Typography Book by Celeo Ramos

4 My experience 5 Neighborhoods of type 3 The composition process 11 Concepts of composition 12 Composition Letterforms 20 Composition Letterforms Words 28 Composition Letterforms Words Text Graphic Elements 36 Composition Letterforms Words Text Graphic Elements Texture 44 Composition Letterforms Words Text Graphic Elements Texture Image 52 Type Report 60 Summary

In graphic design typography is the main stream through which messages are dressed, pronounced and ultimately transmitted. In a similar fashion that music uses harmony and rhythm, contrast and tones, treating typography becomes a process of composing melodies that transmit emotions and messages with all sorts of paces, tonal values etc. If one thing could me highlighted in the following works it would be contrast, since by using contrast every element gains its hierarchy hence the message and identity every composition carries.

The neighborhoods of New York are diverse and rich with character. This character can be seen in the buildings, the shops and restaurants, the public space and the people who make the neighborhood what it is. I was asked to explore four neighborhoods: Times Square, Central Park, Soho and Williamsburg (Brooklyn), and make a note of our observations about the mood, pulse, visual attributes and overall impressions of each area. Once the essence of the neighborhood was captured, I had to look through magazines to find examples of common typographic letterforms that represent the qualities of that neighborhood. The typography was limited to 1-3 letters and could be cut out, scanned and/or copied from magazine covers, ads or layouts. The letterforms had to convey the aspects identified (“vibrant, corporate, bold, jazzy”, etc.) through their visual attributes alone—merely letterforms and the feelings they evoke.

Times Square

Central Park

Soho

Williamsburg

I see my process of composition as a putting together of all the ingredients that sum up into an exquisite plate of flavors. A play instinct is necessary when working with any type graphic element. My process throughout the class experienced many positive transformations. The critiques and advise from my classmates and professor turned out very appropriate in the improvement of my compositions. Sometimes I try to imagine what exactly I want to create in very quick way, but such thing is hard to achieve without a process and is through process that play takes its roll. I believe that when the design process becomes more thoughtful, ideas flow better and our play instinct develops more intense when we consider every component as a potential tool. 10

Concepts of composition

Scale Size Balance Tension/Harmony Contrast Context Meaning Focus Form Format Structure Grid Direction Rhythm Movement Depth Positive/Negative Foreground/Background Detail Texture Smooth/Rough Computer/Hand Alters definition Drama Mystery/Surprise Color Tone

Letterforms

T1-COMP 1

The assignment was to select three letters from the alphabet. Letters are set in any of the following typefaces: Helvetica, Futura, Garamond, Baskerville and/or Bodoni. By using size, scale, spacial relationships, I was required to create compositions using the three letterforms. By keeping the letters only in black the challenge of discovering attributes of the letterforms became greater.

Letterforms

S, A, X

Letterforms Words

T1-COMP 2

Keeping the three letters I chose, 3 words where added. These words were randomly chose and do not have any meaning or association with each other. I set each letter and word in any of the following typefaces: Helvetica, Futura, Baskerville or Bodoni. In choosing my words, the meaning was not considered in the creation of the compositions. A grid was set to help create the compositions. This assignment was purely about visual form.

Letterforms

Words

S, A, X Glean Surreptitious Conding

Letterforms Words Text Graphic elements

T1-COMP 3

Same 3 letters and 3 words now I added some text and a graphic element. Some variables in setting the text was adjusting the type size, line spacing, letterspacing and column width. The text is readable in at least some of the compositions and activates areas of texture. Other compositions may feature unreadable text. I included also a graphic element: lines and various combinations.

letterforms

Words

Text

S, A, X Glean Surreptitious Conding On the other hand, we denounce withrighteous indignation and dislike men who are so beguiled and demoralized by the charms of pleasure of the moment, so blinded by desire, that they cannot foresee the pain and trouble that arebound to ensue;

Graphic element

Letterforms Words Text Graphic elements Texture

T1-COMP 4

Same 3 letters, 3 words and text, a new element was incorporated: texture as a major component. I included some graphic elements as per the last compositions. The compositions have the three levels of typography Iâ&#x20AC;&#x2122;ve been working with: at least one letter, one word and the text. I incorporated hand made textures and different renderings of type. Some results are more loud than others and every composition contains its own identity.

letterforms

Words

Text

Graphic element

Texture

Letterforms Words Text Graphic elements Texture Image T1-COMP 5

In these compositions I used the same elements plus a photograph of my choice. I used the same object in each composition, but tried using it differently each time, i.e. focal point, background, detail, scaled up or down, etc. I included some graphic elements and positive/negative as per the last compositions.

letterforms

Words

Text

Graphic element

Texture

Image

Adrian Frutiger

T1-COMP 5

The assignment was to research and prepare a written presentation on a noted typographer (or typographic company) and a specific typeface he designed. The purpose of this assignment is: • to learn research techniques; • to study typographers and typeface development; • to practice layout skills, typography usage and the grid; • to use language and writing to explain visual attributes and nuances of typeface design.

ADRIAN FRUTIGERâ&#x20AC;&#x2122; S universe Graphic design has experienced several changes and stages in its history that has shaped it into what we know and see today; from the Bauhaus to postmodernism and in the midst of those changes many exceptional figures helped form the background of our field. Adrian Frutiger (born in May 24, 1928), like many exclusive typographers from the twentieth century, has had the privilege to ascend in this career amidst the evolution of technology, at a time when the methods used in rendering graphics and

type in design where transforming. Early in his life he had the privilege to be trained in a variety of skills like drawing, wood cutting and lettering by true masters and passionate mentors of his time like sculptor, graphic artist and typographical designer Alfred Willimann, who had been lecturing for more than 20 years at the School of Arts and Crafts in Zurich. The fact that calligraphy was a two-dimensional architecture was transmitted by his teachers through example Frutiger once described.

