1970s
TYPE DESIGN DEVELOPMENTS
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ITC Avant Garde Gothic was designed by Herb Lubalin and Tom Carnase in 1970 and was the first typeface released by ITC. It was based on Lubalin´s logo font for Avant Garde Magazine which itself was not initially designed to be a full, commerciwally available, typeface.
Originally, there were two designs of ITC Avant Garde, one being for the sole purpose of display, and the other for text copy. The display version had many ligatures and special characters, while the design for text copy dropped these bonuses.
The fonts purpose was for the logo of the magazine only, however the director of the magazine thought the design was so futuristic, well recognized, and perfectly fit, he wanted it to be commissioned to be developed as an actual font.
The original typeface Lubalin created consisted of 26 capital letters. Carnase helped Lubalin design the font into a fully-fledged typeface. ITC Avant Garde is characterized by its geometrically perfect round strokes and short lines much like the work from the 1920s German Bauhaus Movement. Nearly
every letter that involves a curve such as the “a” or “p,” for example consist of perfect circles and small straight lines. These lines are subtle, heightening the dramatic roundness of the curved aspects of each letter.
“The original typeface Lubalin created consisted of 26 capital letters” Bold, clear, and easy to read, this sansserif typeface is particularly useful for signs, logos or anything that requires a display face. ITC Avant Garde is also known for its large numbers of ligatures, or pieces of type that consist of more than lone letter, such as “th” or “fl”, allowing the two letters to connect like the ones used in the original logo design.
friendly, and help to make this family work well for short texts and headline. The condensed weights were drawn by Ed Benguiat in 1974, and the obliques were designed by Andre Gurtler, Erich Gschwind and Christian Mengelt in 1977. ITC Avant Garde Mono is a monospaced version done by Ned Bunnel in 1983. ITC Avant Garde Gothic has not only been used for the Avant Garde magazine but also by company’s such as 686 Technical Apparel, Adidas, Arby’s, ASPCA, Billabong, Bloomingdale’s, Bouygues, Coles, Country Road, Element, Geocaching, GlobeCast, Panoramio, QBE Insurance, RE/MAX, Saint-Gobain, Seta, Stand Up to Cancer and Yoplait.
Refernces: Squiteri, C. (2017). Tuesday Typefaces: ITC Avant Garde -. Centerforbookarts.org. Retrieved 5 May 2017, from http:// centerfor bookarts.org/tuesday-typefaces-itcavant-garde/ Santa Maria, J. (2012). Typedia: ITC Avant Garde Gothic. Typedia.com. Retrieved 5 May 2017, from http://typedia.com/ explore/ typeface/avant-garde-gothic/ revision/5/
Still strong and modern looking, ITC Avant Garde has become a solid staple in the repertoire of today’s graphic designer. The large, open counters and tall x-heights seem
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MILTON GLASER
Milton Glaser born in 1929 is among the most celebrated graphic designers in the United States. He has had the distinction of one-man-shows at the Museum of Modern Art and the Georges Pompidou Centre. He was selected for the lifetime achievement award of the Cooper Hewitt National Design Museum in 2004 and the Fulbright Association in 2011, and in 2009 he was the first graphic designer to receive the National Medal of the Arts award Milton was educated at the High School of Music and Art and the Cooper Union art school in New York and, via a Fulbright Scholarship at the Academy of Fine Arts in Bologna, Italy. As a Fulbright scholar, Glaser studied with the painter, Giorgio Morandi in Bologna, and is an articulate spokesman for the ethical practice of design. In 1954, Milton Glaser, along with Reynold Ruffins, Seymour Chwast, and Edward Sorel, founded Pushpin Studios. For twenty years Glaser, together with Seymour Chwast, directed the organization, which exerted a powerful influence on the direction of world graphic design, culminating in a memorable exhibition at the Louvres Museum of Decorative Arts in Paris In 1968, Glaser and Clay Felker
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founded New York magazine, where Glaser was president and design director until 1977. The publication became the model for city magazines, and stimulated a host of imitations. Milton Glaser, Inc. was established in 1974. The work produced at this studio encompasses a wide range of design disciplines. In the area of print graphics, the studio produces identity programs for corporate and institutional marketing purposes including logos, stationery, brochures, signage, and annual reports. In the field of environmental and interior design, the firm has conceptualized and site-supervised the fabrication of numerous products, exhibitions, interiors and exteriors of restaurants, shopping malls, supermarkets, hotels, and other retail and commercial environments. Glaser is also personally responsible for the design and illustration of more than 300 posters for clients in the areas of publishing, music, theatre, film, institutional and civic enterprise, as well as for commercial products and services. One of he’s most well know pieces of work is the “I Love New York Logo”consisting of an upper-case “I,” followed by a red heart symbol, and then the upper-case letters “N” and “Y,” set in the rounded slab serif typeface American Typewriter.
