WYSIWYG by Bridgette Hall

wysiwyg catalog what you see is what you get

2015 may

23-25

interlaken switzerland ; europe

annual

276 th

typography conference

W. Y. S . I . W. Y. G AND WHAT YOU GET IS A BEAUTIFUL TYPOGRAPHY CATALOG

LUCKY YOU

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as the saying goes , type is a beautiful group of letters , not a group of beautiful letters

â&#x20AC;&#x201C; Matthew Carter

i n t ro d u c t i o n just a way to say hello

& welcome

2015 may

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welcome to the

276 th

annual typography conference

A fancy, little get together; full of fancy, diaccritc type designers hello . we are very glad you could make it

to the 276th Annual Typography Conference. Yes, that is correct, the 267th Annual Typography Conference. Crazy to think that this Annual Typography Conference has been going on for that long. And lucky you! You have the exceptional privilege to attend and participate in all of the fun and educational activities prepared for this week. There will be type designers from all around the world and from a range of different times periods present, so make sure to use this time wisely and take advantage to peep into the clever minds of all the old style and modern type geniuses. We are confident that this experience will be one of the most rewarding typography conferences you will ever attend. during your time here, you have the opportunity

try & find 2 ampersands

to attend speeches and workshops that will callout new information and insights much needed to flex your creative mind. The goal of this typography conference is to provide an educational experience so that when you leave here you feel that you can take with you what you learned and expand on your own personal typography goals. So put on your best typeface and let the kerning begin! If you have any questions regarding any concern you may encounter during your time here at the WYSIWYG 276th Annual Typography Conference, please contact Phinley Cottle, Head Coordinator of WYSIWYG Annual Typography Conference, at (389) 991-6645 or phinley@wysiwyg.com

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WYSIWYG Draw these letter forms

gametime drawing type

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a call for typographers

APPLICATION FORM WYSYWIG 276 t h ANNUAL TYPOGRAPHY CONFERENCE INTERLAKEN, SWITZERLAND; EUROPE

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dates

elegibility

application form

The WYSIWYG Typography Conference will be held the 23rd of May through the 25th of May.

You must be a member of WYSIWYG. If you're not a member already, you can become one online at:

On the back of this page is the application form. Please fill out and return Thank you.

w w w. w y s i w y g . c o m

application form personal information name: a d d re s s :

s t re e t

apt.

c i t y

s t a t e

z i p

country

company: title:

contact information phone:

(

)

email: web url:

workshop sign up name of workshops:

date

time:

re g i s t r a t i o n f e e c re d i t c a rd i n f o / p a y m e n t : b i l l i n g a d d re s s : send to:

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Send Application Form to WYSIWYG 276th Annual Typography Conference | Swiss Legacy Studio Aaraverstrasse 2, Lenzburg Interlaken 5600, Switzerland

2015

schedule so you know what to do

may

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SCHEDULE For your connotation, we made these instructions as simple as possible in 3 easy steps:

tear the schedule page for the appropriate day

carry the schedule with you throughout the day

take notes on the back of the schedule page

5/6 pm nicolas jenson

main speaker:

have a good day!

Venitian Oldstyle

Grecs du Roi

Calligraphy

Type Design Philosophy

main speaker:

workshop:

5/6 pm claude garamond

4/5 pm carol twombly

main spearker:

3/4 pm martin majoor

Caslon Foundry

main speaker:

2/3 pm william caslon

H&FJe

main speaker:

take good notes!

Punch Cutting

Stop Stealing Sheep

workshop:

main speaker:

5/6 pm francesco griffo

5/6 pm frederic goudy

4/5 pm tobias frere-jones

Type, Sign, Symbol

The Futura of Type

main spearker:

main speaker:

workshop:

3/4 pm adrian frutiger

2/3 pm paul renner

shcedule

Transition from medal to digital type

Adobe

PostScript

workshop:

1/2 pm david berlow

workshop:

The Art of Typography

11/12 pm matthew carter

main speaker:

1/2 pm paul renner

Swiss Type Design

10/11 am robert slimbach

12/12:45 pm lunch A bit of time to relax

workshop:

main speaker:

typography conference

gather in main building to talk type

12/12:45 pm lunch A bit of time to relax

11/12 pm adrian frutiger

10/11 am erik spiekerman

Design Mind

9:00 am

typography talk

conference check-in

More is Better

8:00 am

keynote speaker:

thursday

herb lubalin

05.24.15

wednesday

shcedule

05.23.15

typography conference

thanks for attending!

