TYPOGRAPHY I
(DES 332A)
Brian O’Connell
Email: brianoc[email protected]du
Office Hours: by appointment only
Course Description
This course examines the use of letterforms, from historical tradition to contemporary experimentation. Students
will gain an understanding of typography as a means for expressive visual communication. This will include a
history of alphabets, writing, printing, classic typographic theories, and modern typographic art.
By examining typographic strategies found across various forms of communication, including literature,
architecture, journalism, advertising, and art, we will build our own typographic experiments. This is NOT a
software class, nor is it meant to provide rules for “correct” practice. Rather, it is a laboratory for developing
the skills needed to determine appropriate typographic strategies for communicative tasks. It provides historical
and technical competency as a basis for individual development. We will cover the rules in order to know when
and how to break them, and when not to.
This course is broken into four units:
(1) an exploration of single letterforms and characters;
(2) the combination of forms and layouts;
(3) multi-page formats, including the integration of color and image;
(4) a close examination of the book as a typographic object, and produce
our own small publications.
Recommended Preparation: DES 102 and/or DES 203 Digital Tools for Design
Open to all students university-wide
No Prerequisites
Objectives
• A clear understanding of typographic conventions and their use in historical context.
• Layout: a refined sense of composition, typeface, scale and hierarchy.
• Layout: proficiency in the use of grids in creating page and information structure.
• Layout: a basic understanding of image/type integration.
• Vocabulary: fluency in typography concepts, and terms.
• Meaning/appropriateness: a correspondence of form and content.
• Process: effective working methods and documentation of process.
• Critique vocabulary to speak critically and intelligently about your work and your peers work.
Requirements and Grading
Students are responsible for all assignments, including homework, in-class work, critiques, presentations,
demos, readings, process and archiving work on removable media. It is the student’s responsibility to obtain
missed work and information missed if absent. DES 332a is a studio based class. Students must attend
class to succeed in the course.
Attendance
This is a studio based class. Attendance is crucial to the success of the student. Please note that the design
area adheres to the following attendance policy:
• At the beginning of each class (first 10 min.) a sign-in sheet will be available. Only by initialling this
sheet will you be counted as present.
Spring 2018
Harris 117
Fridays 11am–1:50pm
• After missing the rough equivalent of 10% of regular class meetings (3 classes) the student’s grade
and ability to complete the course will be negatively impacted.
• For each subsequent absence past 3 (excused or otherwise), the student’s letter grade will be lowered
by the following increment: 1 absence over 3 = the lowering of the final course grade by one full grade.
A- to B-
• Exams,quizzes, and in class assignments will cannot be made up if due to an unexcused absence.
Absence will be excused if accompanied by a doctor’s note or excuse from the University.
• It is always the student’s responsibility to seek means (if possible) to make up work missed due to
absences, not the instructor’s, although such recourse is not always an option due to the nature of the
material covered.
• It should be understood that 100% attendance does not guarantee a successful final grade.
• Any falsification of attendance may be considered grounds for a violation of ethics before the University
Office of Student Judicial Affairs.
• Tardies can accumulate and become equivalent to an absence. 3 tardies = 1 absence.
• Attendance is taken at the beginning of each class.
• After a first warning, students who persist in the following disruptive activities: sleeping, texting, email-
ing or online browsing for purposes other than class research, will result in a tardy for that class
session.
• Students will be considered absent if they leave without the instructor’s approval before the class has
ended or if they take unapproved breaks that exceed 30 min.
• Consistently leaving class early can also count against your attendance
Assignments
Please observe the following guidelines:
• Label all work clearly.
• Do NOT discard any of your work or research. You will be asked to turn in all research and iterations
of your project with each project. Process packets should be attached to finished work and will count
toward the overall grade for the project. Source information is the basis of good design and design
research.
• All homework and assignments must be submitted on time, in the format outlined. Late assignments
will be docked one full grade for each week they are late.
• All work for critique must be cropped and pinned to the wall by the start of class. Please consider
presentation and display.
• Proof and/or spell-checked your work. Writing and designing uses different sides of the brain so it is com-
mon for designers to misspell familiar words. All cited work must include a bibliography.
Projects
At the close of the semester, all students are required to submit a final packet that includes their process
book/journal with documentation of each completed project. It is strongly recommended that students
keep a sketchbook, journal, or e-journal (such as a blog or mood boards) to gather visual research info. All
completed projects should be mounted on a board with tracing paper and coversheet. This is the best way
to protect your work. Projects should be submitted in the following manner:
1. All exercises and final projects must be submitted in a hard-copy format. All project must contain: the
name of the project (e.g. “Project One” Letter Spacing Assignment”), as well as your full name and
contact info (email address).
