In The Bag (part one) by Graphic Communication

BAG

in the

Special Fontophile Edition

Issue Two of the BA Graphic Communication design magazine

v.1

in the

CONTENTS Introduction back to the Future page 5 the new World Order page 13

American Typewriter Dan Harris Angelic War Nathan Salmon Art Deco Display Max Dean Aristotle Punk Lisa Tallon Baskerville Mia Tivey Blackadder Rachel Daw Bodoni Rosie Feltwell Book Antiqua Laura Bridgeman Caslon Ian Coupland Cochin Wayne Morrish Collateral Damage Rachel Lamb

in the

CONTENTS Commercial Script Ruben Nascemento Cubed Reece Chinnock Eurostile Joshua Cotterill Facet Dan Ulf-Hansen Garamond David Gregor Gill Sans Shadow John Walsh Goudy Gemma Oâ&#x20AC;&#x2122;Hagan Gridshift Christian Faulkner

This magazine features outcomes of a first year undergraduate graphic design project. A number of typefaces and works by influential graphic communicators and font designers have been thoughtfully presented or re-presented to distil character, essences & strengths. It is hoped that the critical spirit and affection with which the work on these pages has been undertaken will be appreciated. Care has been taken to acknowledge origins of materials. However, anyone wishing to see any image removed, or receive an alternative credit line should contact Ruth Dineen in the first instance: rdineen@uwic.ac.uk.

in the

v.1

INTRODUCTION We are delighted to launch issue two of our annual design magazine, written and produced by first-year students on the BA Graphic Communication programme at Cardiff School of Art & Design. This year’s magazine ‘in the BAG’, is devoted to the delights of type. It reflects the students’ theoretical and practical understandings of typography and font design - revealed through studio projects, articles about typefaces, and through the design of the magazine itself. This is volume one of two. We hope you enjoy it...

back to the

Ruth Dineen

FUTURE Typographic history continues to be a vital and expressive aspect of our typographic present and, indeed, our typographic future. It flourishes in the form of a myriad of traditional typefaces, reworked for a digital age. These expressively varied typefaces range from the clear elegance of old-face styles such as Caslon and Garamond, or the chiselled panache of Palatino, to the sparkling vivacity of Baskerville and the stylish confidence of modern-style faces, epitomised by Bodoni and Fenice. Their subtle and refined aesthetic, although emerging from very different contexts, continues to delight this new generation of student designers. One cannot carry everywhere the corpse of one’s father Guillaume Apollinaire In the nineteenth century, a new world began to emerge, typified by urbanisation, industrialisation and revolution. Certainty was replaced by change and new visual forms were needed to express the new ways of seeing and experiencing. This extraordinary experimental period impacted on artists, architects, musicians and designers well into the middle of the twentieth century. In the early decades of the twentieth century, modernists embraced the rationality and dynamism of the age; others reacted against it. In art we had Cubism and abstraction; in graphics we saw the avant-garde work of El Lissitzky, the new typography of Jan Tschichold and the re-emergence of the sanserif as the primary ‘voice’ of the age. Gill, Futura, Univers and Helvetica offered subtle variants on this democratic and rational theme: the purpose of typography was proclaimed as:

Jan Tschichold

“

clear communication in its most vivid and urgent form.

Created by Joel Kaden and Tony Stan in 1974, American Typewriter is based on a much earlier design.

AMERICAN

typewriter

The mechanics of the Type-Writer forced the type to have

In 1867 work began on a project that

very distinct characteristics, many of these were transferred to the

would revolutionise communication and which started with a

digital version. The soft, but crude, slab serifs and large counters

printer that could rapidly print page numbers and serial numbers

improve legibility, limiting the effect of ink spread as the stamp

on tickets (among other things). Christopher Latham Sholes, with

makes contact with the page. This spreading was also limited by

the assistance of fellow printer Samuel W. Soule and amateur

softening all the potentially ‘sharp’ corners. However the original

mechanic Carlos S. Glidden, began work on the patent for their

was forced to have monotype spacing, due to the page moving from

“Type-Writer”, which was granted on June 23, 1868. Kaden and

right to left by a fixed distance each stroke. This has been changed

Stan’s typeface is based on the letters documented in the original

to proportionally spaced type, a compromise between the rigidity of

1868 patent request.

its ancestor and the expectations of the digital age.