Gerrit Noordzij

Drawing Letters

Digital Typeface Design

How to be the Next Movie

Making the World more Legible

main speaker:

5/6 pm tobias frere-jones

5/6 pm david berlow

workshop:

main spearker:

4/5 pm robert slimbach

Typeface

3/4 pm carol twombly

main speaker:

workshop:

2/3 pm matthew carter

1/2 pm martin majoor

MetaDesign

Liefde voor Letters

workshop:

12/12:45 pm lunch A bit of time to relax

11/12 pm erik spiekermann

shcedule

Il Manuale tipografico

Stereotype

main speaker:

keynote speaker:

10/11 am giambattista bodoni

firmin didot

9:00 am

conference check-in

8:00 am

friday

05.25.15

typography conference

notes

notes | may 25, 2015

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friday

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24, 2015

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may

____________________________________

thursday

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23, 2015

____________________________________

may

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wednesday

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WORKSHOPS wednesday

| may 23, 2015

adrian fruitger :

Swiss Type Design

friday

| may 25, 2015

adrian fruitger :

Swiss Type Design

In this workshop, you will learn all of the different characterists and

form of Swiss type design and then try to create your own Swiss type

using the characteristcs of Swiss type design.

paul renner :

The Art of Typography

In this workshop, you will learn about the different philosophies of

The Art of Typography. You will then write your own philosophy

and design a typographic document stating your philosophy of The

Art of Typography.

carol twombly :

Swiss Type Design

carol twombly :

Swiss Type Design

In this workshop, you will learn how Carol Twombly has mastered

calligraphic type design. You will then have the opportunity to prac-

calligraphy. You will then have the opportunity to practice hand

tice hand drawn calligraphy using the techniques and tools Carol

drawn calligraphy using the techniques and tools Carol Twombly

Twombly will teach and provide.

will teach and provide.

thursday

| may 24, 2015

typography talk | Thursday May 24, 2015 At Typography Talk, you will have the opportunity to meet and greet

adrian fruitger :

Swiss Type Design

with people attending the conference, including keynote and main

In this workshop, you will learn all of the different characterists and

speakers. This is a wonderful way to have intellectual and useful con-

form of Swiss type design and then try to create your own Swiss type

versations with a range of unique typographers. Typography Talk is

using the characteristcs of Swiss type design.

just a casual get together to simply talk about type.

paul renner :

The Art of Typography

In this workshop, you will learn about the different philosophies of The Art of Typography. You will then write your own philosophy and design a typographic document stating your philosophy of The Art of Typography. carol twombly :

Swiss Type Design

In this workshop, you will learn how Carol Twombly has mastered calligraphy. You will then have the opportunity to practice hand

drawn calligraphy using the techniques and tools Carol Twombly will teach and provide.

*Breakfast will be provided.

biographies for you to get to know each other

2015 may

23-25

BIOGRAPHIES

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keynotespeakers

Herb Lubalin & Firmin Didot

herblubalin

firmindidot

type designer

type cutter

ITC Avant Garde, Ronda, Lubalin Graph, ITC Serif Gothic

Didot

“rather

t h a n l e s s i s m o re , m o re i s b e s t .”

“ b e f o re

b o d o n i , t h e re w a s d i d o t .”

