Typographic Workbook

Typographic Systems
4 weeks
25% of final grade
Creativity and Discipline


Google Drive

Fonts by Classification

Lulu Publishing

REFERENCE (use it)
Mac is Not a Typewriter (pdf)
Practical Typography by Matthew Butterick
Fontology by Fonts.com
Elements Typo. Style
: Robert Bringhurst
Getting it Right w/Type: Victoria Squire

InDesign help (+google)
Read the InDesign How to Document.pdf 
Paragraph Styles
Charater Styles

Oct 18 :: Oct 23 :: Oct 25 :: Oct 30 
Nov 1 :: Nov 6 :: Nov 8 :: Nov 13 :: Nov 15

name of your book, your name University of Kansas, 2023

(Colophon: Add to the beginning or end of the book.)
Designed by Your Name. Class project for Typographic Systems at the University of Kansas, 2023. The text was compiled from the following sources: Elements of Typographic Style by Robert Bringhurst, Getting it Right with Type: the Do's and Don'ts of Typography by Victoria Square, Mac is Not A Typewriter by Robin Williams. This book is not to be sold to the public and to only be used by the designer for their reference and student design portfolio.

All the content below must be in your workbook. However you can organize it in any way you want. Each section can be a chapter or you can organize the content into groups and those become chapters.


01 rules check sheet
02 typographic rules

03 special characters
04 column width and hyphenation
05 hyphens and dashes  
06 quotes and apostrophes
07 kerning

08 figures and tabular tables
09 justification, letterspacing, word spacing
10 paragraph breaks

11 anatomy of type
12 typographic color
13 font classification

14 glossary of terms (optional)

The type workbook consists of a series of investigations you’ll be carrying out. The content ranges from typographic studies to type setting rules in typography. The Typographic Workbook project demands a significant amount of time and attention to detail. It is important that the workbook remains cohesive as a single document. As design professionals, your familiarity with the rules – or lack thereof – will be evident. Professionals can quickly gauge your grasp of typography by looking at your work. To secure and excel in the job you desire, it is crucial to master these rules and terms. While advanced classes deal with the broader aspects of typography, focusing on the big picture, this workbook delves into the finer details of typography. It's assumed at the end of this project that you're well-versed in this information and won't need a repeat coverage.

You will develop the look and feel of the workbook. The final product can be printed or a digital PDF. 

The content provided is divided into chapters, each accompanied by reference material. You're free to reorganize or regroup the content across chapters, but ensure that you incorporate all the given information.

Class time will be dedicated to reviewing your solutions and addressing questions. You'll also need to manage the project timeline independently. I'll provide milestones to guide you; some chapters will be quick and straightforward, while others might demand more time and effort.

You can seek inspiration from past examples, but avoid duplicating how others solved the problem. Your work should have its distinct identity. Essentially, you're crafting a personal typographic guide, a resource you can refer back to. Approach this task thoughtfully, allocate the necessary time, and meticulously attend to every detail.

_ solve communication problems within given parameters
_ macro- micro typography
_ present and assess work in a visually and verbally articulate manner
_ professionally document outcomes
_ demonstrate exemplary visual craft—hand and digital
_ advancing Adobe InDesign proficiency: grid, baseline grid, character style, paragraph styles

Website ::  past examples

ATTENTION TO DETAILFrom Shaping Text by Jan Middendorp "Beauty is in the eye of the beholder, and whether book or magazine 'looks good' is, to a large extent, a matter of taste. But beyond person preferences, it is certainly possible to recognize quality; to get a feel of a piece of text is harmoniously set, to pick out typesetting flaws (and correct them), to notice whether a text looks bland because that is what the designer wanted or because they never looked beyond the default settings or fonts that begin with 'A'." It is all in the details. There are several factors on which the appeal and functionality and accessibility may depend;

Text formating: choice of type and body size in relation to other decisions: column width; various levels of text; headlines, subheads, introductions, pull quotes, footnotes, captions...

Paragraph formating: Line length in relationship to line spacing (leading) and body size; indents and outdents; alignments (left, right, centered, justified; word spacing, etc.

