For the Love of Type, a book about typefaces

FOR THE OF

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Y T PA H RE

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TABLE OF

CONTENTS 2 4 10 14 20 26 32 38 46 52 54

Introduction Aqua Grotesque Brandon Grotesque David Carson Freight Text Granville Omnes Rift Tiempos Contributors Bibliography

What is typography? Why does it matter?

TYPOGRAPHY,

2

How does it impact our lives?

The Merriam-Webster definition of “typography” is: “the work of producing printed pages from written material” or “the style, arrangement, or appearance of printed letters on a page.” How those letters, words, and sentences are styled and arranged affects how they are perceived.

Good typography clarifies content, establishes hierarchy, and presents information in a manner that makes it easier to read, and, therefore, to understand. Good typography is good communication: it can start a dialog or advance an idea or make a difference in the world.

Typography is also intertwined with our daily lives—we encounter type in everything from the products we buy, the signage around us, the books we read, the news we consume, and the directions we follow. Typography can be beautiful, functional, persuasive, and inviting. It can also fail, especially when there is a disconnect between how the type looks and what the text says.

This book is a celebration of typography and typeface design. It is also a creative collaboration among students in Art 338: Typography II at California Polytechnic State University, San Luis Obispo, during winter quarter 2020. Each student in the class researched a different typeface and contributed the pages in this book that describe and showcase their assigned typeface. The final design reflects the many talents of the students who brought this project to life.

Charmaine Martinez Associate Professor of Design and Type Enthusiast Department of Art and Design California Polytechnic State University

AN INTRODUCTION

3

AQUA

4

A SANS-SERIF, GEOMETRIC TYPEFACE Aqua Grotesque is a sans-serif geometric typeface that was initially inspired by popular fonts from the 1940s. It currently exists as a single type family and was created and released

by Laura Pol in 2014. It includes a full set of uppercase characters, lowercase characters, numbers, and symbols.

Grotesques have a slightly crude appearance and a lot of visual character. These early sans serifs had less polish and more quirkiness than their more clinical and sleek contemporary counterparts, the Neo-Grotesques. Grotesques are usually geometric in design with simple letter

forms and fairly even stroke weights and they are also often bolder and can be used as display type.

The grotesque font style has seen an uptick in popularity over the past few years and designers are coming up with new ways of interpreting this older sans serif style.

“Readers tend to prefer the informal, human warmth of a slightly imperfect grotesque and at the same time these type styles can appear so elegant and sharp. It’s also a font style that is adaptable through time and can appear vintage or very of the moment, depending on how it’s applied” (Greta P., 2017).

AQUA

LAURA DESIGNER. PHOTOGRAPHER. TYPOGRAPHER. CREATIVE. AQUA GROTESQUE • PAGE 5

O­ķī­ qďă ðĮ ­ ķÅ­Ċ æī­ĨìðÆ ÌÐĮðæĊÐīș ĨìďĴďæī­ĨìÐīș ĴřĨďæī­ĨìÐī ­ĊÌ ÆīЭĴðŒÐ œìď ăðŒÐĮ ­ĊÌ œďīāĮ ðĊ OďĮ ĊæÐăÐĮș ­ăðåďīĊð­Ș wìÐ ÆķīīÐĊĴăř ăЭÌĮ ĴìÐ ÌÐĮðæĊ ÌÐĨ­īĴĉÐĊĴ ­Ĵ ĴìÐ } TÐÌð­ īĴĮ O­Å Ĵì­Ĵ ÌÐĮðæĊĮ ĉ­īāÐĴðĊæ ĉ­ĴÐīð­ăĮ åďī ĨĨăÐș ­ĊÌ ðĊ ìÐī ĮĨ­īÐ ĴðĉÐ ĮìÐ ăЭÌĮ ìÐī ďœĊ ÌÐĮðæĊ åďÆķĮÐÌ ĮĴķÌðďș ZOAZȘ

wìÐ ĮĴ­īĴÐÌ ìÐī ĨÐīĮďĊ­ă ÌÐĮðæĊ ÆďĉĨ­Ċřș ZOAZș þķĮĴ ­ åÐœ řЭīĮ ­åĴÐī ĮðæĊðĊæ ďĊ œðĴì ĨĨăÐȘ wìÐ ťĊÌĮ Ĵì­Ĵ œďīāðĊæ œðĴì ­ ă­īæÐș ìðæìȭÐĊÌ ÆďĉĨ­Ċř ­ăďĊæĮðÌÐ ìÐī ĨÐīĮďĊ­ă ÌÐĮðæĊ ĮĴķÌðď ­ăăďœĮ ìÐī Ĵď åÐÐÌ ìÐī ­ĨĨÐĴðĴÐ åďī ÅďĴì ­ å­ĮĴȭĨ­ÆÐÌ œďīā ÐĊŒðīďĊĉÐĊĴ ­ĊÌ åķăťăăðĊæ ĉďīÐ ÆīЭĴðŒÐ ­ĮĨðī­ĴðďĊĮ ­Ĩ­īĴ åīďĉ ­ ÆďīĨďī­ĴÐ Åī­ĊÌȘ

Į ­ ÆìðăÌ æīďœðĊæ ķĨ ðĊ ķÅ­ș ĮìÐ œďīāÐÌ ÆăďĮÐăř œðĴì ìÐī æī­ĊÌå­ĴìÐī œìď œ­Į ­Ċ ­īÆìðĴÐÆĴ ­ĊÌ æ­ðĊÐÌ ­Ċ ­ĨĨīÐÆð­ĴðďĊ åďī ĴìÐ Į­ĴðĮå­ÆĴðďĊ Ĵì­Ĵ ÆďĉÐĮ åīďĉ ÅīðĊæðĊæ ÌÐĮðæĊĮ Ĵď ăðåÐȘ O­ķī­ œ­Į ťīĮĴ ðĊĴīďÌķÆÐÌ Ĵď æī­ĨìðÆ ÌÐĮðæĊ ðĊ ǡǟǠǠ œìðăÐ ĮìÐ œ­Į œďīāðĊæ ðĊ ­ Įĉ­ăă ĨīðĊĴ ĮìďĨ ­ĊÌ ­ĴĴÐĊÌðĊæ ĮÆìďďăȘ Į ĮďďĊ ­Į ĮìÐ åďķĊÌ ďķĴ Ĵì­Ĵ ÌÐĮðæĊ ÆďķăÌ ÅÐ ­ Æ­īÐÐīș ĮìÐ Æì­ĊæÐÌ ĉ­þďīĮ ­ĊÌ ÅÐæ­Ċ ­ŒðÌăř ĴЭÆìðĊæ ìÐīĮÐăå ìďœ Ĵď ķĮÐ ÌÐĮðæĊ Ĩīďæī­ĉĮ ­ĊÌ ĮďåĴœ­īÐȘ

ăĴìďķæì ĮìÐ ÆďĉĨăÐĴÐÌ ĴìÐ ÌŒÐīĴðĮðĊæ ­ĊÌ :ī­ĨìðÆ īĴĮ Ĩīďæī­ĉ ­Ĵ ĴìÐ Tð­ĉð AĊĴÐīĊ­ĴðďĊ­ă ĊðŒÐīĮðĴř ďå īĴ ɪ #ÐĮðæĊș ĮìÐ ðĮ ­ ìЭŒðăř ĮÐăåȭ Ĵ­ķæìĴ ­īĴðĮĴ Ĵì­Ĵ ì­Į ăЭīĊÐÌ ĉďĮĴ ďå œì­Ĵ ĮìÐ āĊďœĮ åīďĉ ì­ĊÌĮȭďĊ ÐŘĨÐīðÐĊÆÐȘ Ĵ­ăÐĊĴÐÌ æī­ĨìðÆ ÌÐĮðæĊÐī œðĴì ­Ċ ÐřÐ åďī ĨìďĴďæī­Ĩìřș O­ķī­ȸĮ ŒÐīĮ­ĴðăðĴř ðĊ ĴìÐ ­īĴĮ ì­Į ­ăăďœÐÌ ìÐī Ĵď åďÆķĮ ìÐī ÐååďīĴĮ ­ĊÌ ĮāðăăĮ ďĊ ÆīЭĴðĊæ ÐŒÐīřĴìðĊæ åīďĉ åķăă ÆďĉĨ­Ċř ĉ­īāÐĴðĊæ åďī ­ æăďÅ­ă Åī­ĊÌ Ĵď ĨÐīĮďĊ­ă Åī­ĊÌðĊæ åďī ÆÐăÐÅīðĴř ÆăðÐĊĴĮ ĮķÆì ­Į TðāÐ }řĮďĊȘ

wìÐ ĮĴ­īĴÐÌ Åř Ĵ­āðĊæ ďĊ Įĉ­ăă åīÐÐă­ĊÆÐ þďÅĮ åďī ăďÆ­ă ÆăðÐĊĴĮ ­ĊÌ ìÐī Æ­īÐÐī ­ÌŒ­ĊÆÐÌ ĪķðÆāăřȘ ðĴìðĊ ĴìīÐÐ řЭīĮș ĮìÐ œ­Į ĮďķæìĴ ďķĴ ­ĊÌ ÆďĊĴī­ÆĴÐÌ Åř ĨĨăÐȸĮ ĉ­īāÐĴðĊæ ÌÐĨ­īĴĉÐĊĴ ­ĊÌ Ċďœ œďīāĮ œðĴì ĴìÐĉ åķăă ĴðĉÐ ĮĨÐÆð­ăðšðĊæ ðĊ ÌÐĮðæĊ ĮĴī­ĴÐæðÐĮ ­ĊÌ ĉ­īāÐĴðĊæ åďī ĴìÐðī Åī­ĊÌȘ

>Ðī ­ÌŒðÆÐ Ĵď ďĴìÐī ÌÐĮðæĊÐīĮ ðĮ Ĵì­Ĵ ĴìÐř ĮìďķăÌ ÆďĊĴðĊķÐ Ĵď åďÆķĮ ďĊ ĨīďþÐÆĴĮ Ĵì­Ĵ āÐÐĨ ĴìÐĉ ÆīЭĴðŒÐ ­ĊÌ Ĵì­Ĵ ­ăăďœ ĴìÐĉ Ĵď ÐŘĨÐīðĉÐĊĴ ďķĴĮðÌÐ ďå ĴìÐðī ÆďĉåďīĴ šďĊÐȘ

“I just fell in love with what I did...

