45 John Baskerville 5 Dare Devil Di Stefano™ Journey
44 Type Report
7 Neighborhoods of Type Type Compositions
8 Central Park
p 24
comp: letterforms
10 Times Square
p 28
comp: letterforms + w ords
12 Soho
p 32
comp:letterforms + w ords + t ext + graphic element
14 Williamsburg
p 36
comp: letterforms + w ords + t ext + graphic element +texture
16 Brooklyn
p 40
comp: letterforms + w ords + t ext + graphicelement + i mage
18 Queens
22
20 Harlem
56 Summary
Elisabetta “Dare Devil” Di Stefano
TYPOGRAPHY ONE Professor Brenda McManus Pratt Institute [Brooklyn»Manhattan] Graduate ComD Fall 2010
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Far Rockaway Mott Av
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AV
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N
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Bus - N31 N32 N33 Q22 Q113
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Bus - B6 B17 B42 B60 B82
D
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T
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Canarsie Rockaway Pkwy
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VD
VD
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M
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Open 11am-7pm on racing days
A •S
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Aqueduct Racetrack
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IA
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C
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NN
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Euclid Av
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G
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Ozone Park Lefferts Blvd
ST
88 St
J
Subway
AV
O
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Jamaica Center Parsons/Archer M
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Crown Heights Utica Av
ST
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WOODHAVEN VE
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Z rush hours, J other times
Sutter Av–Rutland Rd
3
W
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Bus - N4 Q4 Q5 Q6 Q8 Q9 Q20A/B Q24 Q25 Q30 Q31 Q34 Q41 Q42 Q44 Q54 Q56 Q65 Q83 Q84 Q85 Q110 Q111 Q112 Q113
F
F
104 St
V
HOLLIS
R
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A Jamaica Center A IC
Parsons Blvd
F
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111 St
NY
A
PA
A
AV
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E•J•Z•LIRR
3
AY
15
O
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F
BEACH LINE
Av N
VD
121 St
Cypress Hills
Alabama Av
3
IC
RN
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WO
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J
J
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ST
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st
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AV
Z rush hrs, J other times
lp
B•Q•S
N
Bay Ridge 95 St
C
Prospect Park
O
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N
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169 St
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A
Ra
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TE
S
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86 St
AV
86 St/4 Av Subway
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FO U
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BE
ITA
Norwood Av
Av t ck S wi en sh rde Bu be AL
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3
3
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R
77 St
Av
on
C AI AM
J •Z
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President St
M
Bay Ridge Av
Staten Island Railway Bus - S57 S76/86
NEW DORP BEACH
ST
J
Woodhaven Blvd
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85 St–Forest Pkwy
AV
Av
3
N
8
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LT
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Ch
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9 AV
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s en e rd pk Ga T w ion Ke Un • F
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AV
EL
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L YB
BUSHWICK BUSHWICK AV
BROOKLYN BOTANIC GARDEN
GREEN-WOOD CEMETERY
W
NI
L HI
Bus - N1 N6 N22 N22A N24 N26 Q1 Q2 Q3 JFK Airport Q17 Q30 (169 St only) Q31 (169 St only) Q36 Q43 Q76 Q77 Q110 (179 St only, rush hour only)
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AV
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(179 St only)
VA
lb
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Y
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M
BEDFORDSTUYVESANT NE
G
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59 St
Grasmere
G
M
AV
E
U
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VD
PW EX
Seneca Av
Av
Myrtle Willoughby Avs
on
T
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a eK
TL YR
VD
CUNNINGHAM Jamaica–169 PARK St/179 St
OS
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M
st B ra ed nd fo Av rd s
7 F• G
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•
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TL YR M
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AV
G
Pr
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IN
BL
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M
RIDGEWOOD
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M
H
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D
