Typographeee by Dominic Flask

Typographeee A study of type

Execution

Exploration

Jennifer Higerd

Dominic Flask

Experimentation Lance Schmittling

40 74

Introduction When we started this project, to explore typography and present what we learned in a format that others could learn from, it was out of a thirst for knowledge and a desire to explore unknown design territory. Three designers and artists whose curiosities had not been satisfied by traditional institutional education, we had some knowledge of typography, its usage and its general principles, but what we uncovered was a wealth of knowledge, history, opinions, excerpts, rules and exploitations that even Harrison Ford couldn’t have made it out of the temple with. Unabashed by the amount of websites, RSS feeds, email lists, books, periodicals, articles and texts that unfurled we dug our teeth in and said, “Bring it.” After nearly two years of research and discussion, the answer is simply complex. Typography is a constantly evolving practice of using type as a tool of communication. To truly understand typography we have learned that there are several fundamental areas of which a basic knowledge is required. First are the general rules in relation to the practice of what good typography is

considered to be. Much like Neo and the spoon, once the rules are understood they can, of course, be bent. Second, it is vastly important to understand how typography has developed and who has helped it develop along the way. Finally, as a modern designer it is important to know who else is out there and how they are manipulating letters as a form of communication. After all that, after the hundreds of books, the massive late fees at the library, the overflowing RSS readers and the exhausted eyeballs we are of the opinion that only the surface has been explored. We realized along the way that we would need to sift through the piles of information in order to find the pertinent bits and summarize it in order to educate a broader audience. What you find in the pages following is a brief summation of what we have found the most inspirational in our quest for knowledge. A study of the Execution of typography, an Exploration of typographers and the typefaces they developed, and a summation of modern typographic Experimentation. Enjoy it. Love it. Crap it out and eat it again, typography is a living, breathing thing. Dom, Jenn and Lance

Or, the proper use of type. <1. typographic blunders that get shot down, no matter how pretty the typeface> <2. the hardware to use to build with type> <3. a collaged collection of typographic terms> <4. choosing the right typeface for the occasion>

of letn pairs ual space e w t e b e s The spac adjusted for vi tween certers is is selective be ike Av. ing. It racter pairs, l tain cha

Letter space is used to talk about the space between characters. It can be tight or loose.

Tracking is of space in the equal adjustment block of texta line, paragraph, or justment, no. It is a global adt selective.

Used to hyphenate words only. Never use in a headline. Never more than two lines in a row.

Used without space on either side. Used between numbers, compound xxxxx words, duration, and compound adkec adjectives.

Used without space on either side. Used to separate thoughts. 15 hyphen -

en dash option shift -

em dash option -

The ligature is a character that joins two or more letters into a single form. It is done for aesthetic purposes, to improve the spacing between the letters and prevent overlap. Using ligatures can clarify pronunciation; two vowels joined together indicates two linked vowel sounds.

Point size is used to measure height of letters as well as the distance between lines. It is the measure from the top of the highest ascender to the bottom of the lowest descender.

As a good designer, you will likely have many typographic choices in your â&#x20AC;&#x153;closet.â&#x20AC;? Much like choosing your clothes, choosing type is an art, not a science. The trick is how you choose and how you put it all together. Yet it is important to know more than just the formal qualities of a typeface. A savvy typographer is familiar with the history of the typeface and its current meanings. Designers have a responsibility to readers to layout text that is comfortable and easy to read. The responsibility then extends to the typefaces we use, to use one suited to the situation and to treat them with respect. Consider who will read the text and where. The audience (children, lawyers, doctors) will influence your choice, as well as whether it is read on screen or in print. 25

This style of type was developed in Northern Europe in the 12th century. It is known for its dense black texture and highly decorated caps. Blackletter is best used for display, not for running text. Subcategories: * Textura refers to the fabric-like quality of a page set in script. The hand written style was common by the 1100s in Northern Europe. Johann Gutenbergâ&#x20AC;&#x2122;s movable type was based on Textura letters. * Fraktur, in German, suggests brokenness. Invented around 1517, it was the type for Martin Lutherâ&#x20AC;&#x2122;s first full translation of the Bible into German. They are the most decorative and the most used. * Examples: Fette Fraktur, Goudy Text

