a collection of drawings, words, and collected images
Paradox:
ParadoxPara
adoxParado a visual essay by Elizabeth Post
a e l
rary parlor
room in Edin
shrewd mark Karnak, and
the early nin
term Egyptia
typefounders
Rockwell
n r a As
printed
material began to branch
out from the familiar realm of books, new
typefaces were needed for use in advertising, posters,
and flyers. Slab serif printing type was first commercially introduced by
Vincent Figgins under the name Antique, with copies of specimen dated 1815 and 1817.
Following Napoleon’s Egyptian campaign and dissemination of images and descriptions via publications
like Description de l’Égypte (1809) an intense cultural fascination with all things Egyptian followed. Suites of contempo-
r furniture were produced resembling furniture found in tombs. Multicolored woodblock printed wallpaper could make a dining
nburgh or Chicago feel like Luxor. While there was no relationship between Egyptian writing systems and slab serif types, either
keting or honest confusion led to slab serifs often being called Egyptians, and many early ones are named for the subject: Cairo, Memphis. The common metonym “Egyptian” is derived from a craze for Egyptian artifacts in Europe and North America in
neteenth century, which led typefounders producing Slab Serifs after Figgins’ work to call their designs Egyptian. However, the
an had previously been used to describe sans-serif types in England, so the term ‘Antique’ was used by British and American
s. The term Egyptian was adopted by French and German foundries, where it became Egyptienne.
t
ou b a s ing
h t d d ost o
n o k n i I th
m e h t e of
w o h e z i l a re
lea
o y h muc
g n i n r a m
mo e h t is
e
r e h w ent
w o n k you
o d u o
. w o n k t ’ n
o
t h g u eno
know you e r e rwh vulne ment w o o m h f the o se o par t ng is ecau i n b n o , r l l a e e t le ly b as h you abou ht on cary s g s i g s n ’ m i t when I h t r . t h o w g d , od kno life lse thou only most don’t rgin one e i d e u v o n h o t n a s y i of ch , f th one that eight w mu ve a k one ion o way t o a w n a i a h h s a h n t e y n i s l z I on gs i e se eali you e you h to r hurt el. Th e thin z g i s e n l f u e a a o h c u e t en yo ur ple ng akes nd yo tandi r peo m a s e r t h d i e t l i d o e abl a ch . Un that le. them u are alize o e o r y t partic t d n e a n e h m a h t a w es like lder do th mall, ittle o l s n a a o c S e ar ny. you ery ti , and v e l e e s e can ou f kes y a m t and i
d w, an o n k ou ea hat y w realiz w o o t n k e se You com also at tho skill. h e t d v ’ n d tan ge a , you then nders wled ocus f u o n t And o k t n . e g n o i g t i n l i g be are d di each earn . You rt an here at’s l s a r t w i o h : f o f s T e n e r e . k bit The n’t bon ill and tch a your ou w time ou do e y r y n t i h t t s g a a d ) th you f Go gs th throu ings! ch if ear o h f a t e thin e e l h r t h a t i e. f n c pierc withi few o t puts ! Cru s o a e t r g h t a k n i r you t th o da owns ortan ss to urs to p e unkn c c n m k I o ( r t da ch, ough r rea . It’s a u w o the th o y n of n’t k s out ou do y t thing a w th r kno e v e n he ch. T r o t my at’s crum y l l old th t a e e r r ’ ha We nto you. e wit her i f v t r a o c t u f n fro ttle gh a nly et in e a li hrou e e t f s e. If o e g l d v l i n p i s u u k s o l o a c wa ac gI sm ishin ave i o see it like t c b w t s t h i f a g h e ls ch t ys l gh li It fee alwa enou d hun o s m ’ o e I g v t gi tty , bu er. torch a pre t out right t e b o g e g l o t lit I’ve gh t urn a ause enou b c e s e b orch ture, our t the fu e k a m ould we c
Typeface
contrast w
handwritin
very minim
ated in Ita
generally u
has more c
the last va
Early Serif letterforms (late 15th – early 18
principles of modulated stroke and characte
eted serifs (serifs with a rounded joint to th
axis. Earliest examples show strong depend
minuscule produced by a broad nib pen. L
trast, their serifs turn out to be sharper, and a
their letterforms and the appearance are m
principles that is of the process of metal p
and place of origin typefaces are divided in
15th), French (16th), Dutch (17th), English (e
porary versions (variations) of typefaces roo
le
Caslon
with diagonal stress, cove or bracketed serifs (serifs with a rounded join to the stem of the letter), and a
ng influence. The earliest (Venetian, or Humanist) old style typefaces (originally 15th-16th century) have
mal contrast, and a sloped cross-bar on the lower-case “e�. Renaissance old style typefaces were cre-
aly and France (see Garaldes, 16th century). Italics at this point were still independent designs, and were
os
used completely separately. Later or baroque old style type (see Dutch old style, 17th Century) generally
sib
designs derived from 15th-18th century types. The main characteristics of oldstyle typefaces are low
contrast, with a somewhat variable axis, and more slope of italic. English old style type (18th century) was
8th centuries). They are based on
erized by modest contrast, brack-
he stem of the letter), and oblique
im
po
ss
ibl
ei
sp
ariation of the old style, but some scholars consider English type of 18th century like Transitional.
