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Experimental Typography - Inspiration Sagmeister
Typography as a form or in a form - Inspiration Martens
Classical Typography - Inspiration Garamond
Visual Decoration - Inspiration Marian Bantjes
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Fonts: Palatino Regular/Italic/Bold/Impact Title: Typo Designer: Harald Andreas Høyer Paper: School A3 ordinary Sources: Wikipedia Pantone: PANTONE Yellow U Illustrations: G in garamond made in illustrator. Sketch by hand. Marian Bantjes name and pattern made in illustrator and photoshop. Sketch by hand. Writings on Sagmeister made by hand, scanned. Newspaper behind type on Martens scanned.
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SAGMEISTER UTGIVELSE 3 Typography by Hartald Høyer
STEFAN
SAGMEISTER Stefan Sagmeister is a renowned, international graphic designer and typographer. He´s currently based in New York. He has his own design firm Sagmeister & Walsh Inc. He is known for his contreversial stunts and litteral transformation in his visable variety of work. He is an unconventional designer and he has recieved several awards for his talents.
WORRYING DOES NOTHING FOR YOU
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LET THE OBJECT
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MARTENS UTGIVELSE 3 Typography by Harald Høyer
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m k Karel Martens is a Dutch designer and teacher. After training at the school of art in Arnhem, he has worked as a freelance graphic designer, specializing in typography. Alongside this, he has always made free (non-commissioned) graphic and three-dimensional work. His design work ranges widely, from postage stamps, to books, to signs on buildings. All this work is documented and celebrated in the books Karel Martens drukwerk printed matter and Karel Martens: counterprint. Martens has taught graphic design since 1977. His first appointment was at the school of art at Arnhem.
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CLAUDE GARAMOND “Leading the way for future typography for hundreds of years”
Très Bien
Garamond’s name was originally rendered as “Garamont”, but following the standardization of French spelling, the terminal ‘d’ became customary and stuck.
G Claude Garamond (ca. 1490 – 1561)[1] was a French publisher from Paris. He was one of the leading type designers of his time, and is credited with the introduction of the apostrophe, the accent and the cedilla to the French language. Several contemporary typefaces, including those currently known as Garamond, Granjon, and Sabon, reflect his influence. Garamond was an apprentice of Simon de Colines; later, he was an assistant to Geoffroy Tory, whose interests in humanist typography and the ancient Greek capital letterforms, or majuscules, may have informed Garamond’s later work. Garamond came to prominence in 1541, when three of his Greek typefaces (e.g. the Grecs du roi (1541)) were requested for a royally-ordered book series by Robert Estienne. Garamond based these types on the handwriting of Angelo Vergecio, the King’s Librarian at Fontainebleau, as well as that of his ten-year-old pupil, Henri Estienne. According to Arthur Tilley, the resulting books are “among the most finished specimens of typography that exist.” Shortly thereafter, Garamond created the Roman types for which he would most be remembered, and his influence spread rapidly throughout and beyond France during the 1540s.
In 1621, sixty years after Garamond’s death, the French printer Jean Jannon (1580–1635) created a type specimen with very similar attributes, though his letterforms were more asymmetrical, and had a slightly different slope and axis. Jannon’s typefaces were lost for more than a century before their rediscovery at the National Printing Office of France in 1825, when they were wronvgly attributed to Garamond. It was not until 1927, more than 100 years later, that Jannon’s “Garamond” typefaces were correctly credited to him on the basis of scholarly research by Beatrice Warde. In the early 20th century, Jannon’s types were used to produce a history of French printing, which brought new attention to French typography and to the “Garamond” type style. The modern revival of Claude Garamond’s typography which ensued was thus inadvertently modeled on Jannon’s outstanding work. Jannon’s typefaces were lost for more than a century before their rediscovery at the National Printing Office of France in 1825, when they were wrongly attributed to Garamond. It was not until 1927, more than 100 years later, that Jannon’s “Garamond” typefaces were correctly credited to him on the basis of scholarly research by Beatrice Warde. In the early 20th century, Jannon’s types were used to produce a history of French printing, which brought new attention to French typography and to the “Garamond” type style. The modern revival of Claude Garamond’s typography which ensued was thus inadvertently modeled on Jannon’s outstanding work. Jannon’s typefaces were lost for more than a century before their rediscovery at the National Printing Office of France in 1825, when they were wrongly attributed to Garamond. It was not until 1927, more than 100 years later, that Jannon’s “Garamond” typefaces were correctly credited to him on the basis of scholarly research by Beatrice Warde. In the early 20th century, Jannon’s types were used to produce a history of French printing, which brought new attention to French typography and to the “Garamond” type style. The modern revival of Claude Garamond’s typography which ensued was thus inadvertently.
