Chris Fullam ISTD Strategy and Specification

ISTD 2014 A Type Specimen for the future

Chris Fullam Type Specifications

A Type Specimen for the future

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Contents Strategy 4 Book size & grid 6 Masters & margins 8 Sample spreads 10 Stock & colour 14 Specials & Binding 16 Poster Size & Grid 18

STRATEGY The type specimen plays an integral part of how typefaces are advertised and promoted.

From William Caslon's classic specimen to some of the more conceptual specimens on the scene today, The idea of the type specimen is constantly evolving and reinventing itself. Through this medium I wanted to explore and develop a greater understanding of two typefaces that I had previously not used in my work. I also felt the brief was open enough for me to explore issues surrounding cultural evolution, health and wellbeing and socioeconomic movements, topics that have filtered down through my work over the last couple of years.

When starting the project I imagined a straightforward concept–a reference book and poster–which the intended target, visual communicator or discerning member of the public, could use in their everyday experience. A piece of communication that would be used as a means of social change but also to advertise the capabilities of each of the Typefaces in question.

The Real Bread Campaign is part of the charity Sustain: the alliance for better food and farming, the Real Bread Campaign fights for better bread in Britain.

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“2lb Loaf” is a type specimen that was inspired by a movement called the “Real Bread Campaign”, Their aim is to highlight the benefits of buying real bread, as opposed to the factory made, chemical laden bread we find

adorning the shelves of our shops and supermarkets today. Their campaign aims on one level, to promote the clear and nutritional advantages to the individual who is buying the bread, but also wishes to increase awareness of the economic benefits that the production of real bread could have on local economy.

The campaign is calling for an ‘Honest Crust Act’ that will require clear, legal definitions of what can be called; bread, fresh, freshly baked, artisan and craft. The main objective is that bread, should be made with four simple natural ingredients, proven over many centuries to be a beneficial part of the human diet; flour water yeast and salt. Unfortunately today, the vast majority of loaves produced in the UK and Ireland are made in large factories using artificial additives and chemicals introduced in the early sixties, also known as the Chorleywood process.

As I researched the different types of breads that are considered to pertain to the Real Bread ethos I stumbled upon Sourdough and was intrigued by the process of how it’s made.

True sourdough bread is made using a starter that contains a culture of naturally occurring yeasts and lactic acid bacteria.

The starter is made by mixing

flour and water and leaving the mixture to ferment using naturally occurring yeasts within the flour.

After a number of days a dough can be made from the mixture and then a piece of this dough can be set aside as next weeks starter. This process was utilised for centuries as the main technique of bread baking and it wasn’t until the late eighteenth century that bakers in the Netherlands separated a commercially viable yeast strain, paving the way for a new era in bread making.

At the start of my research into each of the typefaces, Trade Gothic Next had stood out as a face that has a wealth of history behind it, and I decided that it would be a candidate for further investigation. The more information I uncovered about its origins the better I thought it fit into a role in this project. I saw parallels between the starter process in Sourdough production and the development of Trade Gothic Next. Its current release by Tom Grace is derived and extended from the earlier Typeface, Trade Gothic which was released in 1948

by Jackson Burke, which in turn was based on early Gothic faces of the early twentieth century designed by Morris Fuller Benton.

For the second typeface I choose to reference a poem by James Oppenheim ‘Bread & Roses’. I

wanted there to be some link to the first theme but also wanted to two articles to stand alone as pieces in their own right. The poem was written in 1911 but it wasn’t till a year later that the Lawrence Textile Strike adopted the ideals of the poem as a motto of their movement. The movement is interesting for me as it deals with far reaching issues of labour relations and workplace regulations that is still a hot topic in todays society. I felt the Agmena was an Ideal accompaniment for this, to capture the romantic essence of the moment, as the proletarian stood up for their rights as human beings against the powers to be and struck a blow for democracy.

Evidently there was a greater emphasis and time placed on Trade Gothic Next over Agmena.

This was intended to a degree. I wanted to create a substantial document that showed the Real Bread Campaign and its key ingredients as much as possible which I feel I have achieved.

With the poster for Agmena I do intent to further my research and I will develop the outputs to a higher level as a personal project.

James Oppenheim, born in 1882, was an American poet, novelist, and editor.

The 1912 Lawrence Textile Strike, which united dozens of immigrant communities under the leadership of the Industrial Workers of the World, was led to a large extent by women.

The popular mythology of the strike includes signs being carried by women reading "We want bread, but we want roses, too!"