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The typeface has found itself positioned in popular culture at a place most would envy, as the [heart and] soul of one of the most popular logos of all time. In 1977, Milton Glaser was commissioned by the New York State Tourism Department as part of a planned month long marketing campaign. The campaign was an unexpected success, and although it finished as planned, the logo, relying on American Typewriters friendly and nostalgic character, remained in circulation. It emerged most prominently printed on white T-shirts. In wake of the attacks on September 11, 2001, many people all over the world wore the T-shirt as a sign of support and patriotism. Milton Glaser redesigned the logo adding “More Than Ever” and a black spot on the heart, symbolising the world trade centre. Since its inception, the logo has appeared in movies, TV shows, news, magazines, memorabilia, and on almost every medium. Celebrities have worn the t-shirts for live shows and photo shoots. Being well-recognised around the world, people from many major cities imitated the logo by replacing NY with their own city’s initials, but keeping the American Typewriter typeface. After the success of American Typewriter in I Love NY it was used in many other graphic projects. The poster and programme for the, “FIHUM, International Humor Festival,” for example, uses the typeface as the ‘straight man’, referring to its origins in bland office correspondence. The typeface also features heavily in KanYe West’s promotional material, and used to be the title typeface of the Philippine, ‘yummy’ magazine. In conclusion, the American Typewriter typeface, (and its light/bold/condensed siblings) can be used in many scenarios. Designers can draw on its roots in office work, to the cultural phenomenon of the I Love New York logo, to create strong designs with this fascinating, and often overlooked, typeface.

-Dan Harris

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SLEEK STREE Art Deco Display is a post modern sans serif typeface designed in 2002 by designers Carima El-Behairy, James Grieshaber and Richard Kegler of p22 type foundry located in New York city. The sleek aesthetics of this font are reproduced from a hybrid of various European and American art deco styles and a relevant post modern form displaying original detail.

The main appealing aesthetic is a highly noticeable contrast between the bold and thin strokes often resulting in large and unenclosed counters and combination of joined and separated strokes within individual characters and across the range of letterforms. There is also a contrast that appears between the style of the thinner strokes e,g sharp, condensed diagonal strokes in W and gradual rounded strokes in U. The uplowercase and uppercase v are also distinctive.

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Individual letterforms are very readable while the typeface family maintains legibility. S has a specifically interesting form and shape as a result of detailed and complex design. The lowercase and uppercase v and lowercase w are also distinctive. They appear to be a hybrid of regular and italic while the uppercase A displays a similar form. The general contrast in form is appealing within the rules of universal aesthetics. This is not inhibited by a distinct lack of flow however.

Bibliography www.myfonts.com

Hybrid of non standard and regular form Chrylser building New York 1930

BY MAXWELL DEAN

THE POST MODERN DECO

Its form is neither condensed or expanded and it descenders are of a regular length in relation to the x height. Despite the changes to form due to the inclusion of post modernist aesthetics the expressive quality that this typeface exhibits is one of style and elegance but the lack of delicate curves and gradual shift between weight of stroke deems it unfeminine. The rounded shape characterized by a number of letters excluding O should make it appear childlike but its complex and sharp form like those of s andparticularly the uppercase T instead expressesOne of the more specific features are the straight lines that combine with the rounded lines within the thin strokes, creating another example of a small but appealing contrast for the reader of text. This is also a feature that separates the deco influence from its combination with elements of its contemporary and post modern design.

As a consequence of its recent date of design it has not been used extensively in areas of graphic design such as advertising or packaging and has not became popular or widely used such as typefaces Helvetica or Times New Roman. As a downloadable file on my font it has been used more extensively by graphic designers in non commercial smaller and personal projects.

Deviantart graphic

P22 type foundry special

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The Avant Garde Gothic...

Aristotle Punk

A Review By Lisa Tallon

Originally created by Herb Lubalin and Tom Carnase

at dirt2.com, Aristotle Punk – a grunge adaptation of Avant Garde – was released on 2nd November 2009. The typeface features fatigued lettering, flipped lettering, with associated accents and extended alphabet symbols. Aristotle Punk consists entirely of upper-case letters and has no italic font. http://www.dafont.com/aristotle-punk.font, Some http://www.behance.net/gallery/Aristotle-Punk-Test/348405, letterforms are horizontally flipped and most of the counters, with the exception of the C, are infilled. http://lettertype.net/lettertype-Aristotle_Punk.ttf.html, http://www.abstractfonts.com/font/13721 Great for rock, ska, punk, emo, metalcore and hardcore band logos that want a bid of a classical modern twist without being overly deconstructed. Although a recent newcomer, Aristotle Punk’s ‘rebellious grunge’ has already made its mark on the music scene, being extensively applied to posters and to the graphics for bands such as Kids in Glass Houses and The Killers. The combination of a simple roman letterform, combined with a very textural and ‘dirty’ feel, make for a fascinating visual incongruity. Aristotle Punk is an oxymoron – Aristotle the philosopher juxtaposed against punk, an uprising wave of rebellion – highbrow meets non-conformity. 12 |

