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Designer: Edrick D. Agostini Project: Typographer Poster and Process Package Course: Ty p o gra phy I Faculty: Francheska Guerrero
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Table Of Contents
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Page 2: Final visible grid
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Page 3: Written paper: Complete Paper
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Page 4: Paper paragraphs: Flush Left 8 pt. cap height, 9 pt. leading Paper paragraphs: Flush Left 8 pt. cap height, 11 pt. leading
Page 5: Paper paragraphs: Flush Left 8 pt. cap height, 13 pt. leading Paper paragraphs: Flush Left, 8 pt. cap height, 15 pt. leading
Page 6: Paper paragraphs: Flush Left, 8 pt. cap height, 17 pt. leading Paper paragraphs: Flush Left, 8 pt. cap height, 19 pt. leading
Page 7: Paper paragraphs: Flush Left, 9 pt. cap height, 11 pt. leading Paper paragraphs: Flush Left, 9 pt. cap height, 13 pt. leading
Page 8: Paper paragraphs: Flush Left, 9 pt. cap height, 15 pt. leading Paper paragraphs: Flush Left, 9 pt. cap height, 17 pt. leading
Page 9: Paper paragraphs: Flush Left, 9 pt. cap height, 19 pt. leading Paper paragraphs: Flush Left, 9 pt. cap height, 21 pt. leading
Page 10: Paper paragraphs: Flush Left, 9 pt. cap height, 23 pt. leading Paper paragraphs: Flush Left, 9 pt. cap height, 25 pt. leading
Page 11: Poster design 1: Typographic Mode of Communication 1 and 2 Legibility and Content Hierarchy
Page 12 : Poster design 2:
Typographic Mode of Communication 2 and 3 Content Hierarchy and Expression
Page 13: Poster design 3:
Typographic Mode of Communication 3 Expression
Page 14: Final Poster design
3
Jan Tschichold_ S a b o n Typographers through out the years have stricken the print world with their inventions of typefaces and their philosophies of design. Jan Tschichold, a genius of design and a firm believer of creativity, played an active and valuable role in the typographic world. Tschilchold was born in Leipzig, Germany in 2 April of 1902. He was the son of sign painter and lettering artist. His father’s work and exposure to design propelled Tschichold to become interested in a career as an artist. His dreams were vanished by his parents being that a career as an artist was uncertain (Mclean 7). Tschichold took in consideration his parents concerns regarding pursuing a career in fine arts, so he decided to become a drawing teacher. His fascination and drive in calligraphy and script drove him to study Edward Johnston’s Writing and Illuminating, and Lettering in the translation of Anna Simons, and works by German lettering artist including Rudolph von Larisch (Mclean 7). At age 17, he studied engraving, woodcutting, and bookbinding. His knowledge and skill captured the director of the academy’s attention earning him, at age 19, a position as professor of script writing (“Jan Tschichold,” 2009). His passion of Rudolph Koch fonts and his infatuation with the works Pierre Simon Fournier of German Black Letter ended with the exposure of a Bauhaus exhibition at Weimar in 1923. In this exhibition, he was transformed by the so called “moderns” like Herbert Bayer, Josef Albers, Marcel Breuer, Feininger, Klee, Moholy-Nagy, El Lissitzky, Kurt Schiwitters, Piet Zwart, Man Ray and others. The Bauhaus movement interested Tschichold because the typography was wild, sensational and eye-catching (Mclean 8). Even though the new movement had captured his commitment, his previous knowledge in calligraphy and lettering reminded him of the importance of legibility in communication when using typography. Furthermore, in 1928 his first book, “Die Neue Typographie”, was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s volume of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14) Consequently, after the end of World War I he was offered to work for Penguin Books in London. He found that the standards of composition were much lower than those in Switzerland. Penguin’s books had become a blessing after the war to civilians and troops. Many printers and authors did not agree with his approach and design, often causing arguments and animosity. In three years, he had done more to improve the British book production than any other single book designer had ever done (McClean 13). In 1949, he returned to Switzerland to work for various German and Swiss publishers. He left his print and design skills in every bookshop in the world being that Penguin was selling fifteen million books a year. Additionally, in 1955 he became a pharmaceutical consultant for the firm of F. Hoffman-La Roche in Basel. His duties were to design their books, labels, advertisements and stationery. Tschichold designed a series of booklets in German, French and English that explained the uses of drugs in the medical field. He utilized photographs and line drawings in several colors to enhance his design. Tschichold decided to move to a small house in Tessin Italian-speaking area of Switzerland above Lorcano in 1968. He consequently died of cancer in 11 August 1974 at the Lorcano Hospital. One of his most important accomplishments was the creation of the typeface, Sabon. The Master Printers Association of Germany commissioned him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as