1764

few graphic designers embody the aesthetics of their

firmin didot was born in paris in

time as completely as Lubalin. Arguably, from the late 1950s to the late 1970s, he was American graphic design. His eclectic sensibility pervaded advertising, editorial, and package design so thoroughly that the best word to describe the era may be “Lubalinesque.” The father of conceptual typography, Lubalin helped build a bridge between the modern and late-modern schools. Letters were not merely vessels of form, they were objects of meaning. He made words emote. He came of age, fortuitously, in an epoch of technological change. But rules, he realized, were meant to be turned upside down. He liberated white space from the traditional way, refusing to follow the edict that less is more.

well acquainted with the printing industry. The first Didot to be in the printing business was a printer-bookseller named MarieAnne Didot. She began her business in 1698. Firmin was able to gain momentum and enjoy success as he built from the foundation and history his family had left him.

herb lubalin‘s numerous awards include seven gold

medals from the Art Directors Club, Art Director of the Year Award from the National Society of Art Directors, a Clio, two honors from The Cooper Union, the Augustus St. Gaudens Medal and The Award for Professional Achievement. He considers, however, his greatest achievements to be his sons: Robert, a talented designer with the architectural firm, Davis, Brody, and Peter, who came to advertising prominence with his Dannon Yogurt “Russian” commercials.

firmin’s father, francois-ambroise didot, was particu-

larly influential to his work. The first version of the Didot typeface was cut by Louis Vafflard. He was an experienced cutter working with instructions given to him by Francois-Ambroise Didot. In 1784, the typface attained its most highly finished form by Firmin. firmin was able to use recent developments in type

design to create his 1784 version of Didot, what many consider to be the cleanest and purest version of the typeface. The typeface has the appearance of being designed rather than drawn. The 1784 version shows geometrical tendencies, pure and uncluttered. The letters are built on a vertical axis; the hairlines are thin and beautifully finessed, while the stems are much thicker with the serifs becoming finely bracketed. the word

he has been both the subject and author of many

articles on graphic design, which have appeared nationally and internationally in, among others, such leading publications as: Art Direction, American Artist, Popular Photography, Communication Arts, Graphics Today, Graphis, Idea, Gabrauchsgraphik, and U&lc.

to a family

“stereotype”

was invented by firmin. a

stereotype refers to the metal printing plate created for the actual printing of pages. This process consisted of molding an entire made-up page of text set in movable type in the same block of lead. This became an effective money saving process. This technique allowed for greater regularity in print quality.

MIX & MATCH how to play the game:

match the name with the typeface

match the typeface with the letterform

gametime mix

n a m e :

Copperplate

Didot, Firmin

Garamond

Futura

Skia

Myriad

Frere-Jones, Tobias

Avenir

Fruitger, Adrian

Caslon

Didot

Adobe Jensen

Scala Sans

Avant Garde

Jenson, Nicolas

Officina

Griffo, Francesco

Bodoni

Renner, Paul

Trajan

Garamond, Claude Carter, Matthew

Slimbach, Robert Majoor, Martin Caslon, William Spiekermann, Erik

Berlow, David Twombly, Carol Frederic, Goudy

match

letterform:

Lubalin, Herb

Bodoni, Giambattista

t y p e f a c e :

Gotham Bembo Franklin

answers on page

mainspeakers giambattistabodoni type designer

“The father of Modern type.” as a young boy he took after his dad and grandfather who

owned a printing establishment. He went from engraving wood there to working in Rome for the press of the Propoganda. His superiors were pleased with his eagerness and zeal to learn not only his language but ancient languages and types as well.

of his influence in contemporary design is often questioned. In 1621 Jean Jannon, created typefaces that were similar to Garamond’s designs. These were forgotten for centuries until rediscovered in 1825 and erroneously attributed to Claude Garamond. This rediscovery sparked a revival of “Garamond” faces.

matthewcarter type designer

“Watching me work is like watching a refrigerator make ice.” bodoni was forced to take a break when he contracted

malaria. Once back in commission, Duke Ferdinand hired Bodoni to organize a printing house in Parma that was to be one of the great houses of Italy. This is where Bodoni worked the rest of his days manage several houses including one that was named after himself. It is in these houses that he created specimens, specimen books, fine editions and much more including pseudoclassical faces and more specifically Bodoni; both known for their stylized characteristics to be admired and for layout. The technical refinement Bodoni was able to achieve allowed him to faithfully reproduce letterforms with extreme thins in contrast to extreme thicks on the main stems and overall geometric shape. 29, 1813 in padua, italy at the age of 63 due to unknown causes. In total Bodoni designed and personally engraved 298 typefaces and 1,200 fine editions with work including 272 characters, 34 Greek characters and 48 Oriental or exotic ones. bodoni died november

