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TypeCon 2017 Education Forum presentation

Explorations in Typography: The Sequel A typography textbook that goes into detail about setting body copy is hard to find. One that shows a wide range of full-size typesetting examples is even more uncommon.In this presentation, you'll find out how you can teach students the finer points of typesetting and page layout with Explorations in Typography. The second edition of Explorations in Typography was redesigned, revised, expanded and re-published by an independent designer turned independent publisher in 2016. This award-winning intermediate-level textbook has more typesetting examples in more typefaces, more type combinations and some handy new appendices, including a visual index of page layouts and a list of alternative free or low-cost typefaces. Additionally, a new PDF of teaching materials is available on the book's website (explorationsintypography.com) to make it easy for teachers to adopt the book and structure a series of assignments based on the 24 chapters in the book.

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TypeCon 2017 Education Forum presentation
WHY?
Algebra in Arabic
Reunion
of broken
parts.
The Algebraic X
Solving with
constants
+ variables.
Algebra
Symbols +
the rules for
manipulating
symbols.
FACTOR
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TypeCon 2017 Education Forum presentation

  • 4. The Algebraic X Solving with constants + variables.
  • 5. Algebra Symbols + the rules for manipulating symbols.
  • 15. Teaching principle Begin @ the beginning.
  • 18. “You teach this? Nobody teaches this.” —Erik Spiekermann
  • 21. TRUST
  • 24. “Find a good textbook and follow it.” —pedagogical advice
  • 26. “Write the book you want to read.” —Toni Morrison
  • 27. 1 Type 1 ▸ Form macro-aesthetics, typesetting display type, terminology, anatomy, type classifications
  • 28. Type 2 ▸ Composition micro-aesthetics, typesetting text type, paragraph indications, typographic hierarchy
  • 29. 3 Type 3 ▸ System application of text + display typesetting to printed or digital systems
  • 34. TEACHING MATERIALS Explorations inTypography Carolina de Bartolo with Stephen Coles + Erik Spiekermann INFO@EXPLORATIONSINTYPOGRAPHY.COM
  • 35. ATTRIBUTION + NONCOMMERCIAL + NO DERIVATIVES LICENSE Creative Commons
  • 36. EXPLORATIONS IN TYPOGRAPHY Teaching Materials Welcome! If you are a teacher of typography, this PDF contains the handouts you need to assign all 24 chapters of Explorations in Typography. The Assignment pages include a general description, detailed instructions, thought questions (which can be used for class discussions), and typesetting tips. The sample text we use is an excerpt from Stop Stealing Sheep and Find Out How Type Works by Erik Spiekermann. The main body copy is available on the DIY page of the companion website (explorationsintypography.com) and the full text, including heads, byline, and footnotes is on page 4 of this PDF. Why assign Explorations?
  • 37. PREPARE FOR EXPLORATIONS IN TYPOGRAPHY Getting Started Step 01 Design your layout For all our Explorations in Typography assignments this semester, work on a standard letter-size page of 8.5 × 11 inches.* While most of the typesetting examples shown in the book are in portrait format (and all the ones in the Explorations iOS app are portrait format), your page layout may be set up in portrait or landscape format. Be sure to use a grid to define your page margins and gutters between columns. The index of quarter-size page layouts at the back of the book may be helpful for visualizing potential page layouts and seeing text blocks as form. Feel free to copy the same page composition as any example in Explorations in Typography.
  • 38. PREPARE FOR EXPLORATIONS IN TYPOGRAPHY Getting Started Step 01 Design your layout For all our Explorations in Typography assignments this semester, work on a standard letter-size page of 8.5 × 11 inches.* While most of the typesetting examples shown in the book are in portrait format (and all the ones in the Explorations iOS app are portrait format), your page layout may be set up in portrait or landscape format. Be sure to use a grid to define your page margins and gutters between columns. The index of quarter-size page layouts at the back of the book may be helpful for visualizing potential page layouts and seeing text blocks as form. Feel free to copy the same page composition as any example in Explorations in Typography.