foundry type by Stempel and in 1966 as a hotmetal type for both Monotype and Linotype casting machines. The digital italics and the hot-metal versions have several flaws because of the original limitations of the hot-metal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers article, “Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold’s Sabon drawings have become an invaluable educational and achievement tool in the design world. The typeface is distinguished from Garamond by the equal with of the roman and italics and by the abrupt truncation of the italics f ’s descender. It’s classified as a Serif, Old Style and French Old Style with angled stresses and oblique. Sabon is well known as one of the best Garamond typeface revivals. Sabon was known as a “modern” Garamond, which was a misleading statement to people. Sabon’s design was patterned loosely on specimen sheets of an early Frankfurt printer and type founder, Konrad Berner. Tschichold used Garamond’s calligraphic shapes, softer and more rounded shapes to create Sabon’s versatility and uniqueness. The typeface’s generous lowercase x-height keeps the design reader friendly while maintaining the grace and elegance of the original 16th Century fonts (Fonts, 2011). Jan Tschichold’s outstanding accomplishments have impacted the design world by providing people with well-designed and legible print work and typography. His designs, views, and typography opened up the world to new possibilities and different views. His major accomplishments have been the creation of the typeface Sabon and his contribution to the publishing world.
Works Cited “Sabon - Fonts.com.” Fonts.com. Web. 05 Oct. 2011. <http://www.fonts.com/findfonts/hiddengems/sabon.htm>. Spencer, Herbert. Pioneers of Modern Typography. Cambridge, MA: MIT, 1983. Print. “Jan Tschichold – Typographic Genius | Retinart.” Retinart - Reflections on the Joyous Elegance of Graphic Design and Creative Thought. Web. 05 Oct. 2011. <http://retinart.net/artist-profiles/jan-tschichold/>. McLean, Ruari. Jan Tschichold: a Life in Typography. New York, NY: Princeton Architectural, 1997. Print. “Twenty Faces: Sabon.” Textism. Web. 05 Oct. 2011. <http://www.textism.com/textfaces/?id=19>. “Typedia: Sabon.” Typedia: A Shared Encyclopedia of Typefaces. Web. 05 Oct. 2011. <http://typedia.com/explore/ typeface/sabon/>.
4
Flush Left 8 pt. with 9 pt. leading
Flush Left 8pt. cap height with 11pt leading
One of his most important accomplishments was the creation of the typeface, Sabon. The Master Printers Association of Germany commissioned him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in 1966 as a hot-metal type for both the Monotype and Linotype casting machines. The digital italics and the hot-metal versions have several flaws because of the original limitations of the hot-metal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers article, “Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educational and achievement tool in the design world.
One of his most important accomplishments was the creation of the typeface, Sabon. The Master Printers Association of Germany commissioned him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in 1966 as a hot-metal type for both the Monotype and Linotype casting machines. The digital italics and the hot-metal versions have several flaws because of the original limitations of the hot-metal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers article, “Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educational and achievement tool in the design world.
Furthermore, in 1928 his first book, “Die Neue Typographie”, was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s volume of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14)
Furthermore, in 1928 his first book, “Die Neue Typographie”, was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s volume of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14)
5
Flush Left 8pt. cap height with 13pt leading
Flush Left 8pt. cap height with 15pt leading
One of his most important accomplishments was the creation of the type-
One of his most important accomplishments was the creation of the type-
face, Sabon. The Master Printers Association of Germany commissioned
face, Sabon. The Master Printers Association of Germany commissioned
him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was
him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils,
released in three formats in 1964 as a foundry type by the Stempel and
Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was
in 1966 as a hot-metal type for both the Monotype and Linotype casting
released in three formats in 1964 as a foundry type by the Stempel and
machines. The digital italics and the hot-metal versions have several
in 1966 as a hot-metal type for both the Monotype and Linotype casting
flaws because of the original limitations of the hot-metal technology (100
machines. The digital italics and the hot-metal versions have several
Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers article, “Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome
flaws because of the original limitations of the hot-metal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his
that one regrets that no titling fount was produced…” ( McClean 15).