BOOK SIZE & GRID 110mm

From the outset I wanted to have an explicit link between the specimen book and the Real Bread Campaign. I decided to create a type specimen that was based on the shape and size of a bread baking tin. The initial prototype I created had the same dimensions as a 1lb loaf tin, 110mm Ă— 215mm.

After some more searching of bread related cookware I found a tin that fit the bill. The Prestige Non-stick Bakeware, 2 lb Loaf Tin, has a size of 285mm Ă— 130mm.

I created a template and found it to be applicable for my project For the grid I choose four columns to represent the four ingredients that are integral to the Real Bread Campaign; water flour yeast and salt. Adhering strictly to the baseline grid would impede the functionality of the type specimen so I decided to focus on sticking strictly to the column width in order to create typographic voice and continuity.

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215mm

Soon after initial tests and samples I realised that this format would not suffice, it was too small to accommodate the information needed for a type specimen.

I needed a larger page area in which to express the typeface to its full potential

130mm

4 Column

2lb LOAF

1

Gutter 5.292mm

285mm

Top Margin 22mm

Inside Margin 16mm

Outside Margin 12mm

Bottom Margin 16.05mm

THE REAL BREAD

CAMPAIGN

ISTD Trade Gothic Next Chapter 1.inddFEATURING 1

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TRADE GOTHIC NEXT

ISTD Trade Gothic Next Chapter 1.indd 1

The Prestige Bakeware, 2lb Loaf Tin size 285mm Ă— 130mm..

Baseline Grid 5pt

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Trade Gothic Next Chapter 1.indd 1 4 ISTD Columns Gutter 5.292mm Margins: Top 22mm, Outside 12mm, Inside 16mm, Bottom 16.05mm 11 Rows, Gutter 5.292mm Baseline Grid 5pt, Which allows for an ample 9/15 for body text and 7/10 for caption text where applicable.

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MASTERS & MARGINS The format I had developed was somewhat restrictive, in the sense that it was difficult to convey, all that the typeface had to offer, to the potential client, so I devised a number of foldouts in the first chapter. This was to allow text to be set at larger point sizes, to give text space to breath and also to let more than two columns of text interact with each other, as they would in a bigger document.

For the fold outs I wanted to keep the four column grid intact but decrease the page size by 5mm for each new master. In total there are three masters, AMaster, 130mm × 285mm, B Master 125mm × 285mm, and C Master 120mm × 285mm.

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C Master 120mm

Inside & Outside Margin 11.5mm

Inside & Outside Margin 9mm

285mm

285mm

B Master 125mm

For both the B Master and the C Master the page size and margins change but the grid and gutters remain the same.

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ISTD Trade Gothic Next Chapter 1.indd 15

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SAMPLES SPREADS

Jackson Burke 14pt Trade Gothic Next Bold Jackson Burke – born 1908 in San Francisco, California, USA, died 1975. Type designer. Studied at the University of California, Berkely

82pt Trade Gothic Bold Condensed All Caps

TRADE GOTHIC NEXT

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ISTD Trade Gothic Next Chapter 1.indd 7

7/10 Trade Gothic Next Regular Italic

Tom Grace 14pt Trade Gothic Next Bold Tom Grace is a typeface designer and font developer. He creates custom character styles, from which he builds high-quality fonts. His ability to enhance existing designs has led him to work with other type designers and studios, among them Linotype, Jeremy Tankard Typography, Porchez Typofonderie, Gerard Unger, and Process Type Foundry. Beyond his client commissions and collaborative endeavours, he expresses his creative aspiration through independent work.

7/10 Trade Gothic Next Regular Italic

From 1948 through 1963, Jackson Burke was the Director of

“Gothic” does not refer to the

well. For a time, it was even seen a

Middle Ages or to blackletter, but

competitor to Helvetica®. Today

Typographic Development at

is just another way of denoting

Trade Gothic is often seen in

Mergenthaler Linotype Co. in the

sans serif typefaces. The first 20th

advertising and multimedia in

USA. Linotype released the original

century master of the American

combination with serif text fonts,

weights of the Trade Gothic™

Gothic style is Morris Fuller Benton,

and the condensed versions are

typeface in 1948. Over the next 12

who designed typefaces like

popular in the newspaper industry

years, Burke continued to expand

Lightline Gothic™, News Gothic™,

for headlines. For all its success,

the family, designing additional

and Franklin Gothic™. Jackson

Trade Gothic does not display as a

weights and styles.