1937 and is a designer whose work is used throughout the world everyday. He devoted the first half of his career to designing typefaces for use in print such as Bell Centennial and Miller, and then pioneered the use for fonts on screen, primarily Verdana for Microsoft. He was introduced to type through the works of his father who was also a typographer, book designer and type historian. matthew carter was born in london in

carter learned how to make metal type by hand at the

Enschedé type foundry in the Netherlands. He is one of the last people to have learned the art of making metal type by hand and therefore understands the form and the counterform of the letters. Carter compares his design process to knitting, by beginning with the letters “h” and “o”, which give the height of the ascenders and curves, he is then able to design the rest of the alphabet off of these “control” characters. His decision to stay at the type foundry was a priceless decision and earned him training and knowledge that would prove to be highly valuable. after working for lynotype, carter founded two type

claudegaramond type designer

“Claude Garamond’s contribution to typography was vast, a true renaissance man.”

16th century Paris. Garamond was born in 1480. By 1510 he apprenticed as a punch cutter. In 1520 Garamond worked as an assistant to Geoffrey Tory, who was interested in humanist typefaces and claude garamond was a type designer in

Greek capitals. Both had an impact on Garamond’s later work. In 1541 he gained prominence when royally commissioned to design a Greek typeface for a series of books. The resulting books have been described as being “among the most finished specimens of typography that exist.” From this period on, he began creating the Roman type for which he is best remembered. His influence spread and by the end of his life, Garamond was well known throughout Europe. Despite his popularity, at the time of his death in 1561 he was destitute, and His widow was forced to sell all of his punches. The typefaces that Claude Garamond produced are considered to be the typographic highlight of the 16th century, and have been a source of inspiration for modern type designers. undoubtedly, claude garamond was one of the most influ-

ential type designers of all time. However, the true magnitude

foundries, Bitstream in 1981 and Carter and Cone Type in 1991. He is a recipient of the Chrysler Award for Innovation in Design, the Type Directors Club Medal and the AIGA Medal.

tobiasfrere - jones type designer

“Shapes of our letters are just as important as the shapes of our buildings, or the accent in our voices ... (they’re) just as important, in terms of recognizing the city.”

& marmalade jars with labels done in gill Sans; that’s how it all began. Tobias Frere-Jones, even as a child had a fascination with type. Born on August 28, 1970 in New York City, Tobias was instilled with a great love for the city. He has given himself, “the task of visiting every block in Manhattan and recording every piece of surviving lettering still there.” Some of the seemingly strongest influences on Frere-Jones’ work as a typographer are road signs & old signage (neon, steel, bronze) & lettering from old New York. BFA graduate of the Rhode Island School of Design in 1992, Frere-Jones has gone on to create over 500 typefaces for various clients including GQ , Nike, Martha Stewart Living, & The Wall Street Journal. He is most known for his typeface, Interstate, introduce in 1994 from the Font Burearu Inc. mustard pots

In 1999, upon leaving the font bureau inc, frere-jones began partnership with Jonathan Hoefler creating Hoefler & Frere-Jones. The two continue to create a wealth of beautiful typography, sharing it will the world. In 2006 Frere-Jones was awarded the Gerrit Noordzij Prize from the Royal Academy of The Hague & was the first American to receive the award.

slimbach later became interested in scripts and designed

one called Sanvito, latest of Catfish Script (1993) based on Max Catflisch’s handwriting. In 1995, Slimbach created Adobe Jenson, which was a less-mannered and decorative than Centaur. Currently, he is working for Adobe in San Jose, California. He remains devoted to old-style typefaces, many of which are located and available to users on the Adobe programs of today.

adrianfrutiger type designer

“Helvetica is the jeans, and Univers the dinner jacket. Helvetica is here to stay.” known for his many influential typeface designs in the

