1
TYPE & DESIGN
2
3
Table of Contents History of Typography.................................6 Infographic..................................................8 Type Anatomy..............................................10 Type Classification.......................................12 Practicing Typographers...............................19 Selected Works.......................................24
4
H ISTO RY OF TYPOGRAPHY
A
n integral part of communication, typography is everywhere. Used in nearly every form of advertising and design, typography has demanded the skill of dedicated typographers for centuries. As clients develop needs for specific styles and families of type, typographers are called upon to develop brand new, implement existing or revive old typefaces. Dedicated professionals who are constantly curious about their medium, typographers often create their own typefaces for distribution among the design and advertising professions as well. INTERLOCK FROM THE ED BENGUIAT COLLECTION AT HOUSE INDUSTRIES While the digital revolution has spawned a vast array of means for typeface publication, type foundries have existed since the invention of movable type in the 15th century. With long and intertwining histories, their are several major type foundries that have existed, in one
form or another, for centuries. The popularity of the internet, online blogs and digital distribution has provided a new home for many individuals and small organizations to create and develop their own type foundries as well.
“Many graphic designers also dabble in the field of type design and vice versa.� While the increasing number of typographers and type foundries has made it virtually impossible to be familiar with every typeface design in publication, it is important for a designer to be we ll versed in the styles, uses and origins of typography, type foundries, type designers and their corresponding typefaces. As a varied range of clients and their different projects present designers with different problems, it is the job of the designer to be able to find viable typographic solutions based on the specifics of the problem.
5
6 ALDUS MANUTIUS Created:
JOHANNES GUTENBERG
VINCENT FIGGINS
Black Letter
Created:
1772
Egiziano
1760
1540
1470
1440
1495
Created:
Italics
JOHN BASKERVILLE
NICOLAS JENSON Created: Roman Type
Created:
ClAUDE GARAMOND Created:
Garamond
Baskerville
7
GIAMBATTIATA BODONI Created:
Bidoni
1818
Caslon
1784
1901
1800
Created:
11 TYPOGRAPHERS WHO SHAPED HISTORY 1957
William Caslon IV
FREDERIC GOUDY FIRMIN DIDOT Created:
Didot
Created:
Copperplate MAX MIEDINGER Created:
Helvetica
8
ascender
cross bar
serif ascender line
cap height
baseline bowl bar
counter
x-height
descender line
ear
descender
9
shoulder
stem
spine
finial
10
The many
TYPE CLASSIFICATIONS
11
Black Letter Typeface: Blackletter
THE FONT OF THE MIDDLE AGES Blackletter typefaces are a script style of calligraphy that were popularized in Germany, although they were used all over Europe from the middle ages through the Renaissance. A highly ornamental style of typgraphy, different styles are often associated with the different regions in which they were developed and used. The main classifications include Textura, Schwabacher, Cursiva and Fraktur. Textura is the most closely related to the calligraphic style and often includes a large number of ligatures. Schwabacher typefaces have a simplified, rounded stroke and several of their lowercase letters, including ‘o’, are often analogous forms. Cursiva, as the name suggests, is closely related to cursive letters and can be recognized by the more frequent presence of descenders and looped ascenders. Fraktur is the most common form of Blackletter and is characterized by broken strokes.
12
Old Style
Typeface: Garamond
FRIENDS, ROMANS, COUNTRYMEN The Old Style or Humanist serif typefaces developed in the 15th and 16th centuries and are characterized by a low contrast in stroke weight and angled serifs. Example: Garamond. This category includes the first Roman types, originally created between the late 15th and mid 18th centuries, as well as typefaces patterned after those designed in this earlier period. The axis of curved strokes is normally inclined to the left in these designs, so that weight stress is at approximately 8:00 and 2:00 o’clock. The contrast in character stroke weight is not dramatic, and hairlines tend to be on the heavy side. Serifs are almost always bracketed in old style designs and head serifs are often angled. Some versions, like the earlier Venetian old style designs, are distinguished by the diagonal cross stroke of the lowercase e.
13
Transitional Typeface: Baskerville
CHANGE IS ON THE WAY The bridge for the gap between Old Style and Modern serifed typefaces, Transitional type has a more vertical axis and sharper serifs than humanist forms. Example: Baskerville. English printer and typographer John Baskerville established this style in the mid 18th century. These typefaces represent the transition between old style and neoclassical designs, and incorporate some characteristics of each. Baskerville’s work with calendered paper and improved printing methods (both developed by him) allowed much finer character strokes to be reproduced and subtler character shapes to be maintained. While the axis of curve strokes can be inclined in transitional designs, the strokes normally have a vertical stress. Weight contrast is more pronounced than in old style designs. Serifs are still bracketed and head serifs are oblique.