2. Process package should be mounted on the back if the research is in a hard-copy format (photocop-
ies of sketches are acceptable). There are envelopes available in the classroom. Digital mood boards,
journals, or sketches (such as blogs or digital sketches) may be submitted via email (brianoco@usc.
edu), Dropbox, or websites.
3. Please make sure that all items is clearly labeled and marked, especially if your packets are not turned
in all together (boards, process, etc.). It is your responsibility to insure that I receive every item of the
project.
Grading
Projects will be evaluated based on their adherence to given guidelines, attention to craft and overall appropriacy.
Initiative, progress, and follow-through will also be considered. Both giving and receiving feedback will be
crucial to your success in this class, therefore your class participation grade is based on your active
involvement in class and critiques. In addition to causing you to be marked absent, late assignments will be
marked one full letter grade lower for each late week.
Grade Break-Down
70%
15%
15%
Studio projects and homework assignments
Process Packets are required for each project and all process should be
integrated into a sketchbook/journal/blog
Project grades will be assigned according to a point system based on the
following:
• Strength of the concept/design
• Process and methodology
• Presentation/craftsmanship
• Participation in critiques
Written Assignments
Class participation, reading assignments, attendance, effort, improvement
Grades
A
95–100
A –
90–94
Excellent
Student demonstrates excellent design skills, execution, and interesting
problem solving abilities and/or challenging ideas. All projects are turned
in on time and in a professional manner (demonstration of presentation
will be shown in class). Student has excellent attendance and actively
participates and is engaged in the group critiques and discussions.
B +
86–89
B
82–85
B –
78–81
Good
Student turns in all projects on time and successfully fulfills the objectives
of the project. Attendance is fair and student participates in critiques and
group discussions.
C+
74–77
C
70–73
C –
67–69
Fair
Projects are turned in and student participates in critiques and group discussions
D
60–66
Unsatisfactory
Missing work, projects are not completed and/or turned in on time. Stu-
dent is routinely absent or late and does not participate in class.
F 0–59 Fail
Missing multiple projects and has not completed work. Student is not
engaged in the class/is not attending class
Academic Conduct
Plagiarism—presenting someone else’s ideas as your own, either verbatim or recast in your own words—is
a serious academic offense with serious consequences. Please familiarize yourself with the discussion
of plagiarism in SCampus in Section 11, Behavior Violating University Standards https://scampus.usc.
edu/1100-behavior-violating-university-standards-and-appropriate-sanctions/. Other forms of academic
dishonesty are equally unacceptable. See additional information in SCampus and university policies on
scientific misconduct, http://policy.usc.edu/scientific-misconduct/.
Discrimination, sexual assault, and harassment are not tolerated by the university. You are encouraged
to report any incidents to the Office of Equity and Diversity http://equity.usc.edu/ or to the Department of
Public Safety http://capsnet.usc.edu/department/department-public-safety/online-forms/contact-us. This is
important for the safety whole USC community. Another member of the university community—such as
a friend, classmate, advisor, or faculty member—can help initiate the report, or can initiate the report on
behalf of another person. The Center for Women and Men http://www.usc.edu/student-affairs/cwm/ provides
24/7 confidential support, and the sexual assault resource center webpage [email protected] describes reporting
options and other resources.
Support Systems
A number of USC’s schools provide support for students who need help with scholarly writing. Check with
your advisor or program staff to find out more. Students whose primary language is not English should check
with the American Language Institute (http://dornsife.usc.edu/ali) which sponsors courses and work-
shops specifically for international graduate students. The Office of Disability Services and Programs (http://
sait.usc.edu/academicsupport/centerprograms/dsp/home_index.html) provides certification for stu-
dents with disabilities and helps arrange the relevant accommodations. If an officially declared emergency
makes travel to campus infeasible, USC Emergency Information http://emergency.usc.edu/ will provide
safety and other updates, including ways in which instruction will be continued by means of blackboard,
teleconferencing, and other technology.