Twentieth Century Type Designers article, “Sabon is an admirable face,
Copies of Tschichold Sabon drawings have become an invaluable educa-
strong yet restrained… The roman Capitals in particular are so handsome
tional and achievement tool in the design world.
that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educa-
Furthermore, in 1928 his first book, “Die Neue Typographie”, was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the
tional and achievement tool in the design world.
Furthermore, in 1928 his first book, “Die Neue Typographie”, was
Nazi Government of creating an ‘un-German’ typography forcing him to
published. In his book, he expresses that ‘Asymmetry is the rhythmic
leave German soil to take refuge in Basle, Switzerland. He was allowed
expression of functional design’ and that ‘Roman type is the interna-
to leave with his wife and young son because he was not a Jew. In 1935,
tional typeface of the future’ (Mclean 9). He was later accused by the
his work was introduced to England by participating in an exhibition at
Nazi Government of creating an ‘un-German’ typography forcing him to
Lund Humphries in London propelling him to work in 1938’s volume of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the
leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935,
same year he addressed members of the Double Crown Club on new ap-
his work was introduced to England by participating in an exhibition at
proaches to typography. Beno Schwabe released his next book, Typog-
Lund Humphries in London propelling him to work in 1938’s volume of
raphische Gestaultung, in 1935. The book was elegant and it focused on
The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s
significant developing ideas in design. He utilized three different typefaces
well-illustrated article in his magazine “Typography”. Later during the
and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour
same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. The book was elegant and it focused on
Printing book and later on published Chinese Colour Prints from the Ten
significant developing ideas in design. He utilized three different typefaces
Bamboo Studio (Mcclean 14)
and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14)
6
Flush Left 8pt. cap height with 17pt leading
Flush Left 8pt. cap height with 19pt leading
One of his most important accomplishments was the creation of the type-
One of his most important accomplishments was the creation of the type-
face, Sabon. The Master Printers Association of Germany commissioned
face, Sabon. The Master Printers Association of Germany commissioned
him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in 1966 as a hot-metal type for both the Monotype and Linotype casting
him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and
machines. The digital italics and the hot-metal versions have several
in 1966 as a hot-metal type for both the Monotype and Linotype casting
flaws because of the original limitations of the hot-metal technology (100
machines. The digital italics and the hot-metal versions have several
Types). The typeface was highly praised. Sebastian Carter stated in his
flaws because of the original limitations of the hot-metal technology (100
Twentieth Century Type Designers article, “Sabon is an admirable face,
Types). The typeface was highly praised. Sebastian Carter stated in his
strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educational and achievement tool in the design world.
Twentieth Century Type Designers article, “Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educa-
Furthermore, in 1928 his first book, “Die Neue Typographie”, was
tional and achievement tool in the design world.
published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type is the interna-
Furthermore, in 1928 his first book, “Die Neue Typographie”, was
tional typeface of the future’ (Mclean 9). He was later accused by the
published. In his book, he expresses that ‘Asymmetry is the rhythmic
Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s volume of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s
expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935,
well-illustrated article in his magazine “Typography”. Later during the
his work was introduced to England by participating in an exhibition at
same year he addressed members of the Double Crown Club on new ap-
Lund Humphries in London propelling him to work in 1938’s volume of
proaches to typography. Beno Schwabe released his next book, Typog-
The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s
raphische Gestaultung, in 1935. The book was elegant and it focused on
well-illustrated article in his magazine “Typography”. Later during the
significant developing ideas in design. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour
same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces
Printing book and later on published Chinese Colour Prints from the Ten
and well leaded. His book was later translated into Danish, Swedish and
Bamboo Studio (Mcclean 14)
Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14)
7
Flush Left 9pt. cap height with 11pt leading
Flush Left 9pt. cap height with 13pt leading
One of his most important accomplishments was the creation of
One of his most important accomplishments was the creation of the typeface, Sabon. The Master Printers Association of Germany commissioned him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in 1966 as a hot-metal type for both the Monotype and Linotype casting machines. The digital italics and the hot-metal versions have several flaws because of the original limitations of the hotmetal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers article, “Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educational and achievement tool in the design world.
the typeface, Sabon. The Master Printers Association of Germany commissioned him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in 1966 as a hot-metal type for both the Monotype and Linotype casting machines. The digital italics and the hot-metal versions have several flaws because of the original limitations of the hotmetal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers article, “Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educational and achievement tool in the design world.