  • 39. PAGE LAYOUTS + GRIDS Getting Started
  • 40. 3.1 EXP 3.3 EXP 4.1 EXP 3.2 EXP page 30: Extra Leading page 31: Extra Leading page 33: Extra Leading page 37: Graphic Element page 38: Graphic Element
  • 45. VISIT EXPLORATIONSINTYPOGRAPHY.COM Sample Text (Read me!) Type Builds Character by Erik Spiekermann Ever since people have been writing things down, they have had to consider their audience before actually putting pen to paper: letters would have to look different depending on whether they were to be read by mainly other people (in offi- cial documents or inscriptions), just one other person (in a letter), or only the writer (in a notebook or diary). There would be less room for guesswork if letter shapes were made more formal as the diversity of the readership expanded. Some of the first messages to be read by a large number of people were rendered not by pens but by chisels.1 Large inscriptions on monuments in ancient Rome were carefully
  • 46. VISIT EXPLORATIONSINTYPOGRAPHY.COM Sample Text (Read me!) Type Builds Character by Erik Spiekermann Ever since people have been writing things down, they have had to consider their audience before actually putting pen to paper: letters would have to look different depending on whether they were to be read by mainly other people (in offi- cial documents or inscriptions), just one other person (in a letter), or only the writer (in a notebook or diary). There would be less room for guesswork if letter shapes were made more formal as the diversity of the readership expanded. Some of the first messages to be read by a large number of people were rendered not by pens but by chisels.1 Large inscriptions on monuments in ancient Rome were carefully 1 2 3
  • 47. is a joke told twice. Whatever typographic device you come up with, don’t let it turn into a gimmick. A well-coordinated range of fonts will give you the scope for contrast as well as rhythm, and will keep you secure in the bosom of a well- behaved family. 1 The official Roman alphabet, as seen on the Trajan Column in Rome, has never gone out of fashion. 2 When communications became more international, type- faces that were more universal were in demand. Today Fraktur, Gothic and similar styles are only used to evoke the feeling of a bygone era, for example on the banner of news- papers such as The New York Times. 3 Many digital typefaces evoke the timeless beauty of ancient inscriptions and early printing types. Trajan, designed by Carol Twombly in 1990, is a good example. 4
  • 48. ASSIGNMENT 1 Basic Paragraph Indicators Typesetting tips9 ▸ Copy/paste the sample text. Don’t type it yourself so you avoid adding typos or any other errors. (Delete the super- script numbers 1, 2, and 3 in the body copy whenever you do not typeset the three footnotes on a page.) ▸ Use point sizes between 7 and 10 point. Make sure your text does not look “horsey”—too big and clunky for the size of your column width and leading. ▸ Set your type so it has an even typographic “color,”—an even texture. Avoid large word spaces and rivers. Word space must be optically smaller than linespace. ▸ Avoid widows. Last lines of paragraphs, particularly at the bottom of a column are ideally at least 30% of the width of
  • 49. ASSIGNMENT 1 Basic Paragraph Indicators Typesetting tips9 ▸ Copy/paste the sample text. Don’t type it yourself so you avoid adding typos or any other errors. (Delete the super- script numbers 1, 2, and 3 in the body copy whenever you do not typeset the three footnotes on a page.) ▸ Use point sizes between 7 and 10 point. Make sure your text does not look “horsey”—too big and clunky for the size of your column width and leading. ▸ Set your type so it has an even typographic “color,”—an even texture. Avoid large word spaces and rivers. Word space must be optically smaller than linespace. ▸ Avoid widows. Last lines of paragraphs, particularly at the bottom of a column are ideally at least 30% of the width of
  • 50. ASSIGNMENT 2 Intermediate Paragraph Indicators Typesetting tips9 ▸ Fix widows, orphans, and 2-letter hyphenations. ▸ Consider legibility and the overall impression of your page. ▸ Spell check and proofread your work. Do it every time! ▸ Push yourself—try at least one typeface that you didn’t use in Assignment 1. 04 Graphic element Use a graphic element such as a bul- let, an arrow (pointing in the direction of reading), a dingbat, or a number to separate paragraphs. Always put at least one space after an these kinds of glyphs. Select neutral graphic elements or ones that are appropriate to the text, such as a pilcrow (¶). That means no cute emoji or astrological symbols for this text about typography.
  • 51. ASSIGNMENT 2 Intermediate Paragraph Indicators Typesetting tips9 ▸ Fix widows, orphans, and 2-letter hyphenations. ▸ Consider legibility and the overall impression of your page. ▸ Spell check and proofread your work. Do it every time! ▸ Push yourself—try at least one typeface that you didn’t use in Assignment 1. 04 Graphic element Use a graphic element such as a bul- let, an arrow (pointing in the direction of reading), a dingbat, or a number to separate paragraphs. Always put at least one space after an these kinds of glyphs. Select neutral graphic elements or ones that are appropriate to the text, such as a pilcrow (¶). That means no cute emoji or astrological symbols for this text about typography.