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Bus - Q38 Q54 Q67
Middle Village Metropolitan Av
FOREST
V
n so
BL
Subway
W
NA
J
AV
PROSPECT AV
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ITA
QUEENS
AS
WS B RI
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Ko
N
25 St
THIRD A V
AR R O
OP
MASPETH
on vs st A ng op Av Ki ro Th nd C ra st AV No • C Av A in DFORD kl BE an Fr C• S
9 •R v– F• G
45 St
ROSEBANK
2
NA SS AU QU EE NS
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Subway IN
ST JOHNS Middle Village CEMETERY Metropolitan Av
Bus -MT B13 B26 B52 B54 OLIVET CEMETERY LUTHERAN Q55 Q58 CEMETERY
Central Av
SH
NIN TH ST
FOUR TH AV
Subway
Q7
REGO PARK
MIDDLE VILLAGE
Subway
Av
BU
R
Atlantic Av/Atlantic AvPacific St Long Island Rail Road
•
R
•
M
WIS
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AND
4S
Kew Gardens Union Tpke
Subway
69
ST Myrtle–Wyckoff Avs
Av
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PARK SLOPE
St
4A
AT
FIFT H A V
ith ts Sm 9 S F• G
R
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W
FL
PO
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Av G
UNION ST
Bus - B41 B45 B63 B65 B67
V ER RA Z A N O -N
TR
B•Q•2•3•4•5•LIRR
BERGEN ST
E
47
Lafayette Av C Atlantic Av
F OU RT H AV
RE SS WA Y
3Q
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EX P
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Great Neck
CR
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AV
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Court St/Borough Hall GOVERNORS ISLAND
ide
58
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W
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AR V
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AV
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AV
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Tottenville
AV
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4
S
EXP
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G
ST
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V BL
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Fresh Pond Rd
Br
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t
•
Bus - B62 Q32 Q39 Q60 Q66 Q67 Q69 Q100 Q101 Q102
G
A •C
TTERY TUNNE L
O
VE
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R
BROOK LYN-BA
RO
SE
AV
U SA
RN
Subway
103 St–Corona Plaza 37
7
ds
Metropolitan Av
SM ITH
Prince's Bay
Pleasant Plains Nassau
u
Av
rim Lo L
T JA Y S
CHARLESTON
W oo
R
S55
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S55 X17 X19
a ss
High St
BROOKLYN HEIGHTS
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7
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WOODROW
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ty
Eltingville
St ay M
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F
BIA ST
Bay Terrace
Annadale
3
N ER
CALVARY CEMETERY
G
Yo
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ST
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v
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ST
RICHMONDTOWN
Great Kills
LA
Jefferson Av Grant City
S57
S54 X7 X8
Q3
Subway
E XPW Y
HE
BL V D
Flushing
7
11
Queens PlazaNEW QueensboroCALVARY Plaza
I SL AND
RT
Murray Hill
KI S S E NA
Flushing Main St
CORONA
t
St
Old Town
Oakwood Heights
RD
Staten Island Railway Bus - S59 S79 S89 X1 X4 X5 D
DA
nw
MA N H A
COLUM
A RTH U R KI L L
Eltingville
ROSSVILLE
EN
New Dorp
ARDEN HEIGHTS
tA
G
NAVY YARD R S ST
HIC KS
FRESH KILLS
AT
IS
S51/81
LA TOURETTE PARK
in
Av d or L
TGE
Bus - B25 B26 B38 B41 B45 B52 B54 B57 B61 B65 B67 B103
Dongan Hills
SEA VIEW HOSPITAL
STATEN ISLAND MALL
po
df
Bus - S44/94 S55 S56 S59 S61/91 S79 S89 X17 X31
en
Be
NEW SPRINGVILLE PARK
D RY B L V ST
ND AV
Staten Island Mall
V I CT O
TODT HILL
COLLEGE OF STATEN ISLAND
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BULLS HEAD CHELSEA
CLOVE LAKES PARK
WESTERLEIGH CASTLETON CORNERS
STE INWAY ST
ei Ci
S TA T EN IS LAN D
AV
n
NO
111 St
St
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Clifton
SILVER LAKE PARK
AV ST RE FO
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Bus - N20 N21 Q12 Q13 Q15 Q15A Q16 Q17 Q19 Q20A/B Q25 Q26 Q27 Q28 Q34 Q44
Y
LGA Airport 7 • Q48 1 83
7
VD 7 B 46 7 liss St
v y A •Z
Stapleton
SNUG HARBOR CULTURAL CENTER
PORT RICHMOND
E
St 36 M• R
ns ee a Qu laz P M
AC
36 S T
21 ST
RR M O ND T E
MARINERS HARBOR
3 1 ST
WEST NEW BRIGHTON
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PW
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3
6 7 9S
K E N T AV
R
Tompkinsville
so
DG E
Subway
Bus - S40/S90 S53 S57 S59 S66
e Gr
M
Whitehall St South Ferry
St. George
Port Richmond
R
AN
ST
L
St. George
SE
St
Wall St
aw
er
ST
ON
1
ELLIS ISLAND
RO
AV
4 •5
TL AS C
ER
M
EY
IS AD
M
RI GB
J •Z
South Ferry
Staten Island Railway Bus - S40/90 S42 S44/94 S46/96 S48/98 S51/81 S52 S61/91 S62/92 S66 S74/84 S76/86 S78 Staten Island Ferry
AV
D
r F
NC
LI A
R SB U
Broad St AR
ZE
E
S T NI C HO
D NC
10 AV
R
Hudson River
S
EL
VERNON BLVD
ve W IL
2 •3
PE
Bowling Green
LIBERTY ISLAND
AN HA TT
Ri ST
R
1
Bus - M5 M9
4 •5
Rector St
Rector St
Subway
Wall St
EX
LIRR
Q3 ST
•
Bus - B24 B44 B46 B60 B62 Q54 Q59
EAST RIVER PARK
DEL A
Y
A •C •J •Z 2•3•4•5 FINANCIAL DISTRICT
82
L SB EN
L 7 ow St
L O NG
Subway
Chambers St
R
northbound service only
R
Hunterspoint Av
GREENPOINT
J •Z
Cortlandt St
1
LOWER EAST SIDE
ALLEN
Cortlandt St Broadway–Nassau Fulton Street
WA
L VD R IA B
M• R
40
t-R
Hunters Point Av
AV D
E
WTC
E 4 ST E 2 ST
F
Brooklyn Bridge City Hall 4•5•6 Fulton St Broadway-Nassau
R
