1. The margin is the space around the printed or written matter on a page.
The column is a vertical row or list.
The module is a separable component, frequently one that is interchangeable with others, for assembly into units of differing size, or function.
The gutter is the white space formed by the inner margins of two facing pages in a bound book, magazine, or newspaper.
The folio is the number of each page.

2. Multiple-column grids contain several spatial intervals, which provide endless compositional options.
They are flexible and accommodate a range of visual elements.
Multiple-column grids are suitable for complex projects, including books, magazines, and publications that contain diverse content. The quantity of textual and visual content, as well as the page format, will help the designer determine the ideal number of intervals.

3.Most of the fonts you'll use on your Mac are proportional; that is, the characters each take up a proportional amount of space-a typical letter i takes up about one-fifth the space of the letter m. So you no longer need extra spaces to separate the sentences

4. A character a mark, symbol, or sign, including letterforms and numbers, in language systems.

5. Characters should be used when necessary and not by amount of line length or words per line.

6. A typographic river is a series of inconsistent word spaces that creates distracting open lines running vertically through the justified paragraph.

7. A flow line is a horizontal measure that divides the page into spatial divisions and creates additional alignment points for the placement of the visual elements.

8. Allowing some white space into a design allows the composition to "breathe" enough so it doesn't appear overwhelmed or over designed. You can incorporate white space into your designs by following the modular grid.

9. Type color in typographic terms, color refers to the density of typographic elements and their perceived gray value. It is the overall feeling of lightness and darkness on the page.
Typography is just one element of a design, used in combination with images, diagrams, photography and other graphic elements.
Type forms part of a larger visual and informative scheme. The vast array of typefaces available means that type can be used to add a great deal of texture to a design.

10. X-Height is the height of the lowercase letters without ascenders and descenders.

11. Tracking is the typographic technique used to adjust (open and tighten) the overall spacing of words, lines, and paragraphs to improve the readable appearance of text.

12. Kerning is the typographic technique, also known as letterspacing, used to adjust (open and tighten) the slight distances between letters to avoid character collisions, as well as irregular and unwanted spaces.

13. Justification uses three values for type setting: minimum, maximum and optimum values.

14.The optimum spacing between words is as far as the letters need to be spaced out to reach the end of a justified line and still appear to be a legible word.

15. When indicating a new paragraph one can indent using the traditional em spacing to do so. To indicate a new paragraph to a reader, you need to use either extra spacing between the paragraphs or an indent but do not use both.

16. If you have room to add the full word then don't hyphenate. Avoid more than two hyphenations in a row because this looks confusing and unprofessional. Never hyphenate words in a headline.

17. A ligature is a specially designed character produced by combining two or three letters into one unified form.

18. CMYK stands for cyan, magenta, yellow and key (black). These are the four colors of ink used in the traditional method of printing hardcopies of images called offset printing. RGB stands for red, green and blue. The main purpose of the RGB color model is for the sensing, representation, and display of images in electronic systems, such as televisions and computers.

19. The purpose of a hanging punctuation is to hang it off the aligned edge to eliminate any visual interruption of the text.

20. An apostrophe is a punctuation mark used to mark omissions and it assists in marking the possessives of all nouns and many pronouns. A foot mark (') is called "prime" marks, and they are slightly slanted. Inch marks are also known as ditto marks on a typewriter ('').

21. A hyphen is one third of an em rule and is used to link words. It serves as a compound modifier where two words become one, such as 'x-height'; breaks syllables of words in text blocks like geo-graphy; and serves to provide clarity such as re-serve rather than reserve.
An en dash is half of an em rule and is used to separate page numbers, dates and to replace the word 'to' in constructions implying movement.
Em dashes are used to form lines and house nested clauses. A standard, joining em dash can cause spacing issues as it has no side-bearings and fills its bounding box so that it touches the surrounding characters.
A row of these em dashes would form a solid line. Punctuating em dashes are slightly shorter, providing space for surrounding characters to breathe. A row of punctuating em dashes form a punctuated line.

22. A widow is one or two words that are left over at the end of the paragraph, which should be corrected to avoid drawing attention to the extra space. An orphan is the same concept as a widow except there is only one word left over at the end of the paragraph.

Helvetica: the movie

I guess Helvetica is just one of those fonts that I take for granted, never really realizing what a huge impact is has had on the world of advertising, branding, and design. Watching that movie really helped to understand how important not only Helvetica is, but also type in general. Sometimes it can be difficult to see the bigger picture with typography, and realize that outside of school and the projects we do, typography is an important part of design and the world. Companies need an identity in order to be successful, we use design to organize the world. It is amazing to see what an impact Helvetica can have. It was very entertaining to see how different designers around the world feel about the font. Everyone loves it because it is so universal and simple, but yet it can be manipulated and used in so many different ways. It is timeless and always will be. Something else that surprised me that I learned from this movie, was just how many companies use Helvetica in their signage, the examples and uses never seemed to end as we were watching. I really enjoyed watching this movie!