Furthermore, in 1928 his first book, “Die Neue Typographie”, was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s volume
Furthermore, in 1928 his first book, “Die Neue Typographie”, was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s volume of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14)
of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14)
8
Flush Left 9pt. cap height with 15pt leading
Flush Left 9pt. cap height with 17pt leading
One of his most important accomplishments was the creation of
One of his most important accomplishments was the creation of
the typeface, Sabon. The Master Printers Association of Germany
the typeface, Sabon. The Master Printers Association of Germany
commissioned him to create a typeface that matched cast foundry
commissioned him to create a typeface that matched cast foundry
type for hand setting, with output from machine composition,
type for hand setting, with output from machine composition,
across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in
across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released
1966 as a hot-metal type for both the Monotype and Linotype
in three formats in 1964 as a foundry type by the Stempel and in
casting machines. The digital italics and the hot-metal versions
1966 as a hot-metal type for both the Monotype and Linotype
have several flaws because of the original limitations of the hot-
casting machines. The digital italics and the hot-metal versions
metal technology (100 Types). The typeface was highly praised.
have several flaws because of the original limitations of the hot-
Sebastian Carter stated in his Twentieth Century Type Designers article, “Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of
metal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers article, “Sabon is an admirable face, strong yet restrained… The
Tschichold Sabon drawings have become an invaluable educa-
roman Capitals in particular are so handsome that one regrets
tional and achievement tool in the design world.
that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educa-
Furthermore, in 1928 his first book, “Die Neue Typographie”,
tional and achievement tool in the design world.
was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in
Furthermore, in 1928 his first book, “Die Neue Typographie”, was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type
Basle, Switzerland. He was allowed to leave with his wife and
is the international typeface of the future’ (Mclean 9). He was
young son because he was not a Jew. In 1935, his work was
later accused by the Nazi Government of creating an ‘un-German’
introduced to England by participating in an exhibition at Lund
typography forcing him to leave German soil to take refuge in
Humphries in London propelling him to work in 1938’s volume
Basle, Switzerland. He was allowed to leave with his wife and
of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno
young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s volume
Schwabe released his next book, Typographische Gestaultung, in
of The Penrose Annual (Spencer 151). Robert Harling published
1935. The book was elegant and it focused on significant develop-
Tschichold’s well-illustrated article in his magazine “Typogra-
ing ideas in design. He utilized three different typefaces and well
phy”. Later during the same year he addressed members of the
leaded. His book was later translated into Danish, Swedish and
Double Crown Club on new approaches to typography. Beno
Dutch, but not in English until 1967. His obsession with calligra-
Schwabe released his next book, Typographische Gestaultung, in
phy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14)
1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14)
9
Flush Left 9pt. cap height with 19pt leading
Flush Left 9pt. cap height with 21pt leading
One of his most important accomplishments was the creation of
One of his most important accomplishments was the creation of
the typeface, Sabon. The Master Printers Association of Germany
the typeface, Sabon. The Master Printers Association of Germany
commissioned him to create a typeface that matched cast foundry
commissioned him to create a typeface that matched cast foundry
type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in 1966 as a hot-metal type for both the Monotype and Linotype
type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in
casting machines. The digital italics and the hot-metal versions
1966 as a hot-metal type for both the Monotype and Linotype
have several flaws because of the original limitations of the hot-
casting machines. The digital italics and the hot-metal versions
metal technology (100 Types). The typeface was highly praised.
have several flaws because of the original limitations of the hot-
Sebastian Carter stated in his Twentieth Century Type Designers
metal technology (100 Types). The typeface was highly praised.
article, “Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educational and achievement tool in the design world.