  • 52. INTRO page 13 1page 14 Paragraph Indicator: Indent 1.1 FF Meta 1.2 ITC Mendoza 1.3 PMN Caecilia 2page 20 Paragraph Indicator: Exdent 2.1 ITC Officina Sans 2.2 FF QType 4page 34 Paragraph Indicator: Graphic Element 4.1 FF Tronic FF Folk 4.2 FF Cube 4.3 FF Zwo 4.4 MVB Verdigris 4.5 FF Netto 5page 42 Paragraph Indicator: Rule 5.1 Memphis 6page 52 Paragraph Indicator: Initial Capital 6.1 Matrix Script FF Scala Sans 6.2 FF Scala Jewel FF Scala 6.3 FF Absara 6.4 Chollaa Unicase Input Serif 6.5 Sabbath Black Adobe Jenson Dalliance Flourishes 7 9page 72 Alignment: Justified 9.1 FF Letter Gothic Text 9.2 Fournier 9.3 Avenir 9.4 FF DIN 9.5 Lo-Res 10page 80 Alignment: Flush Right 10.1 Perpetua P22 Victorian Ornaments 12page 92 Paragraph Indicator: Ca 12.1 Serifa 12.2 Le Corbusi Fakt 12.3 Eidetic Ne 12.4 FF Eureka 12.5 Suomi Han FF Absara 13page 100 Paragraph Indicator: W 13.1 FF Sanuk Contents
  • 53. ASSIGNMENT 3 Alignments Take into account any feedback you received on prior type- setting assignments as you do this assignment. 08 Flush left (FL/RR) The overall feel of any ragged edge should be like a torn sheet of paper—the eye should not see any clear shapes in any part of the rag. You can turn auto-hyphenation on or off with flush left settings. Having auto-hyphenation turned on will create a more subtle rag on flush left settings. 09 Justified Avoid justifying narrow columns—rivers will result. Make the column width wide enough and use enough leading so that word space is never greater than line- space. Always turn hyphenation on for justified text. You may want to experiment with the hyphenation and justification
  • 54. ASSIGNMENT 4 Advanced Paragraph Indicators Explore the typographic possibilities in the following ways to indicate paragraphs: 12 Capitals Use all caps or genuine small caps for the first line of each paragraph. You can use them for the first para- graph only, and use indent or extra leading for subsequent paragraphs. All caps needs more tracking than upper and lower case (u/lc). 13 Weight Change the weight of the typeface from roman to bold or italic for the first line, for the first word, or maybe even for just the first letter of a paragraph. You can also change weights for every other paragraph. Start with the bolder of the two weights on the first paragraph and alter- nate from there.
  • 55. ASSIGNMENT 5 Experimental Paragraph Indicators 16 Leading Make a clear difference in leading from paragraph to paragraph. Remember that while “even color” is one of the hallmarks of fine typesetting, a change in linespace on every other paragraph will make a noticeable difference in typo- graphic color. In this case, the change in typographic color is creating a clear visual separation between paragraphs. 17 Tracking Here again, you can experiment with the uneven- ness in typographic color created by a change in tracking as a visual signal for a paragraph indication. 18 Margin The measure (column width) of each paragraph stays the same and every other paragraph shifts left or right in relation to the edge of the page. In other words, margins vary, but column width stays the same.
  • 56. ASSIGNMENT 6 Typographic Hierarchy Show typographic hierarchy using the following variables: 23 Point size Create several levels of hierarchy using only changes in point size. Set elements that express the same level of hierarchy in the same point size to draw parallels for a reader. Remember that you can use all caps to increase hier- archy over u/lc. 24 Point size + weight Because good typography is economi- cal, minimizing the typographic variables you use to cre- ate multiple levels of hierarchy is an admirable achievement. When you use both point size and weight, it’s advisable to limit yourself to a maximum of two sizes and two weights. Bring your 5 pages of typesetting examples to class and be
  • 57. ASSIGNMENT 7 Explorations Portfolio Include the following pages, presented in this order: Assignment 1: Basic Paragraph Indicators ▸ 1 page indent ▸ 1 page exdent ▸ 1 page extra leading Assignment 2: Intermediate Paragraph Indicators ▸ 1 page graphic element ▸ 1 page rule ▸ 1 page initial capital ▸ 1 page drop capital Assignment 3: Alignment ▸ 1 page FL/RR ▸ 1 page justified
  • 59. “Each problem that I solved became a rule, which served afterwards to solve other problems.” —René Descartes
  • 60. “In the particular lies the general.” —James Joyce
  • 61. WHY?
  • 64. “To teach taste is to form character.” —John Ruskin
  • 65. “The world loves talent, but pays off on character.” —John Gardener
  • 67. TEACHING MATERIALS Explorations inTypography Carolina de Bartolo with Stephen Coles + Erik Spiekermann INFO@EXPLORATIONSINTYPOGRAPHY.COM teaching materials @ explorationsintypography.com FREE PDF