Edward Fella, who was born in Detroit in 1939, will be forever remembered as a pioneer of graphic design. He was born into a working middle-class family and started out at trade school, with prior knowledge or experience with art. His contribution to this field in both the United States and Europe is remarkable; he has influenced many artists during his lifetime. His influence on the world of contemporary typography is also something that has set him apart from other artists of his time. His work is very unique and personal typography. He has described himself as a “commercial artist,” because he is working to please the public and create art that will be reproduced and distributed to the masses.

His career began in the 1950’s in the advertising world. The most interesting aspect of Fella’s career is that he was an extremely successful typographer and designer before he even went to art school. As a young boy he loved to read, which most likely contributed to his creativity and love for experimentation. He would take night-class on Literature, and Popular Culture, in order to familiarize himself with the world.

He is known for his eccentric letter forms and compositions, which has allowed to stand out amongst other artists and has also earned him many awards. Ed Fella’s thesis statement reads, “Design is an assigned sign, playing air art with no caution but obedience, posing ordering systems as explorations and indulging the same self again anew while attending and singing in a strict construct makes me nuts.” It is obvious that Fella doesn’t think the same way that everyone else does, but from simply reading his thesis statement, it is obvious that he is a creative person who is very dedicated and passionate about his work.

According to Drawings and Graphic Design by Ed Fella and Geoff McFetridge Redcat by Stacey Allan, Ed Fella is “among Detroit's greatest contributions to American popular culture. He was known by many as the “King of Zing” which was a title that he earned during his years as a graphic designer. While he was working mainly on layouts and commercial graphic illustrations for automotive industry, he was always working on a crazy side project at night, for his own enjoyment.

“Fella was essentially self-taught, but his rule breaking method was grounded.” In Fella’s mid forties, he gave up his job as a commercial designer, and decided that it was time he went back to school, looking for an experimental and self-directed academic experience. He decided to attend the Cranbrook Academy of Art in the year of 1987. Cranbrook was a school located in an affluent area of Detroit. Cranbrook was founded by a Finnish architect who integrated the design theories of the Arts and Crafts Movement with the international style. The students at Cranbrook were put into an apprenticeship program, where very small groups of people were taught under one master artist for the entire semester. While at Cranbrook, Fella served as more of a teacher than a student, because of his extensive knowledge and success in the field. He became a very influential and important member of this highly acclaimed art school.

Although he has been proclaimed as a great success and addition to his field, just like many artists, he also received a lot of criticism because his work was so different from that of the students and artists around him. His work definitely contradicted any form of “slick” and simple design that had been accepted at that time. He presents an aesthetic that can be described as the “anti-aesthetic” where type has no uniform spacing, and “rough letter forms,” are mixed with “degraded found lettering.” Fella has suggested that “the quest for the perfect letter, word, and line-spacing had led to some stifling of expression…the element of time needed to read parts of a message, deserved more time and flexibility” Fella handcrafted and created most of his typefaces, making each one extremely unique. None of his fonts could ever be recreated or copied, which makes his work so timeless and powerful. He used many different techniques to create his fonts, using every type of media available, and scanned, teared, ripped, and wrinkled his creations to create texture and interest. He would do anything and everything to create the exact look he was going for, even if he didn't know what that was.

After he graduated from Cranbrook, he went on to become a teacher at California Institute of the Arts in 1987.A student commented on the large impact that Fella had on the school, saying “The man who talked our ears off at Cranbrook is the real deal. He mistrusts computers. And he very rarely-okay, never- backs down from a position. He is not stubborn, he is just three steps ahead of the design community.” He was a huge inspiration to his students, and even co-workers. By the 90’s, his work was become more and more well known. His success was even farther expanded through his creation of posters, to promote visiting artists to the CalArts. His posters were said to break away from traditional typographic decorum, and designer good taste. Fella referred to graphic design as “mix and match, past and present, high and low, regular and irregular, inept, and professional, raw and cooked and everything in between. He was one of the first to break away from traditional graphic design of his time. This is something I admire greatly about Fella, instead of coming into his field and simply improving upon what had already been done, he completely changed it and made graphic design his own. The hand-made work of his posters were so different from everyone was used to, and in some cases it was hard for people to accept.