Created in the early 1800s, these have nothing to do with Egypt. French victories in Egypt meant that all novel things were called “Egyptian.” The faces were a response to a change in advertising where ads were newly placed on billboards, pamphlets, and posters. Before, type was designed solely for long stretches of text in books. The new type needed to stand out, leading to the birth of Display faces. “Authentic” slab serifs have unbracketed serifs (an abrupt serif that meets the stem at a right angle), though there are many that have brackets. Examples: Memphis, Serifa, Clarendon, Officina Serif, Courier, American Typewriter

A bitmap symbol is formed from the square pixels that make up the screen display. These fonts are designed to be used at a specific size, a number included in the name of the font. When using screen fonts: * Be aware of contrast. Type must show up against the background, but not strain the eyes. * Keep the size of body text above 10 or 12 px. * Vary the type size or style to suggest hierarchy. Examples: Oakland, Emigre, Emperor

A study of Typographers and their Typefaces

In this section you will find a brief history of some of the most well-known and famous typographers. From the invention of moveable type to modern day digital font foundries, it is as important to know as much about the history of a typeface as how to use it. Type has gone from being made with wood and metal to ones and zeros. It is important for graphic designers and typographers to be familiar and acquainted with the tens of thousands of different typefaces that are out there. It is impossible to remember all of them, but, if you know the history you can start to recognize where certain typefaces come from. This section of the book is built on a Typographic grid which establishes a hierarchy and promotes readability.

Typography can be said to have begun as early as the first alphabet created by the ancient Egyptians in 2700 B.C. What we know as typography today really evolved out of the invention of moveable type, which was independently invented by the Chinese and then by Johannes Gutenberg. Gutenberg’s version, created circa 1450, is the one that was popularized among Europe and America. The evolution of type can loosely be classified into four different stages; Moveable Type and the Press (1450-1870) Line-Casting /Automated Punch-Cutting (1870-1950) Photo Type-Setting (1950-1985) Digital Type-Setting (1985-present) During all of these different periods typographers studied the art of creating type. A ‘typographer’ is someone who creates a typeface or a set of type glyphs while ‘typography’ is the art and technique of arranging that type, often referred to as type design or designing with type.

Each page number in this section is set in a typeface relevant to the content of that page.

Hoefler Text Roman

Typesetting used to be done entirely by hand. So that the press would print things right they had to compose the type upside down and backwards

Unidentified Modern Roman Serifed Typeface

Deceased Typographers Garamond to Miedinger

Claude Garamond (1480-1561) Notable Typefaces Garamond and Sabon (revived) Claude Garamondâ&#x20AC;&#x2122;s roman letters, designed at his Paris foundry took the Roman of Aldus Manutius as their model and were much copied. By the end of the 16th century they had become the standard European type and they were still in use in the 18th century. After his death in 1561 his type punches and matrices were sold off. His types have been revived many times in the past century and there are many versions that are named after him.

Adobe Garamond Pro Semibold All the American versions of the Harry Potter books were set in a 12 point

Garamond, as is another fun picture book, The Cat in the Hat by Dr. Seuss.

45 Sabon LT Std Bold

a a Some typefaces are revived in many different versions by many different

foundries, often they are based on the same typographerâ&#x20AC;&#x2122;s original drawings.

William Caslon I (1692-1766) Caslon was a British typographer that helped free England from the dependence on type from the Dutch type foundries. He began his own type foundry which was owned by the Caslon family until 1937. His typefaces were not innovative for their time, but, are responsible for marking the end of the old style classification and would become the standard Roman for British printers well into the 19th century. He also influenced John Baskerville, as well as many other typographers and their creation of Modern Roman serifed typefaces such as Didot and Times New Roman. Adobe Caslon Pro Semibold

HTF Didot M96 Medium Italic

Note the high contrast between thick and thin strokes

ITC New Baskerville (Roman)

John Baskerville (1706-75) Notable Typefaces Baskerville John Baskerville was one of the first printers to use type which moved away from the old face patterns of the preceding two centuries. He influenced Didot and Bodoni heavily. In 1750 he set up his own type foundry and printing press in England. His hand cut punches were eventually sold by his wife after his death. Interpretations of his typefaces include ITC New Baskerville by Matthew Carter and Mrs. Eaves by Zuzana Licko of Emigre.