Sebastian Carter stated in his Twentieth Century Type Designers article, “Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educa-
Furthermore, in 1928 his first book, “Die Neue Typographie”,
tional and achievement tool in the design world.
was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type
Furthermore, in 1928 his first book, “Die Neue Typographie”,
is the international typeface of the future’ (Mclean 9). He was
was published. In his book, he expresses that ‘Asymmetry is the
later accused by the Nazi Government of creating an ‘un-German’
rhythmic expression of functional design’ and that ‘Roman type
typography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s volume of The Penrose Annual (Spencer 151). Robert Harling published
is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was
Tschichold’s well-illustrated article in his magazine “Typogra-
introduced to England by participating in an exhibition at Lund
phy”. Later during the same year he addressed members of the
Humphries in London propelling him to work in 1938’s volume
Double Crown Club on new approaches to typography. Beno
of The Penrose Annual (Spencer 151). Robert Harling published
Schwabe released his next book, Typographische Gestaultung, in
Tschichold’s well-illustrated article in his magazine “Typogra-
1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The
phy”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and well
Early Chinese Colour Printing book and later on published Chi-
leaded. His book was later translated into Danish, Swedish and
nese Colour Prints from the Ten Bamboo Studio (Mcclean 14)
Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14)
10
Flush Left 9pt. cap height with 25pt leading Flush Left 9pt. cap height with 23pt leading
One of his most important accomplishments was the creation of
One of his most important accomplishments was the creation of
the typeface, Sabon. The Master Printers Association of Germany
the typeface, Sabon. The Master Printers Association of Germany
commissioned him to create a typeface that matched cast foundry
commissioned him to create a typeface that matched cast foundry
type for hand setting, with output from machine composition,
type for hand setting, with output from machine composition,
across both Monotype and Linotype systems (Monotype Imag-
across both Monotype and Linotype systems (Monotype Imag-
ing). Its name came from one of his pupils, Jacob Sabon, who
ing). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in
took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in 1966 as a hot-metal type for both the Monotype and Linotype
1966 as a hot-metal type for both the Monotype and Linotype casting machines. The digital italics and the hot-metal versions casting machines. The digital italics and the hot-metal versions have several flaws because of the original limitations of the hotmetal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers
have several flaws because of the original limitations of the hotmetal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers
article, “Sabon is an admirable face, strong yet restrained… The
article, “Sabon is an admirable face, strong yet restrained… The
roman Capitals in particular are so handsome that one regrets
roman Capitals in particular are so handsome that one regrets
that no titling fount was produced…” ( McClean 15). Copies of
that no titling fount was produced…” ( McClean 15). Copies of
Tschichold Sabon drawings have become an invaluable educa-
Tschichold Sabon drawings have become an invaluable educa-
tional and achievement tool in the design world.
Furthermore, in 1928 his first book, “Die Neue Typographie”,
tional and achievement tool in the design world.
Furthermore, in 1928 his first book, “Die Neue Typographie”,
was published. In his book, he expresses that ‘Asymmetry is the was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in
rhythmic expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’
Basle, Switzerland. He was allowed to leave with his wife and
typography forcing him to leave German soil to take refuge in
young son because he was not a Jew. In 1935, his work was
Basle, Switzerland. He was allowed to leave with his wife and
introduced to England by participating in an exhibition at Lund
young son because he was not a Jew. In 1935, his work was
Humphries in London propelling him to work in 1938’s volume
introduced to England by participating in an exhibition at Lund
of The Penrose Annual (Spencer 151). Robert Harling published
Humphries in London propelling him to work in 1938’s volume
Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno
of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the
Schwabe released his next book, Typographische Gestaultung, in Double Crown Club on new approaches to typography. Beno 1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligra-
Schwabe released his next book, Typographische Gestaultung, in 1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and well
phy and printing sparked his interest in the Japanese and specially
leaded. His book was later translated into Danish, Swedish and
Chinese Calligraphy and printing. He published in 1940’s The
Dutch, but not in English until 1967. His obsession with calligra-
Early Chinese Colour Printing book and later on published Chi-
phy and printing sparked his interest in the Japanese and specially
nese Colour Prints from the Ten Bamboo Studio (Mcclean 14)
Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14)
11
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Sabon
One of his most important accomplishments was the creation of the typeface, Sabon. The Master Printers Association of Germany commissioned him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. The
_+{}|:”.
digital italics and the hot-metal versions have several flaws because of the original limitations of the hot-metal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century
<>?-=;’,
“Sabon is an admirable face, strong yet restrained… The roman Capitals in parType Designers article,
ticular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have be-
Jan
come an invaluable educational and achievement tool in the design world.