World Trade Center WTC Site
PATH
EB
3 7 3S
7•LIRR M
2
LIRR
Marcy Av
AV B
T
ST
1 •2 •3
BATTERY PARK CITY
Flushing–Main St Subway ON E
Q48 LaGuardia Airport Q58 Q65 Q66 QBx1
Q7
BUS HW
Grand St B •D East Broadway
o BCANAL ST CHINATOWN
6
ONS BL V WH I TED ST
Mets–Willets Point
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•
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AV A
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4,5,6 only
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st
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Chambers St A•C Park Place City 2 •3 Hall
F
7
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1
Chambers St
3 AV
R IC
Franklin St
Bklyn Bridge–City Hall
F•
Spring St
Canal St
A •C •E
1
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Subway
GRAND ST
Canal St
•
•
6 LITTLE ITALY
SOHO
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6
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VA
1
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CHAR
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ST
HOUSTO N ST
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ST ON E B RI D G E
Q33
JACKSON HEIGHTS
1 AV
K
Houston St
ST
TO N
S I X TH A V
PAR
BLEECKER
2 AV
A •B •C •D •E •F •M
- W HI T E
Bus - Q32 Q33 LGA Airport (except Marine Air Terminal) Q45 Q47 LGA Airport (Marine Air Terminal only) Q49 Q53
VD BL
•
N • Av Q
EAST VILLAGE
O
TE ST
RIVER
W 4 St Wash Sq
39
Vernon Blvd Jackson Av
AR
36
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Av 1 L
E 8 ST
6B
N •R
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ST
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HOLLAN D TUNNEL
Av 3 L
•
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9 St
PATH
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DI
TM
A ST O
N •Q
Douglaston
Bayside
LIRR
Little Neck
NO RT H ER N B L VD
O NX
Jackson Heights 74 St–Roosevelt Av
M60
30 Av
23 St–Ely Av
•
L AFAY E T
EN W
Christopher St
GREENWICH VILLAGE
3 AV
Y
NW
HUD
KER
6
WA
F •M
G RE EC
14 ST
NO
Auburndale
ASTORIA
N •Q
21 St
23 ST
B L VD
LIRR BR
M60 Q33 Q47 Q48 Q72
Queensboro Plaza
QUEENS MIDTOWN TUNNEL
L E WIS
Bx12 Select Bus Service
Subway
Broadway
41 AV
6
AD
EE
BLE
14 St
FR AN C IS
Bus - Bx9 Bx12
RIKERS ISLAND
M60 LGA Airport N•Q
7
33 St
23 St
Manhasset
Fordham Plaza Metro-North
D
er
N •Q •7
28 St
O
GR
T TS
Bus - M4 M5 M7 M16 M34 Q32 PATH
Av 6 L
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BA NK
NR •
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21 St Queensbridge
ROOSEVELT ISLAND
6
14 St
1 •2 •3
•
BR
11 AV
34 Street-Herald Sq Subway
18 St 1
14 St
ACE •
23 St
23 St
F •M
1
L
14 St
23 St
23 St
N •R
R
Hunts Point Av
Astoria Blvd
UNITED NATIONS
42 ST
28 St
33 St
S
Bus - Bx4 Bx5 Bx11 Bx19 Bx27 Bx35
45 Rd Court House Sq G
S•4•5•6•7•Metro-North
5 AV
C •E
10 AV
Bus - M4 M7 M16 M20 M34 Q32 NJ Transit • Amtrak • NY Airport Service
34 St Herald Sq
THROGS NECK BRIDGE
Subway
HUNTS POINT
QUEENSBORO BRIDGE
Grand Central except S 42 St P AR K A V S MADISON AV
23 St
23 ST
• •
B •D •F •M
Station B •D •F 1•2•3•LIRR 28 St M•N•Q•R 1 CHELSEA S E VE N T H A V
AV
Subway
34 St Penn
E I G H TH A V
12
A•C•E•LIRR
BDFM •
5 Av 42 St Bryant Pk 7
N •Q •R •S •1 •2 •3 •7 except S
34 St Penn Station
NJTransit • Amtrak
Penn Station Long Island Rail Road
6
2 AV
SIXTH AV
AY
A •C •E
JAVITS CENTER
51 St50 ST
E •M
Bus - Bx4 Bx36 Bx39 Q44
Bus - Bx5 Bx6 Bx19
LONG ISLAND CITY
Lexington Av/53 St E•M
47–50 Sts Rockefeller Ctr
AIN
Bus - Bx2 Bx4 Bx15 Bx19 Bx21 Bx41 Bx55
RANDALLS ISLAND
1 AV
W AD
1 2 AV
n-bound
TRAMWAY
59 ST
4 •5 •6
•
5 Av/53 St
N •Q •R
42 St Port Authority Bus Terminal Times Sq-42 St
LINCOLN TUNNEL
53 ST
Av
63 ST
59 St
NQR •
s
F
AV
RY
Subway
St s 3 ry’ 14 a E tM S
66 ST
N •Q •R
5 Av/ 59 St
57 St
49 St
RO
1
es
B
50 St
C •E
pr
D
50 St
50 ST
southbound only
Cy
•
53 ST
AV
57 St-7 Av N •Q •R
Av 7 •E
B
A •B •C •D •1
WEST SIDE
SOUTH
PL
Subway
t el ev d os lan Ro Is F
Lexington Av/59 St PARK
E
3 Av–149 St
72 ST
68 St Hunter College
60 ST CENTRAL
PECT
79 ST
YORK AV
1
59 St Columbus Circle
IT
O ST
AV
Bx15 Bx17 Bx22 Bx41 Bx55
6
E 149 St
except S Bus - M1 M2 M3 M4 M5 M42 M101 M102 M103 Q32 NY Airport Service Newark Airport Express
UPPER EAST SIDE
77 St
6
RE
PR OS
K E N N ED Y
GE
L E X I NG T O N A V
66 ST
I EW
P
ER
Hunts Point Av Simpson St
Subway
4 •5 •6
on gt t xin S Le v/63 A F
66 St Lincoln Center
B RID
PARK AV
FIFTH AV
CE NTR AL P A RK WEST
COLUMBUS AV
AV
CENTRAL PARK
B •C
DV
SOUNDVIEW
6 6
Grand Central Terminal Metro-North Railroad
6
72 St
1 •2 •3
6
Astoria Ditmars Blvd
6
B •C
H
6
N •Q
86 St
METROPOLITAN MUSEUM OF ART
81 St–Museum of Natural History
W
20 AV
96 St
M AN HA TT AN
86 St
6
OU N
Longwood Av
6
B •C
6
6
KN
Bee-Line 60 61 62
FIRST AV
AV
END
B R O A DW A Y
72 St
THIRD AV
23
Parkchester St Lawrence Av
Elder Av
B
C RU
LAGUARDIA AIRPORT SECOND AV
6
Av k oo R O B E R T F
110 St
6
•
103 St
B •C
6
6
116 St
Central Park North (110 St)
103 St
WEST
Amtrak
1
EAST HARLEM
116 St
B •C
86 St 79 St
4 •5 •6
2 •3
V
96 St
UPPER 1 WEST SIDE
E 1 38 S T
125 St
Harlem 125 St
LaGuardia Airport
6
Morrison Av Soundview S
6
Br
SA
S AV ST ANN
LA
M60
W
R AV
HO
23
MOTT HAVEN
3 Av 138 St BRUCKNER EXPWY
• M60
•
2
EX
Zerega Av
6
Castle Hill Av
T RD
2 •5
6
125 St
LA
WEB S TE
IC
4 •5
T
NPOR
ST
Whitlock Av
Simpson St
3 Av–149 St
135 St
B •C
96 St
Subway Bus - M11 M16 M20 M42 M104 Newark Airport Express • NY Airport Service • NJ Transit • other commuter & longdistance buses
2 •5
E 169 S T
2 •5
MADISON AV
RI VE RS I DE DR