47 Mrs Eaves, Petite Caps

Adobe Bodoni STD Roman

170 pt

Giambattista Bodoni (1740-1813) Notable Typefaces Bodoni Bodoni was one of the first to cut a Modern Roman typeface. He took French types, such as those of Fournier and the Didots, as his model. In 1798 he cut a face that is generally referred to as Bodoni and is the basis for most modern Bodoni interpretations. Along with Bodoni, he also created many different Script typefaces.

Frederic Goudy (1865-1947) Notable Typefaces Copperplate Gothic, Goudy Old Style One of the best known and most prolific of type designers, by his own reckoning, designed 123 faces. His breakthrough in type design came in 1911 when he designed Kennerley Old Style for the publishers Mitchell Kennerly. He set up the Village Letter Foundry to cast and sell Kennerley and a titling font called Forum. These established his reputation and American type founders commissioned Goudy Old Style, perhaps his most famous type.

Copperplate Gothic 29BC

E Goudy Old Style MT Regular

Stanley Morison (1889-1967) Notable Typefaces Times New Roman Stanley Morison became one of the most influential British typographers through his work for the Monotype Corporation. He experimented with Perpetua and Plantin and eventually created a new typeface based on both. A draftsman for the Times, Victor Larden finished the drawings of what would become Times New Roman.

T Perpetua STD Regular

Times New Roman MT Bold

Eric Gill (1882-1940) Notable Typefaces Perpetua, Felicity Eric Gill studied calligraphy and stone cutting before moving to typography at the encouragement of Stanley Morison of the Monotype Corporation. His firâ&#x2014;&#x160; typeface, designed for the Monotype Corporation, Perpetua began in 1925. During this time he also began drawings for a Gill sans serif which was eventually completed around 1931. In 1936 he was among the first in England to be given the title of Royal Designer for Industry.

Plantin MT Italic

FUTURA EXTRA BOLD

Sabon MT Italic OldStyle Figures

Paul Renner (1878-1956)

Jan Tschichold (1902-74)

Notable Typefaces Futura

Notable Typefaces Sabon

Paul Renner, like Tschichold, wanted to revise ancient Fraktur type and update it to more modern sans serif typefaces. His work during the first world war caused him to receive negative attention from the Nazis who eventually persecuted him for wanting to do away with historical Fraktur typefaces. However, after his release he was able to complete his lifeâ&#x20AC;&#x2122;s work and most famous typeface, Futura.

Tschichold began studying typography and engraving at an early age in Dresden. He taught at the Meisterschule in Germany, which was founded by Paul Renner, but eventually was forced out by the Nazis. He then began working for Penguin Books and spent most of the rest of his career there. He created the Sabon typeface in the â&#x20AC;&#x2DC;60s for German printers as a Garamond-derived type that could be set for foundry type.

Futura is a favorite among movie producers, including Stanley Kubrick and Wes Anderson, to use when creating film titles and credits for their films.

Adobe Garamond Pro Italic

herbert bayer (1900-1985)

notable typefaces universal alphabet

bayer was influential through his work at the bauhaus where at he taught the typography class. he pushed towards rounded sans serif typefaces as a result of the bauhausâ&#x20AC;&#x2122; stress on simplification of forms. his most well known typographical work was a proposal created in favor of a universal alphabet that would change german typography, which uses uppercase characters at the beginning of every proper noun, to an alphabet entirely made up of lowercase letters.

ITC Bauhaus Medium

The Bauhaus operated from 1919 until 1933. It was eventually forced to shut its doors at the beginning of WWII under pressure from the German military.

This typeface has a consistent stroke weight throughout.

ITC Lubalin Graph Demi

Herb Lubalin (1918-1981) - Notable Typefaces ITC Avant Garde Gothic, Lubalin Graph Herb Lubalin was a very charismatic American typographer who worked after the second World War. In 1964 he entered into a partnership with Aaron Burns and together they created ITC, which would become the first major marketer of typefaces that did not also manufacture them. His work at ITC was primarily for display advertising rather than text setting and his work for magazines such as Eros and Avant Garde became internationally renowned. AVA

The Avant Garde typeface was developed for the Avant Garde magazine and the typographic logo has become recognizable as a symbol of the time period.