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GARAMOND UTGIVELSE 3 Typography by Harald Høyer
Très Bien
History Claude Garamond came to prominence in the 1540s, first for a Greek typeface he was commissioned to create for the French king Francis I, to be used in a series of books by Robert Estienne. The French court later adopted Garamond’s Roman types for their printing and the typeface influenced type across France and Western Europe. Garamond probably had seen Venetian old-style types from the printing shops of Aldus Manutius. Garamond based much of his lowercase on the handwriting of Angelo Vergecio, librarian to Francis I. The italics of most contemporary versions are based on the italics of Garamond’s assistant RoberGranjon. Original type When Claude Garamond died in 1561, his punches and matrices were sold to Christophe Plantin, in Antwerp, which enabled the Garamond fonts to be used on many printers. This version became populatr in Europe. The only complete set of the original Garamond dies and matrices is at the Plantin-Moretus Museum, in Antwerp, Belgium. Jean Jannon misattribution In 1621, sixty years after Garamond’s death, the French printer Jean Jannon issued a specimen of typefaces that had some characteristics similar to the Garamond designs, though his letters were more asymmetrical and irregular.
A real Typographer
Revivals Revivals of the Garamond type came as early as 1900, when a typeface based on the work of Jean Jannon was introduced at the Paris World’s Fair as “Original Garamond”, whereafter many type foundries began to cast similar types, beginning a wave of revivals that continued throughout the 20th Century.[4] These revivals followed the designs from Garamond and Jannon. The designs of italic fonts mainly came from a version produced by Robert Granjon. In a 1926 article in The Fleuron, Beatrice Warde revealed that many of the revivals said to be based on Claude Garamond’s designs were actually designed by Jean Jannon; but the Garamond name had stuck. Various examples of Garamond. Digital versions include Adobe Garamond and Garamond Premier (both designed by Robert Slimbach), Monotype Garamond, Simoncini Garamond, and Stempel Garamond. The typefaces Granjon and Sabon (designed by Jan Tschichold) are also classified as Garamond.
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A version called ITC Garamond, designed by Tony Stan (1917–1988) was released in 1977. The design of ITC Garamond, more than any other digital versions, takes great liberty with Garamond’s original design by following a formulary associated with the International Typeface Corporation (ITC), including an increase in the x-height; a wide range of weights, from light to ultra bold; and a condensed.
Facts Marian Bantjes was born in 1963 and is a Canadian designer, artist, illustrator, typographer and writer. Bantjes started working in the field of visual communication in 1983 and worked as a book typesetter from 1984–1994. She became well known as a talented graphic designer from 1994–2003, when she was a partner and senior designer at Digitopolis in Vancouver, BC, Canada, where she created identity and communication designs for a wide range of corporate, education and arts organizations. In 2003 Marian left her firm and “strategic design” behind to embark on the work that she has since become internationally known for. Describing herself as a Graphic Artist, working primarily with custom type and ornament, Bantjes’ highly personal, obsessive and sometimes strange graphic work has brought her international recognition and fame as a worldclass visual designer. [2] Bantjes is known for
2010 by Fastcode design. [3] Bantjes has been honored with numerous awards and her work is now part of the permanent collection at the Cooper-Hewitt National Design Museum. [4] Bantjes is an accomplished writer on the subjects of typography and design, and is a regular contributor to the popular design website Speak Up. Bantjes is frequently invited to sit on design award juries and speak at design conferences and design schools around the world. She teaches typography at Emily Carr Institute in Vancouver [5]. Bantjes says “throwing your individuality into a project is heresy” but she has built a career doing just that, as her signature style is unmistakable.
her detailed and lovingly precise vector art, obsessive hand work, patterning and highly ornamental style. Stefan Sagmeister calls Bantjes “one of the most innovative typographers working today,” and Noreen Morioka calls Bantjes “the Doyald Young of her generation.” In 2005 Bantjes was named one of 25 up-and-coming Designers to Watch (STEP Magazine, January 2005). Bantjes’ clients include Pentagram, Stefan Sagmeister, Saks Fifth Avenue, Bruce Mau Design, Young & Rubicam Chicago, Anni Kuan, Houghton Mifflin, Print Magazine, Wallpaper* WIRED, The Guardian (UK), The New York Times, among others. She has also worked on design materials for AIGA, TypeCon 2007, and the Society of Graphic Designers of Canada (GDC). Her work has been featured in STEP, étapes Paris, Azure, Matrix QuebecTupigrafia Brazil and Print, Fontshop’s Font 004, Eye maga She has written the design book “I wonder”, which was dubbed one of the 13 best design books of
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BANTJES UTGIVELSE 3 Typography by Harald Høyer
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