AMSTERDAM
1
1
ST
Freeman St
MORRISANIA
138 St–Grand Concourse
2 •3
Cathedral Pkwy (110 St)
1 •2 •3
Port Authority Bus Terminal
St 1 um 16 tadi S
116 St
103 St
Bus - M7 M20 M42 M104
TN
B •C
M60 LaGuardia Airport
except S
ee
A •B •C •D
1
17
2 •5
Y
Intervale Av 163 ST 2 •5 nd ra Prospect Av –G se St ur 2 •5 9 co Jackson Av 14 on • 5 C • 4 THE HUB 2•5
3
E
UN IO
PARKCHESTER
174 St
ONT P KW
Melrose
B• D• 4
E 180 St
2•5
NT AV
nk
125 St
M60 LaGuardia Airport HARLEM S
Cathedral Pkwy (110 St )
Times Sq–42 St
135 ST
135 St
M60 LaGuardia Airport
Subway
Ya
Bus - Bx15 M35 M60 LaGuardia Airport M98 M100 M101 M103
B •D
145 St
3
B •C
116 St Columbia University
Subway
Y
125 ST
Harlem 148 St
145 ST
MA L C OLM X B LV D ( LENO X A V)
ST NICHOLAS AV
B R O A DW A Y
1
rush hours
D
ADAM CLAYTON POWELL BLVD (7AV)
A •B •C •D
125 St 125 St/Metro-North
FREDERICK DOUGLASS BLVD
145 St
1
1
B •D
167 St
4
T R EM O
2
145 St 137 St City College
REM
170 St
HIGHBRIDGE
YankeesE153 St
r
AV
R SI D E D
1
RIVERBANK STATE PARK
ve
R IV E R
•
B
157 St
4
CLA
167 St
Ri
A •C •1 A •C
ASH FT W
k Amtra RK SIDE PA RIVER
A only Bus - Bx3 Bx7 Bx11 Bx13 Bx35 Bx36 M4 M5 M98 M100 NJ Transit Red & Tan Lines
168 St
rush hours
170 St
HW
AV
Subway
GR AN T
ON
A
WASHINGTON HEIGHTS
174–175 Sts B •D
4
2 •5
Tremont
TREMONT
4
HAMILTON BRIDGE
1 80 S T
B •D
Mt Eden Av
WASHINGTON BRIDGE
E est Tr Fa em rm on s S t q 2 • Av 5
182–183 Sts
B •D
Tremont Av
176 St
Morris Heights
HIGHBRIDGE PARK
1
Harlem
GT
175 St
George Washington Bridge Bus Station 175 St/181 St
191 St 181 St 1
AY
H IN
BR O A D W
FO R T W A S
GEO. WASHINGTON BRIDGE
1
4
AIN
A
A
G
4
Burnside Av
TH I R D A V
190 St 181 St
University Heights
Dyckman St
V
AV
NA
A LE
NA
A
183 St
UNIVERSITY HTS BR
207 St
1
Metro-Nor th
A
C RO TO
Inwood 207 St Dyckman St
Dare Devil Di Stefano’s™ Journey through Typography ONE at the Pratt Institute After taking four type courses one would think of the possibility that he/she can get sick of type. However, for me it was the exact opposite. This class has made me reconnect to the true essence of what it means to be a graphic designer and a lover of type. What was also refreshing was the reading assignments that were given were from the book Erik Spiekermann had written, “Find out how type works and Stop stealing sheep.” During my readings, I was laughing aloud because after having professors that were Swiss enthusiasts, Spiekermann’s words were filled with sarcastic undertone that made me feel sane. People who know
a little bit of Photoshop consider themselves graphic designers and it isn’t the case. That is why this book felt like a breathe of fresh air. The best way to capture an audience’s attention is through emotion such as humor. Many designers fail at recognizing that type also has emotion and this was evident within this typography course with Brenda Mcmanus. Now it is time to say that I consider myself a type nerd. From learning about John Baskerville’s intriguing past along with his errors to experimentation of using type as a form of artwork and freedom of expression, I have grown tremendously from this class alone.
[Graduate School 1st year : Packaging Design Major in ComD program]
5
6
NEIGHBORHOODS OF TYPE assignment traveling through the 5 boroughs ‌ The objective of this assignment was to find and select existing design work in magazines, books, newspapers, etc. that serves as a representation of the neighborhoods that were assigned to explore. This gave us a chance for non-native students to explore the city and discover the different typography in different neighborhoods. In my exploration, I had gone above and beyond the parameters of the project. Despite the assignment given of finding existing work out there to represent things that may be
found in these neighborhoods, I took photography of the neighborhoods myself. It is nice to have them on a spread such as the one that I had made in order to see the comparison. Two years ago, I participated in Type Walk tours of certain neighborhoods with the Type Director’s Club Paul Shaw I kept the photography and to continue showing my photography of different neighborhoods you can find those subsequently following the 4 neighborhoods required to explore for the class assignment. Enjoy type watching!
Neighborhoods visited: Manhattan (Soho, Times Square, Central Park + Harlem) Brooklyn: Williamsburg, Park Slope, and Clinton Hill Queens : Elmhurst (New Town High School). Forest Hills
7
CENTRAL PARK
96 St B •C
COLUMBUS AV
CE NTR AL P ARK WEST
86 St B •C
81 St–Museum of Natural History B •C
72 St B •C
8
Central Park 86th st. area Clockwise from top left: Small Plaque engraving on Park Bench memorial; Carving of the word “Endurance” at Balto Dog Monument; Sign in Park; Cake & Shake stand in front of the Metropolitan Museum of Art.
CENTRAL PARK LEFT OF PAGE: DARE DEVIL DI STEFANO™ PHOTOGRAPHY CURRENT PAGE:
Images/designs found in magazines such as Luzers, Print,
CMYK, Print, How Magazine to reflect designs found at Central Park. (refer. to opposite page)
The design that is in the Central Park area is almost timeless. Although it has an abundant history, it still has a feeling of not beign out-dated. In addition to an environment that never goes out of style, I noticed that
the typefaces used were mainly serif typefaces. If they weren’t serif typefaces the sans-serif typefaces used were contrasted with the layout and design having rich distinct and authentic authentic color combinations.