QRST BCDE FGH IJKL MNOP XYZ UVW 53

Fig. 1

Multiple samples of the 21 original weights developed for Universe by Frutiger.

Writing about Adrian Frutiger means writing about form’s beauty, balance and ubiquitousness. His most famous typeface, Universe, has stood the test of time and is still in use even today. Frutiger believes that the formal expression of every period is determined by the materials and techniques in use. That being so, every script is a representation of its time, and san serifs are the expression of the twentieth Century.

Universe’s many faces How beautiful it is to see a big and diverse generation of relatives under a family name; and as we discover that every member has such unique talents and varied skills we understand the way each member embraces those different activities. It is this analogy that comes to mind

The best typeface is the one that impinges least on the reader’s consciousness, becoming the sole tool that communicates the meaning of the writer to understanding of the reader Adrian Frutiger 54

1 Adrain Frutiger –Typefaces.The Complete Works – pg 22

when we see Universe, a typeface that for the first time in the history of letterpress printing is built with an extensive family of typefaces providing many design possibilities under a comprehensive system of 21 weights. fig. 1 Universe was conceived in the designer’s mind and its process was mentored by Emil Ruder, the well known typographer, teacher and later director of the School of Applied Arts. Frutiger points out: “His influence on my work as a type designer was decisive. At each of our meetings, he was my point of reference. In appreciation and criticism he was always constructive, encouraging, but always with an eye to what termed classical. His goal was to always respect the deep humanity of the past, to refrain from purity, which still retains something for the future”. [1] At the time the Universe typeface was designed it included 21 variations, and was the first type family to implement a numbering system as opposed to using names. The point of departure and the most important font is

the standard version (Universe 55), from which all the others have been developed. Delicateness of form, correct changes of weight, association with the traditional development of type design and openness of its counters in the smallest sizes ensure good readability. The relationship of size between capitals and lower-case allows compositions in various languages without any major alteration in the appearance of the page. A purely geometrical form is not tenable in the long term. The eye sees horizontal strokes

as ticker than vertical ones and the perfect circle of the O appears misshapen. Built up from a geometrical basis, the lines must play freely, so that the individual characters find their own expression and join together in a cohesive structure in word, line and page. fig. 2

Fig. 2

Geometrical grid, in which the â&#x20AC;&#x153;more humanâ&#x20AC;&#x153; letterform of Universe has been drawn by hand.

Fig. 3

The weight and height of the letters are determined by opyical, not mathematical rules.

Enclosed strokes are drawn slightly conical. The free end of a stroke is slightly thickened and the other thinned, in order to prevent filling-in and smearing. The thickness is reduced in compact characters such as B, R, M, etc., in that way preventing a dark obstruction within the line. [2] fig. 3 All these characteristics follow one premise: form follows function. Frutiger through his experience in type design has mastered the figure-ground relationship in any process of abstract or symbolic representation, he truly shows a magnificent ability in rendering forms with beauty and readability.

Adrian Frutiger, Type sign and symbolâ&#x20AC;&#x201C; pg 20 2

Logotypes

Fig. 4

Development of a logotype for the Réunion des Musées Nationaux. Final version on next page.

Adrian Frutiger has a very special ability in designing logotypes but it is most understandable that someone with the augmented skills for type design like him will treat such a task like logo design with the same formal aspects in designing typefaces. In many cases he created signs with the initials of the company. The formations of those abbreviations from the initial letters of the nouns is an example of a norm which is taken for granted, as the initial is the strongest point in the written word. Frutiger truly relied on this quality when it comes to designing a logotype. The RMN (Réunion des Musées Nationaux) symbol is a good example. As Frutiger explains: “from the start, the field of image recollection was practically excluded in this case. The essence and function

beauty and readability – and up to a certain point, banality – are close bedfellows Adrian Frutiger 56

3 Adrain Frutiger –Typefaces.The Complete Works – pg 22

of a museum are very difficult to translate into a picture. The consonant M has a very positive ring: it is the first sound that we articulate (mama)...The capital M, with its four zig-zag movements, was not suitable to symbolize the qualities of a museum. The written movements of the miniscule, on the hand, contain a sensitive rhythm, its beginning and end flowing freely into the white of the round area, awakening the wish for a perpetual return”. [3] fig. 4 The process of creating a logo full of intuition, often lying outside the rational consciousness and the visual rules of form is a characteristic that defines Frutiger’s work.

Bibliography • Osterer, Heidrun Adrain Frutiger –Typefaces. The Complete Works, 2009. • Frutiger, Adrain. Type Sing Symbol. ABC Edition Zurich, 1980. • www.linotype.com

The essence of a sign is like a pure tone in music. The exterior form, however, is what makes the sound”. Adrian Frutiger 58

Typography class has become a harvesting time in a way that many of the skills that I have acquired were waiting to flourish and finally have found their place in this creative crop. Over time these assignments required increasing levels of thought and my interest grew proportionately. New ways of approaching my typographic aesthetic are now more vivid even more when they are guided by creative thinking, experimentation and constructive critiques. Class critiques and constant review of my progress has lead me to better my work and pay attention to details that were initially unseen. What you saw inside this book is that collective empowerment of compositions created by challenging my ideas and assumptions about the formal aspects of typography.