I got lucky because I was really dedicated to doing what I love” ȿ O­ķī­ qďă 7

TYPEFACE AĊ æÐďĉÐĴīðÆ åďĊĴĮș Å­ĮðÆ Įì­ĨÐĮ ĮķÆì ­Į ÆðīÆăÐĮș ĮĪķ­īÐĮș ­ĊÌ Ĵīð­ĊæăÐĮ ­īÐ ķĮÐÌ Ĵď ÆďĊĮĴīķÆĴ ĴìÐ ÌÐĮðæĊ ďå ĴìÐ ĴřĨÐå­ÆÐȘ Īķ­ :īďĴÐĮĪķÐȸĮ åďīĉ­ă ­ĊÌ ďĨĴðÆ­ă æÐďĉÐĴīðÆ īÐĨÐĴðĴðďĊ æðŒÐ ðĴ ­ ŒÐīř ĮĴīķÆĴķīÐÌ Æì­ī­ÆĴÐī ­Į œÐăă ­Į ­ ĉďÌÐīĊ ­ÐĮĴìÐĴðÆȘ :īďĴÐĮĪķÐ åďĊĴĮ œÐīÐ ĮďĉÐ ďå ĴìРЭīăðÐĮĴ Į­ĊĮȭĮÐīðå ÌðĮĨă­ř ĴřĨÐå­ÆÐĮȘ w­ĊĮ ĮÐīðå ĴřĨÐå­ÆÐĮ ă­Æā ĴìÐ ÐĉÅÐăăðĮìĉÐĊĴĮ ­ĊÌ ĮĴīďāÐĮ Ĵì­Ĵ ÌðĮĴðĊæķðĮì ĮÐīðå ĴřĨÐå­ÆÐĮș ĴìķĮ ĴìÐ ķĮÐ ďå ĴìÐ 9īÐĊÆì œďīÌ ȵĮ­ĊĮȶș ĉЭĊðĊæ œðĴìďķĴȘ w­ĊĮ ĮÐīðå ăÐĴĴÐīåďīĉĮ ďåĴÐĊ ÆďĊŒÐř ­ ĮÐĊĮÐ

Fig. 1

a

ďå ĮďĉÐĴìðĊæ Ĵì­Ĵ ðĮ ÆăЭĊș ĉðĊðĉ­ăș ďī ĉďÌÐīĊȘ }ìÐř ÅÐÆ­ĉÐ ðĊÆīЭĮðĊæăř ĨďĨķă­ī ðĊ ĴìРЭīăř ǡǟĴì ÆÐĊĴķīř ­ĊÌ œÐīÐ Æ­ăăÐÌ ȵæīďĴÐĮĪķÐȶ ÌķÐ Ĵď ĴìÐðī ďŒÐī­ăă īÐþÐÆĴðďĊ ďå ĴìÐ ÌÐĮðæĊ ÐăÐĉÐĊĴĮ Ĵì­Ĵ ĉ­ÌÐ ĮÐīðå åďĊĴĮ ăďďā ÐăÐæ­ĊĴ ­ĊÌ ăðæìĴȘ ďĉĉďĊ ÐăÐĉÐĊĴĮ ďå æīďĴÐĮĪķÐ Į­ĊĮ ĮÐīðåĮ ­īÐ ­ ĮĨķīīÐÌ ķĨĨÐīÆ­ĮÐ : ­ĊÌ ĉðĊðĉ­ă ÆďĊĴī­ĮĴ ÅÐĴœÐÐĊ ĮĴīďāÐĮȘ Īķ­ :īďĴÐĮĪķÐ ì­Į ĉ­Ċř ĊďĴ­ÅăÐ åЭĴķīÐĮ Ĵì­Ĵ ĉ­āÐ ðĴ ­Ċ ðĊĴÐīÐĮĴðĊæ ­ĊÌ ÅЭķĴðåķă ÌðĮĨă­ř åďĊĴȘ AĴ Æ­īīðÐĮ ­ ĮðĊæăÐș ÆďĊĮðĮĴÐĊĴ ĮĴīďāÐ œÐðæìĴ ĴìīďķæìďķĴ ðĴĮ ăÐĴĴÐīåďīĉĮ ­ĊÌ ĴÐīĉðĊ­ăĮș ­ĊÌ ðĴ ì­Į ­ īÐă­ĴðŒÐăř ìðæì ŘȭìÐðæìĴ ȧťæķīÐ ǡȨ œìðÆì ìÐăĨĮ Ĵď ĉ­āÐ ĴìÐ ĴřĨÐå­ÆÐ ĉďīÐ ŒðĮðÅăÐ Ĵď ĴìÐ īЭÌÐī ­Ĵ ­Ċř æðŒÐĊ ĮðšÐȘ #ðĮĨă­ř å­ÆÐĮ Ĵì­Ĵ 쭌РŒÐīř ă­īæÐ ăďœÐīÆ­ĮÐ ăÐĴĴÐīĮ ĴÐĊÌ Ĵď ÆďĉĉķĊðÆ­ĴÐ œðĴì ĉďīÐ Æă­īðĴř ­ĊÌ ÐĉĨì­ĮðĮ œìðăÐ Įĉ­ăăÐī ĴÐŘĴ Ĵì­Ĵ ðĊÆďīĨďī­ĴÐĮ ă­īæÐī ŘȭìÐðæìĴĮ 쭌РðĊÆīЭĮÐÌ ăÐæðÅðăðĴř ­ĊÌ īЭ̭ÅðăðĴřȘ

Fig. 2 Cap height x-height Baseline

Counter

8

Terminals

}ìÐ ÆďķĊĴÐīĮ ďå ЭÆì ăÐĴĴÐī ­īÐ åďīĉÐÌ œðĴì æÐďĉÐĴīðÆ Įì­ĨÐĮ ­ĊÌ ­īÐ ÆďĊĮðĮĴÐĊĴăř ÌÐĮðæĊÐÌ œìðÆì ÆīЭĴÐĮ ­ ĮĴīðÆĴș ķĊðŒÐīĮ­ă åÐÐă ȧťæķīÐ ǠȨȘ }ìÐ ­ĨÐŘ ­ĊÌ ŒÐīĴÐŘ ďå ĴìÐ Æì­ī­ÆĴÐīĮ ­īÐ ­ăĮď æÐďĉÐĴīðÆ ­ĊÌ ÆďĉÐ Ĵď ­ ÆăЭī ĨďðĊĴ œðĴìďķĴ ÐŘĴÐĊÌðĊæ Ĩ­ĮĴ ĴìÐ ­ĮÆÐĊÌÐīĮ ďī ÌÐĮÆÐĊÌÐīĮȘ

Apex

A c F h K n Q s V x 0

a D f I k O q T v Y 1

b E g J l P r U W w y Z 2 3 B d G i L o R t

C e H j N p S u X z 4

Ascenders

Aa Bb Qq Descenders

AQUA GROTESQUE • PAGE 9

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DESIGNER’S BIOGRAPHY

Photo of Hannes von Döhren, Typeface designer

Hannes von Döhren was born in Berlin, Germany in 1979. Von Döhren studied graphic design and worked at an advertising agency that is based in Hamburg. He is the creator of many different type families, the most successful one being Brandon Grotesque. From a young age Hannes Von Döhren has had a passion for letters which lead him to establish the type foundry now known as HvD in 2008. Hannes von Döhren says that his and the foundry’s driving force is the act of creation itself. At the foundry the team works together with clients, agencies, and experts. The goal of the type foundry is to produce a body of work that displays a balance between professional and playful. In 2011, von Döhren received the Certificate of Excellence in Type Design from the Type Directors Club of New York. ✦✦✦

THE STORY BEHIND

This typeface was designed by Hannes Von Döhren in 2009 and released in 2010 through the Berlin–based type foundry called HvD fonts.

The spacing and kerning was completed by Igino Marini of iKern. The typeface was created to resemble geometric sans serif typefaces that were popular in the early twentieth century, or more specifically in the 1920s and 1930s. While Futura was the more well-known typeface during this time period, Brandon Grotesque was based more on Erbar. The typeface was then adjusted for improved legibility and it was optically modified.

According to the designer, this typeface was designed to not only have a functional look, but also to have a warm feel.

There were six weights created including thin, light, regular, medium, bold, and black. Further, italic versions for each of the later weights has also been created. So, the typeface is easily adaptable for display text or body copy. In contrast to the typefaces of the 1920s and 1930s that this typeface was based on, these letters have soft edges, a small x-height, and high ascenders which leaves a bold yet handmade impression. Currently, this font seems to be more widely used on the web and seldom used in print.

While Brandon Grotesque can be functional for

body copy, Brandon Text is now available as a suitable alternative for body copy because it is slightly tighter and has a larger x-height. This typeface is fairly new so there is not a lengthy history, however, since 2010, the uses range from the corporate font for Comedy Central to other promotional materials such as event posters.

Also, Brandon University recreated their school’s logo and used Brandon Grotesque.

BRANDON GROTESQUE

✦✦✦

“ Letters are like

sculptures — if you look at them carefully you can see the beauty in every detail.”