9
RO
AY
1
W AD
50 St
49 St
N •Q •R
n-bound
TIMES SQUARE
Times Sq-42 St
NQRS1237 except S •
•
• • • • •
34 St Penn Station
1•2•3•LIRR
S EVE NT H A V
CHELSEA
Herald Sq 28 St
1
23 St 1
18 St 1
Times Square 42nd St. Clockwise from top left: Yankee Store, AMC Theatre, Cold Stone Creamery, McDonalds 10
TIMES SQUARE LEFT OF PAGE: DARE DEVIL DI STEFANO™ PHOTOGRAPHY CURRENT PAGE:
Images/designs found in
magazines such as Luzers, Print, Print Regional Design Annual, How Magazine to serve as designs that would be found at Times Square. (refer. to opposite page)
Times Square is overwhelming, bright and ‘in your face’. My experience taking photography of this area hasn’t been the first. In my photography 101 class during my undergraduate career, we had to
create a panoramic view of a portion of it. Laying out this particular page has brought back great memories which allowed me to look at Times Square in a different light and really capture the essence of being in the “spotlight”.
11
St te
ee
c
ay
et
ke a D y– rS L t M af
SOHO
Bl
A •B •C •D •E •F •M
SOHO
GRAND ST
A •C •E
•
•
F•
Spring St
6
Canal St
C HU R C H
BRO
Canal St
w
T
AD WA Y
C •E
6
ST
B’
S I X TH A V
HOUSTO N
B
BLEEC KER
Prince St N •R Spring St
Chambers St A•C Park
12
J •N •Q R •Z •6 6
t
Soho Clockwise from top left: The New York Look—468 West Broadway; Flair—88 Grand Street; Tommy Hilfiger —375 Bleecker St # A; Jon Ashe — 88 Grand Street @ Greene
SOHO LEFT OF PAGE: DARE DEVIL DI STEFANO™ PHOTOGRAPHY CURRENT PAGE:
Images/designs found in magazines such as Luzers, Print, Print Regional Design Annual, How Magazine to serve as designs that would be found at Times Square. (refer. to opposite page)
Soho has a very upscale look. The colors are rich and are polar opposite of Times Square, which is very saturated. The typography is classic with a modern twist.
13
WILLIAMSBURG Be df
14
3 L
Av
1 L
N 7 ST
Av d or L
14 ST
Av
Na
ss
G
au
Av rim
Lo L
S er
t
am ah G r Av L
d an
Gr L
St M
Av Av n L se tro rga on Mo
rs ffe Je L
on
St
lb Ka De L
W YC KO FF A V
Av
Ha
lse
yS
t
Myrtle Wyckoff Avs
Williamsburg Clockwise from top left: Painting Store—Metropolitan Ave; Garage/Wall painted; Block of Wood carved in front of Church on N 6th Street; Auto Body Shop
WILLIAMSBURG LEFT OF PAGE: DARE DEVIL DI STEFANO™ PHOTOGRAPHY
Williamsburg has a very urban and raw look. There is lots of hand quality and craftsmanship within the
CURRENT PAGE:
Images/designs found in magazines/books. (refer. to opposite page)
neighborhood. The images on this page are a direct ref lection of that hand quality look.
15
BROOKLYN
Brooklyn — More Type Found. All photographs are from DARE DEVIL DI STEFANO™ 16
17
QUEENS
Queens — More Type Found. All photographs are from DARE DEVIL DI STEFANO™ 18
19
135 ST
B •C
125 St
A •B •C •D
Harlem 148 St
3
M60 LaGuardia Airport
145 St MA L C OLM X B LV D ( LENO
135 St
145 ST
ADAM CLAYT ON POWELL BLVD (7AV )
T
ST NICHOLAS AV
HARLEM
FREDERIC K DOUGLASS BLVD
145 St
A B C •D
3
135 St
2 •3
125 St
2•3 • M60 LaGuardia
Harlem — More Type Found. All photographs are from DARE DEVIL DI STEFANO™ 20
21
Compositions
• • • • • • • • • • • • • •
22
Scale Size Balance Tension/Harmony Contrast Context Meaning Focus Form Format Structure Grid Direction Rhythm
• Movement • Color • Tone • Depth • Positive/Negative • Foreground/ Background • Detail • Texture • Smooth/Rough • Computer/Hand • Alters definition • Drama • Mystery/Surprise
Background Positive/negative is the relationship between figure and ground. Are there black elements on a white ground, or white elements on a black ground? Does the ground interchange from black to white? Just making a composition negative does not deal with those issues. Texture is the ability to render type in ways other than just hard edge black and white.
Combining hand effects (drawing, painting), machined effects (photocopying, scanning), computer effects (PhotoShop, Illustrator) and/or accidental effects (spills, crumples, rips) allows you to define type in unusual and unique ways—challenging you to see it differently. Typography exists in our world in many forms — this is an opportunity to explore non-traditional representations of typographic form.
23
letter forms You will start with the same 3 letters, 3 words and text you used in the last assignments, and incorporate positive/negative and texture as a major component. You may include graphic elements as per the last assignment. You may also delete letters or words, but your
24
composition must have the three levels of typography we’ve been working with: at least one letter, one word and the text. Try different points of view... experiment. Incorporate hand skills and different renderings of type. Have at least six finished compositions.
25
26
27
letter forms + words Keep the three letters you chose from the last assignment, and now choose 3 words. They can be any words and do not have to have any meaning or association with each other. Set each letter and word in any of the following typefaces in uppercase, lowercase, or a combination: Helvetica, Univers, Futura, Garamond, Times Roman, Century, and/or Bodoni (as per last week’s assignment). Do not use any decorative typefaces—only classic, neutral fonts. You can do all the letters and words in one typeface, or in any combination of the faces listed (don’t mix fonts within the words).
28
Be selective in choosing letter forms and typefaces that work well together. Use the three words and the three letters to create six new compositions. In creating the compositions, you can use tracing, you can Xerox and paste, you can use the computer. You can overlap letters, and any of the letters can be black or white. Do not repeat letters, or leave any out– each composition will have the same three letters and three words. Do not use any other elements such as lines, shapes, etc. Each composition should be different.
Take the time to explore different relationships. The final printouts must be clean, cut out to 8.5” x 8.5” and presented in class. In choosing your words, do not think about their meanings. Choose nonsense words or words you don’t know. This assignment is purely about visual form. Do not try to illustrate the words. Only use the typefaces allowed. The words can be nouns, verbs, adjectives or adverbs; caps, lower case, or upper and lower case. The words can run vertically, horizontally, or diagonally. You can vary the letterspacing. Don’t set the type in curves or circles.
fi
29
s 30
i
is h
31
letter forms + words + text + graphic element
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You will start with the same 3 letters and 3 words you used in the last assignments and now add some text (one paragraph, about 3 sentences, 4-6 lines) and a graphic element.
can add more text. The text should be readable in at least some of the compositions. Other compositions may feature unreadable text (blown off the page, used as texture, etc.).