WORLD ORDER Following two world wars (1914-18 and 1939-45), human affairs looked very different. A gradual loss of faith in ‘progress’, possibilities and creative certainty occurred. Rationality, science, technology and grand ideological strategies made little sense to many younger artists, musicians and designers in the face of late colonialism, totalitarianism and the horrors of those two world wars. The German critical theorist Theodor Adorno asked: ‘how can we continue to make poetry after Auschwitz?’ Plurality, diversity and scepticism now reigned. As a consequence, art, music, architecture and design took on very different agendas as different, fragmented voices strove to be heard. In the 1960s a major fissure appeared with the ornamented explosion of psychedelia and the start of typographic experimentation, particularly within display fonts. The more aggressive punk movement which took over brought a new urban amateurism to letterform design, an aesthetic approach which was taken up and amplified by the digital experimentation of Cranbrook and postmodernity. Deconstruction, sampling, hybridity and hand-production encouraged a flood of new fonts which broke all the rules and turned tradition on its head. As Barry Deck suggested, this was the era of ‘imperfect type for an imperfect world’. Legibility, simplicity and communication were no longer the aims of the typographer who sought only to express themselves and their world view.

“

the new

Ruth Dineen

imper[ect type for an imperfect world

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The Hounds of

Baskerville

A perfect English typeface, designed by a perfect English Gentleman.

If you were to think of a typeface that was to epitomize pure Englishness, there’s a good chance that you’re thinking of Baskerville. Beautiful to look at coupled with perfect readability ensures that Baskerville is a sure fire favorite with designers and the public alike. The typeface was designed in 1757 by John Baskerville in Birmingham, England. Baskerville is classified as a transitional typeface, positioned between the old style typeface of William Caslon, and the modern styles of Giambattista Bodoni and Firmin Didot. Funnily enough, Baskerville’s intention whilst designing his new typeface was to improve upon the types of Caslon; Therefore, he endeavored to ensure that he increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form. Baskerville’s fonts were, for their time, unusually slender, delicate, well balanced and tasteful.

Baskerville marked a rejuvenation in style, form and the aesthetics of the coming age. Baskerville and his punchcutter John Hardy produced single basic font in several sizes and forms, and it has one attribute that makes the typeface instantly recognizable and timelessly stunning – the uppercase ‘Q’. It features a tail extending well beyond its body width, unusual and rarely seen beyond calligraphy. The lower-case ‘g’ is also notable with its curled ear and its lower bowl left unclosed.

Baskerville is John Baskerville‘s greatest achievement – he succeeded in designing a traditional, square and honest looking set of type which has been in extensive and more or less continuous use for the past 250 years. It is just a shame that although Baskerville is one of the most famous names in typography, he met little success in his lifetime - but sometimes, that’s just the way it goes (unfortunate for him though of course). Bibliography: ‘Just My Type’, Simon Garfield/Profile Books, 2010 All images taken from ‘Shutterstock.com’

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Remember... Remember,

by Rachel Daw

Blackadder was designed by British designer Bob Anderton in 1996 and published by ITC and Linotype. The typeface is based on hand-written lettering, typical of the 16th century. It is elegant, yet is a potentially menacing display face, Anderton got his inspiration for Blackadder from the perfect for theatrical or â&#x20AC;&#x153;scaryâ&#x20AC;? applications. Blackadder is an italic typeface and this greatly emphasignature of the notorious Guy Fawkes, who attemptsises the hand-written style trying to be produced. ed to blow up the houses of parliament with gunpowBlackadder Bold works even better when used for der in 1605. This signature was written just before his death headings or display faces, simply because is stands and this inspired Anderton to capture the sinister tremble shown in Blackadder. Blackadder is a play- out to a greater extent compared to the Blackadder regular or Blackadder italic. ful typeface with many curls and twists, with one letter being very different from the next. This is particularly seen in the uppercase letters, as they are much more expressive than the lowercase and generally have more exaggerated forms. Blackadder is an informal typeface.

Yhf

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www.blogspot.com www.myfonts.com wikipeidia.co.uk Type and typography Phil Baines

Blackadder italic gives the impression that it has been written faster, due to it's even more so exaggerated slant. The ascenders and descenders also appear longer in the italic version. The ascenders of all the lowercase letters all end up flicking to the right hand side, whereas on the uppercase letters it tends to vary. This gives the lower case letters more of a uniform look, and leaves the uppercase letters to stand out. The uppercase letters work particularly well in the use of an initial, for example at the begging of a paragraph or chapter. The uppercase letter R is particularly beautiful, with its long twisting leg and curling stem. I feel it has a real sense of importance about it as well as being very unique. This letter in particular would work well as an initial or used in a display face. The uppercase W also stands out due to its witty characteristics. I love the contrasts between thicks and thins, and feel the letter really succeeds in looking like 16th century hand writing.