Burke and Trade Gothic follow

coherent unifying structure across

nobly in these footsteps.

all members of its family, although

Since its initial release, Trade

earthy naturalism to its appeal.

There is a genre of sans serif typefaces often referred to as the “American Gothics,” in large part because they all have the word “Gothic” in their names. In this case,

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this dissonance does adds a bit of Gothic has been a stable part of American graphic design work, and has been used internationally as

ISTD Trade Gothic Next Chapter 1.indd 8

Fold-out in the first chapter which utilise all three masters, on the left the C Master, the middle, B Master and the A Master on the right.

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IS

1 PM

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WHAT IS REAL BREAD?

Buying options Trade Gothic Next Pro Complete Pack (26 Fonts)

€ 1,849.00

Trade Gothic Next Pro Basic Pack (17 Fonts)

€ 1,209.00

Trade Gothic Next Pro Condensed (6 Fonts)

€ 427.00

Trade Gothic Next Pro VP1 (4 Fonts)

€ 284.00

Price correct at time of printing.

All price excl. VAT

18pt Trade Gothic Next Bold Compressed All Caps

Real Bread is nothing fancy and has nothing to hide.

12pt Trade Gothic Next Heavy Condensed

And by bread, we mean crusty baps, sourdough, bagels, bialys, injera, khobez, cottage loaves, baguettes, chleb, naan, chapattis, roti, stottie cakes, lavash, ruisleipä, ciabatta, bara brith, Staffordshire oatcakes, bannocks, tortillas, paratha, porotta, pitta, … the list goes on.

10/13 Trade Gothic Next Regular

THE ESSENTIALS 18pt Trade Gothic Next Bold Compressed All Caps

Technically, the only essential ingredients for making bread are flour and water.

16/20 Trade Gothic Next Regular

HAS NO ADDITIVES OR E NUMBERS

In 2008, Linotype commissioned

Tom Grace, a 2003 graduate of the

Tom Grace to redesign, revise, and

MA Typeface Design course at the

expand the Trade Gothic family.

University of Reading in the UK, is

Developed under the direction of

an American typeface designer

Akira Kobayashi, Linotype’s Type

working in Heidelberg, Germany.

Director, the resulting family

Trade Gothic Next was his first

became Trade Gothic Next. The

large commission from Linotype.

new typeface’s refinements includ

Kobayashi has served as Linotype’s

special rethinking of details such

Type Director since ‘01. In many

as the letters’ terminals and stroke

ways, he could be seen as a

endings, as well as the fonts’

successor to Burke.

spacing and the kerning.

ISTD Trade Gothic Next Chapter 1.indd 9

With these two things you can make flatbreads and sourdoughs.

That said, without a little pinch of salt bread can be a tad bland, and you might prefer to let someone else culture the yeast, rather than do it yourself.

18/22 Trade Gothic Next Bold

“Real Bread is that made without the use of processing aids or any other artificial additives”.

18/22 Trade Gothic Next Heavy

9/15 Trade Gothic Next Regular

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ISTD Trade Gothic Next Chapter 1.indd 25

A single right-hand page layout in the first chapter.

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WATER IS LIFE 12pt Trade Gothic Next Heavy Condensed

It all starts with a single drop of clean water some authorities have instructed that people need to drink at least eight glasses, 240 ml each, of water every two and a half hours, that's 1.89 litres every day. The British Dietetic Association recommends 1.8 litres.

This common misconception is not supported by global scientific research.

Various reviews of all the scientific literature on the topic performed in 2002 and 2008 could not find any solid scientific evidence that recommended drinking eight glasses of water per day. In the US, the reference daily intake for water is 3.7 litres per day for males older than 18, and 2.7 litres per day for females older than 18 including water contained in food, beverages, and drinking water. The amount of water varies with the individual, as it depends on the condition of the subject, the amount of physical exercise, and on the environmental temperature and humidity. An individual’s thirst provides a better guide for how much water they require rather than a specific, fixed quantity. In terms of mineral nutrients intake, it is unclear what the drinking water contribution is. Inorganic minerals generally enter surface water and ground water via storm water runoff or through the Earth's crust. Treatment processes also lead to the presence of some minerals. Examples include calcium, zinc, manganese, phosphate, fluoride and sodium compounds. Water generated from the biochemical metabolism of nutrients provides a significant proportion of the daily water requirements for some arthropods and desert animals, but provides only a small fraction of a human’s necessary intake. There are a variety of trace elements present in virtually all potable water, some of which play a role in metabolism. For example sodium, potassium and chloride are common chemicals found in small quantities in most waters, and these elements play a role in body metabolism. Other elements such as fluoride, while beneficial in low concentrations, can cause dental problems and other issues when present at high levels. Profuse sweating can increase the need for electrolyte or salt replacement. Water intoxication is the process of consuming too much water too quickly which can be fatal.