20th Century, (Avenir, Frutiger, Univers, etc.) Adrian Frutiger was born May 24, 1928 in Unterseen, Switzerland as the son of an artisan weaver. one of frutiger’s major contributions to the world of

typography is his development of a numerical classification system for organizing his font family Univers (released in 1957 while he was a student in Zurich), which later became an approach for many other type designers and their typefaces including Helvetica Neue. His fortunate timing in designing within a period of technological reformation, together with his experience from young age in printmaking, enabled him to develop creative new fonts from hot metal, phototypesetting, and eventually digital typesetting. absorbed in his efforts for legibility,

Frutiger was asked to design a typeface for the Charles De Gaulle Airport in Paris that could be read from different angles. This typeface was a combination of his extremely rational typeface Univers and a borrowed anatomy from the humanist qualities of Gill Sans by Eric Gill. It originally was designed in one weight, meant to be Eric Gill. It originally was designed in one weight, meant to be more legible in white on a darker background, and he gave it the name Roissy but soon it came to be known as Frutiger.

robertslimbach type designer

“We here all know Robert Slimbach is ‘the man’ at Adobe.” robert slimbach was born in evanston, illinois, december

15th, 1956.. He attended UCLA and received an athletic scholarship (Carter). After college, he produced silkscreen posters and prints, which he incorporated hand-lettering into. In 1983, Slimbach decided to join Autologic and began to study typefaces and the designs of Hermann Zapf and Georg Trump.Later in 1985, he decided to move to Ventura, California and did freelance design. He designed two typefaces for ITC- a squarish roman and italic called Slimbach (1987) and Giovanni (1988), a cleaned-up old face. in 1992, robert slimbach and carol twombly, worked onthe sans-serif typeface, Myriad. Poetica, a chancery italic typeface, appeared to him.

martinmajoor type designer

“I have to make another five type families before I turn 70.”

1960 in the netherlands, martin majoor attended art school in Arnhem between 1980 and 1985. In 1985, Majoor started his career as a type designer, resulting in the four font families: FF Scala, Telefont, FF Seria and FF Nexus, an average of one font per 6 years. First of all Majoor's fonts are fairly large families, combining serif, sans and sometimes slab serif into one connected super family. Secondly, Majoor did a few other things in the last 25 years: book design, book collecting, smaller type design projects, teaching, raising two children, travelling between Holland and Poland, giving lectures and interviews, writing articles for magazines and for books. born in

williamcaslon type designer

“When in doubt, use Caslon” william caslon, also known as william

Caslon I, was an English gunsmith and designer of typefaces. By the age of 13, he was taken in as an apprentice engraver of gunlocks and barrels and as a bookbinder's tool cutter in gunlocks and barrels and as a bookbinder's tool cutter in London. In 1720, Caslon began his career in type design by accepting a commission to create a typeface for the New Testament in Arabic. Also in 1720, he founded the Caslon Foundry, which would become the leading English type foundry of the 18th and 19th centuries. the distinction and legibility of his type secured him the

patronage of the leading printers of the day in England and Europe. His typefaces were inspired by the Dutch Baroque types, the most commonly used types in England before Caslon's faces. His work influenced John Baskerville and are thus the progenitors of the typeface classifications Transitional and Modern. caslon typefaces were immediately popular and used for

many important printed works, including the first printed version of the United States Declaration of Independence. Caslon's types became so popular that the expression about typeface choice, “when in doubt, use Caslon,” came about. The Caslon types fell out of favor in the century after his death, but were revived in the 1840s. Several revivals of the Caslon types are widely used today and it remains one of the most popular

typefaces of all time. William Caslon died on the 23rd of january 1766. His grave is preserved in the churchyard of St Luke Old Street, London.

erikspiekermann type designer

“You are what you are seen to be.” after earning a degree of art history in college, erik did

freelance graphic design work in London from 1972-1979. He then returned to Berlin and founded MetaDesign. In 1989 he and his wife (Joan) started FontShop, the first mail-order distributor of digital fonts. 2001, spiekerman left MetaDesign and started UDN (United Designers Networks). In 2007, he renamed UDN to Spiekermann Partners and renamed it yet again in 2009 to Edenspiekermann.