— Hannes von Döhren

Thin Italic

Aa Bb Cc Dd Ee

Light Italic

Ff Gg Hh Ii Jj Kk

Regular Italic

Ll Mm Nn Oo Pp

Medium Italic

Qq Rr Ss Tt Uu Vv

Bold Italic Black Italic

Ww Xx Yy Zz 123456789

A CLOSER LOOK AT BRANDON GROTESQUE }ìÐ ŘȭìÐðæìĴ ðĮ å­ðīăř Įĉ­ăă œìðÆì ­ăăďœĮ åďī ŦÐŘðÅðăðĴř ­ĊÌ ăÐæðÅðăðĴřș ìďœÐŒÐīț ­ ŒÐīĮðďĊ ďå ī­ĊÌďĊ :īďĴÐĮĪķÐ Æ­ăăÐÌ ī­ĊÌďĊ ĴÐŘĴ œ­Į ÆīЭĴÐÌ Ĵď ÅÐ ÐŒÐĊ ĉďīÐ ăÐæðÅăÐ åďī ÅďÌř ÆďĨřȘ ìðăÐ ĴìÐ ­ĮÆÐĊÌÐīĮ ­īÐ ìðæì ÆďĉĨ­īÐÌ Ĵď ĉ­Ċř ĴřĨÐå­ÆÐĮș ĴìÐ Æ­Ĩ ìÐðæìĴ ðĮ ĴìÐ Į­ĉÐ ­Į ĴìÐ ­ĮÆÐĊÌÐīĮȘ

12

Ascender Ascender

x-height x-height

Descender Descender

CMYKrgb CMYKrgb

Mean line Mean line

Baseline Baseline

ī­ĊÌďĊ :īďĴÐĮĪķÐ œ­Į ÌÐĮðæĊÐÌ åďī ĮķĨĨďīĴ 9ķīĴìÐīș ĴìÐ ăďœÐīÆ­ĮÐ ȵæȶ ì­Į ÅďĴì ­ ăðĊā ­ĊÌ ­Ċ œðĴì ăðæ­ĴķīÐĮ ĮķÆì ­Į ĴìÐ ăÐĴĴÐīĮ ȵťșȶ œÐăă ­Į 9ķīĴìÐīș ĴìÐ ăďœÐīÆ­ĮÐ ȵæȶ ì­Į ÅďĴì ­ ăðĊā ­ĊÌ ­Ċ ЭīȘ }ìÐ ÆďķĊĴÐī ðĊ ăÐĴĴÐīĮ ĮķÆì ­Į ȵZșȶ ȵsșȶ ­ĊÌ ī­ĊÌďĊ :īďĴÐĮĪķÐ œ­Į ÌÐĮðæĊÐÌ åďī ­Į ĮķĨĨďīĴ ĉďĊďĮĨ­ÆÐÌ ťæķīÐĮ ­ĊÌ ­ăĴÐīĊ­ĴÐ Æì­ī­ÆĴÐīĮș ĴìÐ ăďœÐīÆ­ĮÐ ȵ ȶ ðĊ ĴìÐ Åă­Æā œÐðæìĴ ðĮ ­ ĨÐīåÐÆĴ œðĴì ăðæ­ĴķīÐĮ ĮķÆì ­Į ĴìÐ ăÐĴĴÐīĮ ȵťșȶ ­Į œÐăă ­Į ЭīȘ }ìÐ ÆďķĊĴÐī ðĊ ăÐĴĴÐīĮ ĮķÆì ­Į ȵZșȶ ȵsșȶ ­ĊÌ ­ĊÌ ðĴ ì­Į ­ ĴīķÐ ðĴ­ăðÆ Ĵď æď ­ăďĊæ œðĴì ЭÆì ďå ÆðīÆăÐș ­ĊÌ ĉďĮĴ ďĴìÐī ­ĨÐīĴķīÐĮ ­īÐ ĊЭīȭ ĉďĊďĮĨ­ÆÐÌ ťæķīÐĮ ­ĊÌ ­ăĴÐīĊ­ĴÐ Æì­ī­ÆĴÐīĮș ĴìÐ ăďœÐīÆ­ĮÐ ȵ ȶ ðĊ ĴìÐ Åă­Æā œÐðæìĴ ðĮ ­ ĨÐīåÐÆĴ ĴìÐ ðĴ ĮðŘ œÐðæìĴĮȘ ī­ĊÌďĊ :īďĴÐĮĪķÐ ­Į ЭÆì ­ œìďăÐ ÆðīÆķă­īȘ ĮďĉÐ ĴřĨÐå­ÆÐĮș řďķ Æ­ĊĊďĴ ­ĊÌ ì­Į ­ ĴīķÐ ðĴ­ăðÆ Ĵď æď ­ăďĊæ œðĴì ďå ÆðīÆăÐș ­ĊÌ ðĴì ĉďĮĴ ďĴìÐī ­ĨÐīĴķīÐĮ ­īÐ ĊЭīȭ ĴÐăă ðĮ ­ ĮðŘ ÆďĊĴÐĉĨďī­īř Į­ĊĮ ĮÐīðå ĴřĨÐå­ÆÐȘ ĴìÐ ÌðååÐīÐĊÆÐ ÅÐĴœÐÐĊ ĴìÐ ĊķĉÅÐī ďĊÐș ­ĊÌ ĴìÐ ĴìÐ œÐðæìĴĮȘ ī­ĊÌďĊ :īďĴÐĮĪķÐ ­Į ­ ìðăÐ œìďăÐ ðĴ ÆðīÆķă­īȘ ðĴì ĮďĉÐ ĴřĨÐå­ÆÐĮș řďķ Æ­ĊĊďĴ ĴÐăă ðĮ ­ ŒÐīř æÐďĉÐĴīðÆș ĴìÐ ĮÐīðå Æì­ī­ÆĴÐīĮ ­īÐ ĮăðæìĴăř ăÐĴĴÐīĮ ȵOȶ ­ĊÌ ȵAȘȶ ðĴì ī­ĊÌďĊ :īďĴÐĮĪķРЭÆì ďå ðĮ ÆďĊĴÐĉĨďī­īř Į­ĊĮ ĴřĨÐå­ÆÐȘ ìðăÐ ðĴ ĴìÐ ÌðååÐīÐĊÆÐ ÅÐĴœÐÐĊ ĴìÐ ĊķĉÅÐī ďĊÐș ­ĊÌ ĴìÐ ­ĊÌ ĮķÅĴăÐĴř īďķĊÌÐÌ œìðÆì œ­Į ĉЭĊĴ Ĵď æðŒÐ ĴìÐĮÐ Æì­ī­ÆĴÐīĮ ÌðååÐīĮ ĮăðæìĴăř Įď ďĊÐ Æ­Ċ ЭĮðăř ðĮ ŒÐīř æÐďĉÐĴīðÆș ĴìÐ Æì­ī­ÆĴÐīĮ ­īÐ ĮăðæìĴăř ăÐĴĴÐīĮ ȵOȶ ­ĊÌ ȵAȘȶ ðĴì ī­ĊÌďĊ :īďĴÐĮĪķРЭÆì ďå ĴìÐ ĴřĨÐå­ÆÐ ­Ċ ­ĨĨīď­Æì­ÅăÐ åÐÐăȘ wďĉÐ ďå ĴìÐ ÌðååÐīÐĊĴð­ĴÐ ĴìÐĉȘ }ìÐ ĊķĉÅÐīĮ ďå ĴìðĮ ĴřĨÐå­ÆÐ ­ĊÌ ĮķÅĴăÐĴř īďķĊÌÐÌ œìðÆì œ­Į ĉЭĊĴ Ĵď æðŒÐ ĴìÐĮÐ Æì­ī­ÆĴÐīĮ ÌðååÐīĮ ĮăðæìĴăř Įď ďĊÐ Æ­Ċ ЭĮðăř ĮĨķīĮ ĮķÆì ­Į ĴìďĮÐ ďå ĴìÐ ăÐĴĴÐīĮ ȵķșȶ ȵĊșȶ ȵÅșȶ ÌðååÐīÐĊĴð­ĴÐ ĴìÐĉȘ }ìÐ ĊķĉÅÐīĮ ďå ĴìðĮ ĴřĨÐå­ÆÐ ­īÐ ĊďĴ ÆďĊĮðÌÐīÐÌ ďăÌ ĮĴřăÐ ťæķīÐĮș ­Į ĴìÐř Įì­īÐ ĴìÐ ĴřĨÐå­ÆÐ ­Ċ ­ĨĨīď­Æì­ÅăÐ åÐÐăȘ wďĉÐ ďå ĴìÐ ȵÌșȶ ­ĊÌ ȵĪȶ ­Į Ĵ­ĨÐī ďåå ďå ĮăðæìĴăřș ­ăĴìďķæì åďī ȵÅșȶ ĴìÐ ­īÐ ĊďĴ ÆďĊĮðÌÐīÐÌ ďăÌ ĮĴřăÐ ťæķīÐĮș ­Į ĴìÐř Įì­īÐ ĴìÐ Į­ĉÐ Å­ĮÐăðĊÐ ­Į ĴìÐ īÐĮĴ ďå ĴìÐ Æì­ī­ÆĴÐīĮȘ ĮĨķīĮ ĮķÆì ĴìďĮÐ ĴìÐ ăÐĴĴÐīĮ ȵķșȶ ȵĊșȶ ĉďĮĴ Ĩ­īĴș ĴìÐ ĮĴīďāÐĮ ďå ЭÆì Æì­ī­ÆĴÐī 쭌РĴìÐ Į­ĉÐ Å­ĮÐăðĊÐ ­Į ĴìÐ īÐĮĴ ďå ĴìÐ Æì­ī­ÆĴÐīĮȘ ȵÌșȶ ­ĊÌ ȵĪȶ Ĵ­ĨÐī ďåå ĮăðæìĴăřș ­ăĴìďķæì åďī ĴìÐ ) ) ) ĉďĮĴ Ĩ­īĴș œðÌĴì ĴìÐ ĮĴīďāÐĮ Æì­ī­ÆĴÐī ­Ċ ÐŒÐĊ ­ÆīďĮĮ ďå ­Į ЭÆì ĮðĊæăÐ ĮĴīďāÐȘ 쭌РwďĉÐ ) ) ) ­Ċ ÐŒÐĊ ­ĮĨÐÆĴĮ œðÌĴì ­ÆīďĮĮ ­Į ĮðĊæăÐ ĮĴīďāÐȘ wďĉÐ ĊďĴ­ÅăÐ ďå ī­ĊÌďĊ :īďĴÐĮĪķÐ ðĊÆăķÌÐ ĊďĴ­ÅăÐ ­ĮĨÐÆĴĮ ī­ĊÌďĊ :īďĴÐĮĪķÐ ĴìÐ ĴœďȭĮĴďīř ȵ­ȶ ďå ­ĊÌ ȵæȶ ­Į œÐăă ­Į ĴìÐ ðĊÆăķÌÐ īďķĊÌÐÌ ĴìÐ ĴœďȭĮĴďīř ȵ­ȶ ­ĊÌ ȵæȶ ­Į œÐăă ­Į ĴìÐ īďķĊÌÐÌ ĴðĴĴăÐ ďĊ ăÐĴĴÐīĮ ĮķÆì ­Į ĴìÐ ăďœÐīÆ­ĮÐ ȵðȶ ­ĊÌ ȵþȶȘ ĴðĴĴăÐ ďĊ ăÐĴĴÐīĮ ĮķÆì ­Į ĴìÐ ăďœÐīÆ­ĮÐ ȵðȶ ­ĊÌ ȵþȶȘ

