzidenz-Grotesk is a realist sans-serif typeface by the H. Berthold AG type foundry in 1896. It was the first sans serif typeface to widely used, and influenced many later neo-grotesque typefaces. Max Miedinger used it as a model for Neue Haas Grotesk, also known as Helvetica. Miedinger wanted to refine this typeface, making it more even and unified.

I’m notHelvetica!

By: Sean Christensen

( )This is funny because "I'm not Helvetica!" is in fact set in Helvetica while "I am!" is set in

Franklin Gothic.

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When we think of Swiss typography, everyone goes straight to Helvetica. But there is so much more to this style than just that one typeface. Here is a timeline of the Swiss style that we all love, but know nothing about.

I am!

1917–1931

De Stijl, also known as neoplasticism, was a Dutch artistic movement founded in 1917. Proponents of De Stijl wanted to express a new utopian ideal of spiritu-al harmony and order. They advocated pure abstrac-tion and universality by a reduction to the essentials of form and color. They simplified visual composi-tions to vertical and hori-zontal directions, and used only primary colors, along with black and white. One key figure of this movement was artist Piet Mondrian.

1919–1933

Bauhaus was a school in Germany that combined crafts and the fine arts, and was famous for the approach to design that it publicized and taught. The Bauhaus school was founded by Walter Gropius in Weimar. The Bauhaus style became one of the most influential currents in Modernist architecture and modern design.

The Bauhaus had a pro-found influence upon subse-quent developments in art, architecture, graphic design, interior design, industrial design, and typography. The Bauhaus style, also known as the International Style, was marked by the absence of ornamentation and by harmony between the function of an object or a building and its design.

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1944

Emil Ruder played a key part in the devel-opment of the Swiss Style. Ruder began his design education at the age of fifteen when he took a compositor’s apprentice-ship. By his late twenties Ruder began attending the Zurich School of Arts and Crafts where the principles of Bauhaus and Tschichold’s New Typography were taught, leaving an indelible impression on Ruder. In 1947 he helped found the Basel School. Ruder published a ba-sic grammar of typography titled “Emil Ruder: Typography”. The book helped spread and propagate the Swiss Style, and became a basic text for graphic design and typography programs in Europe and North America. In 1962 he helped to found the International Center for the Typographic Arts in New York.

1936

Josef Müller-Brockmann was a Swiss graphic designer and teacher. He studied architecture, design and history of art at both the University and Kunstgewerbeschule in Zurich. In 1936 he opened his Zurich studio specializing in graphic design, exhibition design and photography.

He is recognized for his simple designs and his clean use of typography, notably Helvetica, shapes and colors which inspires many graphic designers in the 21st century.

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Graphis, The International Journal of Visual Communication, was first pub-lished in 1944 by Walter Herdeg in Zurich, Switzerland. Graphis Inc. is the interna-tional publisher of books and magazines on communication design, advertising, photography, annual reports, posters, lo-gos, packaging, book design, brochures, corporate identity, letterhead, interactive design and other design associated with graphic arts. Graphis was (and still is) one of the most important and influential European graphic design publication.

Over 350 issues of Graphis magazine have been published. Graphis also publishes hardback annuals includ-ing: Graphis Design Annual, Graphis Advertising Annual, Graphis Photogra-phy Annual, Graphis Annual Reports Annual, and Graphis Poster Annual.

1944

Emil Ruder played a key part in the devel-opment of the Swiss Style. Ruder began his design education at the age of fifteen when he took a compositor’s apprentice-ship. By his late twenties Ruder began attending the Zurich School of Arts and Crafts where the principles of Bauhaus and Tschichold’s New Typography were taught, leaving an indelible impression on Ruder. In 1947 he helped found the Basel School. Ruder published a ba-sic grammar of typography titled “Emil Ruder: Typography”. The book helped spread and propagate the Swiss Style, and became a basic text for graphic design and typography programs in Europe and North America. In 1962 he helped to found the International Center for the Typographic Arts in New York.

1954

UniversIn 1954 the French type foundry De-berny & Peignot wanted to add a linear sans serif type in several weights to the range of the Lumitype fonts. Adrian Frutiger, the foundry’s art director, sug-gested refraining from adapting an existing alphabet. He wanted to instead make a new font that would, above all, be suitable for the typesetting of longer texts— quite an exciting chal-lenge for a sans-serif font at that time.

Starting with his old sketches from his student days at the School for the Applied Arts in Zurich, he created the Univers type family. In 1957, the family was released by Deberny & Peignot, and afterwards, it was produced by Linotype.

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1957

Helvetica was developed in 1957 by Max Miedinger with Eduard Hoffmann at theHaas foundry in Switzerland. Haas set out to design a new sans-serif typeface that could compete with Akzidenz-Grotesk in the Swiss market. Originally called Neue Haas Grotesk, it was cre-ated based on Schelter-Grotesk. The aim of the new design was to create a neutral typeface that had great clarity, had no intrinsic meaning in its form, and could be used on a wide variety of signage.

In 1960, the typeface’s name was changed by Haas’ German parent company Stempel to Hel-vetica— derived from Confoedera-tio Helvetica, the Latin name for Switzerland— in order to make it more marketable internationally.

1959

Die Neue GrafikIn 1959 four zürich-based graphic designers launched the first issue of Neue Grafik magazine. A Magazine devoted to the Swiss style of design and typography. The team of editors constisted of Richard Paul Lohse, Josef Müller-Brockmann, Hans Neu-burg and Carlo Vivarelli. The team signed some of their jointly written articles with the acronym “lmnv”, formed from their initials.”Neue Grafik” epitomizes Swiss typogra-phy of the 1950s. It was the new age manifesto for the design world and it was seminal in its influence on international graphic design after WWII. The publication of the magazine proved an international success making the Swiss Style the International Typographic Style.

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This picture was taken after a bunch of sorority girls ate cupcakes with a flash on a Panasonic Lumix DMC-FX580.

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sapien: vitae dictum

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IT

Type ya laTer

This picture was taken of a Frank Lloyd Wright Sculpture at night on a Panasonic Lumix DMC-FX580.