of this typeface was also part of the historical shift away from gothic typefaces to humanistic and roman typefaces. Jenson did not focus on the perfection of the letters but rather the space around the letters formed by the letter shapes. jenson is credited with the creation of venetian typefaces,

also known as Antiqua or Old Style typefaces. Jenson continued to live in Venice until his death in 1480 and eventually produced about 150 books in his printing shop. He created two more typefaces in his life; one typeface was Greek style which he used primarily for quotations, and then a blackletter typeface for books on medicine and history. After Jenson’s death, his typefaces were adopted by a fellow printing company, Aldine Press, and became the inspiration for multiple typefaces including Centaur, Cloister Old Style, and Adobe Jenson.

spiekermann has won many awards recently. in

2003, he was awarded the Gerrit Noordzij Prize. In 2006, he was given an Honorary Doctorship for his contribution to design by The Art Center College of Design and received a Gold Medal by the German Federal Design Prize. In 2007, he was put into the European Designers Hall of Fame (communication design) and was Honorary Royal Designer for Industry. In 2009, he was Ambassador for European Year of Creativity and Innovation by the European Union. spiekermann’s most prolific and known typefaces are itc

Officina, FF Meta and FF Unit. He finds ITC Officina as his classic and favorite typeface that he has designed. He is also known for his feelings of the typeface Helvetica. He has known to say that it is, “boring, bland, and that it has no rhythm or contrast.” Spiekermann believes that future trends show that there will be even more open type features available and that fonts will be more like spontaneous handwriting.

nicolasjenson punch cutter

“The characters are so intelligently and carefully elaborated that the letters are neither smaller, larger nor thicker than reason or pleasure demand.”

1420, and began working as an engraver when he was 38. In 1458 he was sent to Mainz by the king of France, Charles VII to study Guttenberg’s work with moveable-type printing. When Archbishop Adolf II invaded the city in 1462, Jenson fled to Venice where he opened the city’s second printer. Here, he designed his Venetian typeface which was based on manuscript handwriting from local Bibles and documents. He wanted the typeface to be more focused on typographic principles. Jenson used this typeface in fused on typographic principles. Jenson used this typeface in the first book he set De Praeparatione Evangelica by Eusebius. This typeface became one of the first roman typefaces. The creation nicolas jenson was born in france in

francescogriffo punch cutter

“Griffo has never received adequate recognition for his contribution to type design.”

1450 in bologna, italy. He started off as a goldsmith and as a Ventian punchcutter. He worked under Aldus Manutius, an Italian humanist who founded the Aldine Press in Venice. Under Manutius, they both worked on the greek types, in order to improve on the early roman type of Nicolas Jenson. Griffo was skilled and created innovative with type. His romans were calligraphic, but they are styled much different than Jenson’s. Griffo’s capitals were shorter than the ascending letters of the lower-case letters. It was innovative in the fact that it made the color of the text stand out more, making the overall text more legible. An example of this innovation is found in the typeface, Bembo, which he and Manutius created. Later on he started working on more calligraphic typefaces that resembled handwriting. francesco de griffo was born

as the first modern typographer, he was revolutionary in

the world of type. Instead of creating typefaces for the written manuscript, he created face for the mechanical style of printing. The work of Griffo, especially his cursive, or italic type, was giving Manutius quite a bit of fame. Soon the Aldine Press had a monopoly over Venetian printing. Sadly, during the boom of business, Griffo felt that he was not being given enough credit for his works. In the end, the two separated ways and that was the end of their friendship. Griffo’s life ended tragically. He got into an argument or fight with his son-in-law where, in his anger, beat him to death with an iron bar.

paulrenner type designer

“The goal of every attempt to give shape is to make out of different things a whole, out of diversity a unity, and not to reduce a whole to disconnected parts.”