ī­ĊÌďĊ :īďĴÐĮĪķÐ ðĊ ĮÐ ī­ĊÌďĊ :īďĴÐĮĪķÐ ðĊ ĮÐ

13

David Cars THE PROCESS

ABOUT THE TYPEFACE

To understand the excitement of this design, one PXVW ȴ UVW XQGHUVWDQG ZKR 'DYLG &DUVRQ LV &DUVRQ was late to the game of Graphic Design as he had gone to college to study Sociology. His work was something the world had never seen before, and he was known for his daring use of typography.

People criticized his work for its lack of legibility, but he was able to achieve something greater than legibility: The letterforms had emotion and spoke to the audience before it was read. He challenged every rule of typography and focused on telling a story through unconventional design. His key to success was designing for himself and sticking to his sense of design. Massimo Vignelli of Vignelli Magazine describes that, “Styles come and go.

David’s design is a language, not a style,” (“David Carson &...”).

David Carson is a ransom typeface inspired by the one and only David Carson. Designed by Iordanis Passas in 2017, this typeface encompasses the grunge aesthetic of the 1990s and Ray Gun magazine. David Carson was the art director of Ray Gun and his use of experimental layouts and breaking the rules of typography led to exciting designs. Iordanis Passas has created a few other grunge typefaces, but this one is unique as it pulls directly from a collection of David Carson’s works.

Iordanis Passas embodies a lot of David Carson techniques within his own works such as breaking the grid and using typography as graphic elements.

Both designers engage their audience with their unconventional layouts that focus on making the elements speak to the audience. Although Iordanis Passas published this typeface in 2017, the original design is pulled from David Carson Design archives. Passas collected works from David &DUVRQȇV PRVW LQȵ XHQWLDO GHVLJQV DQG H[WUDFWHG different letters, numbers, and ligatures to create a unique character set. This typeface pays a tribute to David Carson and each character within the set has its own voice.

14

son

16

Designer Bio

Iordanis Passas is from Athens, Greece and was born in 1986 (“IP Art [Iordanis Passas].�). After spending time in London pursuing his degree at the University of the Arts London, Passas accumulated an impressive portfolio working in the design industry. Before becoming a Graphic Designer, Passas experimented with writing code and fell in love with designing UX and UI. He has also received awards for branding and identity, has been featured on the AIGA member gallery for his typography, and has worked with clients in designing book and editorial layouts.

A lot of his clients hire him for his daring style that is reminiscent of David Carson’s works.

Throughout his career he has noted the importance of staying true to his own style regardless of whether or not the majority of people will gravitate towards it (Passas). After all, if people continue to hire him for his style, he must be doing something right!

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Visual Analysis

H a 18

Character set

The Ransom note effect is a juxtaposition of many typefaces, and it is inspired by ransom notes that used cutouts from magazines and newspapers to form a message (“Ransom Note Effect.�). Because David Carson is a Ransom Typeface, none of the letterforms follow the rules of typography such as consistency between x-heights, meanlines, descenders, ascenders, cap heights, etc. Some of the letterforms are uppercase, while others are uppercase.

6RPH DUH PDGH XS RI WKLQ OLQHV ZKLOH RWKHUV DUH Č´ OOHG LQ FRPSOHWHO\ 7KH\ DOO YDU\ LQ VL]HV and the letter “lâ€? is the only one that is slanted. The number “6â€? is the only number that is spelled out as “six.â€? Although there are a variety of styles, there is a repetition of styles throughout the character set which creates visual cohesion. The typeface also uses a mixture of serif and sans serif letterforms. The overall design is exciting in the way that the letterforms can become graphic elements; it is meant to be a display typeface used for titles and larger type. Because every letter comes from David Carson’s works, it is easy to tell that the letterforms were all designed by one artist. It’s paradoxical in the way that the lack of order creates an order in its own way.

AB h i pq wx 3 4

C de j kl r st y z 567

g o v 2 9

f m u 1 8 19

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JOSHUA DARDEN TYPE DESIGN Joshua Darden was born and raised in suburban Los Angeles. Joshua published KLV ȴUVW W\SHIDFH DW WKH DJH RI +H VSHQW the next ten years of his life as an assistant for typeface development and worked for a wide range of commercial clients. Darden HYHQ ZRUNHG EULHȵ\ ZLWK RWKHU IDPRXV GHVLJQHUV OLNH 'DYLG &DUVRQ +LV %URRNO\Q based studio was established in 2004 and since then he has had the opportunity to be a guest lecturer and type critic for a number of colleges and art schools across the nation.

Joshua Darden has also taught at Parsons School of Design and the School of Visual Arts.

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FREIGHT FREIGHT TEXT TEXT Freight Text is a serif typeface designed by Johsua Darden in 2005 for the Brooklyn based Darden Studio type foundry.

Frieght has an extensive family with many different versions available for use which makes it versatile and capable of resolving many typographic chalOHQJHV )UHLJKW KDV Č´YH different weight iterations ranging from light, book, medium, bold and black. Each weight comes with its own set of italics and small caps.

Freight Sans, Freight Display and Frieght Big are some of the additional members of this type family.

Freight also includes micro and macro versions of the typeface which makes it useful for body text and display.

a vast and versatile superfamily 21

*

At

WKH DJH RI -RKVXD Darden had already GHVLJQHG KLV Č´UVW W\SHIDFH 7KLV was the beginning of a lifelong passion for typography and design that would land him at the helm of his own type studio. Brooklyn based Darden Studios was founded by Johsua Darden in 2004. Darden Studio is a small collective of designers and typographers who VKDUH DQ DɘQLW\ IRU FRQWHPporary design aesthetics. Their extensive client list ranges across all forms of industry from advertising and marketing to consumer goods, retail, media and technology. Darden studios has created a wide variety of distinct typefaces like Birra, Corundum, Dapifer, )UHLJKW +DO\DUG -XELODW DQG Omnes. Mr. Darden’s vision is upheld by the current CEO Joyce Ketterer who took over LQ 7KH )ULHJKW IRQW family comes with four distinct members: Freight Sans, Freight Text, Freight Big and Freight Micro. The Freight Text font is easily legible and ideal for applications of lengthy text.

Freight Text lends itself nicely to publications like newspapers, books and journals.

Freight Sans is suitable for jobs involving text or display. Freight Sans comes equipped with a variety of text options such as roman and italic characters, small caps, italic small caps and old style characters.

Freight Sans also features Č´YH ZHLJKWV )UHLJKW PLFUR was designed as a solution to the challenges slab serif fonts face in print and on screen. Micro works well in the smallest of point sizes as well as in larger displays.

Freight Big is a perfect typeface for headlines but can also be used for text. Freight has a uniquely bold appearance that blends nicely with other members of the Freight family.

TYPE STORY 23

Freight Text is a vast and versatile superfamily typeface.

This contemporary W\SHIDFH KDV RQO\ EHHQ DYDLODEOH IRU ȴIWHHQ years yet it continues to grow in popularity due to its suitability for handling many typographic challenges.

Freight comes in serif, sans serif, display and text. Here we will analyze the core anatomy within this typeface to help you better understand the elements at work in a well designed letterform Freight Text has a large x-height for its lowercase letters which come close to the cap height of its uppercase letters.

Freight Text has moderate sized serifs that maintain consistent width.

The counter in Freight Text letters can be both rounded and elliptical depending on the letter. In the lowercase letter g we can see the top counter is elliptical yet much more rounded than the lower counter at the bottom.

The bowl of Freight Text letterforms is of consistent width where it attaches to the letter’s stem and grows in width as it curves around, as we can see in the lowercase letter a.

The ascenders and descenders of Freight Text are equal in length. The ascenders extend beyond the cap height and the descenders reach below the baseline a measure of half the x-height.

