PORTFOLIO
ANNA CZUBILIŃSKA
BA DIPLOMA
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Project Hajde! adviser: dr Jacek Mrowczyk
Hajde! (hajde! in serbian, kroatian, bosnian, etc. means “come on!”, “let’s go”) is a series of mapguides for traveling around the Balkans. The project focuses on the eight capital cities, which, despite of the common globalization have never had too many travel publications on their own topic. For each city was designed separate map, divided in half for easier navigation. Because of an odd number of modules in width, with the right bend the map can be combined, so that the viewer will not have problem to “move”
from one half of the map to another. Places worth seeing were marked, user can learn more about them by reading short texts based on guides, websites and speech rating. Additionally, each map-guides has a glossary of basic phrases, the description of interesting places around the country and a collection of festivals and other cyclical events taking place in the capital. The form of map-guides, gives travelers a free choice. They do not need to buy those big weighty books (if they want, they do it anyway) but they can therefore select those cities that interest them. Take for a journey a legible map, supplemented by brief notes describing the interesting points, a kind of compendium of knowledge about the possibilities of each space and practical information. Map-guides are only a pretext and attempt to show the city from different perspectives. There are no specific intention of establishing a tourist route. Diploma project also includes idea for a web page, linking the community of travelers interested in subject of the Balkans and alternative travel.
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BA diploma Structure
CITY
Festivals
MAP part 1 What are we doing? short texts about worth seeing places
Days off Scale
Practical infor. Map Legend
Safety Money Homosexuality Smoking Public transport
Hajde!
MAP part 2
Glossary
Where next?
the description of interesting places around the country
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BA diploma Structure
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BA diploma Series of map-guides
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ILLUSTRATIONS DRAWINGS INFOGRAPHICS
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Sketches
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illustration Series of postcards
Pattern
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Illustration Works for F5 magazine
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Illustration Guinness records
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Visual information Growth process model
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TYPOGRAPHY
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Editorial Book about Bell Centennial
Typo Zeszyty Bell Centennial
Historia kroju1 rok powstania: 1975–1978 autor: Mattew Carter zleceniodawca: AT&T cel: krój dla książek telefonicznych
Name & Number
Adress
Sub-Caption
zastąpił: Bell Gothic
Bold- Listing
Bell Centennial to bezszeryfowy krój pisma za� projektowany przez Matthew’a Cartera w Mer� genthaler w latach 1975–1978. Krój powstał na zlecenie firmy telekomunikacyjnej AT&T z oka� zji setnej rocznicy jej istnienia. Miał on zastą� pić obecne firmowe pismo Bell Gothic. AT&T po� trzebowało kroju, który byłby w stanie zmieścić w jednym wersie znacznie więcej znaków niż do� tychczas, jednocześnie nie tracąc na swej czytel� ności. W ten sposób nie byłoby potrzeby stoso� wania skrótów lub haseł zajmujących dwa wersy, zwiększając czytelność małych stopni pisma sto� sowanych w książkach telefonicznych. Jednocze� śnie większa ilość znaków w wersie zmniejszyła� by zdecydowanie zużycie papieru. Bell Centennial został głównie zaprojektowany w celu pokonania ograniczeń wynikających z kiepskiej jakości dru� ku książek telefonicznych i rozlewającej się farby drukarskiej, zwłaszcza w zwężeniach oka litery. Carter zwiększył wysokość x, lekko skondensował
szerokość znaku i stworzył dużo bardziej otwar� te najwęższe fragmenty oka litery. Spodziewa� jąc się osłabienia wynikającego z tego rodzaju druku stworzył litery ze stosownymi wcięciami, które pokrywa farba rozlewająca się na gazeto� wym włóknie pozostawiając oka litery czytelny� mi nawet w niewielkimi stopniu pisma. Wcięcia, które zastosował nie są widoczne po wydruko� waniu, dzięki czemu doskonale spełniają swoje zadanie poprawiając czytelność znaków. Ponie� waż jest to krój zaprojektowany w konkretnym celu, również jego pozostałe odmiany noszą na� zwy odpowiadające ich przeznaczeniu. Mamy więc: Bell Centennial Address stosowaną w książ� kach telefonicznych do zapisywania adresów oraz odmianę grubą Bell Centennial Caption uży� waną w tytułach czy odmianę półgrubą – Bell Centennial Name and Number służącą do ozna� czenia nazwiska i numeru. Oraz odmianę Bell Centennial Bold�Listing.
Bell Centennial Address 94 pt
Boxleyhealth Opthalmics 5123 Hooper Employment Etc 876-2901 Treatment 876-7304 Information 876-7304
wysokość majuskuły
wysokość pola znaku
nr 35
Calling!
Bell Centennial Bold-Listing 67 pt
Calling!
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Bell Centennial
Ink trap
Counterforms
Oko litery, punca3 [counter, intraglyph space] Oko litery to częściowo lub całkowicie domknięte światło wewnętrzne znaku pisma. Niektóre źródła zawężają znaczenie terminu wyłącznie do całkowi� cie zamkniętej powierzchni, natomiast powierzch� nię otwartą definiują jako światło wewnętrzne zna� ku pisma.
Ink trap4
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Calling!
linia pisma
Bell Centennial Name and Number 76 pt
Counterform is the space between the letters is just as important as the letters themselves. The shape that's formed between letters and words can be a thing itself and can make or break the whole composition.