You will set the type using one of the approved typefaces (see earlier assignments). Once you pick a typeface to work with for the text, use that for all compositions. You may adjust the type size, line spacing, letterspacing and column width. You
You will also include graphic element: lines, circles, triangles or squares in any size or configuration. They can be solid or outlined. You do not have to use all of these elements–you can use only one or any combination. You will create 6
new compositions that include 3 letters, 3 words, at least one paragraph of text and a graphic element. Consider the use of structure with a grid, but also try to create compositions without a grid structure. You may eliminate one of the single letters and/or one of the single words if you choose. You may use screens of black for the large letters and words, but don’t overdo it. You can also use white type. DO NOT use any additional elements.
I'm going to change the world Write that on your chalkboard 2 of you can't make 1 of me For the record can't sell me not gonna let metal / make me settle
I think you're fake / You're brain is half-baked Like a California earth quake You shake worst than a fruitcake This isn't a commercial break
You're on air can't be repaired What are you hearing impaired? We need a Lord's prayer to save your ass You're typography is mass trash It's polluting people's visual space Now it's a court case Can hear some of my song's base?
Boom Chicka Chicka boom boom You're all doomed once you enter my living room Zoom Zoom away from Baskerville's tomb Came back to a full moon in the millennium Checked my cranium not in a mausoleum Many souls are trapped in limbo Tryin' to free 'em by me, go ! Marshall, no cold wind blows This tempo moves No chance to stop this groove
33
fish 34
k a so
k
LI iotkhuei n ak Cy aolui f' roer nfsiatakte e a/r tYho uq'ur ae kbe r a i n i s h a l f - b a k e d Y T h i s si hs an k' te aw coor m m eh racni aal fbrruei at ck a k e
I ' m g o i n g t o c h a n g e t h e w o r l d W r i t e t h a t o n y o u r c h a l k b o a r d 2 o f y o u c a n ' t m a k e 1 o f m e F o r t h e r e c o r d c a n ' t s e l l m e n o t g o n n a l e t m e t a l m a k e m e s e t t l e I t h i n k y o u ' r e f a k e Yo u ' r e b r a i n i s h a l f - b a k e d L i k e a C a l i f o r n i a e a r t h q u a k e Yo u s h a k e w o r s t t h a n a f r u i t c a k e T h i s i s n ' t a c o m m e r c i a l b r e a k Yo u ' r e o n a i r c a n ' t b e r e p a i r e d W h a t a r e y o u h e a r i n g i m p a i r e d ? W e n e e d a L o r d ' s p r a y e r t o s a v e y o u r a s s Yo u ' r e t y p o g r a p h y i s m a s s t r a s h I t ' s p o l l u t i n g p e o p l e ' s v i s u a l s p a c e N o w i t ' s a c o u r t c a s e C a n h e a r s o m e o f m y s o n g ' s b a s e ? B o o m C h i c k a C h i c k a b o o m b o o m Yo u ' r e a l l d o o m e d o n c e y o u e n t e r m y l i v i n g r o o m Z o o m Z o o m a w a y f r o m B a s k e r v i l l e ' s t o m b C a m e b a c k t o a f u l l m o o n i n t h e m i l l e n n i u m C h e c k e d m y c r a n i u m n o t i n a m a u s o l e u m M a n y s o u l s a r e t r a p p e d i n l i m b o Tr y i n ' t o f r e e ' e m b y m e , g o ! M a r s h a l l , n o c o l d w i n d b l o w s T h i s t e m p o m o v e s N o c h a n c e t o s t o p t h i s g r o o v e
k
Wrtiethatonyourchaklboard
2ofyoucan'tmake1ofme
Fortherecordcan'tsem le
notgonnae ltmeta/lmakemesette l
You're on air can't be repaired What are you hearing impaired? We need a Lord's prayer to save your ass
k a so
You're typography is mass trash It's polluting people's visual space
Now it's a court case Can hear some of my song's base? B o o m
C h i c k a
Y o u ' r e
a l l Z o o m
C a m e
b a c k
C h e c k e d
t o
m y
t o
M a r s h a l l , T h i s N o
a w a y a
a r e
f r e e n o
t e m p o
c h a n c e
b o o m
o n c e
f r o m f u l l
n o t
t r a p p e d ' e m
c o l d
b y
b o o m
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B a s k e r v i l l e ' s
m o o n
c r a n i u m
s o u l s
T r y i n '
C h i c k a
d o o m e d
Z o o m
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It Li hin Yo ke k y T h u s a C o u' is ha ali re i s ke f o f a n' r t a w o n i a ke / c r s t e a Yo r t boom BoomoChicka u boom m t hChicka m a n h q 'r e er You're all doomed once you enter my living room ci a f uak bra a l from r u repaired e i n tomb Zoom Baskerville's You'reZoom on airaway can't be br itc is What youtohearing ha a kin the millennium Cameare back a fullemoon a kimpaired? lf We need a Lord's prayer to save youreass Checked my cranium not in a mausoleum- b You're typography is mass trash ak ed It's Many polluting visualinspace soulspeople's are trapped limbo
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m i l l e n n i u m
m a u s o l e u m
l i m b o g o !
b l o w s
m o v e s t o
s t o p
t h i s
g r o o v e
You're on air can't be repaired
What are you hearing impaired?
Now it's a court case freeof'em me, go ! CanTryin' hear to some myby song's base? Marshall, no cold wind blows This tempo moves
We need a Lord's prayer to save your ass
No chance to stop this groove
You're t ypography is mass trash
It's polluting people's visual space
B o o m Now it'sY a cour o t case u '
C h i c k a r e
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Z o o m
Z o o m
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b a c k
C h e c k e d
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d o o m e d a w a y t o
m y
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b o o m o n c e
f r o m f u l l
c r a n i u m
b o o m
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B a s k e r v i l l e ' s m o o n n o t
I'm going to change the world Write that on your chalkboard 2 you make ILithi kyou ecan't fak /You 'rebrai nishalf-baked 1 of of kenme a Calif'rorni ae earth Y ou worst thanaquak fruie tcake Thi sishak sn'taecommerci labreak
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Can hear some of my song's base?