In 1987, while Fella was still teaching at CalArts, he went on a research trip to San Fransisco. There he found new inspiration from local street signs, and from this he made a catalog quick snapshots. From this he received various jobs from the Detroit arts organization, and began creating hand-lettered announcements for the Detroit Focus Galley. These designs have inspired many of the modern typefaces that we use today.

Even after Fella left the advertising world, he was not able to get away from his life as an artist. Many artists face the same problem that Fella faced when he retired from his professional design job, they cannot get away from it. It is impossible to stop being a creative person, so Fella continued his art through over 80 sketchbooks filled with drawings, doodles, and lavishly adorned letter forms. “These notebooks became a kind of discharge for me,” Fella said. "I'm like a machine that used to knock out widgets and still produces fragments of whatever it used to make — except now, I don't have to take any more instructions.” Although he wasn’t working as a professional, he was still just as inspired and dedicated to his art, which is a sign of a true artist, someone who isn’t doing it for the paycheck, but for the pure enjoyment they receive from their work.

Edward Fella blurred the lines of graphic design and art through his very unique compositions and typefaces. During his career he creates many different typeface that greatly influenced the world of typography. Two fonts that he have created that were mass produced and used around the world were, “Fella Parts,” and “OutWest.” These fonts are both very unique and would only be used for large headlines, because they would be very difficult to read at a small size. Although Fella created thousands upon thousands of letter forms, those two are the only ones that were named and reproduced. He didn't seem to be concerned with creating set fonts, but instead making something unique and different every time.

Today you can purchase a book entitled, “Letters on America,” which includes over 1,200 pictures of various sketches and letter forms created by Fella. They depict his bold and unique take on graphic design. It displays, “hand-printed messages, stick-on letters, graffiti, even initials and names cut into the bark of trees.” This book is a wonderful testament to his life as a designer, and showcases some of the work that he has dedicated his time and creativity to.

Researching and learning about Edward Fella, was very inspiring, because he took the world of graphic design and typography and turned it upside down. He broke the rules because he wanted to and not to please anyone else. He created art that felt right to him, and conveniently the world around him also appreciated it. I admire this artist because I would love to be someone who could change the world of graphic design. Even if it is just in a small way, I want to be someone who doesn't follow the same rules as everyone else. I hope that in the future I can work on projects like Fella did, and find the same enjoyment that he did out of creating his designs.

Bibliography

Fella, Edward. "Ed Fella." Ed Fella. 27 Oct. 2008 .

Blackwell, Lewis. "Character Witness." Creative Review Aug. 2000: 53-56.

Hart, Hugh. "Exhibition Reviews." Print Apr. 2008: 20-20.

Blackwell, Lewis, and Lorraine Wild. "Book Reviews; Edward Fella: Letters on America." Communication Arts Aug. 2001.

"Edward Fella." Emigre. 1995. 27 Oct. 2008 .

Ed Fella

After realizing that there isn't a lot of information and source material on Barry Deck, I have decided to focus my paper on Ed Fella. An artist and graphic designer who has had a huge influence on comtemporary typography in both the United States and Europe. He practiced as a commercial artist in Detroit for 30 years before he received a MFA  in design from the Cranbrook Academy of Art. In 1997 he received the Chrylser Award and an Honorary Doctorate from CCS in Detroit in 1999. 

fellaparts outwest

 www.edfella.com

www.emigre.com

www.aiga.org

www.findarticles.com

All access: the making of thirty extraordinary graphic designers. Written and designed by Stefan Bucher.

Edward Fella: letters on America/ essays by Lewis Blackwell and Lorraine Wild.

Barry Deck

Part A:

Born in Mount Pleasant, Iowa in 1962

Graduating from Northern Illinois in 1986, became a graphic designer for Kim Abrams Design.

Enrolled in the Masters of Fine Arts program at the California Institute of Arts. 

Studied an experimental approach with Ed Fella and Lorraine Wild. 

Moved to New York in 1992-seen a radical in the conservative typeface community. 

His typefaces appeared in publications such as Ray Gun, Emigre, Wired Eye, and I.D. 

In 1995, he set up his own company called Dysmedia in New York

He has worked with Pepsi, Reebok, Nickelodeon, and VH1

Part B:

Barry Sans Serif, 1989

Canicopulus Script 1989

Mutant Industry Roman 1989

Bombadeer 1990

Industry Sans 1990

Template Gothic 1990

Arbitrary Sans 1992

Caustic Biomorph 1992

Cyberatica 1994

Truth 1994

Traitor 1997

Eunuverse 1999

FauxCRA 2002

Moderne Sans

Deck produced mutilated and distorted letter forms which were embraced by the music industry and style magazines. 

 arbitrary

 template gothic

"I am really interested in type that isn't perfect. Type that reflects more truly the imperfect language of an imperfect world inhabited by imperfect beings." Template Gothic was inspired by letters drawn with plastic stencil. The typeface thus refers to a process that is at once mechanical and manual. 