8, 1878 in wernigerode, ger many. He worked for Münich publishing trade from 1908 to paul renner was born august

1917 in book design. He was inspired by the idea of “New Typography” and he started his work on the typeface now known as Futura, in the summer of 1924. Futura was released in 1928, and became the cornerstone of Geometrical Modernism.

tion pursuing sculpture. The factor that brought her from sculpture, to graphic design, and finally to type design can be summed up in two lines. a significant influence in twombly‘s career path was her

1926, renner became the principle of the printing trade School in Münich. In 1932 Renner criticized the Nazi party and their strict policies in a booklet titled “Kulturbolschewismus?”. In 1933, Renner was arrested and imprisoned by the Nazis. Shortly after he was removed from his position of director at the school. Before his removal he arranged for his friend and coworker Georg Trump to take over as director, to avoid an outside appointment by the Nazis. In the years following World War II, Renner lived in retirement, continuing to write and design. He also became involved in discussions on the design problems facing the industry at the time. Paul Renner has and will continue to offer a voice of experience to the graphic design industry. in

professor Charles Bigelow. She studied under Bigelow at Rhode Island School of Design and again at Stanford. At Stanford she received an M.S. in the newly developed digital typography program. She later worked with Adobe for over 10 years. Much of Carol's work is centered around historical letterforms and bringing them to the digital age. Lithos, Charlemagne, and Trajan were inspired by Roman and Greek letterforms. Following those, she created Adobe Caslon and Myriad. Myriad was cocreated with designer Robert Slimbach and is the chosen typeface of huge companies such as Wal-Mart and Apple. Following this she created decorative fonts such as Viva and Nueva. The last typeface she created was Chaparral in 1997. after an amazingly fruitful decade of working at adobe,

davidberlow type designer

Carol Twombly ended her career as a type designer in1999. She left to pursue artistic endeavors aside from type design such as textile and jewelry design.

“It’s not over ‘til it’s over.”

1954 in boston, he is considered one of the most influential typography figures of today. He studied fine art at the University of Wisconsin. In 1978, Berlow worked as a letter designer in New York City for the Mergenthaler Linotype where he fell in love with drawing the alphabet. In 1982, he began working for Bitstream Inc, a digital type supplier, where he developed fonts, font tools, and marketing strategies. With time, Berlow could see that Bitstream was reaching its limits in design as it refused to pursue PostScript, so he left Bitstream Inc. in 1989 and founded with Roger Black The Font Bureau, Inc., an innovative company that created custom type for clients like: The Chicago Tribune, The Wall Street Journal, Rolling Stone, Apple Computer, and many others. The Font Bureau currently has more than 500 original typefaces. Through his work experience, he was able to witness and influence the development of type into the digital age. born in

berlow feels that his main tool for designing type is the

rest of the world, where there is a steady stream of typographic stimulation. Some of the greatest influences and inspirations for David were the people he graduated with like: Mike Parker, Cherie Cone, Larry Oppenberg, and Alex Kaczun.

caroltwombly type designer

“The challenge of communicating an idea or feeling within the further confines of the Latin alphabet led me from graphic design into type design.” while most of the notable typeface designers have histori-

cally been men, Carol Twombly has been one of the most influential type designers of this century. She began her art educa-

fredericgoudy type designer

“Any man who would letterspace blackletter would shag sheep.”

40, frederic w. goudy decided that he would leave his job as a book keeper for a mortgage and credit firm in order to pursue a career as a typographer. Believing that the typography in the books he kept could be more legible he began gathering books and attending conferences about typography and the creation of type. Goudy became the 3rd most prolific typographer in America creating over 113 typefaces. He soon built and started his own workshop and foundry believing that he could create more creative and beautiful typefaces without being bound by the limitations of the ideals of others. at the age of

goudy believed in the creation of type by hand and drew

all of his faces. Later in his life he devoted his typographic skills towards creating the perfect roman typeface. A goal he sought after while working as the art director for the Linotype type foundry. Goudy was even revered by the Library of Congress for his work in the field of typography during his lifetime. Some of Goudy’s popular typefaces include: Camelot, Village, Copperplate Gothic, Kennerly, Goudy Old Style, Forum Title, and Garamont. After the fire Goudy spent most of his time teaching and speaking about typography and its art.