The rounded terminals of Freight Text is uniform among letters such as the lowercase a and lowercase r. The spine of the lowercase letter e is proportionally balanced against the transitional thinness as WKH OHWWHU FXUYHV DQG UHDFKHV LWV ȴQLVK

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FREIGHT ANATOMY

ABCDEFG HIJKLMN O P Q R S T UVWXYZ abcdefgh ijklmnopq rstuvwxyz Serif

Bowl

Ascender

Freight Terminal

Counter 25

Granville Description :ī­ĊŒðăăÐ ðĮ ­ ĉďÌÐīĊ Į­ĊĮȭĮÐīðå ĴřĨÐå­ÆÐȘ AĴ œ­Į ÌÐĮðæĊÐÌ Åř ­ æī­ĨìðÆ ÌÐĮðæĊÐī Ċ­ĉÐÌ LЭĊȭ ­ĨĴðĮĴÐ OÐŒÑÐ ďå 9īÐĊÆì qīďÌķÆĴðďĊ }řĨÐș åďķĊÌÐÌ Åř OÐŒÑÐȘ :ī­ĊŒðăăÐȸĮ ÌÐĮðæĊ ì­Į ­ ĮĴīďĊæ ÆďĊĴī­ĮĴ ðĊ ðĴĮ ĮĴīďāÐĮȘ >ďœÐŒÐīș ķĊăðāÐ ďĴìÐī ĴìðÆāȭĴìðĊ Į­ĊĮȭĮÐīðåĮș ĴìÐ ăÐĴĴÐīĮ īÐĉ­ðĊ ĮĴķīÌř ÐĊďķæì ­Ĵ Įĉ­ăă ĮðšÐĮ Ĵď ­ăăďœ :ī­ĊŒðăăÐ Ĵď œďīā ­Į ­ ĴÐŘĴ å­ÆÐȘ :ī­ĊŒðăăÐ ì­Į ĮðŘ ĮĴřăÐĮȚ OðæìĴș OðæìĴ AĴ­ăðÆș tÐæķă­īș tÐæķă­ī AĴ­ăðÆș ďăÌș ­ĊÌ ďăÌ AĴ­ăðÆȘ :ī­ĊŒðăăÐ ðĮ ŒÐīř ĨīďĉðĊÐĊĴ ðĊ ÐÌðĴďīð­ă ÌÐĮðæĊĮș ĮðæĊĮș ­ĊÌ ĨďĮĴÐīĮȘ

26

The Story Behind Granville :ī­ĊŒðăăÐ œ­Į ÆīЭĴÐÌ ðĊ ǡǟǠǤ åďī 9īÐĊÆì qīďÌķÆĴðďĊ }řĨÐȘ qīďÌķÆĴðďĊ }řĨÐ ðĮ Å­ĮÐÌ ðĊ q­īðĮș 9ī­ĊÆÐ ­ĊÌ ðĮ ­Ċ ďĊăðĊÐ ÌðĮĴīðÅķĴðďĊ ďå ĴřĨÐ åďī ÌÐĮðæĊÐīĮ ­ĊÌ ­ÆĴðŒÐ åďĊĴ ķĮÐīĮ åďī ðĊÌķĮĴīð­ă ďī ăķŘķīř ­ĨĨăðÆ­ĴðďĊĮȘ qīďÌķÆĴðďĊ }řĨÐ œ­Į ÌÐŒÐăďĨÐÌ ðĊ ǡǟǠǣ ­ĊÌ ðĮ ÆķīīÐĊĴăř ­ ŒÐīř ðĉĨďīĴ­ĊĴ ­ĊÌ ðĊŦķÐĊĴð­ă ÌðæðĴ­ă ĴřĨÐ ÌÐĮðæĊ ­æÐĊÆřȘ :ī­ĊŒðăăÐ ðĮ ­ œÐăă ì­īĉďĊðšÐÌ Į­ĊĮ ĮÐīðå ĴřĨÐå­ÆÐȘ }ìðĮ ĴřĨÐå­ÆÐ ðĮ āĊďœĊ åďī ì­ŒðĊæ ­ ŒÐīř ŒðĮðÅăÐ ÆďĊĴī­ĮĴ ÅÐĴœÐÐĊ ĴìðÆā ­ĊÌ ĴìðĊ ĮĴīďāÐĮȘ }ìÐ ìðæì ĴìðÆā Ĵď ĴìðĊ ÆďĊĴī­ĮĴ åďĊĴĮ ĮĴ­īĴÐÌ Ĵď ÅÐ ďķĴÌ­ĴÐÌ ­ĊÌ īÐĨă­ÆÐÌ Åř ĴìÐ ĉďīÐ ĉďÌÐīĊ Į­Ċ ĮÐīðåĮ ðĊ ĴìÐ ǡǟĴì ÆÐĊĴķīřș ķĊĴðă LЭĊȭ ­ĨĴðĮĴÐ OÐŒÑÐ ÌÐĮðæĊÐÌ :ī­ĊŒðăăÐș ­ ĮĴřăðĮìș ÆďĊĴÐĉĨďī­īř ĴřĨÐå­ÆÐȘ }ìðĮ ĴřĨÐå­ÆÐ å­ĉðăř œ­Į ÆīЭĴÐÌ åďī ŒÐīĮ­ĴðăðĴř ĨķīĨďĮÐĮȘ :ī­ĊŒðăăÐ ðĮ ÅķðăĴ ďĊ ì­ðīăðĊÐ ÆīďĮĮ Å­īĮ ­ĊÌ ĴìðÆā ĮĴÐĉĮȘ :ī­ĊŒðăăÐȸĮ ðĴ­ăðÆ Įðĉðă­ī Ĵď ­ ĮÆīðĨĴ åďĊĴȘ }ìÐīÐ ðĮ ĮĴðăă ­ ìðæì ÆďĊĴī­ĮĴ ðĊ ĴìÐ ăÐĴĴÐīĮș ÅķĴ ðĴ ðĮ ĉďīÐ ŦďœðĊæ ­ĊÌ æī­ÆÐåķăȘ

Jean-

Baptiste Levée

Bibliography LЭĊȭ ­ĨĴðĮĴÐ OÐŒÑÐ œ­Į ÅďīĊ ðĊ TďĊĴȭ w­ðĊĴȭ ðæĊ­Ċș 9ī­ĊÆÐ ðĊ ǠǨǧǠȘ OÐŒÑÐ ťīĮĴ œÐĊĴ Ĵď 'ĮĴðÐĊĊÐ wÆìďďă ­ĊÌ ĮĴķÌðÐÌ ŒðĮķ­ă ÆďĉĉķĊðÆ­ĴðďĊĮȘ Ĵ ĴìÐ ĮÆìďďă ìÐ þďðĊÐÌ ĴìÐ #w ĴřĨďæī­ĨìðÆ ÆīЭĴðďĊ œìðÆì ĮĨ­īāÐÌ ìðĮ ăďŒÐ åďī ĴřĨďæī­ĨìřȘ OÐŒÑÐ æī­Ìķ­ĴÐÌ åīďĉ 'ĮĴðÐĊĊÐ ðĊ ǡǟǟǣȘ OÐŒÑÐ ă­ĴÐī Ĵďďā ăÐĮĮďĊĮ ­ĊÌ ăЭīĊÐÌ ÌÐĮðæĊ åīďĉ 9ī­ĊÆā L­ăăЭķș TðÆìÐă #ÐīīÐș T­īæ­īÐĴ :ī­ř ­ĊÌ wÑÅ­ĮĴðÐĊ TďīăðæìÐĉȘ

ìÐĊ OÐŒÑÐ ťĊðĮìÐÌ ĮÆìďďăðĊæ ÆďĉĨăÐĴÐăřș ìÐ ĮĴ­īĴÐÌ œďīāðĊæ ­Į ­Ċ ­ĮĮðĮĴ­ĊĴ åďī ­ å­ĉďķĮ 9īÐĊÆì æī­ĨìðÆ ÌÐĮðæĊÐīș ìīðĮĴďĨìÐ ­Ì­ĊðȘ AĊ ǡǟǟǣ Ĵď ǡǟǟǥ ìÐ ĮĴ­īĴÐÌ œďīāÐÌ ­Į ­īĴ ÌðīÐÆĴďī ďå ĴìÐ ĉķĮðÆ ă­ÅÐăș ĉÅīďðĮðÐȘ AĊ ǡǟǟǥș ìÐ Ĵďďā ­ īďăÐ ­Į ­ 9īÐĊÆì īÐĨīÐĮÐĊĴ­ĴðŒÐ ðĊ ĴìÐ AĊĴÐīĊ­ĴðďĊ­ă }řĨďæī­ĨìðÆ ĮĮďÆð­ĴðďĊș ­ĊÌ ă­ĴÐī ÅÐÆ­ĉÐ ðÆÐ qīÐĮðÌÐĊĴ ďå ĴìÐ AĊĴÐīĊ­ĴðďĊ­ă }řĨďæī­ĨìðÆ ĮĮďÆð­ĴðďĊ ­ řЭī ă­ĴÐīȘ AĊ ǡǟǠǟ OÐŒÑÐ ­ĊÌ ďĴìÐī ­īĴðĮĴĮ ăðāÐ īķĊď ÐīĊ­īÌș wĴÑĨì­ĊÐ ķÐăăÐĴ ­ĊÌ q­ĴīðÆā q­ăÐĴ­ ÌÐŒÐăďĨÐÌ ĴìÐ ķīЭķ ÌÐĮ åå­ðīÐĮ }řĨďæī­ĨìðĪķÐĮ œìðÆì œ­Į ĴìÐ ťīĮĴ 9īÐĊÆì Æďăă­Åďī­ĴðŒÐ ÌðæðĴ­ă åďķĊÌīřȘ