Avant Garde Book Oblique

MAX MIEDINGER (1910-1980) & EDUARD HOFFMANN (1910-) NOTABLE TYPEFACE HELVETICA

Miedinger was a Zürich born typographer who worked at the Haas type foundry in Münchenstein, Switzerland. Hoffmann asked him to modernize the most current Haas grotesk typeface, which had roots in early sans serif typefaces such as Berthold’s Azkidenz Grotesk. The final product has become one of today’s most used typefaces, Helvetica.

Helvetica was originally going to be named ‘Helvetia’ which literally means ‘Swiss’, the loose definition of the word ‘Helvetica’ is ‘Swiss Typeface’.

55 Helvetica Neue 35 Thin

Living Typographers Zapf to Brody

Hermann Zapf (1918-) Notable Typefaces Palatino, Optima Optima LT Std Bold Italic

Hermann Zapf was a calligrapher, teacher and book designer before he was drafted into the German military in 1939. He returned as a designer with the Stempel type foundry for a brief time during which he was quite productive. Notable typefaces include Palatino, which was based upon Renaissance period typography, and Optima, which was inspired by some inscriptional lettering he had come across in Florence (which is now part of the expanded Optima Nova).

Palatino LT Std Italic

Ultra Condensed

Condensed Oblique

Condensed

Oblique

Roman

Extended

Thin

Univers 47 Light Condensed Oblique Light

Adrian Frutiger (1928-) Notable Typefaces Univers, Frutiger Regular

Adrian Frutiger is considered to be one of the most important typographers of the 20th century and still is highly regarded as an influence to typographers today. Univers was designed as an adaptation of Futura, designed by Paul Renner, which he created at the request of Charles Peignot from the Deberny & Peignot type foundry whom thought Futura to be far too geometric. He was then asked to create a new typeface for the Charles de Gaulle airport around 1976.

Bold

Black

Extra Black

He thought Univers, which has 63 weights since it was redesigned and recut by Linotype for digital production, to be too dated. So he created Frutiger, a Humanist sans serif type which has been compared to the sans serif typeface designed by Eric Gill, Gill Sans.

Frutiger Light Italic

FF Unit Rounded Bold

Erik Spiekermann (1947-) Notable Typefaces Unit Rounded, Meta, ITC Officiana Erik began typography at the early age of 12 and worked with many different companies until he co-founded Meta Design in 1979. He has been thoroughly influential in corporate typography and its role in understanding corporate branding. He was also instrumental in the founding of the mail order type retailer FontShop and has overseen the creation of the FontBook, which is a compendium of typefaces rivaled by no other book in publication.

Erik Spiekermann, even though an avid detester of Arial (Microsoft’s default font) is now Microsoft’s ‘Director of Fonts’ and is paid a record $1.2M salary.

59 FF Meta Condensed Bold

Edward Benguiat (1927-) Notable Typefaces Benguiat, Bookman, ITC Bauhaus A vice president of the ITC (International Typeface Corporation), Benguiat has already designed over 500 typefaces. In his early work he helped Herb Lubalin develop U&lc magazine, was an associate director of Esquire magazine, and has opened his own studio which published Plinc magazine.

ITC Bauhaus Bold

Wim Crouwel (1928-) Notable Typefaces New Alphabet

Crouwel is best known for his typographic work for the Stedelijk Museum in Amsterdam. He has designed several typefaces, the most well known is the New Alphabet which is an abstract typeface designed for dot-matrix printers and is based on the theory that the eye can recognize letters without seeing the entire form.

ITC Benguiat Medium

While Wim Crowel did not produce a great many typefaces, he is highly regarded for his writings and theories pertaining to the use of typography.

Tobias Frere-Jones (1970-)

Interstate Bold

Notable Typefaces Interstate, Gotham Tobias Frere-Jones was always interested in art and not solely typography until he drew the attention of Matthew Carter at the Rhode Island School of Design. Under Carterâ&#x20AC;&#x2122;s supervision he was directed to Font Bureau where he worked for seven years before he joined Jonathan Hoefler and the Hoefler Type Foundry ( HTF). One of his most successful typefaces during the 1990s was Interstate which was based upon highway signage.

