booklet - Julian Bittiner

ooklet
Assignment 3
Text typography
Part 2
page layout
Having familiarized yourself with the content and structure of your chosen text,
and with your typographic layout research at hand, begin the design of your
own booklet.
Design 3 different page layouts (spreads) that delineate the page, textblock,
page numbers and/or running heads (top, sides, or bottom), while considering
the possibilities for symmetrical and asymmetrical tension and balance.
Make 2 versions of each page layout design; the first indicating the page,
textblock, and margin measurements (including the page and textblock ratios)
as in part 1 of this assignment; the second free of any measurements (as it is
intended to be viewed). In each version demarcate the page edges and gutter
with a ¼ pt. black line.
Remember that while typography is primarily abstract, you should nevertheless
work and make all decisions according to an over-arching compositional theme,
which in turn will evoke a particular ‘atmosphere’ or ‘attitude’.
•
Art 264 01
Mon & Wed 3:30–5.20
Green Hall, Room 210
class wiki-page
http://art.yale.edu/264F12
instructor
Julian Bittiner
julian.bittiner@yale.edu
teacher’s assistant
Jessica Svendsen
jessica.svendsen@yale.edu
typeface selection & setting
Parallel to the process of designing your page layouts, consider typeface
selection. For each of your 3 page layouts (spreads) select and use just one
weight of one typeface (e.g. DTL Fleischmann Regular) at one size. Select only
from among the typefaces provided, most of which are referenced in Bringhust’s
chapter 11, ‘Prowling the Specimen Books’ (if there is a typeface outside of this
set that you are very keen to use, please run it by me for approval beforehand).
For each of the 3 typefaces you select, devise 4 possible text settings using the
InDesign type specimen provided. These text settings are entirely up to you to
determine, and from the 12 that you create in total, select any 3 for use in your 3
page layouts (being sure to indicate the text setting on the layout).
Another important consideration is the method by which you indicate paragraph
breaks in your text, as well as any section breaks or subheads you may have
(refer to the John Kane handout for some common options).
Due: Monday, October 1
1A 2A
3A
T1 T2 T3
1B 2B 3B

typeface: DTl Fleischmann
category: Transitional serif, Neoclassical
designer: Erhard Kaiser (Johann Fleischmann)
year: 1992 (18th century)
1 size: 12.5 pt leading: 15 pt tracking: -5 word spacing: 97%
She was one of those pretty and charming girls
born, as though fate had blundered over her, into
a family of artisans. She had no marriage portion,
no expectations, no means of getting known, understood,
loved, and wedded by a man of wealth
and distinction; and she let herself be married
off to a little clerk in the Ministry of Education.
Her tastes were simple because she had never
been able to afford any other, but she was as unhappy
as though she had married beneath her; for
lowercase + numerals
abcdefghijklm
nopqrstuvwxyz
0123456789
2 size: 11 pt leading: 14 pt tracking: -3 word spacing: 95% (desired) uppercase
She was one of those pretty and charming girls born, as
though fate had blundered over her, into a family of artisans.
She had no marriage portion, no expectations, no
means of getting known, understood, loved, and wedded
by a man of wealth and distinction; and she let herself be
married off to a little clerk in the Ministry of Education.
Her tastes were simple because she had never been able
to afford any other, but she was as unhappy as though
she had married beneath her; for women have no caste
or class, their beauty, grace, and charm serving them for
ABCDEFGHI
JKLMNOPQR
STUVWXYZ
3 size: 10 pt leading: 14 pt tracking: 25 word spacing: 110%
She was one of those pretty and charming girls born, as
though fate had blundered over her, into a family of artisans.
She had no marriage portion, no expectations, no
means of getting known, understood, loved, and wedded
by a man of wealth and distinction; and she let herself be
married off to a little clerk in the Ministry of Education.
Her tastes were simple because she had never been able to
afford any other, but she was as unhappy as though she had
married beneath her; for women have no caste or class,
their beauty, grace, and charm serving them for birth or
punctuation + special characters
&!$§( )[]@#%
‹› «»:;.,- – — /“”'"*
0123456789
4 size: 8.5 pt leading: 9.5 pt tracking: 5 word spacing: 98% pangram
She was one of those pretty and charming girls born, as though fate had
blundered over her, into a family of artisans. She had no marriage portion,
no expectations, no means of getting known, understood, loved,
and wedded by a man of wealth and distinction; and she let herself be
married off to a little clerk in the Ministry of Education. Her tastes were
simple because she had never been able to afford any other, but she was
as unhappy as though she had married beneath her; for women have no
caste or class, their beauty, grace, and charm serving them for birth or
family, their natural delicacy, their instinctive elegance, their nimbleness
of wit, are their only mark of rank, and put the slum girl on a level with
the highest lady in the land.
She suffered endlessly, feeling herself born for every delicacy and
luxury. She suffered from the poorness of her house, from its mean
walls, worn chairs, and ugly curtains. All these things, of which other
The quick brown
fox jumps over
the lazy dog.

typeface: DTL Fleischmann Regular size: 13 pt leading: 15 pt tracking: -5 word spacing: 97%
I She was one of those pretty and charming
girls born, as though fate had blundered
over her, into a family of artisans. She had no
marriage portion, no expectations, no means
of getting known, understood, loved, and
wedded by a man of wealth and distinction;
and she let herself be married off to a little
clerk in the Ministry of Education. Her tastes
were simple because she had never been able
to afford any other, but she was as unhappy
as though she had married beneath her; for
women have no caste or class, their beauty,
grace, and charm serving them for birth or
family, their natural delicacy, their instinctive
elegance, their nimbleness of wit, are their
only mark of rank, and put the slum girl on a
level with the highest lady in the land.
She suffered endlessly, feeling herself born
for every delicacy and luxury. She suffered
from the poorness of her house, from its
mean walls, worn chairs, and ugly curtains.
All these things, of which other women of
her class would not even have been aware,
tormented and insulted her. The sight of the
little Breton girl who came to do the work
in her little house aroused heart-broken regrets
and hopeless dreams in her mind. She
imagined silent antechambers, heavy with
Oriental tapestries, lit by torches in lofty
bronze sockets, with two tall footmen in
knee-breeches sleeping in large arm-chairs,
overcome by the heavy warmth of the stove.
She imagined vast saloons hung with antique
silks, exquisite pieces of furniture supporting
priceless ornaments, and small, charming,
perfumed rooms, created just for little parties
of intimate friends, men who were famous
and sought after, whose homage roused every
other woman’s envious longings.
When she sat down for dinner at the round
table covered with a three-days-old cloth,
opposite her husband, who took the cover
off the soup-tureen, exclaiming delightedly:
“Aha! Scotch broth! What could be better”
she imagined delicate meals, gleaming silver,
tapestries peopling the walls with folk of a
past age and strange birds in faery forests;
she imagined delicate food served in marvellous
dishes, murmured gallantries, listened to
with an inscrutable smile as one trifled with
the rosy flesh of trout or wings of asparagus
chicken.
II She had no clothes, no jewels, nothing.
And these were the only things she loved;
she felt that she was made for them. She had
2 3

page proportions: 1.64 [3:5, legal sheet] textblock proportions: 1.67 [3:5, legal sheet]
11
9
18
15
1.2
0.8 1.2
1.8