GØtham GØtham GØtham
Gg Times have changed
“Typefaces are not conceptual, they are formal.� black 55/55
Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham Gotham light italic 11/13.2
G
Designer & Editor {Brianna Kindell} Publication Date {April 26, 2010}
otham
medium 200/240, 30/36
Course {GDES 1314} Text Credit {Elliot Earls} medium 12/22
Times have changed medium 22/26.4
Table of Contents light 24/23
1&2 “the craft of drawing by hand.”
5&6 “God (or the Devil, or possibly both) is in the details.”
3&4 “Everywhere you turn there it is.”
7&8
“The humanist and the geometric”
“Type has lost it’s urgency, and has regained its soul.” bold 30/36
9&10
“Don't so much understand how a letter is drawn: experience how a letter is drawn.”
11&12
“bare efficient essentials” book 24/14, 11/14
Gg bold 30/36
â€œâ€Śthe craft of drawing by hand is still a most valuable asset when it comes to designing fonts, and that computer tricks are a poor substitute for intent. refinement, is always an optical endeavor.â€? light italic 11/13.2
The hand and retina must move in symbiotic lock step as they both trace the physical line. book italic 12/14.4
italics
book 17/16
It's through this process that one can learn to trust not the mind, but the retina. book italic 12/14.4
How thick? Thicker! medium 24
ultra 24
How black?
Bigger!
black 23
black 31
variation
ultra italic 60
The hand moves, the mark changes, a the eye responds. The eye, and how it relates to mark making, or more accurately, how it responds to the mark made, is the most important thing. light italic 21/25.2
While making marks on paper, the internal non-linguistic dialog between retina and cortex may go something like this:
ultra 57
How thin?
Blacker!
Thinner
Smaller
light 24
thin 24
black 26
thin 18
2 1 book 14 2 thin 14 3 bold 14 4 book 14 5 light italic 14 6 ultra 14
Whiter!1 Grayer?2 closer?3 Fa r t h e r !4 Tighter?5 T oo Ti ght!6 Whiter!1 Grayer?2 c
there it is
Everywhere you turn
3
Gotham Thin Everywhere you turn there it is.
Gotham Thin Italic Everywhere you turn there it is.
Gotham Light Everywhere you turn there it is.
Gotham X Light Everywhere you turn there it is.
Gotham Light Italic Everywhere you turn there it is.
Gotham X Light Italic Everywhere you turn there it is.
Gotham Book Everywhere you turn there it is.
Gotham Book Italic Everywhere you turn there it is.
Gotham Medium Everywhere you turn there it is.
Gotham Medium Italic Everywhere you turn there it is.
Gotham Bold Everywhere you turn there it is.
Gotham Bold Italic Everywhere you turn there it is.
Gotham Black Everywhere you turn there it is.
Gotham Ultra Everywhere you turn there it is.
Gotham Black Italic Everywhere you turn there it is.
Gotham Ultra Italic Everywhere you turn there it is.
4
The simple process of making marks on paper is less of an intellectual process than a biological process. {One must cultivate a feel for proportion, solidity, balance, etc.}
One must cultivate a feel for: book 18/21.6
book 13/14
...more contemporary developments within cognitive scienve and perceptual psychology, issues of balance, harmony, scale, as well as principles of gestalt, all have a bearing on the function and legibility of letterforms. medium 13/15.6
&&&
proportion solidity balance light,medium, bold 24/20
book italic 120/144, light italic 100/120, thin italic80/96
Rely on your history to guide you. {Think through the body}. Arrive on the beautiful shores of naivete and anti-mastery only after toiling the fields of mastery. light, light italic 13/15.6
{think through the body light 10/12, book 18
But as they say,
“God (or the Devil, or possibly both) is in the details.� haven't looked, nor can they draw). bold 20/23
5
I am resolute in my belief that there is simply no correlation between time and quality, and that all things historical are not neecessarily bad. medium 13/15.6
Quite possibly the biggest challenge facing type designers who are just starting out is that most cannot see, nor can they draw (I should amend that slightly; most haven't looked, nor can they draw). light 10/12, book 18/23
Does this imply that all letterforms must have serifs or strokes that are in some way informed by the ruling pen, nib, or chisel? Of course not! As a matter of fact, some of the most interesting typographic specimens bear no correlation to these tools. book, medium 13/15.6
Thë grêªt årtîst ør Ðésïgnër iš s/he whö is nø lºngêr çõnštri©téd þy the ®ules. But ªnti-måstery cøme§ äftêr mástérÿ.
“The humanist and the geometric”
“The humanist and the geometric” “The humanist and the geometric” ultra, book, xlight 24/28.8
medium 17/20.4
•Historical revival
geometric
•Vernacular interpretation •Exclusively formal extrapolation medium, book, light 12
medium, thin 44
7
8
"Don't so much understand h ow a letter is drawn: experience how a lett er is drawn." light 16/20
one1 two2 three3 four4 two2 two2 three3 four4 three3 two2 three3 four4 four4 two2 three3 four4 book 13/15.6
What in jazz they call “chops,” and in design they call “fundamental graphic exercises” line rhythms, gradation, and figure/ground studies.
Musical instrument performance represents the perfect synthesis of theory and practice. Theory is study understood and finally applied. But the essence is that theory (or thinking) is forgotten in the moment of performace. bold 14/16.8
light, medium/18.21.6
But it is nuance or “feel” that seperates the chimps from the apes.
And no guitar teacher or book or computer program can teach "feel." The nuance of the activity mirrors the nuance of the typographic form, which mirrors the nuance of life. musical passage. bold 15/12, book 8/9
9
To borrow from our
musical metaphor
again, it's quite easy to rough out a plan of study for the guitar. It's quite easy for a guitar teacher to communicate to a student the technical aspects of any given musical passage. bold 21/14, book 8/9.6
•To do or perform habitually or customarily •To carry out action; observe light 12/11
•To do or perform repeadtedly in order to acquire or polish a skill. It's all about craft. And craftsmanship demands practice. It is through the practice of type design that one will develop mastery and come to a deep understanding of all the technical issues. book 12/11
10
bare efficient essentials
This book is set in Gotham, a typeface designed by Hoefler & Frere-Jones. Published at St. Edward's University using a HP 5550 Color Laser Printer on standard bond paper. book 13/15.6
book 30/36, medium, light italic 30/24
11
12
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