th e
dence upon handwriting humanist
Later shapes become more con-
axes are nearly vertical. In general
more and more based on glyptic
punch cutting. Depending on time
nto several groups: Venetian (late
early 18th) Old Styles and contem-
oted in Old Style traditions.
i m p oss i b l e
anything
WITH
nothing
We, the unwil ing,
led by the unknowing,
are doing the impossible for the ungrateful.
We have done so much, for so long, with so little,
we are now qualified to do anything with nothing. mother teresa
Helvetica
Typefaces without serifs. They called also Grotesk (in Germany), Grotesque (in England and France) or Gothic (in America). These types made their first appearance in England in the early 19th century, though similar letterforms were used in early Greek inscriptions. They were first used mainly as display faces but later (in the 20th century) were used for text matter as well. Typical Sans Serif has low contrast or have no visible contrast between vertical and horizontal strokes at all. Due to bowl shape, degree of contrast, aperture and width evenness, Sans Serifs are subdivided into several groups: Grotesque, Neo-Grotesque, Geometric and Humanist. Sometimes Humanist Sans group covers also contrast Sans like Optima face whose shapes are the reproduction of an Old Style structure.
There is an ecstasy that marks the summit of life
There is an ecstasy that marks the summit of life
There is an ecstasy that marks the summit of life
There is an ecstasy that marks the summit of life
There is an ecstasy that marks the summit of life
and beyond which life cannot rise. And such is the paradox of living, this ecstasy comes when one is most alive, and it comes as a complete forgetfulness that JACK LONDON
one is alive.
A typeface style distinguishable by their sudden-onset vertical stress and strong contrast. Modern serifs and horizontals are very thin, almost hairlines. Although they are very striking, these typefaces are sometimes criticized as cold or harsh, and may not be quite as readable for very extensive text work, such as books. Originated by Firmin Didot in the late 18th century. A number of designers, perhaps semi-independently, created the first modern typefaces in the late 1700s and early 1800s. One of the first, and ultimately the most influential, was Giambattista Bodoni, of Parma, Italy. Today, the most common “modern� typefaces are the dozens of reinterpretations of Bodoni’s work. Although little is seen of Didot, a reinterpretation by J.E. Walbaum (ca. 1800) sees occasional use.
am *s p
infinite mount of p a c e Bodoni
any people you may meet from time to time
are merely the products of a
deranged imagination.
simply because there is an infinite amount of space for them to be in.
However,
not every one of them is inhabited . Therefore
Douglas Adams
there must be a finite number of inhabited worlds. Any finite number divided by infinity is as near to nothing as makes no odds, so the average population of all the planets in the Universe can be said to be zero. From this it follows that the population of the whole Universe is also zero, and any people you may meet from time to time are merely the products of a deranged imagination.
epoch
Baskerville
“Transitional” type is so-called because of its intermediate position between old style and modern. The distinguishing features of transitional typefaces include vertical stress and slightly higher contrast than old style typefaces, combined with horizontal serifs. The most influential examples are Philippe Grandjean’s “Romain du Roi” for the French Crown around 1702, Pierre Simon Fournier’s work circa 1750, and John Baskerville’s work from 1757 onwards. Although today we remember Baskerville primarily for his typeface designs, in his own time people were much more impressed by his printing, which used an innovative glossy paper and wide margins. Later transitional types begin to move towards “modern” designs. Contrast is accentuated, and serifs are more flattened. Current examples of such are based on originals from approximately 1788-1810, and are dominated by British isles designers, such as Richard Austin (Bell, 1788), William Martin (Bulmer) and Miller & Richard (ScotchRoman).
For currently available examples of transitional type, there are many types which bear Baskerville’s name, descending from one or another of his designs. Less common today is P.S. Fournier’s work, although several versions of it are available in digital or metal form. Although Scotch Roman has been a very common face in metal type usage since Monotype’s 1920 revival, it is not a common digital face. Bell, on the other hand, is included in a Microsoft Font Pack, and Bulmer has received more attention since its revival by Monotype in late 1994.
It was the best of times
it was the worst of times
It was the best of times, it was the worst of times,
it was the age of wisdom, it was the age of foolishness,
it was the epoch of belief, it was the age of incredulity,
it was the season of Light, it was the season of Darkness,
it was the spring of hope, it was the winter of despair,
we had everything before us, we had nothing before us, we were all going direct to heaven, we were all going direct the other way
Charles Dickens
elizabeth post