Zuzana Licko & Matthew Carter
Lines, shapes, and curves form letterforms to create a written language. Typography is key to a readers experience, creating a connection between content and form. Typographers while designing, need to have significant knowledge of the growing technology and culture around them to create successful typefaces. The birth of the Macintosh changed everything for designers and challenged them to push their creative possibilities. Zuzana Licko and Rudy VanderLans embraced this new digital medium. The limitations of the early Mac challenged them to think conceptually, and create designs which reflected that. As the technology grew throughout the years, so did their typographic style as those limitations became smaller as things like Apple Postscript developed. Their magazine Emigre, is design without boundaries, and they keep an open mind with design as they approach problems in unconvetional ways. Matthew Carter has more than 40 years of experience as a typographer, witnessing the transition from hand-cut type to the digital age. His typefaces are seen everywhere, on the computer, the phonebook, to the newspaper. He has explored historical letterforms so in depth that he has an extraordinary understanding of letterforms and how they communicate as a visual language. Zuzana Lickos, Rudy VanderLan’s, and Matthew Carter’s typographical designs have shaped typography through the development of the Postmodernist period, philosophy from culture, and through the advancement of technology. 1
Postmodernism, a period from 1980 to the present, is a departure and advancement from modernist approaches, with the thought that there is no absolute truth, the way which everyone perceives the world is subjective. The movement rejects the modernist ideals of individualism and rationality and pushes the idea that everything is within the eye of the beholder. A characteristic of postmodernism is the combination of high and low forms through industrial materials, something which Zuzana Licko embraced. In 1984, the birth of Apple’s Macintosh gave freedom to designers who were previously limited to the typewriter as a means of communicating the printed word(Eskilon 365). However, the display was poor, and bitmapped typefaces could be produced.With the advancement of the computer, it becomes easier for one to design and edit, but overall pushes the creative process within designers.
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The movement rejects the modernist ideals of individualism and rationality and pushes the idea that everything is within the eye of the beholder. Postmodernism, a period from 1980 to the present, is a departure and advancement from modernist approaches, with the thought that there is no absolute truth, the way which everyone perceives the world is subjective. A characteristic of postmodernism is the combination of high and low forms through industrial materials, something which Zuzana Licko embraced. In 1984, the birth of Apple’s Macintosh gave freedom to designers who were previously limited to the typewriter as a means of communicating the printed word(Eskilon 365).
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However, the display was poor, and bitmapped typefaces could be produced.With the advancement of the computer, it becomes easier for one to design and edit, but overall pushes the creative process within designers. As the technology progressed, Lickos could afford a computer with better resolution to zoom in on forms for precision.
“The movement rejects the modernist ideals of individualism and rationality and pushes the idea that everything is within the eye of the beholder.�
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Licko and VanderLans sought to develop new ideologies to bring themselves to the forefront(VanderLans 6). Zuzana and Rudy combined their styles of typography and design for a unique, co-existing layout, and became founders of Emigre, and Emigre Magazine, which is written for and about graphic designers.
Citizen, Matrix, and Totally Gothic were formed. Zuzana does all of her design on the computer, and uses Fontographer. As the technology progressed, Lickos could afford a computer with better resolution to zoom in on forms, thus Filosofia and her revival of Baskerville was formed. Filosofia, the revival of Bodoni, was able to be created with even more technological advances. Filosofia is intended for display purposes as it is extremely delicate and refined(emigre)
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“Licko and VanderLans sought to develop new ideologies to bring themselves to the forefront”
Licko and VanderLans have a passion for interesting developments within design, and Emigre had its own original typefaces which are designed by Licko. Oakland, Modula, and Matrix where a few which were constructed under such technological limitations that the early Macintosh has caused. They were low resolution, but she had a mastery of working elegantly with constrained proportions. She believed that this new technology should not be a basis for a new design aesthetic, but should lead to the invention of new forms.
Licko created Emperor 8, which has a ratio of a 2 pixel stem to one pixel counter, each cap height measuring in eight pixels. Licko’s and VanderLan’s styles beautifully complimented each other, but was rejected by some and sometimes seen as “loud and blaring”, or unconventional at the time(Fontfeed).
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were a few which were constructed under such technological limitations that the early Macintosh has caused.
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Licko and VanderLans sought to develop new ideologies to bring themselves to the forefront(VanderLans 6). Zuzana and Rudy combined their styles of typography and design for a unique, co-existing layout, and became founders of Emigre, and Emigre Magazine, which is written for and about graphic designers. Licko and VanderLans have a passion for interesting developments within design, and Emigre had its own original typefaces which are designed by Licko. Oakland, Modula, and Matrix where a few which were constructed under such technological limitations that the early Macintosh has caused.