K W

E | 17

ODONI’s

£ Calling

A review of this classic font

by Rosie Feltwell

A vision of percision, a mathematically enriched type, captured the world’s nations in the 1970s, with the work of Giambattista Bodoni. Giambattista Bodoni is considered to be ‘the king of typographers and the typographer of kings’ renowned for the well-known typeface Bodoni, originally created in 1795. He was a well-respected designer/printer, producing typefaces which were referred to as ‘modern faces’ at the time and which remain classified in this context today still keeping the modern touch. A new attitude towards the design of type had awoken, led by Giambattista Bodoni in Italy. With his eye for fine details, and his admiration of Baskerville’s delicate new fonts, he aimed to create unique letterforms with true beauty in themselves, gained through the application of logical rationality.

He was inspired by the mathematical precision and delicacy of hairline strokes, which resembled similar marks to those created by copper engraving, which was popular at this time.

18 | 2 BAG

Today there are many adaptations of Bodoni, and uses of the typeface have changed, with Bodoni being used for both bold statements and as body text. A modern response reference to Bodoni is in ‘Around the world with the Bodoni Family’ by Teresa Monachino. Gaphic designer Teresa Monachino released this 60-page book in January 2010, with delightful illustrations, each page using a letter from the Bodoni typeface. It demonstrates connections between locations and the initial letters of these locations. The book shows a beautiful correlation between illustrations and type.

www.creativereview.co.uk/cr-blog/2010/january/around-theworld-with-the-bodoni-family

The introduction page

Bodoni described ‘the beauties of type’ as ‘conformity without ambiguity, variety without disonance, and equality and symmetry without confusion. A second and not minor value is to be gained from sharpness and definition, neatness and finish.’

The front cover of the book

Bodoni created over 140 roman fonts, 140 italic designs, over 115 Script fonts and a large number of ornamental fonts. There are many adaptations of the original Bodoni typeface which have been created with the forms produced as interpretations, which are close to the original typefaces and are constantly being adapted. One of ne of the most successfully interpretations is Bauer Bodoni, created by Heinrich Jost in 1926. Bauer Bodoni works very effectively at large sizes and makes an elegant presence when used in publications, across a wide range. The typeface Bauer Bodoni demonstrates a high contrast between the thicks and thins of the strokes and has a slightly condensed quality, remaining feminine and delicate aswell.

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B Q ut b g

n i h yt

r e v a

.. . e ag

ABC a DEF u tiq

n A ok

Book Antiqua is a serif typeface released by the Monotype foundry. The Book Antiqua family consists of four fonts and is a roman typeface based on pen-drawn letters of the Italian Renaissance. Book Antiqua was originally developed by Monotype as an alternative to Palatino. Because it is distinctive and gentle in appearance, Book Antiqua can be used to give a document a different feel than that offered by the more formal designs of most text faces. The Book Antiqua family is perfect for giving a subtle new look to everyday texts such as in letterheadings. Book Antiqua was inspired by the font â&#x20AC;&#x153;Palatinoâ&#x20AC;? which is the name of a large typeface family that began as an old style serif typeface designed by Hermann Zapf and initially released in 1948 by the Linotype foundry. In 1999, Zapf revised Palatino for Linotype and Microsoft, and Book Antiqua became a common font used within microsoft documents.

P& W

Originating from lettering produced by the sixteenth-century Italian master of calligraphy, Giambattista Palatino, The fonts are based on the humanist forms of the Italian Renaissance, which reflect the letters produced by a broad nib pen, giving a calligraphic, gracious presence. Zapf used a relatively large x-height making the typeface much more legible, especially in small sizes, than typical renaissance faces. The latter tend to use a smaller x-height with longer ascenders and descenders and lighter strokes. It remains one of the most widely-used text typefaces, being adapted for use for different types of technology, being recorded as one of the ten most used serif typefaces. It is one of several related typefaces by Zapf, each showing influence of the Italian Renaissance letter forms.

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Q A review of Zaphâ&#x20AC;&#x2122;s famous font by Laura Bridgeman

XYZ

123

4 56

Book Antiqua is a subtle, more graceful change from typical typefaces of this period. The mix of straight lines and curved shapes create a approachable persona as well as looking professional. The beauty of the text lies in its clear, legible presentation. The serifs create a simple yet effective detail, making the typeface very elegant. The features of Book Antiqua consist of evenly distributed weight of lines, simple line serifs, and precise curves echoing the flow of a calligraphic pen, all adding to the sophisticated character of the typeface that is Book Antiqua. If I were to interpret the typeface into a persona, it would be feminine, highly professional, elegant and graceful and very easy to communicate with. She offers more than the average type showing not only beauty but subtle features that make her interesting, the serifs suggest a rich intelligence and refinement.