“I Love New York Logo”consisting of an upper-case “I,” followed by a red heart symbol, and then the upper-case letters “N” and “Y,” set in the rounded slab serif typeface American Typewriter. New York was going through hard times in the 1970s, crime was at an all-time high and as a result tourism was down. Glaser was recruited by the Department for Economic Development to meet with Wells Rich Greene about logo options for the New York City campaign. When coming up with the logo Milton was in the back of a taxi cab in Manhattan, he pulled a red crayon from his pocket and began to sketch on the back of an envelope: first an “I”, then the simple outline of a heart, followed by two letters, “N” and “Y”. Milton then refined the logo to what it is now known as. Today, official merchandise stamped with Glaser’s design generates more than $30 million a year. Glaser doesn’t see any of the money as he agreed to it as a pro bono job to benefit the state. Because of the successful campaign the envelope with the original idea is also now part of the permanent collection at the Museum of Modern Art in New York.
References: Glaser, M. (2017). Milton Glaser | Biography. Milton Glaser. Retrieved 5 May 2017, from https://www.miltonglaser.com/milton/#2 S., A., Baker, C., S., A., & R., T. (2013). A Brief History of the “I Love New York” Logo - Logoworks Blog. Logoworks Blog. Retrieved 5 May 2017, from http://www.logoworks.com/blog/a-briefhistory-of-the-i-love-new-york-logo Sooke, A. (2011). Milton Glaser: his heart was in the right place. Telegraph.co.uk. Retrieved 5 May 2017, from http://www.telegraph.co.uk/ culture/art/art-features/8303867/Milton-Glaserhis-heart-was-in-the-right-place.html Glaser, M. (1977). I Love New York. Retrieved 10 May 2017, from http://www.logoeps.com/ilove-ny/126/ Glaser, M. (1977). I Love New York Sketch. Retrieved 10 May 2017, from https://www.google.com.au/ search?q=milton+glaser&source=lnms&tbm=isc h&sa=X&ved=0ahUKEwiM4LKHo8vTAhWG a7wKHb67BDQQ_AUICigB&biw=1024&bih=490& dpr=2.5#tbm=isch&q=i+love+new+york+ sketch&imgrc=oMa9R7SIIemJ4M:
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IKARUS 3
In 1971, URW was founded as Unternehmensberatung Rubow Weber by Gerhard Rubow and Jurgen Weber. In 1972 Peter Karow joined the company and began to develop IKARUS the world’s first program to produce digital typefaces.
type technology. Type designers found that simple input-scanning techniques did not create accurate bit-map representations of the photocomp faces at the relatively low resolutions used by these devices without substantial manual editing.
The IKARUS system was developed principally for manufacturers of digital typesetters who needed an efficient mechanism to convert thousands of typefaces from photocomp to digital
IKARUS offered several batch procedures to make this process easier. For example, all serifs and stems of a typeface could be made to match, asymmetries in scanned input data
and be corrected to light or bold versions of the typeface which could be derived from the medium version, and fonts were also able to be digitally expanded or condensed.
“The system was the first to use an outline-encoding scheme based upon a spline algorithm to model letterforms” The system was the first to use an outline-encoding scheme based upon a spline algorithm to model letterforms. This allowed for calculations in the contour line, x and y values and intersection points between straight lines and curved lines of a letter. Fonts were also designed to be available in vectors, splines, Bezier, general conics and Ik format. The first font that was designed on the IKARUS system was Marconi and thousands of fonts have since been digitalised.
URW++ is the successor of the URW company (Unternehmensberatung Rubow Weber). The present company continues to market and develop IKARUS which now runs on Windows, Macintosh, and UNIX workstations, as well as LINUS, a logo production tool. The company continues to develop fonts that include non-Latin scripts and are continually working hard to provide the best service for designers.
References: Technologies of Digital Type. (2017). Designhistory.org. Retrieved 5 May 2017, from http://www.designhistory.org/Digital_ Revolution_pages/EarlyDigType.html URW++ « MyFonts. (2017). Myfonts.com. Retrieved 5 May 2017, from https://www.myfonts. com/foundry/URW/ Karow, P. (1986). U.S. Patent No. 4,630,309. Washington, DC: U.S. Patent and Trademark Office. Buy webfonts and fonts at the URW++ shop. (2017). Urwpp.de. Retrieved 15 May 2017, from https://www.urwpp.de/en/info-desk/abouturw/
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