Jonathan Hoefler (1970-) Notable Typefaces Champion Gothic, Hoefler Text, Knockout Jonathan Hoefler has worked extensively to help brand some of the worldâ&#x20AC;&#x2122;s foremost publications, corporations, and institutions since the establishment of the Hoefler Type Foundry in 1989. Hoefler Text was designed for Apple in 1991 and is now a part of their operating system. Since then he has been joined by Tobias Frere-Jones and the two collaborate together on many varied projects. HTF Champion Welterweight

The Obama campaign for the 2008 presidential election was renowned for its excellent use of branding; the typeface used throughout was Gotham Bold.

Hoefler Text Italic Swash

( 1 9 5 7-)

NEVILLE BRODY Notable Typefaces FF Blur, FF State

Neville Brody started â&#x20AC;&#x2DC;Research Studiosâ&#x20AC;&#x2122; in 1994 with business partner Fwa

Richards. The studio creates new visual languages for a variety of applications

Neville Brody was quick to revolutionize magazine design in the 1980s with bold typography containing both hand drawn letters and display faces. He has worked for such magazines as The Face and Fuse. He also helped to establish, along with Erik Spiekermann,the

large digital type library FontShop International. FF Blur Medium

Typeface seven

Trajan Pro Regular

Carol Twombly (1959-)

Notable Typefaces Mirarae, Adobe Caslon,

Trajan, Myriad

Twombly is a comparatively young typographer who has already received much acclaim for her first type face Mirarae which is a latin design. Since then she has gone to work for Adobe and has designed many successful display typefaces such as Trajan, Adobe

Caslon, and the Adobe default, Myriad.

Myriad Semibold Italic

Modern Type Foundries Monotype Linotype ITC HTF Emigre Thirstype Fonts For Flash Exljbris DSType

Monotype

Bembo, Bookman Old Style, Gill Sans

Monotype has its roots in the past and goes back to the 19th century. Originally a producer of steel cut type, they were one of the first to make the move to

digital type creation. Their library includes thousands of different typefaces, most of which are based on older type specimens.

Bembo Std Italic

Bembo Semibold Italic

ITC Franklin Gothic, ITC Goudy Sans, ITC Garamond One of the first type foundries to have no history in metal cast types, ITC was co-founded by Herb Lubalin of Avant

Garde Magazine fame. They revived several older type faces including Bookman and Garamond and expanded them to include a variety of weights from light to ultra bold. They now are one of the largest type foundries still working today, managing over 1650 typefaces.

ITC Korinna Bold

Linotype Adobe Type Collection, Many Others

Linotype has been around for over 120 years and has its roots in great type designers such as Deberney & Peignot and D. Stempel. They are the largest source of typefaces that exists today. Their library has a collection of more than 9,000 type faces. Bell Gothic Black

DIN Schrift Medium

Bell Gothic was originally created for the Bell Telephone Company. It was designed as a condensed, legible, sans-serif type to handle text in phonebooks.

Hoefler Type Foundry The combination of Jonathan Hoefler and Tobias Frere-Jones has proven to be one of the most effective combinations of typographers in modern society. Hoefler Type Foundries releases and develops their own typefaces and the two have been working together since 1989. A well rounded type foundry, you can find almost anything you need for any project you have from these guys.

HTF Chrysler Compressed

HTF Knockout, HTF Gotham, HTF Interstate

Emigre

Sabbath Black Regular

Blockhead, Mrs. Eaves, Dalliance, Backspacer

Emigre started as a magazine that eventually developed a need for many different non-standard typefaces. Zuzano Licko and Rudy Vanderlans were the founders of both the magazine and the type foundry. Started in 1984 with the invention of the Macintosh computer, the restrictions of the computer forced the designers to be both inventive and original.

Mrs. Eaves is based off of John Baskervilleâ&#x20AC;&#x2122;s typefaces and is named after his mistress. It has become wildly popular for text face uses in the past few years.

Mrs Eaves Petite Caps

Fast Girls A Cup

Fonts For Flash

FFF Urban, FFF Business The place to get pixel fonts, Fonts For Flash develops pixel and super pixel fonts that are designed to look crisp and clean inside of Flash documents. They look good at very small sizes on FFF Urban

screen such as 6 pt or 7pt.