Book Antiqua Italic: The italic typeface from the Antiqua family is more flowing and beautiful;

gently and elegantly moving across the page using soft serifs to create the direction in which it moves. The slope subtly links the letters together, clearly showing the inspiration from calligraphy and handwriting.

Book Antiqua Bold: This bold version of the typeface is perfect for titles, being clear and easy to read, while continuing to capture the essence of Book Antiquaâ&#x20AC;&#x2122;s personality. Its thicker strokes do however look much more professional and serious than the italic or regular versions, making it more appropriate for headings.

Italics

Regular BOLD

Bold Italics

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22 |

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The understated elegance that is

Cochin

Reviewed by Wayne Morrish

Cochin, 1913 was designed by Georges Peignot and it was based on copper engravings of the 18th century, meaning metal was Cochinâ&#x20AC;&#x2122;s original format. The font originates from France and is named after the French engraver Charles Nicolas Cochin (1715-1790). Cochin is a particularly wide serif bookface with its peak of popularity being at the start of the 20th century.

...

Its expressive qualities display a curious mix of style elements and could be thought of being placed into the typographical part of the Neorenaissance movement. Charles Malin cut the typeface in 1912 for the Paris foundry Deberny & Peignot. Nicholas Cochin is a variation of the font Cochin, with a bit more balanced and elegant qualities to it and in 1977, Matthew Carter expanded this historic form into a three part series. Carterâ&#x20AC;&#x2122;s career in type design has witnessed the transition from physical metal type to digital type.

Cochin is very versatile and can used in many different contexts - birthday cards, wedding invitations, logos, magazine layouts, posters, menus and advertising campaigns. This is probably down to the expressive qualities of the form, its high contrasting serifs and sharp-edged but traditional elegance. Top designer brand Dior chose Cochin to promote them for its sophisticated looking aesthetics. I feel that this typeface has quite prestigious presence as the letterforms can be demonstrated through up market brand identity.

abcdefghijklm nopqrstuvwxyz

When considering whether a typographer has been successful designing a particular typeface, Carter has stated that his philosophy is:

“Looking how the designer has resolved the tension of producing a utilitarian thing with tight construction constraints while including part of themselves in the finished work. Our alphabet hasn’t changed in eons; there isn’t much latitude in what a designer can do with the individual letters. Much like a piece of classical music, the score is written down - it’s not something that is tampered with - and yet, each conductor interprets that score differently. There is tension in the interpretation.”

Cochin Cochin Cochin Cochin Cochin’s highly gracious curves are exaggerated in its italic form and even more so in italic bold. Its uppercase forms have much more impact on the eye than lowercase through the bracketed serifs.

http://mattieshook.wordpress.com/ h t t p : / / w w w. r e l o j e s e x a c t o s . c o m / d o n d e - c o m p r a r- d i o r / http://en.wikipedia.org/wiki/Charles_Nicolas_Cochin

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l e T cLa ral DamAge

ITâ&#x20AC;&#x2122;S ALL JUST

by Rachel Lamb

ollateral Damage is an exciting postmodern font created in 1999 by designer Chris Hunt, a type designer from Canada. It was inspired by the gonzo art of Ralph Steadman, which has dark and slightly dangerous connotations and a handpainted, or graffiti-like feel to it. It is a prime example of splatter fonts and has a slightly scary aesthetic almost as though it could have been splattered blood. During the 90s there were many influences on design and typeface development. The Internet was just beginning, grunge was heavily featured in popular culture and postmodern design was really starting to refine itself and explore new methods and techniques. This can all be seen in this slightly gory, very grungy typeface that perfectly exemplifies the influences of the time in which it was created.

There is only the one typeface in this font family but it is such an extraordinary and subtly beautiful one that I chose to study it anyway. There is an edgy, hand created feel to the font and the high contrast between wide splashes and incredibly thin and delicate lines adds to this feeling of spontaneity.

26 |

On the surface the forms appear slightly rushed and frenzied, however when you look closer you can see the way the letters are created. They are perfectly legible and take appealing visual forms, rather than looking misshapen or haphazard as they may have done were it a typeface created impulsively. Though it is hard to choose, my favourite letters are probably the uppercase ‘A’ or the uppercase ‘F’ with their fragile, thin flourishes and their aesthetically pleasing forms. What works so well about this typeface is that there are not one or two standout letters, it all works together.