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but she had a mastery of working elegantly with constrained proportions. They were low resolution, but she had a mastery of working elegantly with constrained proportions. She believed that this new technology should not be a basis for a new design aesthetic, but should lead to the invention of new forms. Licko created Emperor 8, which has a ratio of a 2 pixel stem to one pixel counter, each cap height measuring in eight pixels. Licko’s and VanderLan’s styles beautifully complimented each other, but was rejected by some and sometimes seen as “loud and blaring”, or unconventional at the time(Fontfeed).
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Carter was lucky enough to witness the transition from physical metal typography to the digital age, and even photo-setting. When he moved back to New York he worked for Mergenthaler Linotype, where he created Snell Roundhand, a script, which displayed the virtues of photosetting(designmuseum). The slopes and flourishes of this typeface would be impossible to achieve via metal typesetting. Photo-setting allows spacing to be tight, and Carter explored these options. Matthew Carter developed his skills through Postmodernism, but was able to witness Neoclassicism period beforehand. It was a period of decorative arts in response to contemporary Rococo styles. Neoclassicism strived for order and simplicity. Carter pulled Neoclassic characteristics along with his eye for legibility to create very versatile typefaces. Moreover, international designs and the culture or nationality of these typographers have greatly influenced their designs. VanderLans grew up in Holland and attended the Royal Academy of Fine Arts in The Hague(VanderLans 9). There he was surrounded by hands-on approaches to design, and how to properly use a grid as well as making the message as clear as possible.
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of this typefaces would be impossible to achieve via metal typesetting.
He then has several apprenticeships where he soon learned that organization and rigid structure of design was uninteresting to him as a designer. Rudy VanderLans became intrigued by Milton Glaser, an American Designer who’s style was much more expressive and risky. He admired designers with dynamism in their works, and therefore traveled to the United States, specifically the University of California at Berkeley, where Zuzana also attended(VanderLans 9). His move to California was at a great time in the design world, as “New Wave” was developing with designers like April Greiman. VanderLans was “stunned” with what he saw in the United States.
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Rudy has stated, “Some things, I came to understand, are better off left alone.. It wasn’t that the editors didn’t accept or respect the ideas about perfect typefaces and line lengths, it’s just that they had their own idea about what they called the newspaper “look” and they were quite suspicious of sophisticated design ideas.”(VanderLans 12) Graphic Design in Holland was integrated into society, creating a visual sophistication in everyday society. In the United States, the designers were seen as catalysts, and many of the design rules he was surrounded by while he was growing up, were being broken on a daily basis.
“ In the United States, the designers were seen as catalysts, and many of the design rules he was surrounded by while he was growing up, were being broken on a daily basis” The San Francisco Chronicle Rudy worked for had a pre-conceived aesthetic look they wanted to portray in society and avoided sophistication. The best way to communicate, was with a hint of familiarity within their design, since viewers are exposed to thousands of printed media daily. Zuzana Licko was born in Bratislava, Czechoslovakia in 1961, and moved to the United States at the age of seven, where she was then introduced to the computer. Introduced by her Biomathmetician father, Zuzana was soon able to create a Greek typeface for him to use in his scientific papers. Zuzana states that her background gives her a different perspective, claiming she has a tendency to question things(VanderLans 11).
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anything that is tremendously restrictive, where there are very few choices but you have to make it work. If I get too many choices I become overwhelmed. I still get most of my creative energy out of solving these puzzles.�
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Unlike London, New York was a place containing volumes of contemporary art, and revolutionary sans-serif Carter’s father, Harry Carter, a typographer and designer introduced Matthew to typography. Carter became an apprentice in the Netherlands as well. He learned to make type by hand at the Enschede type foundry, something that was critical in his development as a designer, serving as a “wonderful pluralism� with setting of type for print as well as screen. After his years at Enschede, Carter made a visit to New York which helped him transition into a full type designer, rather than a type setter and maker(designmuseum).
typefaces. When he returned he worked on producing several sansserif typefaces, including one for the Heathrow Airport and worked as a freelance designer, producing type for Linotype companies.
During this time, he produced Bell Centennial in 1974 which was commissioned for AT&T(designmuseum). Created to solve the problem for economical reasons of printing small type, Carter understood the factors in creating a versatile and economically friendly typeface that could even be applied to newsprint and still be readable using less ink. Carter drew the ltters with deep ink traps, so the newspaper ink would spread through the fiber, so the letterforms would ultimately be readable in small sizes. These ink traps are not visible unless scaled up,and remain beautiful and workable when remained for their use in telephone directories
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“ These ink traps are not visible unless scaled up, and remain beautiful and workable when remained for their use in telephone directories.�
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Carter was concerned with readability and legibility within type, and the overall typographic language it creates.