9.5/12.45 Trade Gothic Next Regular

…AND IT NEEDS UNDERSTANDING 12pt Trade Gothic Next Heavy Condensed

ISTD Trade Gothic Next Chapter 2.indd 42-43

CONCLUSION 60pt Trade Gothic Next Bold Compressed All Caps

As a baker, a perfect understanding of the functionality of all ingredients, including water, is very important to control the baking process and produce final products with a consistent quality.

38/36 Trade Gothic Next Bold Compressed

Again, the main function of water in bread baking is to hydrate other ingredients. Flour mixes with water and combines protein into gluten.

Other ingredients, like salt and yeast, are dissolved in water and fully incorporated into the dough. In lean doughs, like French bread, water is the only source of hydration.

The amount of water, or other liquids, in a dough is referred to as the amount of hydration. The hydration percentage is a ratio of liquids to total flour weigh. Typical percentages can range from 50%, a very stiff dough that is hard to work with, to 70% a loose dough that stretches well and can create a large open crumb.

8.5/11 Trade Gothic Next Bold Compressed

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Chapter two on the left hand side showing text in the shape of a water droplet, which required tracking near the top in order to remove the rivers created by the justified text.

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Yeast AD.pdf 1 4/8/2014 6:27:34 AM

Yeast AD.pdf 2 4/8/2014 6:27:34 AM

FLEISCHMANN’S FRESH YEAST

1

EST. 1868

2

1

3

65/62 Trade Gothic Next Bold Compressed All Caps

2 20pt Trade Gothic Next Bold Compressed Small Caps 3 25pt Trade Gothic Next Bold Compressed

C

C

M

M

Y

Y

CM

CM

MY

CY

CMY

25¢

¢ 2255¢ 4

MY

CY

CMY

K

K

4 30pt Trade Gothic Next Bold Compressed 5

30pt Trade Gothic Next Heavy Condensed

6 55pt Trade Gothic Next Heavy Condensed

“It always pays to bake with

Fleischmann’s, it’s the Bakers choice”

“It always pays to bake with

5

Fleischmann’s, 6

it’s the Bakers choice”

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5

15/18 Trade Gothic Next Bold Compressed All Caps / Small Caps

8 8pt Trade Gothic Next Bold All Caps

THE BEST FRESH YEAST MONEY CAN BUY

FOR HEALTH ONLY COMES IN THAT FOIL WRAPPED CAKE WITH THE YELLOW LABEL

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8

STORE IN REFRIGERATED ENVIRONMENT

ISTD Trade Gothic Next Chapter 4.indd 68-69

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At the end of each ingredient I created a mock ad to show how the text could possibly used in the context of an ad.

STOCK & COLOUR When choosing the colours I wanted to transmit a feeling of tradition and earthiness. I limited myself to two colours, I picked a neutral grey and an accent red, which gave a warm tone to the book.

I wanted a slightly textured feel to the paper, for the main cover I choose a 170gsm cartridge paper as this was the most readily available at the time of printing but I would like to have gone for a more textured finish or a recycled brown card, over printed with white ink. The inside is on Zerkall 140gsm, it gives a tactile finish and printed well in the digitally

With the covers of the four ingredient I wanted to pick a colour that represented each ingredient. Initially I left the outside of each ingredient blank, and used the inside as a canvas to further explore the type, but later I added the specials to emphasize each ingredient.

Neutral Grey 60% Cyan 60% Magenta 60% Yellow 60% Key

Red 25% Cyan 95% Magenta 95% Yellow 5% Key

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Zerkall Acid Free 140gsm paper for the main pages in the booklets

170gsm textured paper for chapter one and five covers

Daler-Rowney Murano 45% cotton pastel paper for the ingredient chapter covers

SPECIALS & BINDING The concept behind the specials was to again reaffirm that bond between the specimen and the Real Bread Campaign. I had experimented with PVA, varnish and various other aerosols, but in the end I cut the letters out of selfadhesive vinyl. I placed them on to the covers, then created a stencil and used an adhesive to fix the salt yeast and flour directly on top

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of the vinyl so that the integrity of the paper was kept intact. The six chapters are bound separately to reflect the essence of the ingredients and are held in place by a hessian bag.