The contrasts between the letterforms play off one another to create the alphabet as a piece of art in its entirety. Where one letter could be very delicate and quite clean like the uppercase ‘J’ others appear almost mad and hairy like the uppercase ‘N’ and the contrast between these different forms is what creates such a visually exciting and dynamic font. It is a truly anarchic example of a typeface - defiant, loud and proud in every stroke and every form. It has been available on the Chank.com website for many years but is now more widely available on other font sites and whilst I could not find any specific examples of it in use its not hard to imagine where it might be found. Adorning album covers for grunge rock bands or on posters aimed at teenagers. It could even be used in creating a punk look as it certainly screams defiance and rebellion. It is a very versatile and stimulating font with beautiful aesthetic qualities and a vibrant personality. It is probably my favourite example of a postmodern font to date.

Bibliography: http://new.myfonts.com/fonts/chank/collateral-damage/ (accessed January 5th 2010)

It is a very visually exciting font when you first look at it with its many and varied forms and rough, textured strokes. The splashes and splatters of ink surrounding the letters add to the chaos without detracting from the readability of the letterform as a whole. I particularly enjoy the way it looks as though it was created in a hurry.

A typographic story by Ruben Nascimento To begin to speak about the typeface Commercial Script, we have to go back to the past, to 1840 in the USA where Platt Rogers Spencer was creating a new writing style that influenced a typographic style that we call Spencerian Script. This style was based on handwriting, its technique required the use of a pen. The speed and flow of writing gives an inclination to the letters which is very similar to italic. These typefaces used a lot of ornamentation, as seen in the famous example of the Coca Cola logo.

h F f E e C c bB

{

to use it more broadly and created new sans serif typefaces like Franklin Gothic. Returning to Commercial Script, and its historical background, we can categorise this font as a Script, with capitals which are similar to Copperplate lettering with gentle curves in certain letters like A, D and G. The similarity is also seen in the quality of the delicate curves and the variation in thick and thin strokes that is made by the copperplate handwriting pen. This style of letterform are seen in some of the best known brands such as Coca Cola, Thortons, Old Spice. Music bands like Deftones also use this typeface, or an adaptation of it.

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www.linotype.com | www.myfonts.com | www.associatepublisher.com

Later in the century, this font began to be used by typography agencies such as Barnhart Brothers & Spindler in Chicago, established in 1883. This was where Morris Fuller Benton got his inspiration for Commercial Script in 1908. Morris Fuller Breton was one of the most influential printers in the US at that time and he was managing the design department of American Type Founders (known as ATF) where he created more than 221 fonts, among them Franklin Gothic, also a Bodoni revival, Stymie, Clearface and Century. Benton and the ATF typeface foundry also played a major part in the emergence of sans serif typefaces, originally only used in advertising and at large scale. They started

Bibliography:

H iI jJl Lm dA Mn No OgD pP rR sS taG

xXyYzZ V v U u T

Cubed

butnot

Square

A review of this tour de force, geometric god

by Reece Chinnock

The typeface Cube02 was created by a team of people at Font Fabric, which is an independent type foundry, based In Sofia, Bulgaria. Designer Svetoslav Simov established font Fabric towards the end of 2008. Theyâ&#x20AC;&#x2122;re goal is to â&#x20AC;&#x2DC;create high-quality fonts which stand in a unique class of their own, and which will serve as a good base for any designer project whether it be web, print, t-shirt or logo design. A new typeface is released each week, which you can pay for or in some cases download for free. Cube02 is an advancement on the original typeface Cube that was released on the 15th January 2009, which had very good reviews at the time and became the foundation of Cube02, which was released on June 22nd 2009. It is very clear that Cube is the predecessor of Cube02 when seeing them side by side, they both possess the same geometric strength and the same hint of playfulness and complexity that makes them so iconic and unique

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strong

As well as this hint of playfulness there is also a fraction of complexity thrown in this is due to the sometimes-confusing angles of dimension, this can sometimes reduce the legibility which would be a large problem if this was to be used in mass bodies of text etc. The main use of this typeface would be for large pieces of design or decorative pieces in which it would work perfectly as it has a large level of readability especially with a good colour chart that works well with it.

geometric

Overall I think this is a beautiful typeface and I am very happy that I stumbled across it, it has been very well thought out and very well executed. It has the potential to be used in a lot of commercial pieces, and I hope to see it used a lot more in the design and advertising world. Font Fabric have clearly worked very hard on all of their typefaces and especially this one in my opinion. I will continue to experiment with this in my own work as I think there is limitless ways that I could enhance this to create some stunning pieces of work.

http://fontfabric.com/cube-02-font/ http://fontfabric.com/about/ http://www.behance.net/Simon

complex

Cube02 is, in my opinion, one of the best typefaces they have on their site. At a first glance at the typeface in a large body of text, it clearly possesses a very strong personality; this is purely because of the strong geometrical forces that run through it. Once you view this typeface in forms other than its raw generic A-Z you begin to see a playful side to it which rather than clashing with its strong appearance it almost softens it and makes it less harsh on the eyes.