M a n y
s o u l s
T r y i n '
t o
f r e e
M a r s h a l l , T h i s N o
t e m p o
c h a n c e
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l i m b o g o !
b l o w s
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soak
35
letter forms + words + text + graphic element + texture You will start with the same 3 letters, 3 words and text you used in the last assignments, and include texture. You may include graphic elements and positive/negative as
36
per the last assignments. You may also delete some letters or words, but your composition should have all three levels of typography—
letter form, word and text. Try different points of view... experiment. Present at least six finished compositions.
This isn't a commercial break / You're on air can't be repaired / What are you hearing impaired? / We need a Lord's prayer to save your ass You're typography is mass trash / It's polluting people's visual space / Now it's a court case / Can hear some of my song's base? Not gonna let metal / make me settle / I think you're fake / You're brain is half-baked Bcranium o o m not C inh ai cmausoleum k a C h/iMany c k a souls b oare om b oinolimbo m / Yo u ' re a l l d o o m e d o n c e yo u e n t e r my Checked my trapped Tryin' to free 'em by me, go! / Marshall, no cold wind blows This tempoZ moves / No this groove oom Zchance o o mto stop away f ro m B a s ke r v i l l e ' s t o m b / C a m e b a c k t o a f u l l m o o n i n
l iv i n g ro o m the millennium
37
FIRE
k
38
bo ! m i l ,go s dinlimbo e Many souls are trappedpein m blow s p y a b r t m ind ove e e r Zoom Zoom away from Baskerville's tomb sa ree'eoomldw pom roov l u so 'tofby oc m tgo! isg Tryin' to freeany'em r o me, e h n t n , i l s y ga Thi top Came back to a full moon in the millenniumMo m Tr nsh s ir o o va t b i l M ce n m a y o ch Checked my cranium not in a mausoleum m cold o Marshall, no wind blows o b r N e a l ua
C B
Y
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o
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This tempo moves
I'm going to change the world / Write that on your chalkboard 2 of you can't make 1 of me / For the record can't sell me
No chance to stop this groove
39
letter forms + words + text + graphic element + texture + image You will start with the same 3 letters, 3 words and text you used in the last assignments, and include a carefully chosen photograph of your choice. For best results, the image should be simple and graphic (a basic object works best). Don’t use an image that can’t be silhouetted, or that includes a background. Simple household objects are a good choice—look for tools, kitchen tools,
40
desktop items, etc. Try not to use objects that include other typography, like clock faces, money, etc. Use the same photograph in each composition, but try using it differently each time, i.e. focal point, background, detail, scaled up or down, etc. You can manipulate the photo in the same ways you manipulated the letter forms—think about using texture, scale and cropping with
the image. You may include graphic elements and positive/negative as per the last assignments. You may also delete some letters or words, but your composition should have all three levels of typography—letter form, word and text. Try different points of view... experiment. Present at least six finished compositions.
change n ‘t make
41
o 42
hak
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You will be assigned one historical typographer or typographic company. After researching the typographer and focusing on one specific typeface he/she designed, you will prepare a written report about the typographer and something significant about the typeface’s design, attributes, historical significance, development, use, etc. The report must conform to the following specifications: • The report must be in your own words—do not just copy information from a book or a website. Give me your impressions of the typographer, describe the type-
44
face, give historical background that relates to the work the typographer has accomplished. • Utilize the resources of the Pratt library on the 4th floor, where you will find help doing web searches and have many volumes available.You can also search the New York Public Library, area bookstores, AIGA or TDC—learn to search out the information you need. • Footnotes should be included to list sources, and a bibliography is required. Wikipedia is not a valid source and cannot be listed in your bibliography.
Websites, by themselves, are not valid sources unless they are backed up by listed individuals and/or organizations and/or publications. • Using your skills with typography and the grid, you must design a layout for your report that includes a cover page, 4-6 spreads of information and visuals, and a bibliography page. It must be typeset, doublespaced, with textual information filling no more than three pages.
JOHN BASKERVILLE
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man who has been famous for the typeface named after him, Baskerville was born on January 28th, 1706 in Wolverley, Worcestershire, England and 69 years later died in the same month on the 8th in 1775. As an atheist, he was criticized and not appreciated for his work in typography until much later after his death. John Baskerville’s life before living in Birmingham was unclear; however, this city has contributed to the Industrial revolution by the establishment of the Lunar Society. The Lunar Society of Birmingham was a group that would meet on the days of the full moon in
46
Fig. 1
order to brainstorm ideas with elite
ceeded. His good friend and admirer
was known as the “old style” to the
intelligent businessmen of England
of his work, Benjamin Franklin (one
“modern” didone faces. Didone is a
over dinner. Baskerville was not only
of the founding fathers of our United
classification of typefaces recognized
an associate of the Lunar Society, but
States of America) states ,“I didn’t fail
by the Association Typographique
also a member of the Royal Society
the test. I just found 100 ways to do it
Internationale (Atypl) and part of the
of Arts. The Royal Society of Arts still
wrong.” Although japanning was what
exists today in England and Whales
really made Baskerville money, his
as a charity that pushes for change
love for typography is what lead him
within society by a multi-disciplinary
to the first specimen of printing on
approach. Baskerville’s legacy still
wove paper for the well-known edition
lives on today and it is a shame that
of Virgil in 1757. His typeface was a
he wasn’t appreciated greatly when he
transitional typeface.
was alive. Many people are not aware that in Baskerville’s lifetime he has had failed more times than he has suc-
T
ypefaces that were known to be transitional had characters
that showed the transition from what
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Fig. 2
48
VOX-ATypl classification system.
ent of his typeface and paper that
Didone characteristics include slab-like
he claimed to be the one he created.
serifs without brackets, vertical orienta-
Some people have discussed the ironic
tion of weight axes, strong contrast
twist in which Baskerville, an Athe-
between thick and thin lines, and an
ist, had printed and designed a bible.