Before the computer, designers were limited to the typewriter to express the written word. The introduction of the Macintosh in 1984 created an astonishing advancement in design but also challenged designer’s creativity. Carter developed an attitude towards the democratization and instability of type in the digital environment. The computer doesn’t develop typography any more than the industrial machines did(Carter). The Macintosh put design production in the hands of the population, and in these circumstances is where knowledge of punch cutting is an advantage. Carter was concerned with readability and legibility within type, and the overall typographic language it creates. For example, his typeface Verdana was designed for the computer, because it is easily readable at small sizes. The letterforms are spaced out for better legibility(MOMA).The letters need to be placed in a way that is familiar to the eye, but seducing and attractive to the reader in such a technological age.
The understanding of punch-cutting, has lead to a creative development and understanding of letter counter form, and volume of space within letters. His hand and eyes are disciplined enough to apply it to the digital world. His typeface Walker, was one of the very first interactive and mutable typefaces. Commissioned for use by the Walker Art Center, it is a very versatile sansserif, with optional serifs, joining strokes, and an underlining system(MOMA). It was quite a groundbreaking new perspective on typography in the technological world.
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Licko believed that this new technology could be a basis for a new aesthetic within design. She became intrigued with the restrictions the Macintosh caused her, something that forced her to push traditional conventions she was taught of typographical design, there was something special that could be done. “I enjoy things that are like puzzles; anything that is tremendously restrictive, where there are very few choices but you have to make it work. If I get too many choices I become overwhelmed. I still get most of my creative energy out of solving these puzzles,� Zuzana has stated(VanderLans 18). Type could now be personalized for expressive, the possibilities were endless. Due to the 72 dpi resolution Lickos had to work within the Macintosh, she had to think and design conceptually.
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filosophia is intended for display purposes as it is extremely
delicate and refined. Citizen, Matrix, and Totally Gothic were formed. Zuzana does all of her design on the computer, and uses Fontographer. As the technology progressed, Lickos could afford a computer with better resolution to zoom in on forms, thus Filosofia and her revival of Baskerville was formed. Filosofia, the revival of Bodoni, was able to be created with even more technological advances. Filosofia is intended for display purposes as it is extremely delicate and refined(emigre)
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Also, Zuzana is a believer that these new technologies have caused an extreme democratization within the design world today. She believes as this technology grows, designers will have to be more knowledgable in their choices of appropriate typefaces. Her fonts correlate with her magazine, Emigre, as they change as the magazine grows. Typography being something that is developed through use with a layout, for example. Matthew Carter’s typefaces include: Airport, Alisal, Auriga, Auriol, Bell Centennial, Big Caslon, Cascade Script, Century 725, Walker, Charter, Cochin, CRT Gothic, Durham, Elephant, FDeFace, Fenway, Galliard, Gando Ronde, Georgia, Helvetica Compressed, Madrid, Shelley Script, Tahoma, Verdana, Sophia, Snell Roundhand Script, Skia, Miller, Gando, Yale University, Vincent, Wilson Greek, Nina, Olympian, Rocky, Monticello, ITC Galliard, Mantinia, Meiryo, Big Figgins, Carter Sans, and Bitstream Charter(Fontfeed).
Zuzana Licko’s typefaces include, Lo-Res, Modula, Citizen, Emperor 8, Emperor 15, Matrix, Lunatix, Oblong, Oakland, Senator, Variex, Elektrix, Triplex, Journal, Tall Pack. Totally Gothic, Matrix Script, Narly, Dogma, Whirligig, Base Nine and Twelve, Soda Script, Mrs. Eaves, Filosofia, Base Monospace, Hypnomdedia, Tarzana, Solex, Puzzler, and Mr. Eaves Sans and Modern(Fontfeed).
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The computer has pushed creativity and craft. Carter has even looked back to Roman type. Mantinia was inspired by a printmaker who was known for creating ancient Roman inscriptions in stone. It was designed to reference the style with its small capitals and unique ligatures(MOMA). ITC Galliard was also designed based on historical design. As technology grows, designers will turn their inspiration back to the classics and theory. These talented designers understand a full range of factors and processes which make them the most innovative and creative people of this decade. As typography remains a means for communication, it should remain sophisticated and orderly to conitinue communicating in a successful manner in the future.
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Designer: Ashley Hopkins Typefaces: Filosofia Snell Roundhand Big Caslon Modular Bell Centennial Emperor 8 Course: Typography 3 Faculty: Francheska Guerrero
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