POSTER SIZE & GRID The size of the poster is 520mm Ă— 570mm and has a simple grid of eight columns by four rows.

The panels reflect the eight styles available from Agmena. When folded the poster / pamphlet measures 130mm Ă— 285mm, giving it a connection to the previous type specimen, while being completely unique in its own right.

The pamphlet is encapsulated in a linen bag with Agmena embroidered on the front, giving it resonance and connecting it to the textile strike represented in the poem.

Equal Margins of 12mm

Column 65mm

Panel 130mm

Row 142.5mm

Fold Lines

ISTD Agmena.indd 1

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SIDE ONE

NO DISCRIMINATION AGAINST STRIKERS 24pt Agmena Semibold Small Caps and an end to discrimination against foreign-born workers

Oppenheim was optimistic and pragmatic. He stood up for what he believed. He was unflinching of his view that you make your own luck that you are the creator of your own destiny, he said “They can only set free men free and there is no need of that.

Free men set themselves free.”

14/15.5 Agmena Book (Introduction) 12/14 Agmena Book (Body Copy)

ISTD Agmena.indd 1

As we come marching, marching, unnumbered women dead Go crying through our singing their ancient cry for bread.

Small art and love and beauty their drudging spirits knew.

Yes, it is bread we fight for – but we fight for roses, too!

He was a well-known writer of short stories and novels. His poetry followed Walt Whitman’s model of free verse ruminations on “social and democratic aspects of life”.Oppenheim

depicted labour troubles with Fabian and suffragist themes in his novel, The Nine-Tenths and in his famous poem Bread and Roses. The slogan “Bread and Roses” is now commonly associated with the pivotal 1912 textile workers’ strike in Lawrence, Massachusetts.

As we come marching, marching, we battle too for men, For they are women's children, and we mother them again.

Our lives shall not be sweated from birth until life closes; Hearts starve as well as bodies; give us bread, but give us roses!

32pt Agmena SemiBold

James Oppenheim, born in 1882, was an American poet, novelist, and editor.

A lay analyst and early follower of C. G. Jung, Oppenheim was also the founder and editor of The Seven Arts, an important early twentieth century literary magazine.

A million darkened kitchens, a thousand mill lofts gray, Are touched with all the radiance that a sudden sun discloses, For the people hear us singing: “Bread and roses! Bread and roses!”

James Oppenheim

As we come marching, marching in the beauty of the day,

570mm

10pt Agmena Regular

Agmena Bold Agmena Bold Italic

a perfectly designed, poetic book typeface

DOUBLE PAY FOR OVERTIME 28pt Agmena Book All Caps

Agmana

28pt Agmena Bold Non-lining Numerals

Agmena Semibold Agmena Semibold Italic

James Oppenheim

A 15 per cent wage increase

Agmena

34pt Agmena Bold Small Caps

Agmena Regular Agmena Italic

Bread and Roses

The strike itself was unique on many counts, but principally because the workers realized that they had to ignore the existing craft-union set-up. The craft unions were composed only of skilled, English-speaking workers, which excluded most of the workers.

Instead, under the leadership of the International Workers of the World, a blow was struck on behalf of industrial unionism with the uniting of all textile workers in the strike.

32pt Agmena SemiBold

As an act of retaliation, the employers cut the working hours of all employees to 54 hours, with a commensurate cut in wages, of course. The workers in the Lawrence factories, some 35,000 of them, answered this with a complete walk-out.

Agmena Book Agmena Book Italic

As we come marching, marching, we bring the greater days.

The rising of the women means the rising of the race.

No more the drudge and idler – ten that toil where one reposes, But a sharing of life's glories: Bread and roses! Bread and roses!

34pt Agmena Bold Small Caps

New Year's Day, 1912, ushered in one of the most historic struggles in the history of the American working-class. On that cold January 1st, the textile workers of Lawrence, Massachusetts, began a nineweek strike which shook the very foundation of the Bay State and had national repercussions. In its last session, the Massachusetts State Legislature, after tremendous pressure from the workers, had finally passed a law limiting the working hours of children under the age of 18 to 54 hours a week. Needless to say, the huge textile corporations had viciously opposed the law.

32pt Agmena SemiBold

Bread and Roses

“The idea of ‘Bread and Roses’ signifies a particular longing of the poor, working class, and of a particular brand of Unionism.”

520mm

A type specimen to mark a significant change in the way we think about labour and the rights of workers.

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