Microtypography: The attention to details -- the fine art of adjusting every detail to achieve typographic excellence on the smallest level.
Design professionals can easily discern whether you understand typography or not. A skilled designer can quickly gauge your proficiency just by looking at your typography work. Whether you're pursuing a career in traditional or digital design, it's crucial to grasp and excel in typographic rules, terminology, and application to secure and maintain the job you desire. While advanced classes tackle the broader aspects of typography, concentrating on the overarching concepts, this workbook delves into the finer details of typography. It's important to note that you should learn and retain this information, as it won't be revisited.

BASELINE GRID (also called the leading grid)
Many people call the baseline grid, the leading grid. It maybe easier to understand the baseline grid thinking about it as the leading grid. The key is the baseline grid is based on leading. The leading should be related (a multiple) of the baseline grid.

*You must use the baseline grid for your workbook. Change the baseline grid to what makes sense for your design. (hint a multiple of 3 or 4).

Paragraph and Character Styles
To keep your text consistant in the entire book you should use Paragraph Styles and Charater Styles. If you need to make changes to the font, size, leading, color, style you can change them all globally through Styles.

This project revolves around mastering the rules and intricacies of typography. These principles will guide you in designing your book and seamlessly incorporating them into its content. Equally important is the concept of pacing, achieved by applying hierarchy through elements like size, contrast, placement, and organization, creating an inviting visual journey for the reader on each page.

Although the investigations themselves may appear uncomplicated, it's your implementation of these insights that will provide you with the ability to skillfully organize complex information in an elegant and easily understandable way. You'll utilize these abilities to emphasize essential content and manage a range of design elements, including titles, chapter pages, headers, captions, and page numbers.

The choices you make in terms of typeface, font size, weight, and color will determine whether the book emerges as a beautiful, elegant, and dynamic creation, or falls short of that mark. It's important to acknowledge that this project isn't a simple endeavor; it carries a level of complexity that demands your attention and skill.

Adobe InDesign (you must use Adobe InDesign, if you need help, just let me know)
. Using a Grid, Baseline Grid and Character Styles are all required, failure to use them will result in a failing grade)

Wookbook. Printed B/W Jayhawk Ink
Wookbook. pdf on google drive
Behance post (make a selection of spreads)
no process book
*after the proejct is graded and you get feedback you can send it off to Blurb but not before and not required

Printed Book
successfully design and typeset both a printed book about the principles of typography
tools: Adobe InDesign
size print: 8.5in x 11in (page size, USE they templates given in the google drive they are set up using the BLURB TEMPLATE)
page count: unlimited so do not overcrowd pages fonts: typefaces of your choice, determined by investigation
color: full color
grid: 5 column 
output: final output will be digitally printed
*b/w version printed cheaply at Jayhawk is required for grading then you may send it off to blurb and get it printed as a magazine

Digital pdf
successfully design and typeset both a digital screen proportioned pdf
tools: Adobe InDesign
size print: 11 x 17 page (do not design as spreads)
page count: unlimited so do not overcrowd pages fonts: typefaces of your choice, determined by investigation
hyper links: must include hyper links to content. Any additional interactive element/content is encouraged.
color: full color
grid: 12 column
output: final output will be a interactive pdf.


Below outlines what we are talking about and working on in class that day. 

Monday, Oct 23
Discuss Font Specs 
Discuss Typographic Color
Set Character Styles
Anatomy of Type

Wednesday, Oct 25

Pick visual direction and go
Crit Anatomy of Type
Package InDesign Files
01 rules check sheet
02 typographic rules
03 special characters
07 kerning
12 typographic color (started it, now add text and refine)
13 font classifications (optional)

Monday, Oct 30

crit and refine
04 column width and hyphenation
05 hyphens and dashes  
06 quotes and apostrophes

13 font classifications (if you haven’t done it yet do it now)

Wednesday, Nov 1

crit and refine
08 figures and tabular tables
09 justification/letterspacing/word spacing
10 paragraph breaks

Monday, Nov 6

crit and refine
Title page
Table of Contents

Wednesday, Nov 8

refine and review

Monday Nov 13
refine and review and finish up.

Wednesday Nov 15 DUE