ÆďķĨăÐ řЭīĮ ă­ĴÐī OÐŒÑÐ ăÐåĴ ĴìÐ ZŨÆÐ ďå }řĨďæī­ĨìðÆ åå­ðīĮ Ĵď åďÆķĮ ďĊ ìðĮ ĨÐīĮďĊ­ă œďīāȘ ìðăÐ åďÆķĮðĊæ ďĊ ìðĉĮÐăå OÐŒÑÐ ă­ķĊÆìÐÌ ìðĮ ďœĊ ÌðæðĴ­ă åďķĊÌīřȘ qīďÌķÆĴðďĊ }řĨÐș œìðÆì ÅÐÆ­ĉÐ ­ Ĩă­ÆÐ åďī OÐŒÑÐ Ĵď ÐŘĨăďīÐ ­ĊÌ Įìďœ ďåå ìðĮ Ĵ­ăÐĊĴ ďå ÌÐĮðæĊ ­ĊÌ ĴřĨďæī­ĨìřȘ OÐŒÑÐ ðĮ ĴìÐ ÆīЭĴďī ďå ĊķĉÐīďķĮ ĴřĨÐå­ÆÐĮ ­Į œÐăă ­Į œďīāĮ åďī ĮÐŒÐī­ă ĉ­æ­šðĊÐĮ ­ĊÌ ĊÐœĮĨ­ĨÐīĮ ăðāÐ OðÅÐī­ĴðďĊș ­ĊðĴř 9­ðīș wÆðÐĊÆÐĮ & ŒÐĊðīș ­ĊÌ }ī­ŘȘ OÐŒÑÐ ì­Į ÌÐĮðæĊÐÌ ďŒÐī ­ ìķĊÌīÐÌ ĴřĨÐå­ÆÐĮ åďī ðĊÌķĮĴīřș ťăĉĮș å­ĮìðďĊ ­ĊÌ ĉÐÌð­ ­ĊÌ ðĮ ÆķīīÐĊĴăř ÆīЭĴðĊæ ­ĊÌ ĴЭÆìðĊæ ďĴìÐī řďķĊæ ­īĴðĮĴĮȘ

Visual Analysis :ī­ĊŒðăăÐ ðĮ āĊďœĊ åďī ÐŘĴīÐĉÐ ÆďĊĴī­ĮĴ œðĴì ĮĴīďāÐĮ ­ĊÌ Æì­ĊæÐĮ ďå œÐðæìĴ œðĴìðĊ þķĮĴ ďĊÐ Æì­ī­ÆĴÐīȘ :ī­ĊŒðăăÐȸĮ ĮĴīďāÐĮ æÐĊĴăř ĴķīĊ ­ĊÌ ĮœÐăă ĴìīďķæìďķĴ ЭÆì ăÐĴĴÐīȘ :ī­ĊŒðăăÐȸĮ ðĴ­ăðÆ ì­Į ­ ÌðĮĴðĊÆĴ ĨÐīĮďĊ­ăðĴř ďå ðĴĮ ďœĊș ÅķĴ ÌďÐĮ ĊďĴ ĮĴī­ř Ĵďď å­ī åīďĉ ĴìÐ ďīðæðĊ­ă åďĊĴȘ AĊ :ī­ĊŒðăăÐȸĮ ķĨĨÐīÆ­ĮÐ ȵ>ȸȸ ĴìÐīÐ ðĮ ­ ĉķÆì ìðæìÐī ÐĉĨì­ĮðĮ ďĊ ĴìÐ ĮĴÐĉĮ Ĵì­Ċ ĴìÐ ÆīďĮĮÅ­īĮ ðĊ ĴìÐ ăÐĴĴÐīȘ ăĮď ðĊ :ī­ĊŒðăăÐȸĮ ȵ>ȶ ðĴ ì­Į ­ īÐă­ĴðŒÐăř œðÌÐ ĨīďĨďīĴðďĊ Ĵď ðĴĮ ÅďÌřȘ :ī­ĊŒðăăÐȸĮ ȵ ȶ ì­Į ­Ċ ÐĪķ­ă œÐðæìĴ åďī ĴìÐ ĴďĨ ĮĴīďāÐ ­ĊÌ ĴìÐ ÅďĴĴďĉ ĮĴīďāÐȘ :ī­ĊŒðăăÐ ì­Į ĴÐīĉðĊ­ăĮ Ĵì­Ĵ ­īÐ ÆķĴ ­Ĵ ­ Ǩǟ ÌÐæīÐÐ ­ĊæăÐȘ :ī­ĊŒðăăÐȸĮ ȵ ȶ ì­Į ­ ŒÐīř ĴðæìĴ ÆķīŒÐ Ĵď ðĴȘ

:ī­ĊŒðăăÐȸĮ ăďœÐīÆ­ĮÐ ȵĮȶ Å­ă­ĊÆÐĮ ðĴĮ ĮĨ­ÆÐ åďī ĴìÐ ÆķīŒÐ ďå ĴìÐ ĮĨðĊÐ ďå ĴìÐ ȵĮȶȘ }ìÐ ĴÐīĉðĊ­ăĮ řÐĴ ­æ­ðĊ ­īÐ ÆķĴ ďåå ­ĊÌ ÆķīŒÐÌ ðĊ ­ĊÌ ĴìÐ Įĉ­ăă Ĵ­ðăĮ Æķīă ķĨœ­īÌȘ }ìÐ ȵĮȶ ì­Į ­ ĴìðÆā ĮĨðĊÐȘ :ī­ĊŒðăăÐȸĮ ăďœÐī Æ­ĮÐ ȵåȶ ðĮ ŒÐīř ķĊðĪķÐȘ }ìÐīÐ ðĮ ­ ìďďāðĊæ ÐååÐÆĴ ðĊ ĴìÐ ÆķīŒÐ ďå ĴìÐ ȵåȶȘ }ìðĮ ­īÆì ðĮ ÆīЭĴÐÌ Ĵď æðŒÐ ðĴ ĉďīÐ īďďĉ Ĵď ÅīЭĴìÐȘ AĊ :ī­ĊŒðăăÐȸĮ ăďœÐī Æ­ĮÐ ȵÐȶ ðĴ ðĮ ĴìðÆā ďĊ ĴìÐ ÆīķĮÐ ­ĊÌ æÐĴ ĴìðĊ īðæìĴ ­Ĵ ĴìÐ ĴÐīĉðĊ­ăĮȘ :ī­ĊŒðăăÐ ì­Į ­ ÆÐīĴ­ðĊ ďăÌ řÐĴ ĉďÌÐīĊ åÐÐă Ĵď ðĴȘ AĴ æðŒÐĮ ­ ì­īĮì ÆďĊĴī­ĮĴ ÅÐĴœÐÐĊ ĴìÐ Æì­ī­ÆĴÐīĮ œðĴì ЭÆì ăÐĴĴÐī ì­ŒðĊæ ­ ķĊðĪķÐ Æì­ī­ÆĴÐīðĮĴðÆ Ĵď ðĴȘ

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TYPOGRAPHY, 32

An Introduction What is typography? Why does it matter? How does it impact our lives?

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Charmaine Martinez Associate Professor of Design and Type Enthusiast Department of Art and Design California Polytechnic State University

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Omnes designed by Joshua Darden.

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Good typography withstands the whims of fashion. It is aware of its time and place but functioning far into the future.

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R

Hero image from Powershop UKâ&#x20AC;&#x2122;s recruitment page.

Sophisticated. Youthful. Urgent. Simple. Approachable.

RIFT

A SCI-FI INSPIRED, GEOMETRIC, SANS-SERIF

The typeface Rift is a tall, geometric, sans serif and is available in many unique styles. It was designed in 2016 by Mattox Shuler, who runs Fort Foundry. The typeface is rooted in the square-sans genre and its bold shape is great for titles. Rift is ideal for font pairing because of its wide variety of styles. It comes in 5 weights with corresponding Italics and Soft styles. Its stylistic alternatives offer a more playful tone and its tabular ťæķīÐĮ ­īÐ ĨÐīåÐÆĴ åďī ŒÐīĴðÆ­ăăř ­ăðæĊðĊæ ĊķĉÅÐīĮȘ ĊďĴìÐī å­ĮÆðĊ­ĴðĊæ aspect of Rift is that is free and can be used for both personal and profesĮðďĊ­ă ĊÐÐÌĮȘ }ìďķæì ĴìÐ ĴřĨÐå­ÆÐ ðĮ ďīðæðĊ­ăăř ðĊŦķÐĊÆÐÌ Åř ĴìÐ wÆðȭ9ð genre, the end result was a very versatile and contemporary typeface.

d h l p t x

a e i m q u y

b f j n r v z

c g k o s w

The idea behind creating Rift was originally based in the design of a board game called Control. The game consisted of Sci-Fi themes and time-travel motifs so the inspiration for this typeface came from titles and lettering on old, campy Sci-Fi posters. From this vision came the tall, geometric typeface built for the game’s logo and cards. It has a charming personality and also has great legibility, perfect for titles and text at medium to large sizes. Its tabular numbers are perfect for tables and large lists of numerical information. Rift also creates an interesting rendition of a square-sans typeface with its Soft version. The soft, rounded edges of Rift Soft create an unusual juxtaposition with its tall, rectangle shaped letter forms. In addition, Rift offers a set of alternate letter forms with more curvature. These alternates can completely change the tone of the typeface, playing up its versatility. tðåĴ Ĵďďā ìЭŒř ðĊŦķÐĊÆÐ åīďĉ ĴìÐ ĮĪķ­īÐȭĮ­ĊĮ æÐĊīÐ ďå ĴřĨďæī­ĨìřȘ }ìðĮ genre is characterized by typefaces with a box-like appearance and structured character. They are generally based on grotesque characteristics (think, Helvetica!) but intentionally square normally curved strokes. Many square-sans typefaces, like Rift, are only made with capital letter forms.