Tschichold Furthermore, in 1928 his first book, “Die Neue Typographie”, was published. In his book, he expresses that
“Asymmetry is the rhythmic expression of functional design”and that
“Roman type is the international typeface of the future” (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-Germantypography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s volume of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14).
12
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One of his most important accomplishments was the creation of the typeface, Sabon. The Master Printers Association of Germany commissioned him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in 1966 as a hot-metal type for both the Monotype and Linotype casting machines. The digital italics and the hot-metal versions have several flaws because of the original limitations of the hot-metal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers article,
“Sabon is an admirable face, strong yet restrained… The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educational and achievement tool in the design world .
Sabon AaBbCcDdEeFf GgHhIiJjKkLl MmNnOoPpQq RrSsTtUuVv WwXxYyZz
1 2 3 4 5 6 7 8 9 0 ` ~ ! @ # $ % ^ & * ( ) _ + { } | : ” < > ? - = ; ’ , . / Furthermore, in 1928 his first book, “Die Neue Typographie”, was published. In his book, he expresses that ‘Asymmetry is the rhythmic expression of functional design’ and that ‘Roman type is the international typeface of the future’ (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-German’ typography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s voume of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. The book was elegant and it focused on significant developing ideas in design. He utilized three different typefaces and
Jan
well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14).
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One of his most important accomplishments was the creation of the typeface, Sabon. The Master Printers Association of Germany commissioned him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came
from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. Sabon was released in three formats in 1964 as a foundry type by the Stempel and in 1966 as a hot-metal type for both the Monotype and Linotype casting machines. The digital italics and the hot-metal versions have several flaws because of the original limitations of the hot-metal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century Type Designers article,
“Sabon is an admirable face, strong yet r e s t r a i n e d … The roman Capitals in particular are so handsome that one regrets that no titling fount was produced…” ( McClean 15). Copies of Tschichold Sabon drawings have become
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A a B b C c D d E e F f Gg HhIiJjKkLlMmNn O o P p Q q R r S s T t Uu V v WwXx YyZ z123 4567890 `~!@#$ %^&*()/
Sabon
One of his most important accomplishments was the creation of the typeface, Sabon. The Master Printers Association of Germany commissioned him to create a typeface that matched cast foundry type for hand setting, with output from machine composition, across both Monotype and Linotype systems (Monotype Imaging). Its name came from one of his pupils, Jacob Sabon, who took Garamond’s type to Frankfurt in 1562. The
_+{}|:”.
digital italics and the hot-metal versions have several flaws because of the original limitations of the hot-metal technology (100 Types). The typeface was highly praised. Sebastian Carter stated in his Twentieth Century
<>?-=;’,
“Sabon is an admirable face, strong yet restrained… The roman Capitals in parType Designers article,
ticular are so handsome that one regrets that no titling fount was pro-
Jan
duced…” ( McClean 15). Copies of Tschichold Sabon drawings have become an invaluable educational and achievement tool in the design world.
Tschichold Furthermore, in 1928 his first book, “Die Neue Typographie”, was published. In his book, he expresses that
“Asymmetry is the rhythmic expression of functional design”and that
“Roman type is the international typeface of the future” (Mclean 9). He was later accused by the Nazi Government of creating an ‘un-Germantypography forcing him to leave German soil to take refuge in Basle, Switzerland. He was allowed to leave with his wife and young son because he was not a Jew. In 1935, his work was introduced to England by participating in an exhibition at Lund Humphries in London propelling him to work in 1938’s volume of The Penrose Annual (Spencer 151). Robert Harling published Tschichold’s well-illustrated article in his magazine “Typography”. Later during the same year he addressed members of the Double Crown Club on new approaches to typography. Beno Schwabe released his next book, Typographische Gestaultung, in 1935. He utilized three different typefaces and well leaded. His book was later translated into Danish, Swedish and Dutch, but not in English until 1967. His obsession with calligraphy and printing sparked his interest in the Japanese and specially Chinese Calligraphy and printing. He published in 1940’s The Early Chinese Colour Printing book and later on published Chinese Colour Prints from the Ten Bamboo Studio (Mcclean 14).
15