Fertigo

Exljbris Fontin, Fertigo, Anivers

A free type foundry that creates well planned typefaces, Exljbris is run by just one man named Jos

DSType Ventura, Leitura, Resea Another great one man studio, DSType has been operational for 14 years. Dino dos Santos graduated from the ESAD

Jos lives in the Netherlands and works as an art director while he publishes his own typefaces on

in Portugal and headed directly into typography. He has claimed numerous awards for his typefaces, which are consistent and beautiful. Ventura was chosen by the Type Directors Club in

the side. All of it is fun and legible.

2008 as the typeface design of the year.

Bulvenga and his work is excellent.

71 Resea Regular

Schwartzco Stag, Giorgio, Guardian Schwartzco is Christian Schwartz, a type designer who has released a nice collection of typefaces with a wide variety of publishers including FontFont, Emigre and Village. He has previously worked with the studios MetaDesign Berlin and The Font Bureau before forming his own studio in 2001. He has also worked closely with Erik Spiekermann on the designs for several typefaces including FF Meta Serif. His work has garnered many awards including the prestigious Prix Charles Peignot award, which is given to a contributor to type design only every 4 or 5 years.

Stag Medium

Many of Schwartzâ&#x20AC;&#x2122;s designs have been proprietary releases for notable publications including Esquire, The Houston Chronicle and The Guardian.

Misc Type Foundry and Typographer Recommendations (all of which deserve a place in this book, there just was no room left.)

MuccaTypo Typotheque Jeremy Tankard Typonine FSD Village Mark Simonson Mr. Beautifool The Smeltery Underware Misprinted Type

All of the featured letters in this section can be decoded to discover a hidden message about type.

73 Audimat Regular (The Smeltery)

EXPERIMENTATION w ith TYPOGRAPHY

Section

The following pages contain individuals and companies that have taken typography to the next level. Their distinct styles have inspired many designers. They broke rules, changed ideas, propelling design to a level never before seen. They are the designers that experiment, observe, and transform. They are the innovators of typography. This section is all about experimentation. It is not designed in one particular style. Each spread is a tribute to the individual or company. It is designed as close to their style as possible, while incorporating examples of their work.

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Hatch Show Print: The History of a Great American Print Shot

n old-fashioned letterpress print shop that has been making entertainment posters in Nashville, Tennessee since 1879. Operated by the Country Music Hall of Fame and Museum since 1986 and owned by that organization since 1992, Hatch is still an active business, still printing and designing posters that are distinctive and eye-catching. Pressing hand-inked, hand-carved woodblocks, type and metal plates onto paper, the artisans from Hatch combine their artistic flair and talent to print posters for legends of rock such as Chuck Berry, Little Richard, The Rolling Stones, The Byrds, Gordon Lightfoot, Peter, Paul and Mary, The Supremes, James Brown, Sarah Vaughan, and Bob Marley. Starting with the customerâ&#x20AC;&#x2122;s copy, they design a look that not only captures the sound, feel and look of a band, magazine or product, but do so within the dimensions of the selected poster size and through the lens of Hatchâ&#x20AC;&#x2122;s history.

With a fascination for letterpress and motorless platen press, Brady Vest founded Hammerpress in Kansas City in 1994. Hammerpress creates various hand printed ephemera including exquisite and unusual wedding invitations, cd packages, corporate identities, posters and art prints, as well as an evergrowing line of letterpress stationery products.

www

hammerpress.com youtube.com/watch?v=zj2nsdqJr5o

AN G E B E H E R E H W shape influenced by Paul Randâ&#x20AC;&#x2122;s use of Saul Bass was greatly plex com g usin of the 1940s, but instead and asymmetrical balance during d uce red tly uen freq ure like Rand, Bass contrasts of shape, color, and text to ity abil ble arka image. Bass had a rem his designs to a single dominant ental images that become glyphs, or elem with ign express the nucleus of a des cut are s form r hic power. His irregula pictorial signs that exert great grap a brush. Freely drawn, decorative with n draw from paper with scissors or typography or handwriting. letterforms are often combined with ed commissioned Bass to create unifi Producer/Director Otto Preminger sing, erti adv , ters pos uding logos, theater graphic materials for his films, incl t prin h bot ying unif comprehensive design and animated film titles. His first , hics grap film to Golden Arm. In addition and media was The Man with the number identity programs and directed a atepor Bass created numerous cor film of ety vari a d Man Creates, use of films. One in particular, called Why ion. ress exp human creativity and techniques probing the nature of

4 1 Movie Poster - The Cardinal 2 Movie Poster - Exodus 3 Movie Poster - West Side Story 4 United Airlines Logo 5 Quaker Logo 6 Stillframes from Why Man Creates 6

100 Posters 134 Squirrels Animals and Objects In and Out of Water: Posters by Jay Ryan

RICK VALI CENTI founded Thirst/Chicago a communication design firm devoted to art, function and real human presence, in 1987. Thirst challenges the role of the design studio by transforming design into art with function. His work is included in the permanent collection of The Cooper-Hewitt/Smithsonian National Design Museum. He is a celebrated typographer, establishing the design foundry Thirstype.