An A-Z of Type Designers  by Neil Macmillan. 

www.books.google.com/books

www.emigre.com/Bios

www.identifont.com

www.fontshop.com

www.pappress.com

www.linkedin.com

moveable type + gutenburg

Johannes Gutenburg was born in 1400 in Mainz, Germany to an upper class merchant and a shopkeeper. He became a German goldsmith and printer, who has been credited with inventing moveable type printing. The moveable type printing press is a process using oil-based ink and the use of a wooden printing press that was similar to the olive and wine presses that were popular at the time. His method for making type included a type metal alloy.His invention of the printing press has had a remarkable impact on the world because it allowed mass production of books that up until then were handwritten. Because books were able to be produced so much faster and more efficiently it helped to foster development in the sciences, arts, and religion. It quickly spread throughout Europe has been considered a key factor in the European Renaissance. Moveable type also allowed characters to be used and over and over again which cut down on cost and time. The printing press was basis of the printing industry until the later invention of hot metal press. Gutenburg created the world's first book using movable type, the 42- line Gutenburg Bible. 

Quiz Question: Why did the invention of moveable type have such a large impact on the arts?

gutenburg1

gutenburg2

pic 1

pic 2

pic 3

Absolute Measurements-the measurements of fixed values. Absolute measurements give points and picas which are the basic typographic measurements, a fixed value. All absolute measurements are expressed in finite terms that are not able to be altered. 

Relative Measurements-these measurements define things like character spacing, which is linked to type size. This means that their relationships are defined by a series of relative measuements. Ems and ens are are good examples of relative measurements because their size is relative to the size of type that is being set. Leading is also an example of relative measurement.

Points/Picas-the point is the unit of measurement used to measure the type size of a font. The measurement refers to the height of the type block. A pica is a unit of measure equal to 12 points that is used for measuring lines of type. There are six picas (72 points) in an inch, which is equal to 25.4 millimeters.

x-height-it describes the height of the lowercase 'x'. It is the relative measurement that varies from typeface to typeface. It is used as a key reference point in the layout of a design.

the em, the en-the em is a relative measurement used in typesetting to define basic spacing functions, it is linked to the size of the type. It is a relative measurement because as the type size increases, then the em size does also. The em is equal to the size of a given type. The en is a unit of relative measurement equal to half of one em. For example, in 72 point type, an en would be 36 points.

Dashes-the em and en are used in punctuation to provide measurement for dashes. The dash is different from the hyphen. An en dash is half an em rule and is used to separate page numbers, dates and to replace the word 'to' in constructions implying movement. Em dashes are used to form lines and house nested clauses. A standard, joining em dash can cause spacing issues because it has no side-bearings and fills its bounding box so that is touches the surrounding characters. 

Alignments; Justification, flush left, flush right-justified text allows the appearance of rivers of white space to appear. It can cause plagues of hyphenation if words are allowed to split to prevent this. Flush left follows the principle of handwriting with text right and alligned to the left margin and ending ragged on the right. Flush right aligning is very uncommon because it is more difficult to read. It can be used for picture captions and other accompanying texts as it is clearly distinct from body copy. 

Letterspacing-it adds space between letter forms to open up text. The addition of too much space can make text look disjointed as the words start to dissemble. 

Kerning- the removal of space between characters. It originally referred to part of a character that extended outside its bounding block or printing block.

Tracking-it controls the amount of space between each character in a word. 

Word Spacing-adjusts the amount of space between words. 

Widow- a lone word at located at the end of a paragraph. Using text set range right can help to create fewer widows, but in order to remove them completely, text must be pulled back to previous lines or pushed forward to fill the line out.

Orphan- the final one or lines of a paragraph separated from the main paragraph to form a new column. It should be avoided at all costs. When removing orphans, more text is needed to alleviate the problem. 

Leading- controls the amount of space between letters, it allows the characters to breathe so that they can be read more easily. Since different fonts can be more difficult to read depending of their size and style, leading allows  you to adjust to each individual typeface. 

Indent, first line indent, hanging indent- indentation provides the reader with an obvious place to start reading. The length of the indent is related to the point size of the type. The indent can also be determined by the grid. First line indent is when the text in indented from the left margin in the first line of the second and subsequent paragraphs.  A hanging indent is when the the first line of the text is not indented, and the lines after that are indented from the left margin.