Overall, they are designed with mostly straight lines, have very little curvature, and have symmetrical and architectural qualities. Often, square-sans typefaces can be hard to read but, in Rift’s case, the tall X-height has been paired with a very appropriate width, creating a great sense of legibility.

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RIFT IN USE

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ABOUT THE DESIGNER

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MATTOX SHULER The designer behind the typeface, Rift, is none other than Mattox Shuler, founder of Fort Type Foundry. Schuler was never formally trained in design, rather he studied Marketing at the University of Georgia. He got his start in designing typefaces after working for a website that published articles and ìÐ œ­Į ðĊ ÌðīÐ ĊÐÐÌ ďå ĴřĨÐå­ÆÐĮ åďī ĴìÐ ĴðĴăÐĮȘ wÆìķăÐī Į­řĮ ìÐ ťĊÌĮ ­ ăďĴ ďå ðĊĮĨðī­ĴðďĊ åīďĉ ďăÌ Ĩ­Æā­æðĊæ ­ĊÌ ĮðæĊĮ ìÐ ťĊÌĮ ðĊ ­ĊĴðĪķÐ ĮĴďīÐĮȘ wìķăÐīȸĮ type foundry, Fort, was created as a side-project in 2013 with the release of his typeface Bourbon. It quickly became a full time project for Shuler as each typeface he released made their way to the “Hot New Fonts” list. Since its conception, Fort has released 14 different typefaces. The inspiration beìðĊÌ 9ďīĴ ÆďĉÐĮ åīďĉ ÅķðăÌðĊæ åďīĴĮ ­Į āðÌĮ ­ĊÌ ťăăðĊæ ĴìďĮÐ Ĩă­ÆÐĮ œðĴì ÆīÐativity, exploration, and fun. Fort wants to take those values into creating type. Recently, Shuler has began adding other designers to the Fort team ÅÐÆ­ķĮÐ ȵÅķðăÌðĊæ 9ďīĴĮ ðĮ ­ăœ­řĮ ĉďīÐ åķĊ œðĴì åīðÐĊÌĮȘȶ åÐœ ďå 9ďīĴȸĮ ĉďĮĴ ĊďĴ­ÅăÐ ÆăðÐĊĴĮ ­īÐ UÐĴŦðŘș }ī­ÌÐī LďÐĮș }­Æď Ðăăș ­ĊÌ T­īŒÐă wĴķÌðďĮȘ

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TYPEFACE ANALYSIS Rift is most notably a tall, square sans-serif with great legibility at medium to large sizes and on wide screens. This legibility is mostly due to its somewhat generous relationship between width and height. The typeface is very rectangular with quick rounded corners. Many of the letter forms appear to be almost horizontally symmetrical. Some examples of this would be the C,D,H, and X. When looking at each letter, it is noticeable that the feet and ĴÐīĉðĊ­ăĮ ďå ăÐĴĴÐī åďīĉĮ ­īÐ Ŧ­Ĵ ­ĊÌ ĨÐīåÐÆĴăř ìďīðšďĊĴ­ăȘ ĊďĴìÐī Ĵī­ðĴ Ĵì­Ĵ characterizes Rift as square-sans is that all the letter forms sit even on the baseline and there are no ascenders. There are also no descenders, with ĴìÐ ÐŘÆÐĨĴðďĊ ďå ĴìÐ Ĵ­ðă ďĊ ĴìÐ sȘ ĊďĴìÐī ÌðĮĴðĊÆĴ Æì­ī­ÆĴÐīðĮĴðÆ ďå tðåĴ ðĮ that the W joins with a pointed apex, instead of with crossing V’s. One letter form that is particularly odd is the K. On the K letter form, the leg extends out of the arm instead of the stem which is interesting because it is the only letter where the strokes do not meet at a perfect point. Rift is available in 5 weights and has an italics version for each. The weights range from light to ÅďăÌș ­ăăďœðĊæ tðåĴ Ĵď ťăă ĉ­Ċř ÌðååÐīÐĊĴ ĴřĨďæī­ĨìðÆ­ă ĊÐÐÌĮȘ Rift also is available in a Soft version. This version is basically the same as regular Rift, except the feet, terminals, and ends of each letter are rounded ðĊĮĴÐ­Ì ďå ­ Ŧ­ĴȘ }ìÐ ÐĊÌ ĮĴīďāÐ ďå ĴìÐ ăÐĴĴÐī åďīĉĮ ĮĴðăă ­īÐ ŒÐīř ìďīðšďĊĴ­ăș ÅķĴ ĴìÐðī Įì­īĨ ÆďīĊÐīĮ 쭌РÅÐÐĊ īďķĊÌÐÌȘ ĊďĴìÐī ÌðååÐīÐĊÆÐ ÅÐĴœÐÐĊ Rift and Rift Soft is that the tail on the Q is much shorter in the soft version.

Rift Soft also comes in 5 weights and their italic versions. ĊďĴìÐī Īķðīāř Ĵī­ðĴ ­ÅďķĴ tðåĴ ðĮ Ĵì­Ĵ ðĴ ďååÐīĮ Ǩ ĮĴřăðĮĴðÆ ­ăĴÐīĊ­ĴðŒÐĮȘ }ìÐĮÐ ­ăĴÐīĊ­ĴðŒÐĮ ðĊÆăķÌÐ ­Ċ ș Uș tș Tș ș :ș sș ­ĊÌ ­ ăðæ­ĴķīÐ ďå ­ĊÌ 'Ș ăă ďå these alternate letters are more rounded versions of their original counterpart. These letters took the sharp angular lines of the originals, and turned them into more box-style, vertical letters with quick curves. Most of them ­ĨĨЭī Ĵď ÅÐ Å­ĮÐÌ ďåå ĴìÐ ďīðæðĊ­ă ăÐĴĴÐī ZȘ ĊďĴìÐī ðĊĴÐīÐĮĴðĊæ Æì­ī­ÆĴÐīðĮĴðÆ ­ÅďķĴ ĴìÐĮÐ ­ăĴÐīĊ­ĴÐ ăÐĴĴÐī åďīĉĮ ­īÐ Ĵì­Ĵ ĴìÐ Tș U ­ĊÌ ­ĨĨЭī Ĵď be in lowercase form but still sit at the same x-height as the rest of the alphabet.

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corners This example shows the curves on the corners of Riftâ&#x20AC;&#x2122;s letter forms. It also shows the rectangular shape of the letters, and emphasizes how the rounded corners interact with the very straight lines.

terminals The top example of Rift shows how the terminals of letter forms end at a sharp horizontal line. Below, is an example of Rift Softâ&#x20AC;&#x2122;s more rounded version of the terminals.

x-height This example shows how Rift has a consistent x-height. There are no ascenders and descenders, with exception of the Q. It also illustrates how many of the letters are horizontally symmetrical.

S

S

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THE TIEMPOS COLLECTION “The Tiempos Collection is aa hardworking, “The hardworking, modern serif family for editorial modern editorial typography.” typography.”

— Kris Sowersby — (“Klim Type Type Foundry: Foundry: Tiempos Design Information”). (“Klim Information”).

The Tiempos Tiempos Collection of typeface famiThe families, released released in 2010 (“Klim Type Foundry: lies, Foundry: Tiempos Headline Headline Fonts”), includes a fine, Tiempos fine, headline, and and text-based version, each headline, each maintaining incredible incredible legibility at their maintaining their respective sizes, and keeping the elegance respective sizes, elegance of aa serif serif typeface. typeface. The Tiempos collecof collection updates updates the the workhorse functionality tion functionality of of Times New Roman and Galaxie Copernicus, Times New Roman Copernicus, becoming aa new new option for people who don’t becoming don’t want to to sacrifice sacrifice functionality for beauty, want beauty,

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both both in in body body text textand andheadlines. headlines.Specifically Specifically for for Tiempos Tiempos Fine, Fine, being being released released aa little little later in 2018 (“Klim Type Foundry: Tiempos later in 2018 (“Klim Type Foundry: Tiempos Fine Fine Fonts”), Fonts”), this this family family takes takesthe thefunctionfunctionality ality of of the thestability stabilityof ofTiempos TiemposHeadline Headlineand and increases the contrast between the thick increases the contrast between the thick and and thin thin lines lines to to create create an an even even more moreeleelegant gant headline headlinetypeface, typeface,(“Klim (“KlimType TypeFoundry: Foundry: Tiempos Tiempos Design DesignInformation”).

Information”).

THE THE TYPEFACE TYPEFACE STORY STORY

Behind Collection, thethe story BehindthetheTiempos Tiempos Collection, story begins with the need for a workhorse typebegins with the need for a workhorse typeface a Spanish newspaper, facein inredesigning redesigning a Spanish newspaper, in inhopes of of optimizing thethe word perper page hopes optimizing word page count without overcrowding the page with count without overcrowding the page with text or or sacrificing legibility.

This ledled to to taktext sacrificing legibility.

This takinging the newspaper ’s current typeface at the the newspaper ’s current typeface at the time, Galaxie Copernicus, andand creating oneone time, Galaxie Copernicus, creating which meet thethe newspaper ’s goals. whichwould would meet newspaper ’s goals.

Originally, new typeface was going to to Originally,thethe new typeface was going bebe within the same family or collection of of within the same family or collection Galaxie, was being designed, it it Galaxie,butbutas asit it was being designed, became tootoo distinctive to to be be called under became distinctive called under the same parent name (“Klim Type Foundry: the same parent name (“Klim Type Foundry: Tiempos Design Information”).

Tiempos Design Information”).

When Whenlooking lookingforforinspiration, inspiration,thethetype type foundry, Klim, used Galaxie Copernicus andand foundry, Klim, used Galaxie Copernicus Times New Roman, two time-proven typeTimes New Roman, two time-proven typefaces for newspapers.