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imov ehance.net/S http://www.b -font/ ic.com/facet http://fontfabr 9/02/18/ reme.com/200 ec at .p w w /w terview/ http:/ oslav-simov-in fontfabric-svet

rs. In Facet ct the characte tru ns co at th has a triangles t present, so it l of al no e ns ar gi be ps e ga H e hers. Black, thes although isnâ&#x20AC;&#x2122;t ong typograp ite limiting for roversial feel, ly unusual am qu nt ir fa co be is ss d le ul ch ly co hi ht w slig ss obvious that hing that olely digital, ing, as it is le most all of square, somet st al re or as te le , in rc m ci as hi a s r ith of the most perhap k well fo his designs w nstructed out receive co to t seems to wor l s al bu m e , ai ar hy cl s e ap m H gr po ce. the letterfor ost beautiful eir appearan postmodern ty . One of the m ite unique in th t, as well as es qu en e ap ar sh nm s ro of ce vi c fa si en ba his the upper his type characters is dtipos.com, inspiration from Su ar ul ic rt pa the only dries, in se K, which is at have th ca e other type foun iv ct ry lle ve co a s f ha if rotated n Typography nts. Facet itsel character that an Argentinea ily stylized fo ry av ve he a of s ha lio It fo comes port bold. 90 degrees be a very diverse it, being very g to in el be fe rs ve te si ac es all char This gives it a ost aggr symmetrical. es at all, with powerful, alm rv cu fit no to g in nd ch sets ted arou c feel, featur solid feel, whi ry e, that is rota ve gl strict geometri an tri at ed is gl cet the the rest of of one right an how legible Fa it apart from produced out ite impressive qu is It e. ap l when set orms sh cially powerfu . It is pretty into the letterf pe es ed s iz yl ok st lo ly It . gh presence the font it is so hi h s slightly more uc m ha large sizes, as it as as s, d, ze si or in within a w le at display this it still fits much only usab ible. Although acters. Despite eg ar ill ch r ite the he qu of ot es ill an th the sk becom font, showing below 14pt it gn, legibility e si th de in n ith er ? t is w od ce le tly m Fa rall, legib perfec a true post ted Facet. Ove levant. re ea ir in use within cr lly ho ia w nt r te he w cially ell typograp ty, so this is po ns, that works espe , io at ce is not a priori ri fa va pe nt ty re h a very stylis ble in two diffe Facet is availa follow the headings. th Bo k. ac Bl when used in d Facet t ce Fa in Facet Ultra an pt tters, exce d shape of le same size an ch of the ps between ea ga e ar e er th Ultra;

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reat aramond

a review by David Greger

Claude Garamond was the creator of the Garamond font, with later versions designed by Jean Jannon. Robert Granjon designed the contemporary italics for the font. All the fonts were designed in France around 1540 when the French king asked for a typeface to be designed for use on a series of books printed by Robert Estienne. Garamond was used extensively for royal publications at the designs in Europe. When Garamond died his punches and matrices were sold to Christopher Plantin, which meant the font could be more easily accessed, therefore becoming very popular in Western Europe. Garamond is an old style font and highly legible, particularly for print publications. It is also surprisingly one of the most eco friendly fonts when it comes to printer ink wastage.

Digital versions include Adobe Garamond and Garamond Premier both designed by Robert Slimbach, Monotype Garamond, Simoncini Garamond, and Stempel Garamond. The typefaces Granjon and Sabon designed by Jan Tschichold are also classi A version called ITC Garamond, designed by Tony Stan (1917â&#x20AC;&#x201C;1988) was released in 1977. The design of ITC Garamond, more than any other digital versions, takes great liberty with Garamondâ&#x20AC;&#x2122;s original design by following a formulary associated with the International Typeface Corporation (ITC), including an increase in the x-height; a wide range of weights, from light to ultra bold; and a condensed width.

Garamond is an old face, which has strong serifs, and a large x-height which makes it easy to read.

Wikipedia.com, Adobe.com, pointlessart.com, barneycarroll.com, garamond.org typophile.com

Recently in the twentieth-century Garamond 3 has been produced by Thomas Maitland Cleland and Morris Fuller Benton, by Jannonâ&#x20AC;&#x2122;s version of the typeface. Variants of the italic font mainly came from a version produced by Robert Granjon. In a 1926 article in The Fleuron, Beatrice Warde revealed that many of the revivals said to be based on Claude Garamondâ&#x20AC;&#x2122;s designs were actually designed by Jean Jannon, but the Garamond name had stuck.