2015

glossary so you know what a word means

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GLOSSARY Aa

ampersand:

The symbol for “and” (&).

ligature:

A special double character in a font

representing two letters as one. For example, ae and oe.

baseline:

The imaginary line upon which text

One character that is made up of two or more letters.

rests. Descenders extend below the baseline. Also known as the "reading line." The line along which the bases of all capital letters (and most lowercase letters) are positioned.

calligraphic:

In typography, this usually refers to Roman or Italic alphabets which appear to have been written with a pen or brush. Derived from the Greek word "kalligraphia," which means "beauMful writing.

c a l l o u t : A selection of type (word or phrase) that is set in larger or bolder type from the body-copy font for emphasis.

m o d e r n : A modified version of Oldstyle. These high contrast letters have heavy, untapered stems and light serifs. Originally developed by Firmin Didot and Giambattista Bodoni during the 18th and 19th centuries.

oldstyle:

opentype:

Characterized by variations in stroke, width, bracketed serifs, high contrast, and a diagonal stroke. Examples include: Bembo, Garamond, Caslon. New font format developed by Adobe

and Microsoft. OpenType font can contain a set of glyphs defined as TrueType or Type 1 curves.

cap height:

The height of the uppercase letters

within a font.

connotation:

The associations a particular font brings to the readers interaction with it; what it reminds the reader of, the feelings or thoughts that arise when looking at it.

f l e x : A means of automatically supressing small details such as cupped serifs that would print poorly at small sizes.

kerning:

The adjustment of spacing between

letters. The process of improving appearance and legibility by adjusting the white space between certain paired characters. Manual kerning allows the desktop publisher to move letters either closer or farther apart to adjust and improve the space between them. Automatic kerning on the computer is done by using a kerning table that contains pre defined font specific kerning pairs.

typeface:

A set of characters that share common

characteristics such as stroke, width and the presence or absence of serifs. The character set includes letters, numbers, punctuation, and symbols.

wysiwyg :

(What You See Is What You Get) Refers

to a relatively accurate screen representahon of the final printer output.

x-height:

The height of those lowercase letters

such as “x”, which do not have ascenders or descenders. The lowercase ‘x’ is used for measurement since it usually sits squarely on the baseline.

answersheet mix

n a m e :

letterform:

Lubalin, Herb

Copperplate

Didot, Firmin

Garamond

Futura

Skia

Myriad

Frere-Jones, Tobias

Avenir

Fruitger, Adrian

Caslon

Didot

Adobe Jensen

Scala Sans

Avant Garde

Jenson, Nicolas

Officina

Griffo, Francesco

Bodoni

Renner, Paul

Trajan

Bodoni, Giambattista Garamond, Claude Carter, Matthew

Slimbach, Robert Majoor, Martin Caslon, William Spiekermann, Erik

Berlow, David Twombly, Carol Frederic, Goudy

t y p e f a c e :

Gotham Bembo Franklin

match

MAP & LOCATION INTERLAKEN AIRPORT FLUGHAFEN BERN-BELP, ZELGLUSTRASSE 934 INTERLAKEN 5600 SWITZERLAND

SWISS LEGACY STUDIO AARAVERSTRASSSE 2, LENZBURG INTERLAKEN 5600 SWITZERLAND

map

2015

location

< > < > hallwilstrasse

< > < > < > < >

zelglistrasse..........................

may

< >

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INTERLAKEN AIRPORT FLUGHAFEN BERN-BELP, ZELGLISTRASSE 934 INTERLAKEN 5600

neumattstrasse..................

/////////////

walkeweg..... pa rk we g.

....

.... .... aarauerstrasse ............................................... SWISS LEGACY STUDIO AARAVERSTRASSSE 2, LENZBURG INTERLAKEN 5600

For an easier way, plug in addresses into your GPS. Thank goodness for technology!

bridgette hall

first class

368 West 4th South

us postage paid

Rexburg, ID 83440

rexburg , id permit no .

3381

mr. shawn randall

Brigham Young University窶的daho Spori Building No. 214 525 South Center Street Rexburg, Idaho 83460

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