Course Details
Supply List
Notebook | Sketchbook | Journal • Mechanical Pencil (0.7 mm) + Lead Refills, Pkg of 12 • Mechanical
Pencil (0.5 mm) and refills Lead Refills • Xacto Knife -#1 Knife + Blades • C-Thru Flexible Typesetter’s
Ruler • Stainless Steel Ruler 24” • Drafting Tape 1” 1 roll • Paintbrushes—Pointed Round, Size 0, 6, Liner
2/0 • HB Black 0.7 mm • Black India Ink Waterproof India Ink • White Acrylic Gesso, 8 oz • Sharpies •
Tracing Paper Pad, 40 Sheets Marker Paper, 50-Sheet Pad • Drawing supplies including: drawing pencils
or mechanical pencils • Colored pencils or colored markers for sketching + brainstorming • Double stick
tape • Spray Mount • Access to a computer, Adobe CS and color printer (Galen Lab, Salvatori Lab, Levy
Library, King Hall)
Blackboard
Check Blackboard regularly for Content, Assignments and Announcements. Details on projects, exercises
and reading will be made available by the morning after classes in which they are assigned—if you miss a
class it is your responsibility to check for previously unannounced assignments etc.
Books & Other Reading
All required reading handouts will be provided in class and/or on Blackboard. Any homework reading
assignments will be handed out during class and posted within 48 hours of the class period. It is the
students responsibility to obtain missed readings.
Bibliography
A type primer, Ed. 2, John Kane, Prentice Hall Art of Lettering, Albert Kapr, K.G. Saur
Basic Typography, a design manual, James Criag, Watson Guptill
Designing books: practice and theory, Jost Hochuli, Robin Kinross
Designing with Type, James Craig & Irene Korol Scala, Watson Guptill
The Elements of Typographic Style, Robert Bringhurst, Hartley & Marks
Interaction of Color, Josef Albers, MIT Press
Looking Closer Series: Classic Writings on Graphic Design, Michael Beirut, Allworth Press
Pioneers of Modern Typography, Herbert Spencer
Stop Stealing Sheep, Erik Spiekerman, Adobe Press
Thinking with Type: A Critical Guide, Ellen Lupton, Princeton Architectural Press, 2004.
Units & Schedule (Subject to Certain Change)
Topics History In-Class Homework Supplies and Notes
UNIT 1
Character
and
Letters
Week 1 Intro | Writing to Type Alphabets to Press N/A Drifting in Type (P1) camera/phone
Week 2 Anatomy and
Taxonomy
Wild West
HW re-class (1B)
Copy Type Samples
Type Gris (P2)
Finish Type Grid (P2)
Choose and Copy
good and bad book
(P3)
ruler, paper,
pencils
Week 3 Measuring and
Combing Type
(pts, picas, leading)
19th c. —> Design
William Morris
The Ideal Book
(5 words 1in tall)
Fit The Ideal Book
(P3)
Monogram Contrasts
Week 4 The Development of
type and books
Rare books collection On-Campus Field
Trip
TBA / Complete
Monograms
TBA
UNIT 2
Words
and
Space
Week 5 Expressing Content
through type
(kerning, tracking,
scale)
Introduce P5
Formalist Type (Kerning Exercises)
Complete
Monograms add
Logotype (P4B)
Monogram Logotype
P4B
Brainstorm P5 bring
objects etc. to class
Week 6 TYPOPHOTO &
Offset Pocess
bauhaus
constructivism
Begin Acetate
composites
3 acetate
composites (P5)
Compile Midterm
Pack
Objects, Letter-
forms, scissors,
blade, ephemera
Week 7 MIDTERM PACKET
DUE (P1–4)
Printing Cyanotypes
Typophoto in action Print and Critique
Cyantotypes (P5)
Begin compositing in
groups
Groups: merge com-
posites into 1 acetate
each (P6) and proof
with cyanotype.
Week 8 TIME TBA
RAKISH LIGHT
Field-trip to print
plates
Burn, Develop and
Print 4 prints
Grid Readings TBA MEET AT RAKISH
LIGHT
SPRING BREAK
UNIT 3
Layout
and
Grids
Week 10 THE
GRID
Jan Tischold,
Müller-Brockman
Swiss Type
Static, Dynamic &
Proportional Grids
(P7)
Specific Content (P7)
Week 11 Hierarchies, Text and
Image relations, Using
Color
Susan Sontag Begin Poster Design
and Research (hand
layout) (P8)
Draft Posters Print
Week 12 Crit Posters Drafts Begin Research for
Final Project / Com-
plete Posters
Begin Research for
final Project / Com-
plete Posters (P8)
Week 13 Crit Posters /Present
Final Project Material
Designers Crit Posters /Pres-
ent Final Project
Material
Begin Final Project
UNIT 4
Book
Ends
Weeks
13–15
Final Projects Final Project (P9)
All work packets due by first hour of the scheduled exam (NO EXCEPTIONS).