THIRST / CHI CAGO

[

Over time I get used to everything and start taking it for granted.

1 AIGA Poster - 1997 New Orleans 2 AIGA Poster - 1999 Detroit 3 Business Card - Anni Kuan 4 Lou Reed Album Art 5 The Five Years of Style = Fart Invitation

1 2

3 4 5

ALWAYS HAVING GUTS WORKS OUT FOR ME.

Images below are taken from Stefan Sagmeisterâ&#x20AC;&#x2122;s Things I Have Learned In My Life So Far. In it, Sagmeister experiments with multiple typographic pieces each inspired by the work of his grandfather.

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Made You Look Things I Have Learned In My Life So Far

D a v id C ar s on David Carson

This

is Car

sonâ&#x20AC;&#x2122;s Design design.

D avid Carson

was perhaps the most influential Graphic Designer of the

90s.

His widely-imitated aesthetic defined the so-called “grunge” era. Throughout the

1980s, he art directed various music, skateboarding and surfing magazines. As Art Director of Ray Gun, his layouts featured distortions or mixes of ‘vernacular’ typefaces and fractured imagery, rendering them almost

illegible. Carson became interested in a New School of Typography and photography-based Graphic Design and is largely responsible for popularizing the style. Since he lacks a

traditional design education, his work does not follow traditional graphic design standards, he just designs to please himself aesthetically. Carson’s work is considered explorative of thoughts and ideas that become lost in the subconscious, but somehow he still manages to communicate both the idea

andthefeelingbehindhisdesign.

t r ib ute abc

The End of Print: Graphic Design of David Carson David Carson: 2nd Sight: Grafik Design After the End of Print

DAN FRIEDMAN

Radical Modernism abc

“Type in the 80s was about excess; type in the 90s is about restraint. Certainly, the more avant-garde designers have done some fairly wild experiments; they are accused of being illegible, appealing to a narrow audience. Since I’m familiar with where that work comes from, I find much of it seductive on the one hand, yet also manipulative. It has become an idiom, like anything else. I’m torn between being seduced and being manipulated. This work tends to have no discernible content apart from the formal qualities.”

Dan Friedman, June 1994

fonts, typography, lettering, design

fontfeed.com

build, share, download fonts

fontstruct.com

fonts, typefaces and all things typographical

ilovetypography.com

type reviews, books, commentary

fresh works from leading creative professionals

typographic collaboration

digital type foundry

find, identify, try, organize

typographica.org typographyserved.com typophile.com typotheque.com whatthefont.com

Abridged Bibliography Carson: 2nd Sight Lewis Blackwell

The Elements of Typographic Style Robert Bringhurst

Typographic Design: Form and Communication Rob Carter

Alphabets Wim Crouwel

New Typographic Design Roger Fawcett-Tang

The Complete Manual of Typography Jim Felici

Masters of Poster Design John Foster

Letterforms: Bawdy, Bad and Beautiful Steven Heller and Christine Thompson

Typography and Graphic Design Roxane Jubert

Letterpress: New Applications for Traditional Skills David Jury

104

You can find most of these books at www.amazon.com, but for more typography and graphic design books check out Victionary, Aisle One, Index Book and Oak Knoll.

A Type Primer

John Kane

Hatch Show Print Paul Kingsbury

Thinking with Type: A Critical Guide Ellen Lupton

An A-Z of Type Designers Neil MacMillan

Texts on Type Philip Meggs

Hand Job Michael Perry

100 Posters, 134 Squirrels Jay Ryan

Things I Have Learned in My Life So Far Stefan Sagmeister

Make It Bigger Paula Scher

Stop Stealing Sheep and Find Out How Type Works Erik Spiekermann

105