The descenders are nearly as long as the x height the Gs are looped, and the stroke is varied. The font has thick and thin steams, which gives the font a greater interest. If the font were a person I would say that he would be male around the age of 4o, dress formally, probably a evening jacket. He would speak very well and have interesting easy to talk to, but a very serious character. An example of where this font is used is on our University briefs. The font is well suited to formal pieces, as the font is easy to read and very formal. You could use the font for magazine articles, and newspapers. helps you read the body of text with ease. The font has high contrast between the down and the horizontal strokes; also the font has fairly contrasting thick and thin stems. The enclosed spaces inside the letters are very rounded which helps legibility. | 37

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Go Go Go Goudy Old Style

also known as Goudy, is an old style classic serif typeface created by Frederic W. Goudy for the American Type Founders (ATF) in 1915. ATF’s output represented about 85% of all

type manufactured in United States at that time. Goudy was a prolific American type designer who also designed Copperplate Gothic, however, his twenty-fifth typeface Goudy is his most widely used font and proved to be an immediate The face was an instant best seller, prompting ATF to issue a special 124-page specimen book of the series in 1927.In response to the over whelming popularity,Lanston Monotype commissioned Goudy to design heavier versions of Go u dy Old Style. Go u dy Heavy and Go u dy Heavy Italic were released in 1925. Over time, because graphic designers came to see the face as more suitable for display, the bold became the most end u ringly pop u lar variant of the family. The huge s uccess of Go u dy’s type faces led to the addition of several further weights to many of his other designs with ATF designers producing many additions to the range.

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P http://en.wikipedia.org/wiki/Goudy_Old_Style, Goudy Old Style http://www.webpagepublicity.com/free-fonts-g2.html http://www.microsoft.com/typography/fonts/family.aspx?FID=102, Garfield, Simon. Just My Type, Profile Books 2010, London.

oudy!

by Gemma O’Hagan

Goudy is considered to be an artist of typography, having continuously examined the inner workings of typefaces and how to correctly formulate them, he had it down to a science. He studied lettering master the fifteenth-century graphic artist Albrecht Durer who formed letters using graphs, lines and circles. Goudy is an elegant, poised design with few eccentricities including the upward curved ear on the g and the diamond shape of the dots of the i and j along with the points found on the colon and exclamation point. The upper case Due to the font’s expression of honitalic Q has a very strong calligraphic quality. Specifically categorised esty and clarity, it was used as the as a Garalde face, with a stronger contrast between downstroke Harper’s Magazine font, a general-inand upstroke compared to the humanist fonts, and gently curved terest magazine of literature, politics, and ro u nded serifs. If we take a closer look at Go u dy with its culture, finance and the arts. It is the beautiful rounded serifs and unique appeal, we can clearly see second-oldest continuously published the intricate details of Goudy Old Styles form. In examining monthly magazine in the U.S.Out of the uppercase P of the font, the bowl is left open as is the Goudy’s 115 typefaces we must ask ‘&’ of the typeface. The font also contains raised and ourselves why does this particular sloped features, for example the lower case t, the filet typeface carry the name of its creator? and serifs of the letter are curved upward at an angle. Possibly Go u dy realised its likely popularity with its Due to the curved and wavy serifs, it gives a soft, c u rves and easyflow, or possibly he poured so much u neven looking baseline. The form is of his personality into this font that he wanted his name perfectly choreographed. to be associated with it forever.

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Pa kn nfi fa ow li is ce n sth to a m Th at cre od th e l ce at e rta e n rn al e t ette in ew de A low ype rs ly a si se slig s y it ha ta n gn ke d a e m em ht ou s p ve on lm r w A th ost to 3D to os be Re an os h t a ha t d be ha e s -mo en o t e e w futu ha vie se ve ep o ve ffe e de sp ge r s n c r w t l b if b th a de t h rn it nr isti be by ‘g otto fon een . Th d pth is g e fl fe up c e of typ en rid m t. e iffe ; iv ow eli w u f e e o n h Ch on edy of If se ri re a n th d gi nt ch w of g w ich ts. ’ e ris n e a w sty c a l o h e h g tia le h l typ oul l ty aye f th ere ach ich ive , d p r, em th l s s e e n t f it te a h ef w e t Fa w r a ce av ac hic co e g tter ill ou n h e e h u ri . ul d ld d w ad be tha gi ld s kn no as se en t w ves aler r t w ma ifs a s ould it or d on an k e t t sas o he w this el l.

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