Work by Ginger Robinson (freelance senior copywriter) for Oregon Tourism. This book that shares the stories of true Oregonians at the same time encouraging tourists with similar passions to visit Oregon.
A big thank you to Vitaly Friedman’s for is collection of TOC’s! “Table of contents is often considered to be one of the most unspectacular design elements ever invented. Because of its simple, usual form, table of contents is often not given the attention it may deserve — after all, it is just a list of the parts of a book or document organized in the order in which the parts appear. But why not use exactly that and surprise the reader of a booklet, brochure, annual report or a book with some beautiful and original table of contents? In fact, many creative approaches are possible. And this post attempts to prove exactly that. This post showcases creative, interesting and/or beautiful examples of the lowly table of contents. You may want to take a look at their related posts
The crafts of Western typography, type-founding and typeface design began in mid-15th-century Europe with the introduction of movable typeprinting as the medieval era transitions into the Renaissance. Movable type helped spread cultural of learning and enquiry orginating in Italy throughout much of the rest of Europe. — Elif Ayiter
Above: Van de Graaf devised this construction to show how Gutenberg and others may have divided their page to achieve their margins and a type area in the same proportions as the page. — Canons of Page Construction, Wikipedia
During the Renaissance literacy spread (both the ability to read and to write). Diaries, notebooks, notes, and letter writing became very popular with the upper classes. Calligraphy masters travelled to teach the educated elite the art of calligraphy, page layout and lettering.
“Renaissance notebooks, late 15th to mid 16th centuries.”— Elif Ayiter
Above “is a letter of the famous Italian scholar Pietro Bembo, after whom the typeface ‘Bembo’ was named by it’s creator Francesco Griffi. — Elif Ayiter
Leonardo da Vinci (between 1490 and 1495) recorded his studies and ideas in meticulously illustrated notebooks with extraordinary page layouts. — Elif Ayiter
“The great intellectual movement of Renaissance Italy was humanism. The humanists believed that the Greek and Latin classics contained both all the lessons one needed to lead a moral and effective life and the best models for a powerful Latin style. They developed a new, rigorous kind of classical scholarship, with which they corrected and tried to understand the works of the Greeks and Romans, which seemed so vital to them. Both the republican elites of Florence and Venice and the ruling families of Milan, Ferrara, and Urbino hired humanists to teach their children classical morality and to write elegant, classical letters, histories, and propaganda.” — Elif Ayiter
Mush of page sizes and text boxes in this post are rectanglar, many use or refer to the golden ratio. Consider using the golden ratio to determine the size and proportions of your traditional page layout
The Parthenon in Athens, built by the ancient Greeks from 447 to 438 BC, is regarded by many to illustrate the application of the Golden Ratio in design (some disagree). The Golden Ratio (or section) is approximately equal to 1.618.
“The golden ratio has fascinated Western intellectuals of diverse interests for at least 2,400 years. The golden ratio also is called the golden mean or golden section. Mathematicians since Euclid have studied the properties of the golden ratio, including its appearance in a golden rectangle, which may be cut into a square and a smaller rectangle with the same aspect ratio.” — Wikipedia
John Baskerville (1706 – 1775) was an English businessman, in areas including japanning and papier-mâché, but he is best remembered as a printer and type designer. — Wikipedia
Pierre Simon Fournier (1712 – 1768) was a French mid-eighteenth century punch-cutter, typefounder and typographic theoretician, master of the rococo form. Typefaces designed by Fournier include Fournier and Narcissus.
François-Ambroise Didot (1730–1804) succeeded his father François, and was appointed printer to the clergy in 1788. About 1780 he adapted the “point” system for sizing typefaces by width.
Giambattista Bodoni (1740–1813). Bodoni followed the ideas of John Baskerville, as found in the printing type Baskerville: increased stroke contrast and a more vertical, slightly condensed, upper case; but took them to a more extreme conclusion. Bodoni had a long career and his designs evolved and varied, ending with a typeface of narrower underlying structure with flat, unbracketed serifs, extreme contrast between thick and thin strokes, and an overall geometric construction. —Wikipedia
Is this just ALL about aesthetics? Context, concept, message, historic reference (as needed) and aesthetics are all important in making design decisions. Your goal is to refine the variables and relationships between point size, leading, words per line (line length), margins and column/s to create the greatest ease of reading.
A general list of visual elements / layout and typographic style to use:
golden section or golden mean page proportions and text area (play with these ratios / potential page sizes: 8:5, 16:10 and 1.6:1—all are the same aspect ratio, the last is the golden ratio).
centered typography for headers (diminuendo for fun!)
uppercase or small caps letter spaced for headers and subheads
justified or flush left for body copy
single column layout (10–15 words no less than 7 per line) or refer to Bringhurst’s Choose a comfortable measure: “Anything from 45 to 75 characters is widely regarded as a satisfactory length of line for a single-column page set in a serifed text face in a text size. The 66-character line (counting both letters and spaces) is widely regarded as ideal. For multiple column work, a better average is 40 to 50 characters.”
printed text read from approx. distance of 12–13.5 inches
margins at the bottom of the page and outside edges are the largest
Contemporary design using traditional typography and symmetrical page layout.
Above Martin Venesky’s “Take 2: Women Revisiting Art History covered a twenty-five year span of artwork by a roster of influential women. I designed the catalog with reference to a design past that included classical typography and handcrafted, collaged ornaments.” — Martin Venesky
Below Kinfolk’s use of traditional typography / symmetrical layout:
Classical page layout applied to design for tablet.
Fundamental typesetting concerns include line, paragraph, page layout and typographic detail (e.g. small caps, acronyms, analphabetic characters, and numerals). Apply knowledge gained from our week one exercise and quizzes to our work.
Use this project to demonstrate your ability in organizing a beautiful page with clear hierarchy and ease of access to the information and readability. Our calendars and editorial work will include hierarchy and page layout with harmony and grace. Here are some key design “rules” to keep in mind.
Line Length: Let’s review line length “measure”, according to Brinhurst “45 to 75 characters us widely regarded as a satisfactory length for a single column page set in serif text face in a text size. The 66-character line (counting both letters and spaces) is widely regarded as ideal. For multiple-column work, a better average is 40 to 50 characters.”
Vertical Rhythm: A baseline grid is the foundation for consistent typographic rhythm on a page. It allows the readers to easily following the flow of the text, which in turn increases readability. A continuous rhythm in the vertical space keeps all the text on a consistent grid so that proportion and balance are retained throughout the page, no matter the type size, leading or measure.
Scale: Always compose with a scale, whether it’s the traditional scale developed in the sixteenth century that we’re all familiar with, or one you create on your own. A scale is important because it establishes a typographic hierarchy that improves readability and creates harmony and cohesiveness within the text.
Hierarchy (From Lupton’s book Thinking With Type)
Process. Take inventory of your copy. Thumbnail sketch page layout ideas on paper (have this next to you as you work. Flow your copy into InDesign. Type studies and typography destined to live on paper should be PRINTED OUT! regualarly as you progress. Begin by typesetting your body copy in the typeface, size, leading and line length that creates ease of reading. Use a scale (Bringhurst: Harmony and Counterpoint and see above) create a header and subhead as needed.
The leading will dictate the baseline grid, then build your horizontal fields based on multiples of this measurement. Determine your column width by evaluating the optimum characters per line and how many columns you need. You gutter should not be smaller than 1 em of your body copy size. Determine the margins. Test this grid and print it. Revise it as needed until you have achieved the optimal grid for your information.