unornamented, “modern” look. These
In the end he didn’t sell many copies
modern faces emerged around the late
and maybe it was fate. In my opinion,
eighteenth century. One can see the
how can something be designed with
comparison of an Old Style typeface
the best intentions and goals of visual
in Fig. 1 to both Baskerville and
communication if the designer’s heart
Bodoni, which is a modern typeface.
is not entirely in the project that needs
It is interesting that Baskerville was
to be designed. Many people argued
designed to improve William Caslon’s
that Baskerville’s book designs looked
typeface, Caslon. The beautiful type-
like tombstones, but maybe that was
face, Baskerville, is positioned between
because of his past work and experi-
the modern style of Bodoni and the old
ence at engraving. His paper was also
style such as Caslon.
criticized for being ‘too glossy’. Despite the criticism Baskerville was an the
T
he intentions of this typeface was
perfect entertainer and was referred to
to improve legibility. Simplicity
as vault 521 (a secret catacomb below
and refinement were the goals of this
Christ Church that was donated by
perfectionist in typography. There
Mr. Knott, the bookseller of the town).s
were many type errors in his printing
In addition, Baskerville’s typeface was
and as a result it lead him to not make
revived by Bruce Rogers in 1917 for the
a lot of sales of his printed material.
Harvard University Press and released
A
by Deberny & Peignot. It was revived s the printer for the Cambridge
again in 1923 by Stanley Morison for
University Press in 1758, he
the British Monotype Company.
printed a folio Bible which was inher-
1
Eye, Number 43, Volume 11, Spring 2002.
49
T
50
here have been rumors on
two centuries later a typeface was
Baskerville’s love life; however, I
named after Sarah, Mrs. Eaves. The
will clarify the misconception. Basker-
typeface, Mrs. Eaves is a revival of
ville’s housekeeper, Sarah Eaves was
the typeface Baskerville designed by
married to Richard Eaves when she
Zuzana Licko in 1996, and licensed
was 16 and had 5 children. She then
by Emigre. The magazine Eye,
was abandoned by Richard in 1743
the international review of graphic
and one of her children had passed
design, interviewed Licko in the
away when she went to live with
issue of Spring 2002 No. 43, Vol.
Baskerville in Burningham. She was
11 and asked why she felt that Mrs.
known to be Baskerville’s mistress;
Eaves typeface was successful. She
however, many argue that she was
replied, “I think Mrs Eaves was a
his wife for several reasons. These
mix of just enough tradition with an
reasons are irrelevant for discussion;
updated twist. It’s familiar enough
however, what is relevant is over
to be friendly, yet different enough
to be interesting. Due to its relatively
1791. Over 30 years later workmen
wide proportions, as compared with
had found the coff in and gave it to
the original Baskerville, it’s useful
Thomas Gibson’s warehouse.
for giving presence to small amounts
Gibson’s saw ‘dollar signs’ from
of text such as poetry, or for elegant
Baskerville’s corpse. He started to
headlines and for use in print ads.
charge people sixpence to take a look
It makes the reader slow down a bit
at the body like a circus freak show.
and contemplate the message.”1
This that make a person want to
For those who aren’t familiar with
scream, “Can you let this man rest in
Mrs. Eaves it is also the typeface that
peace?” I ask myself, “What would
is used for Wordpress. Upon Basker-
John Baskerville say to this matter if
ville’s death he wrote in his will,
he were alive, especially since he took
“That my wife in concert with my executors do cause my body to be buried in conical building in my own premises, heretofore used as a mill, which lately I have raised
care of his public appearance.”
I
n conclusion, a man who’s legacy revolved around awkward burials
has been made a legacy nonetheless
higher and painted and in a vault
and his typeface has been used from
which I have prepared for it.”
over millions of designers and typogra-
I
phers around the globe. John Baskert was clear how he felt about
ville was ahead of his time and on that
Sarah; however, what was odd
note it should challenge us. Myself as
was Baskerville’s only wish of be-
well as other designers should test the
ing buried in his garden wound up
boundaries of what is classified as the
being a freak show of events. For
‘norm for typography and design’ and
starters when John Ryland bought
make our own history! That starts
the house it was attacked and
with the layout of this biography of
burned down during the Church
John Baskerville.
and King riots in the summer of
51
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Bibliography
B ook s
W ebsites
Friedl, Freidrich, Nicolaus Ott, & Bernard Stein. Typography. New York: Black Dog & Leventhal Publishers, Inc., 1998
http://www.birmingham.gov.uk/ baskerville
Meggs B., Philip and Alston W. Purvis. Megg’s History of Graphic Design. 4th ed. New Jersey: John Wiley & Sons, Inc., 2006 Craig, James, & Scala, Irene Korol. Designing with Type : The Essential Guide to Typography. 5th ed. New York: Random House Inc., 2006
http://www.baskervilleproject.com/ “John Baskerville and the afterlife; LOCAL HISTORY John Baskerville was one of the city’s most colourful characters. Last week we looked at his early career as a japanner. But it was as a printer he found fame.(Features).” The Birmingham Post (England). MGN Ltd. 2006. HighBeam Research. 5 Nov. 2010 <http://www.highbeam.com>.
“New library ideal for tribute to Baskerville.(Features).” The Birmingham Post (England). MGN Ltd. 2010. HighBeam Research. 5 Nov. 2010 <http://www.highbeam.com>.
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fish
WITH ALL THE BAD T¥PØGRAPHY, WE MIGHT AS WELL DO PØRNØGRAPHY! ™
k a so
k BACK
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BACK
s
FRONT
FRONT 55
One can omit many things from a client, but one can omit their own creat ive process in a learning exper ience. This course has re-taught things in which I’m familiar with, things that I began to know about, and things that I didn’t think were possible. It was an adventure to say the least.
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Typography, like design, can never finish being taught. It is always evolving; however typography has a remarkable history that many people fail to recognize. Just like the photo on the right side of the page. A “P” for the word Pratt photographed by me at the Brooklyn Campus. There is a remarkable history at Pratt as well including the found typography!
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PRATT — BROOKLYN CAMPUS
PRATT — More Type Found. All photographs are from DARE DEVIL DI STEFANO™ 58
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