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Designed & Edited by: Andrea Blanco Text from: “This Monkey’s Gone to Heaven- If the Devil is Six then God is Seven. Against Anti-foundationalism” By: Elliot Earls
doni std. 3
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uppercase
unique characterisitcs
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noticable serifs
high contrast between thicks and thins
very tall x- height
horizontal and vertical intersections are perpendicular
rounded edges hang below base line
Students who begin drawing typfaces must first learn to look at typefaces. I am often shocked and amazed at my students first
How do ou design letterforms? Kick it old skool style.
attempts to construct, for instance, the termination of a stroke. It usually involves
Draw them big, with a ruling pen and Plaka, and some Pro White.a student using Fontographer. And when
looking closely at the letterform, one often
Focus on the serifs or the termination of the character.
notices a complete lack of rigor, couple
Fontographer (the computer)
Don’t so much understand how a letter is drawn:
with a hyper-kinetic line quality, which almost always leaves me with the impression that I’m teaching type design to a class of
experience how a letter is drawn.
methamphetamine addicts. (Which I have
is a great tool for some,
found is usually not the case.) One need
Then refine the letterforms through successive redrawing.
look no further than the plenitudinous offerings of foundries such as T-26 or
Sit back, evaluate them optically (with your retina).
Garage Fonts to find textbook examples of
this undisciplined methamphetamine line. but a terrible tool for the tenderfoot,
Then draw them again. Making them thinner here and thicker there.
the greenhorn, the neophyte,
Walter Gropius was famous for his exhortation to his students in Weimar to “start from zero.”
Become
novice, rookie, or initiate.
intimatelysimilar with the French curve. It is possible to achieve all of the above using only the computer? Of course...
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67 4567 678901 4567 345 4567 4567 01 8901 234567 8901 678 8901 8901 45 2345 890123 2345 901 2345 2345 89 6789 456789 6789 234 6789 6789 23 0123 012345 0123 567 0123 0123 67 4567 678901 4567 890 4567 4567 01 8901 234567 8901 123 8901 8901 45 2345 890123 2345 456 2345 2345 89 6789 456789 6789 789 6789 6789 23 0123 012345 0123 012 0123 0123 67 4567 678901 4567 345 4567 4567 6
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7
what lead hardness to use in your drawing pencil or the benefit
8.point 9.point 10.point 11.point
er plate bristol. The gap between language and experience
12.point
aping hole as one begins to discuss issues of craft.
14.point
bout craft. And craftsmanship demands
18.point
tice. It is through the practice
24.point
The gap between language and experience becomes a gaping hole as
one begins to discuss issues of craft. At this point, it would be prudent
o have a lengthy discussion about technical considerations. We should
pe design that one will
develop mastery and
8
P
O I
30.point
36.point
N T
40.point
come to a deep un
48.point
of all of the tech
55.point
issues. How d
60.point
S
I
you design le Z E S
9
If at this point you feel the need to acc
barking up th
10
I am not suggesting that the type design process necessarily adheres to a strict taxonomic progression. And I’m certainly not an advocate of a rigid categorical approach to design of any form. Quite the contrary. Its my contention that the edge condition, the tension that exists in the gap, is where the action is. But for the designer interested in beginning to come to grips with letterform design, locating ones work within the three categories...is often helpful. Sudents who begin drawing typfaces
must first learn to look Access to Fontographer at typefaces. I am often enabled the designer, shocked and amazed at my for better or worse, to students first attempts to cut the development construct, for instance, the time and cost of creating termination of a stroke. It an alphabet to almost usually involves a student nothing. The “Blend” using Fontographer. And menu in Fontographer when looking closely at would take two fonts and the letter form, on often mathematically extrapolate, notices a complete lack to produce a third new font. of rigor, coupled with a This process took seconds, hyper-kinetic line qulaity, and the results were fluid, which almost always leaves kinetic, and seemed, from me with the impression an historical perspective, that I’m teaching type design to a class of methamphetamine addicts. (Which I have found is bold condensed 13/ 15 usually not the case.)
refreshing.
cuse me of anti-intellectualism, you’d be
he wrong tree
.
“Where do you
begi n ? How do you get an
id e a or a concept for a t ypeface ? ” My answer is twofold.
roman 23/28 roman 51/42
roman 23/38
roman 51/50 roman 23/28 roman 51/42 roman 23/29
11
regular-15 pt.
optical endeavor optical endeavor
optical endeavor optical endeav
roman-15 pt.
italic-15 pt.
12
bold-15 pt.
bodoni v. didot
Typfaces are not bold-15 pt.
italic-15 pt.
vor optical endeavor optical endeavor
they are formal
similar typface
13
the biggest challenge facing type designer
14
poster compressed 140/168
...most havenâ&#x20AC;&#x2122;t looked,
t ,
THE ABILITY TO SEE, (NO, TO FEEL) THE CORRELATION BETWEEN THE RULING PEN, NIB, CHISEL AND/OR BRUSH AND THE FINAL LETTERFORM IS ESSENTIAL...THE GREAT ARTIST OR DESIGNER IS S/HE WHO IS NO LONGER CONSTRICTED BY THE RULES. BUT ANTI-MISERY COMES AFTER
15
St. Edwardâ&#x20AC;&#x2122;s University 3001 S. Congress Ave. Austin Tx, 78704 Printed on: HP ColorLaseret 5550 Trustee Hall #108 Created in Adobe Indesign By: Andrea Blanco in 2009 Typeface created by: Giambattista Bodoni in 1798
16
I AM RESOLUTE IN MY BELIEF THAT
there is simply no correlation between time and quality, and that all things historical are not necessarily bad. The geezers didnâ&#x20AC;&#x2122;t get everything wrong. Although Modernism has become shorthand for dogmatic, imperious, doctrinaire, dry and anal, it is also rigorous, studied, quintessentially optomistic and highly formal.
std.