14
Modern Typeface: Bodoni
A FRESH LOOK Modern serifed typefaces developed in the late 18th and early 19th century and were a radical break from the traditional typography of the time with high contrast of strokes, straight serifs and a totally vertical axis. Example: Bodoni. These are typefaces created within the late 18th century, or their direct descendants. The work of Giambattista Bodoni epitomizes this style of type. When first released, these typefaces were called “classical” designs. Early on, however, it became apparent to printers that these were not updated versions of classic type styles, but altogether new designs. As a result their classification name was changed to “modern.” Contrast between thick and thin strokes is abrupt and dramatic. The axis of curved strokes is vertical, with little or no bracketing. In many cases, stroke terminals are “ball” shapes rather than an evocation of a broad pen effect. These tend to be highly mannered designs, with clearly constructed letters.
15
Egyption Typeface: Century Expanded
WALK LIKE A HEAVY SERIF Egyptian, or slab-serifed, typefaces have heavy serifs and were used for decorative purposes and headlines because the heavy serifs impeded legibility at small point sizes. Example: Rockwell. Slab serif typefaces became popular in the 19th century for advertising display. These typefaces have very heavy serifs with minimal or no bracketing. Generally, changes in stroke weight are imperceptible. To many readers, slab serif type styles look like sans serif designs with the simple addition of heavy (stroke weight) serifs. Display-oriented slab serifs are often extremely bold, intended to grab the reader’s attention on a poster, while slab serifs oriented towards legibility at small sizes show less extreme characteristics. Some fonts oriented towards small print use and printing on poor-quality newsprint paper may have slab serifs to increase legibility, while their other features are closer to conventional book type fonts.
16
Contemporary Typeface:Helvetica
SANS SERIF / SANS PROBLEM
Just exactly like what is sounds, a sans-serif typeface is a typeface without serifs. They can be found in history as early as the 5th century, although the classical revival of the Italian Renaissance return to old style serifed typefaces made them virtually obsolete until the 20th century. Their was much development of sans-serif typefaces in Germany as a revolt against the ornate lettering of the popular Blackletter styles which led to sans-serif typefaces based on the purity of geometric forms. Contrast in stroke weight is most apparent in these styles, there is a slight “squared” quality to many of the curves, and several designs have the “bowl and loop” lowercase g common to Roman types. In some cases the R has a curled leg, and the G usually has a spur. Stroke contrast is less pronounced than earlier designs, and much of the “squareness” in curved strokes has been rounded. Normally the most obvious distinguishing characteristic of these faces is their single bowl g and more monotone weight stress.
17
Up next... PRACTICING TYPOGRAPHERS
18
r e g u r K a r a Barb
19
Controversy & Consumerism “I just say I’m an artist who works with pictures and words.” - Barbara Kruger
W
hile she has studied at design at the Parsons School of Design, Syracuse University and the School of Visual Arts and spent 12 years working as a magazine designer for Condé Nast, Barbara Kruger bridges the gap between fine art and design in her personal work. Her time spent as a designer and art director for magazines like Mademoiselle, House and Garden, and Aperture certainly influenced her signature style of combining found magazine imagery with simple, to the point typography. Setting much of her text in Futura Bold Oblique and with topics like consumer-
ism, feminism and classicism it is hard to not have some kind of reaction to the stark statements of her work. She has been a pioneer of guerrilla art, producing some of her original works on shopping bags, t-shirts, bus benches and billboards. She has had exhibitions in many galleries around the world and currently resides and works in both Los Angeles and New York.
20
CHIP “Design is, literally, purposeful planning. Graphic Design, then, is the form those plans will take.� -Chip Kidd
KIDD C
hip Kidd is one of the most prolific book cover designers in American design history. Educated at Penn State, he started designing covers for Knopf in 1986, where he was responsible for 75 book covers a year. He is still employed at Knopf, an imprint of Random House, where he is an art director. He also oversees the production of comic book covers for Pantheon, another subsidy of Random House. His interest in comic books, graphic novels and pop culture have been a large influence on his work. He has published two books, Cheese Monkeys and The Learners, both of which he designed himself. The typography within the book is used to subtly, and sometimes blatantly, make points along side the narrative contained within. His highly productive career has allowed him to work with many celebrities and authors, including Frank Miller, Dean Koontz, John Updike and David Sedaris. His book covers continue to influence designers and pop culture and many of them are widely imitated.
21
22
SELCETED WORKS 2018 2018 BEAUTY / FORM / FUNCTION
美しさ 形態 職能 MUMBAI / MARCH / 2018
This is the first design concept for the Typography conference 2018 competition. I was interested in finding something in nature that features the criteria of beauty, form, and function. I think these three components are deeply ingrained in the building blocks of the natural world, so I thought it to be the perfect fit. After narrowing it down, I thought nothing more perfect that the beautiful simplicity of the flower. So delicate and mesmerizing, yet highly functionally in many ecosystems.
Here is the second design for the Typography conference 2018 competition. Ice cream is something a lot of the world is familiar with. I think if we showed most people a picture of soft-serve they would probably be able to identify it. To me, ice cream is fits beauty, form, and function. They way the soft-serve spirals up to to create this neat little shape shows off it’s form. It’s functionally because it provides a way to eat it. And it can be very traditionally aesthetic.
23
Special thanks to: www.designishistory.com www.fonts.com
24
Comic Sans Inc. 4000 Central Florida Blvd, Orlando, FL 32816