Ink trap is a feature of certain typefaces, where the corners or details are removed from the letterforms. When the type is printed, ink naturally spreads into the removed area. Without ink traps, the excess ink would blob and ruin the crisp edge. Ink traps are only needed for small point sizes and are usually only found on typefaces designed for printing on newsprint.
odsadki boczne
wys.x
Bell Centennial Caption 95 pt
wysokość wydłużeń dolnych
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Oko litery
Calling! krawędź dolna
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Counterform2
wysokość wydłużeń górnych
Counterforms
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A5 G 2
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f 38 56
those production methods, it didn't hold up under the set of limitations presented by newer technol� ogies. Typographic composition was being done photographically with Cathode Ray Typesetting (CRT), and the printing done on high-speed off� set lithography presses. These production meth� ods greatly affected the typeface; letterforms (es� pecially in the Light face) broke apart: its strokes became lighter, sometimes eroding completely at the intersections of straight and curved strokes. For a time, printers tried to compensate for this erosion by over-inking the printing plates; while this helped to thicken the strokes, it brought up a whole new set of problems. Legibility suffered as the already condensed letterforms closed in on themselves. The strokes of different charac� ters ran into each other, making c and l become d; r and n became m; 3 looked like 8; 5 looked like 6. Another problem with over-inking was that the presses had to be stopped frequently for addition� al cleaning which cost printing time and produc� tion money. It was apparent that a new typeface had to be designed to work with the newer technologies in� stead of trying to force Bell Gothic to work under circumstances for which it was not designed.
Bell Centennial & Technology The phone book's production methods great� ly affected the design of Bell. To start with, CRT composition removed the limitation imposed by the Linotype requiring the same letter in differ� ent weights to be the same width; the light M no longer had to be the same width as the bold
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Counterforms
In 1982 the Center for Design and Typography at The Cooper Union (which I believe was the precur� sor to the Herb Lubalin Study Center of Design and Typography that was established in 1985) published its first Type & Technology Monograph on the de� velopment of Matthew Carter’s Bell Centennial – the type family he developed in 1976 for AT&T when he was commissioned by Mike Parker, Director of Typographic Development at Mergenthaler, to update Bell Gothic, the typeface designed by Chauncey H. Griffith and used in the company’s phone books since 1937. Carter was kind enough to lend us a copy of this hard-to-find booklet for our research on Bell Centennial, here are some photographic highlights. Carter developed a family consisting of four styles: Name and Number, Address, Sub Caption, and Bold Listing (the fifth font in the image above is an all-caps version of Bold Listing). The righthand page shows the trial drawings of the Name and Number typeface. One of the biggest chal� lenges was the production of the actual font to be used in AT&T’s CRT (Cathode Ray Tube) typeset� ting machines which required the characters to be designed as bitmaps and to make the typesetting machines operate at the fastest speeds it required the least amount of bits, rendering the fonts coarser. So Carter had to translate the smooth
Indento / Mugur Miha
Inne przykłady FF Tisa / Mitja Miklavčič
Opal / Hannes von Döhren
Comparison, font vs printed
M. With this freedom, Carter was able to improve the clarity of visual hierarchy between all weights in the family. He made the Name & Number face heavier and wider, increasing its prominence over other information. Also, the width of the less prominent Address face was decreased; a reduc� tion that would more than make up for the added width of the Name & Number face. This allowed more information to fit in a small space, thus sav� ing paper, print time, shipping, and consequently, huge amounts of money. The CRT method of type� setting also required an increase in stroke width to prevent the letterforms from breaking apart.
The Linotype Machine, in its time, vastly improved the rate at which type could be set. A gem of the industrial revolution, Thomas Edison called it the “eighth wonder
introduced two new weights to the phonebook, al� lowing more depth in hierarchy and opportunities to highlight special listings. Predicting that adver� tisers would pay extra money for increased visibil� ity, a Bold Listing weight was developed. It did not have lowercase characters and had an exaggerat� ed capital height – sitting below the baseline and utilizing the space normally used by lowercase de� scenders. An alternate version was also developed to sit on a standard baseline. [note: it appears as though the alternate version of Bold Listing has been abandoned in the OpenType version of Bell Centennial; instead, the Bold Listing weight now sits on the standard baseline by default. It was ap� parent in test settings that Bold Listing required a companion font – one that was somewhere in be� tween Address and Name & Number. Sub-Caption was developed, and proved helpful in giving addi� tional information about advertisers or in listing entries for large institutions with multiple depart� ments and numbers. Bell corporate identity by Saul Bass Besides the Bell corporate identity sys� tem, created in 1969, Saul Bass is also well-known for his film title sequences. Bold Listing compared on the baseline with the other weights Bold Listing sat below the normal baseline, utilizing the space normally used by descenders.
Bell Gothic
Bell Centennial
Helvetica
Name
Address slanted stroke endings were squared off
Bell Centennial In Use
of the world”.
Although intended for small print and lists, Mazda UK used Bell Centennial at huge sizes to striking effect in a mid-1990s ad campaign, as did the English National Opera to advertise their pro� duction of Katya Kabanova.
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Typograficzna nostalgia6
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Przypisy:
1.http://nicksherman.com/articles/ bellCentennial.html 2.http://www.odannyboy.com/blog/cmu/ new_archives/cat_typography.html 3.J.Mrowczyk, Niewielki słownik typograficzny, Czysty Warsztat, s.84 4.http://www.answers.com/topic/ ink-trap#ixzz1649FmFnr 5.http://nicksherman.com/articles/ bellCentennial.html 6.http://www.underconsideration.com/ speakup/archives/005274.html
AT&T wanted the new typeface to have more of modern look to it; one that would match better with Helvetica (which wa being used in their current identity system) than Bell Gothic (which was designed in 1937).
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Editorial Cover and title pages design
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Editorial Cover, layout, title pages design (cooperation with M. Kasperek)
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CI
Project for Fashion Festival
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CI Redesign for Café Pogoń
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PHOTOGRAPHY
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czuana@gmail.com