In relation to these faces for newspapers. In relation to these two inspirations, they both were inspired by by two inspirations, they both were inspired Monotype Plantin; thethe creation of of Tiempos Monotype Plantin; creation Tiempos looked Monotype lookedback backto to Monotype Plantin as as thethe parent typePlantin parent typeface of of itsits two other inspiface two other inspirations, acknowledging thethe rations, acknowledging history of of where their typehistory where their typeface was originating from. face was originating from.

For Forthethechoice choiceof ofTimes TimesNew NewRoman, Roman, Klim found inspiration here KlimType TypeFoundry Foundry found inspiration here because of the typeface being such a clasbecause of the typeface being such a classicsicchoice thethe functionality it it holds choicewith with functionality holds forfor asas a newspaper typeface.

It has increda newspaper typeface.

It has incredible functionality and legibility forfor useuse in ain a ible functionality and legibility newspaper, butbut over thethe years hashas become newspaper, over years become overused Fine).

Hence, overused(Village: (Village:Tiempos Tiempos Fine).

Hence,

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the combination of Times New Roman and Galaxie Copernicus in creating the form of Tiempos Text and Headline.

The Tiempos Fine family, created eight years after the original collection (“Klim Type Foundry: Tiempos Fine Fonts”), increases the line width contrast of Tiempos Headline to enhance the elegance of the typeface for the editorial team at National Geographic Magazine. Tiempos Headline had the aesthetic and functionality the team was looking for but lacked the elegance they wanted to portray with a typeface, and so Tiempos Fine was created and added into the collection.

THE DESIGNER

Kris Sowersby is the mind behind the Tiempos Collection. He has been creating award-winning typefaces since 2007 (“Klim Type Foundry: About”) after opening Klim Type Foundry in 2005 (Thomson).

Sowersby is a self-taught type designer, falling in love with type early in his designing career. In an interview with Eye Magazine, he describes his love of type: “At design school I became enamoured with typography. I loved the simplicity of its raw state – arrangements of black and white space on the page,” (Thomson).

Both Sowersby and Klim Type Foundry are from New Zealand, which influences their typefaces and their business model (Thomson). As a type foundry, they have won awards for typefaces that express a relationship between national identity and design, as well as creating custom typefaces for many New Zealand Organizations. As for their approach to their community, they also support New Zealand nonprofits that benefit the New Zealand community and the environment, (“Klim Type Foundry: About”).

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“I loved the simplicity of [typography ’s] raw state – arrangements of black and white space on the page,”

KRIS SOWERSBY 48

VISUAL Differences between Galaxie (grey) and Tiempos (black).

Tiempos Text Regular Italic. Entry and Exit points of the letterfroms

Lowercase Z, Tiempos Headline Family. Medium weight, regular style (left) and italic style (right).

Lowercase Z, Tiempos Headline Family. Medium weight, regular style (left) and italic style (right).

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ANALYSIS Since the inspiration of this typeface comes from newsprint, the differences between Tiempos and Galaxie Copernicus enable Tiempos to be a more workable typeface. At the same point size as Galaxie Copernicus, Tiempos’ “cap-height, ascenders and descenders are shorter, allowing for tighter line spacing without crowding,” (“Klim Type Foundry: Tiempos Design Information”). This particular aspect of Tiempos text allows for a higher word count in newsprint per column without overcrowding the page with text.

Sowersby describes the influence of Times New Roman as it relates to his design of Tiempos: Times has a certain British sleekness to it, a nice mix of smooth curves and sharp points,” (Thomson). This is notable in the comparison between the entry and exit points in the Italic letterforms for all the families, where the entry stroke is a flag, the exit point contrasts with its curve (Village: Tiempos Fine).

Although, the sharp edges become a much more noticeable feature when in its regular style. The curves of the letterforms turn characteristically blunt. Here is a comparison of the lowercase Z from the Tiempos Headline family. Although the curves and edges are highly contrasted between these styles, the same personality is still present, with the bifurcated bracketed slab serifs.

Between the families themselves, going from fine to medium, the contrast of the stroke line weight goes from high to low depending on its purpose as a display typeface or body copy. Looking closer at the uppercase T of Tiempos Fine and Headline, the serif style changes as well to allow for the higher contrast for the display typeface; in Tiempos Fine, the serifs are more characteristically transitional, versus Headline which continues the bracketed slab serif of the original collection.

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Contributers 51

Allison Munden Aqua Grotesque Angela Gunness Granville Ian Myers Freight Text Pro Joey Marshall Brandon Grotesque Kainani Gruspe David Carson Megan Steiger Omnes Natalie Mitchell Rift Shea Brooking Tiempos

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Bibliography Aqua Grotesque Chapman, Cameron. “Understanding the Nuances of Typeface Classification.” Toptal Design Blog, Toptal, 11 Oct. 2018, www. toptal.com/designers/typography/typeface-classification.

P., Greta. “What Are Grotesque Fonts? History, Inspiration and Examples.” Creative Market, 21 Aug. 2017, creativemarket.com/blog/grotesque-fonts.

Pol, Laura. “About.” Laura Pol, 2014, www.pollaura.com/about.

Rudolph, Jonathan. “013 - Laura Pol Talks About Freelance And Working With Apple.” Listen Notes, 13 Feb. 2019, www.listennotes.com/podcasts/creatives-radio-by/013-laura-pol-talks-about-u93-gGN_JUp/.

Brandon Grotesque “Brandon Grotesque Font Combinations & Free Alternatives · Typewolf.” Typewolf, www.typewolf.com/ site-of-the-day/fonts/brandon-grotesque.

“Brandon Grotesque Font Family.” Fonts.com, www.fonts.com/font/hvd-fonts/brandon-grotesque.

“Brandon Grotesque.” HvD Fonts, 20 Feb. 2020, www.hvdfonts.com/fonts/brandon-grotesque.

Font Family Page, www.myfonts.com/fonts/hvdfonts/brandon-grotesque/.

David Carson “David Carson & Brand Acumen Studios.” Brand Acumen Studios, Brand Acumen Studios, 2019, brand-acumen-studios.com/david-carson/.

“IP Art [Iordanis Passas].” IP Art, Luc Devroye, School of Computer Science, McGill University, luc.devroye.org/ fonts-65210.html.

Passas, Iordanis. “Stories Collective // The ‘Ugly’ Design i LOVE to Make!” LinkedIn, LinkedIn, 5 July 2016, www. linkedin.com/pulse/stories-collective-ugly-design-i-love-iordanis-passas?trk=portfolio_article-card_title.

“Ransom Note Effect.” Wikipedia, Wikimedia Foundation, 8 Oct. 2018, en.wikipedia.org/wikiRansom_note_effect.

Angela Gunness: Granville “Granville.” Production Type, www.productiontype.com/family/granville.

“Production Type: Useful Typefaces with an Edge.” Fontstand, fontstand.com/articles/production-type.

Shoaf, Jeremiah. “Granville Font Combinations &amp; Free Alternatives · Typewolf.” Typewolf, www.typewolf.com/ site-of-the-day/fonts/granville.

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Freight Text Pro “Members of the Studio:” Darden Studio About the Studio Comments, www.dardenstudio.com/studio, Accessed March 1, 2020 “Freight Text Font Family Typeface Story” Fonts.com. https://www.fonts.com/font/garagefonts/freight-text/ story, Accessed March 1, 2020

Omnes “Omnes.” Darden Studio : Omnes™, Darden Studios, www.dardenstudio.com/typefaces/omnes_pro.

“Omnes in Use.” Fonts in Use, 2020, fontsinuse.com/typefaces/19/omnes.

Maria, Jason Santa. “About Face: Omnes.” The Typekit Blog, 1 Aug. 2011, blog.typekit.com/2011/08/01/ about-face-omnes/.

Rift “About.” Fort Foundry, fortfoundry.com/pages/about.

Admin. “Rift Font Free Download.” Graphic Design Fonts, Admin, 5 Aug. 2019, graphicdesignfonts.com/rift-font/.

Dafont. “Rift Font Family.” Dafont Free, 22 Apr. 2019, www.dafontfree.io/rift-font-family/.

Fulmer, Addy. “Typography 101: All About Sans Serifs.” Typography 101: All About Sans Serifs, www.tpisolutionsink.com/printing-company-blog-waltham-ma-/typography-101-all-about-sans-serifs.

“Interview: Type Designer Mattox Shuler.” Treehouse Blog, 22 Oct. 2017, blog.teamtreehouse.com/ interview-type-designer-mattox-shuler.

“Rift.” Fort Foundry, fortfoundry.com/pages/rift.

Tiempos “Klim Type Foundry · About.” Klim Type Foundry, klim.co.nz/about/.

“Klim Type Foundry · Tiempos Design Information.” Klim Type Foundry, 13 Nov. 2019, klim.co.nz/blog/ tiempos-design-information/.

“Klim Type Foundry · Tiempos Fine Fonts.” Klim Type Foundry, klim.co.nz/retail-fonts/tiempos-fine/.

“Klim Type Foundry · Tiempos Headline Fonts.” Klim Type Foundry, klim.co.nz/retail-fonts/tiempos-headline/.

Thomson, Mark. “Eye Magazine.” Eye Magazine | Feature | Reputations: Kris Sowersby, www.eyemagazine.com/ feature/article/reputations-kris-sowersby.

Village: Tiempos Fine, vllg.com/klim/tiempos-fine.

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This book was designed and bound by Joey Marshall in March 2020. Barlow is the typeface used for the main text and it is set to 10 points with 13 point leading throughout the book. Most headings are also set in Barlow, with some used as examples of the typeface in use. To view who designed each of the spreads, see the contributors page.

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